[David] has created his own live robot band to play live versions of the music and sound effects of NES games. Most of us who grew up in the 80’s and 90’s have the music of Nintendo games burned into our brains. While there have been some amazingremixes created over the years, [David] has managed to do something truly unique. Armed with an emulator, some software prowess, and a pair of Raspberry Pis, [Dave] created a system that plays game music and sound effects on analog instruments. A Yamaha Disklavier player piano handles most of the work through a connection to a Raspberry Pi. Percussion is handled by a second Pi. Snare drum, wood block, and tambourine are all actuated by a custom solenoid setup.
This popup book contains several interactive electronic elements. It’s the creation of [Antonella Nonnis] using mostly scrap materials she had on hand. Of course there are some familiar players behind the scenes that take care of the electronic elements.
Her photo album of the build process sheds light on how she pulled everything together. Instead of adding switches for interactivity she built capacitive touch sensors on the backs of the pages. Strips of copper foil serve as flexibly traces, moving the connections past the binding and allowing them to be jumpered to the pair of Arduino boards which control the show. That’s right, there’s two of them. One is dedicated to running the pop-up piano keyboard seen above. The other deals with Art, Math, and Science elements on other pages.
This continues some of the multimedia work we saw popping up in popups a few years back.
The GPIO header of the RPi makes this project a lot easier. [Shaun] used Adafruit’s breakout board to solder connections for the six buttons and the character LCD screen. Plug some speakers into the audio jack and the hardware end of the deal is finished. The software side of things is very similar to the BeagleBone Pandora player we looked at in September. It uses a Linux distribution (Rasbian Weezy) and the Pianobar package.
Pianobar is very versatile. You can control it using a First-In First-Out file. Once [Shaun] figured out how to use mkfifo to set up the file, he was able to control it from a script by monitor button presses and echoing the associated command to the FIFO. The finishing touch was to add AirPlay support via the shairport package.
[Sebastian] wrote in to update us about the optical sensor project he started a couple of years ago. You’ll find his most recent update here, but there are four different post links after the break that document various parts of his progress.
You may not recall the original project, but he was looking to add resolution and sensitivity to the keystroke of an electric keyboard. With the sensors built, he started experimenting with using the force data to affect other parts of the sound. His post back in January shows this bending the pitch as the keys receive more force from the player.
In March he installed the sensor array in an old piano. The video he posted where he plays the piano, but we hear the sound generated from the sensor inputs. We’ve embedded it after the break.
Last week he published two posts. They cover a redesign of the sensor boards, and the panelization work he’s done to help bring down manufacturing costs. The base unit was redesigned to use an AT90USB microcontroller which consolidates the separate chips used in the previous version.
You have an hour to kill, and you like old communication technology. If you happen to be in Windsor, Connecticut, you could nip over to the Vintage Radio and Communication Museum. If you aren’t in Windsor, you could watch [WG7D’s] video tour, which you can see below.
The museum is a volunteer organization and is mostly about radio, although we did spy some old cameras if you like that sort of thing. There was also a beautiful player piano that — no kidding — now runs from a vacuum cleaner.
Want to play the xylophone but don’t want to learn how? [Rachad]’s automatic xylophone might be just the ticket. It uses homemade solenoids to play tunes under computer control. Think of it as a player piano but with electromagnetic strikers instead of piano keys. You can hear the instrument in action in the video below.
Since the project required 24 solenoids, [Rachad] decided to build custom ones using coils of wire and nails. We were amused to see a common curling iron used as an alternate way to apply hot glue when building the coils. The other interesting part of the project was the software. He now uses a toolchain to convert MIDI files into a serial output read by the Arduino. Eventually, he wants to train an AI to read sheet music, but that’s down the road, apparently.
Honestly, we were a bit surprised that it sounded pretty good because we understand that the material used to strike the xylophone and the exact position of the strike makes a difference. We doubt any orchestra will be building one of these, but it doesn’t sound bad to us.
A culture in which it’s fair to say the community which Hackaday serves is steeped in, is electronic music. Within these pages you’ll find plenty of synthesisers, chiptune players, and other projects devoted to synthetic sound. Not everyone here is a musician of obsessive listener, but if Hackaday had a soundtrack album we’re guessing it would be electronic. Along the way, many of us have picked up an appreciation for the history of electronic music, whether it’s EDM from the 1990s, 8-bit SID chiptunes, or further back to figures such as Wendy Carlos, Gershon Kingsley, or Delia Derbyshire. But for all that, the origin of electronic music is frustratingly difficult to pin down. Is it characterised by the instruments alone, or does it have something more specific in the music itself? Here follows the result of a few months’ idle self-enlightenment as we try to get tot he bottom of it all.
Will The Real Electronic Music Please Stand Up?
If you own a synthesiser, the Telharmonium is its daddy.
Anyone reading around the subject soon discovers that there are several different facets to synthesised music which are collectively brought together under the same banner and which at times are all claimed individually to be the purest form of the art. Further to that it rapidly becomes obvious when studying the origins of the technology, that purely electronic and electromechanical music are also two sides of the same coin. Is music electronic when it uses an electronic instrument, when electronics are used to modify the sound of an acoustic instrument, when it is sequenced electronically often in a manner unplayable by a human, or when it uses sampled sounds? Is an electric guitar making electronic music when played through an effects pedal?
The history of electronic music as far as it seems from here, starts around the turn of the twentieth century, and though the work of many different engineers and musicians could be cited at its source there are three inventions which stand out. Thaddeus Cahill’s tone-wheel-based Telharmonium US patent was granted in 1897, the same year as that for Edwin S. Votey’s Pianola player piano, while the Russian Lev Termen’s Theremin was invented in 1919. In those three inventions we find the progenital ancestors of all synthesisers, sequencers, and purely electronic instruments. If it appears we’ve made a glaring omission by not mentioning inventions such as the phonograph, it’s because they were invented not to make music but to record it. Continue reading “Where Did Electronic Music Start?”→
