The goal is simple: test a bunch of arcade buttons from different manufacturers to get the one with the best function and feel. The resulting build is anything but simple: this wonderfully over-designed 16-channel WAV sampler and mixer.
For those wondering why [Atarity] would go to this much trouble to test arcade buttons, we suspect an ulterior motive – skip to the 21:14 mark of the long video below to see the real design inspiration. Regardless of the motive, there’s no doubting the care that went into the build – CNC-milled birch case, extremely detailed laser-engraved graphics, and a carbon-fiber back plate covered with suede, because suede. We especially like the detail on the speaker grill: the embroidered fabric and puffed-up look really works with the rest of the design, including the leather hand strap.
It’s not entirely clear from the post what the end goal of the testing is, but we assume it’ll be some sort of MAME build. In which case, [Atarity] might want to check out our recent articles on a tabletop MAME cabinet or this portable MAME rig. But whatever he comes up with, we’re sure the craftsmanship will be there.
Continue reading “16-channel Sampler Tests Arcade Buttons with Style”
For the last 15 years or so, software synths have slowly yet surely replaced those beatboxes, drum machines, and true synthesizers. It’s a loss for old hardware aficionados, but at least everyone with a MacBook is now a musician, amiright?
The Raspberry Pi and Pi2 already have more processing power than a desktop from ’99, so it’s no surprise that all of those classic synths, from a Moog. Yamaha DX, Casio CZ, Linn drum machine, Fairlight, and a mellotron, can all be stuffed into a Pi thanks to the work of [Phil Atkin] and his Raspberry Pi synthesizer.
[Phil]’s efforts to bring audio synthesis to the Pi fall under three techniques: subtractive synthesis, phase distortion synthesis, and sample-based synthesis, something that’s found in everything from Akai MPCs, MacBooks, and that one episode of The Cosby Show. [Phil] is combining all of these techniques into a piece of software that’s capable of running seamlessly on the Pi, giving anyone with a $35 computer a tool that would have been worth several thousand dollars in 1985.
The project is pretty far along, but the recent release of the Raspberry Pi 2 has thrown [Phil] for a loop. On one hand, the Pi 2 is much more capable than the original Pi in terms of hardware, and this lends itself to more sounds and a better GUI. On the other hand, there are millions of original Pi 1s out there that still make for exceptional synthesizers. Either way, [Phil]’s work is a great example of how far you can push the Pi with audio work.
Thanks [Wybren] for the tip. Videos below.
Continue reading “Piana – Musical Synthesis For The Raspberry Pi”
This portable sample player packs quite a punch. [Lee] wanted a nice portable way to take his samples with him, but refused to water-down the features just because it is portable. He set of goal of playing between 3-8 simultaneous notes from a large assortment of stored samples.
Sample space was the first design consideration, and it’s hard to beat the price per megabyte of an SD card. After some calculations he concluded that it is possible to pull these samples off the card quickly enough to achieve his simultaneous note goal at CD quality frequencies, but only if there is little or no latency when reading from the card. This means [Lee] needed a fast processor so he chose the LPC1769 which is an ARM Cortex-M3 processor which can run at 120 MHz.
The project box includes room for a volume knob to control the output from the in-build headphone amplifier. There’s also a rotary encoder for selecting sample sets. But we’re a bit confused on this part as the device is MIDI controlled. [Lee] is the creator of the electronic Moolodeon, which itself has MIDI out and will be used as a controller for this project.
Here’s a floppy drive which is being used as an audio sampler. At first glance we thought this was another offering which drives the stepper motor at a specific frequency to generate that characteristic sound at a target pitch. But that’s not what’s happening at all. The floppy is actually being used as a storage device (go figure).
From what we can tell, it’s being used almost like an 8-track tape. A PWM signal is stored on one circular slice of the disk, then the head can be moved back to that same “track” to play back the wave form. The head doesn’t move during playback, but just keeps reading the same track of bits. To the right you can see an Arduino board. This allows for MIDI control of the track selection. [Alexis] shows off some keyboard control in the video after the break. There’s a buffer chip on the breadboard which allows the audio output to be quickly switched off as the floppy drive head is moved. This keeps garbage out of the sound until the new track can be read.
Continue reading “Floppy drive as an audio sampler”
[Michael] is a huge fan of old media formats. There’s something special about quarter-inch thick 78s, fragile blue cylinders holding music, and thin strips of mylar that preserve the human voice. He’s had an idea for a tape-based instrument for a while, and now that the Magnetotron is complete, we’re in awe of this glass harmonica and Mellotron mashup.
The Magnetotron is a large rotating cylinder that has dozens of strips of audio tape attached to it. The cylinder rotates with the help of a small motor. As the strips of tape rotate in front of him, [Michael] presses two tape heads up to the instrument, making some sort of sound.
Each strip of tape contains a recording of one note, like the venerable Mellotron. Instead of physical keys, the Magnetotron is played in a much more tactile fashion like the glass harmonica. The output of the Magnetotron is interesting with a whole bunch of wow and flutter. Check out the demo of [Michael] playing his instrument at NIME in Brooklyn after the break.
Continue reading “Magnetotron is an armonica mellotron mashup”
[Roberto Barrios] has a Korg Triton sampling keyboard which he enjoys very much, but has grown tired of using media of yesteryear to store his work. He had the option of floppy disk or Jazz drive and for a time he was using a floppy-to-USB emulator, but the keyboard still insisted on a 1.44 Mb storage limit using that method. He decided to crack open the case and add his own CF reader.
It should be noted that this hack could have been avoided by using the 25-pin connector on the back of the keyboard. He didn’t want to have external hardware, which is understandable if you’re gigging–it’s just more equipment to keep track of. His solution uses the floppy disk drive opening to mount the card reader. His electrical connections are made with a ribbon cable. He cut off one end, and soldered the individual wires to the contacts on the motherboard. The reader is seen as a SCSI drive by the Korg firmware thanks to a SCSI-to-IDE adapter, so the storage limitation is based quite fittingly on the size of the CF card used.
Look at that cable management. You’d think it came straight from the factory like this!
Where’s the Party At is an open source bendable 8-bit sampler kit created by [Todd Bailey]. The initial design started about a year ago when he was instructing circuit benders how to transition to circuit design. He designed the kit to show how simply you could build a sampler. It demonstrates both clear analog and digital design. It’s meant to be a unique instrument though and features a lot of glitchy/quirky characteristics while being fairly reliable. You can read more about the device on his site. It has comprehensive parts and assembly manuals available and the kit is $75.
[via Create Digital Music]