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”
Since the 1980s, MIDI has been a great way to send data between electronic musical instruments. Beginning as a modified serial interface running through optoisolaters and DIN sockets, these days, your hardware is more likely to carry its MIDI data over USB instead. This is great if you want to hook up to a computer without a cumbersome interface, but not so great when you want to connect a bunch of instruments to each other.
The Roland Integra 7 is a rack mount synthesizer with classic MIDI ports. [adriangin] wanted to control the synthesizer over MIDI, but their Casio keyboard only had MIDI over USB available. To get around this, [adriangin] set out to add a standard MIDI Out port to the Casio PX410R.
Continue reading “Adding MIDI Out to the Casio PX410R”
[Mario] wrote us with his synthesizer project that’s currently up on Kickstarter. It looks like a good amount of fun to play with, as you can see in the video on the Kickstarter page. But it’s also built to be easily hackable.
On the hardware front, it’s a tiny four-layer board that’s crammed with parts. At the core is an STM32F4 microcontroller and a DAC. Indeed, the build was inspired by other folks’ work on the STM32F4 Discovery dev kit that has been used to make some pretty interesting synthesizer devices. [Mario]’s version adds two stereo headphone outputs, two microphone inputs, two IR reflective distance sensors used as control inputs, some buttons, and a ton of LEDs. And then it makes good use of all of them.
The firmware isn’t open source yet (poke! poke!) but it looks like it’s going to be. On his blog, [Mario] works through an example of adding a drum machine into the existing firmware, so it looks like it’ll be hackable.
Squeezing a lot of DSP functionality out of a single microcontroller is a feat. On a similar chip from a different manufacturer, [Paul Stoffregen]’s Teensy Audio Library could also be made to do a lot of the same things. But the real beauty of the Gecho project is that it has some interesting hardware features already built in and ready to go. It wouldn’t be a bad launching pad for your own musical or audio explorations.
Following the monumental emissions-cheating scandal at VW, further horrible revelations demonstrate just how corrupt the modern automotive industry has become: many cars make fake engine noise. And we’re not just talking about those darn sneaky Priuses.
Ford, BMWs, Porsche, and yes, Volkswagen are all doing it, to different degrees. Some of the systems, like the one in the BMW M5, play engine sounds at low volumes through the stereo system. As you’d expect from a BMW, it’s an overly-technological solution: they have built essentially a BMW engine-sound synthesizer that responds to the tachometer and gas pedal data from the car’s data bus. They also let you turn off the “acoustic experience”.
Continue reading “Sporty Cars Making Fake Engine Noise”
[Ivan Franco] sent us this great synthesizer project that he’s working on. Or maybe it’s more like a synthesizer meta-project: a synthesizer construction set. You see, what Pryth has is a Raspberry Pi inside that’s running a custom distribution that includes SuperCollider to generate the sound, OSC for the communication layer, and a Teensy with up to 80 (!) multiplexed analog inputs that you’ll connect up to whatever hardware you desire.
Continue reading “The Most Flexible Synthesizer is DIY, Raspberry Pi”