If you are a certain age, MOS6581 either means nothing to you, or it is a track from Carbon Based Lifeforms. However, if you were a Commodore computer fan 35 years ago, it was a MOS Technologies SID (Sound Interface Device). Think of it as a sound “card” for the computers of the day. Some would say that the chip — the power behind the Commodore 64’s sound system — was the sound card of its day. Compared to its contemporaries it had more in common with high-end electronic keyboards.
The Conversation has a great write up about how the chip was different, how it came to be, the bug in the silicon that allowed it to generate an extra voice, and how it spawned the chiptune genre of music. The post might not be as technical as we’d do here at Hackaday, but it does have oscilloscope videos (see below) and a good discussion of what it took to create music on the device.
Continue reading “The 35 Year Music Synthesizer that Spawned Chiptune”
Over on YouTube, [GumpherDM3] built one of the greatest musical projects we’ve seen in a long time. It’s an analog synthesizer that is one of a kind. It’s going to stay one of a kind, too: no one would ever want to copy this mess of wires and perfboard that was successfully turned into a complete musical instrument.
The design of this synth is what you would expect from something that draws its inspiration from semimodular synths such as the Minimoog and Korg MS20. There are four VCOs on this synth, two audio and two used for the LFOs. A four-pole low pass filter, VCA, and two envelope generators round out the purely analog portion of the build. There’s an arpeggiator in there too, which makes for a really great demo video (below).
Inside, this is a true analog synth with the VCOs, filter, and VCA built around the LM13700 transconductance amplifier. The build log shows these chips spread out around half a dozen breadboards before being plugged into sockets soldered to handwired perf board. This synth is a one of a kind instrument – no one would want to build this thing twice.
Additional features include an Arduino with a MIDI in port sending out CV signals to the analog part of the synth. This thing has everything you would expect from a modern take on an analog synthesizer, and it sounds good, too.
Continue reading “A Mess Of Wires Turned Into An Analog Synth”
It sounds a little like a Theremin and looks a lot like the contents of your scrap bin. But it’s a unique musical instrument called a modulin, and after a few teasers we finally have some details on how it was built.
Making music with marbles is how we first heard of [Martin] of the Swedish music group Wintergatan. He seems as passionate about making his own instruments as he is about the music itself, and we like that. The last time we saw one of his builds was this concert-ready music box, which he accompanied with an instrument he called a modulin. That video gave only a tantalizing look at this hacked together instrument, but the video below details it.
“Modulin” comes from the modular synthesizer units that create the waveforms and pressure-sensitive ribbon controller on the violin-like neck. The instrument has 10 Doepfer synthesizer modules mounted to a hacked-together frame of wood and connected by a forest of patch cables. [Martin]’s tour of the instrument is a good primer on how synthesizers synthesize – VCOs, VCAs, envelope generators, filters – it’s all there. We’re treated to a sample of the sounds a synthesizer can make, plus majestic and appropriately sci-fi sounding versions of Also sprach Zarathustra and the theme from Jurassic Park. And be sure to check out the other video for another possibly familiar tune.
This might be old hat to musicians, but for those of us to whom music is a mystery, such builds hold extra sway. Not only is [Martin] making music, he’s making the means to make music. We’re looking forward to hearing what’s next.
Continue reading “It’s a Synthesizer. It’s a Violin. It’s a Modulin”
Over the last few decades, audio synthesizers have been less and less real hardware and more and more emulations in software. Now that we have tiny powerful computers that merely sip down the watts, what’s the obvious conclusion? A six-voice polyphonic synthesizer built around the Raspberry Pi.
The exquisitely named ‘S³-6R’ synthesizer is a six-voice phase modulation synthesizer that outputs very high resolution (24-bit and 96 kHz) audio. It’s the product of R-MONO Lab, who have displayed interesting musical devices such as a recorder-based pipe organ in the past. This build is a bit more complex, offering up some amazing sounds, all generated on a Raspberry Pi 3.
While talk of oscillators and filters is great, what’s really interesting here is the keyboard itself. The S³-6R is using the Roland K-25m, a tiny MIDI keyboard meant to serve as a ‘dock’ of sorts for Roland’s recent re-releases of the classic Jupiter and Juno synths. Building a MIDI keyboard is not easy by any stretch of the imagination, and using this little keyboard dock is a cheap way to pipe MIDI notes into any project without a lot of fuss.
Below, you can check out the audio demos of the S³-6R. It’s a real synth and sounds great. We can only hope the software will be uploaded somewhere eventually.
Continue reading “A Six-Voice Synth Built On The Raspberry Pi”
The Teenage Engineering Pocket Operators are highly popular devices — pocket-sized synthesizers packed full of exciting sounds and rhythmic options. They’re also remarkably affordable. However, this comes at a cost — they don’t feature MIDI connectivity, so it can be difficult to integrate them into a bigger digital music setup. Never fear, little-scale’s got your back. This Max patch allows you to synchronize an Ableton Link network to your Pocket Operators.
little-scale’s trademark is creating useful software and hardware devices using cheap, off-the-shelf hardware wherever possible. The trick here is a simple Max patch combined with a $2 USB soundcard or Bluetooth audio adapter. It’s all very simple: the Pocket Operators have a variety of sync modes that sync on audio pulses, essentially a click track. They use stereo 3.5mm jacks on board, generally using one channel for the synth’s audio and one channel for receiving sync pulses. It’s a simple job to synthesize suitable sync pulses in Ableton, and then pump them out to the Pocket Operators through the Bluetooth or USB audio output.
The Pocket Operators sync at a rate of 2 PPQN — that’s pulses per quarter note. little-scale says that KORG volcas & monotrons should also work with this patch, as they run at the same rate, but it’s currently untested. If you happen to try this for yourself, let us know if it works for you. Video below the break.
We’ve seen pocket synths on Hackaday before, with this attractive mixer designed for use with KORG Volcas.
Continue reading “Sync Your Pocket Synth with Ableton”
Every semester at one of [Bruce Land]’s electronics labs at Cornell, students team up, and pitch a few ideas on what they’d like to build for the final project. Invariably, the students will pick what they think is cool. The only thing we know about [Ian], [Joval] and [Balazs] is that one of them is a synth head. How do we know this? They built a programmable, sequenced, wavetable synthesizer for their final project in ECE4760.
First things first — what’s a wavetable synthesizer? It’s not adding, subtracting, and modulating sine, triangle, and square waves. That, we assume, is the domain of the analog senior lab. A wavetable synth isn’t a deep application of a weird reverse FFT — that’s FM synthesis. Wavetable synthesis is simply playing a single waveform — one arbitrary wave — at different speeds. It was popular in the 80s and 90s, so it makes for a great application of modern microcontrollers.
The difficult part of the build was, of course, getting waveforms out of a microcontroller, mixing them, and modulating them. This is a lab course, so a few of the techniques learned earlier in the semester when playing with DTMF tones came in very useful. The microcontroller used in the project is a PIC32, and does all the arithmetic in 32-bit fixed point. Even though the final audio output is at 12-bit resolution, the difference between doing the math at 16-bit and 32-bit was obvious.
A synthesizer isn’t useful unless it has a user interface of some kind, and for this the guys turned to a small TFT display, a few pots, and a couple of buttons. This is a complete GUI to set all the parameters, waveforms, tempo, and notes played by the sequencer. From the video of the project (below), this thing sounds pretty good for a machine that generates bleeps and bloops.
Continue reading “Building A Wavetable Synth”
A lot of classic synthesizers rely on analog control voltages to vary parameters; this is a problem for the modern musician who may want to integrate such hardware with a MIDI setup. For just this problem, [little-scale] has built a MIDI-controllable DAC for generating control voltages.
It’s a simple enough build – a Teensy 2 is used to speak USB MIDI to a laptop. This allows the DAC to be used with just about any modern MIDI capable software. The Teensy then controls a Microchip MCP4922 over SPI to generate the requisite control voltages. [little-scale]’s video covers the basic assembly of the hardware on a breadboard, and goes on to demonstrate its use with a performance using the MIDI DAC to control a Moog Mother 32 synth. [little-scale] has also made the code available, making it easy to spin up your own.
We can see this project being indispensable to electronic musicians working with banks of modular synths, making it much easier to tie them in with automation in their DAW of choice. This isn’t the first MIDI interfacing hack we’ve seen either – check out this setup to interface an iPad to guitar pedals.
Continue reading “MIDI DAC for Vintage Synth Hacks”