The collection runs the gamut from [Ray Wilson]’s “Music From Outer Space” analog oddities, through faithful recreations like Adafruit’s XOXBOX, and on to more modern synths powered by simple microcontrollers or even entire embedded Linux devices. Alongside the links to the original projects, there is also an estimate of the difficulty level, and a handy demo video for every example we tried out.
Our only self-serving complaint is that it’s a little bit light on the Logic Noise / CMOS-abuse side of synth hacking, but there are tons of other non-traditional noisemakers, sound manglers, and a good dose of musically useful devices here. Pick one, and get to work!
A piece of musical history is the Maplin 4600, a DIY electronic music synthesizer from the 1970s. The design was published in an Australian electronics magazine and sold as a DIY kit, and [LOOK MUM NO COMPUTER] got his hands on an original Maplin 4600 that he refurbishes and puts through its paces.
Inserting conductive pegs is how the operator connects different inputs and outputs.
The Maplin 4600 is a (mostly) analog device with a slightly intimidating-looking layout. It features multiple oscillators, mixers, envelope generators, filters, and a complex-looking patch bay on the right hand side that is reminiscent of a breadboard. By inserting conductive pins, one can make connections between various inputs and outputs.
Internally the different features and circuits are mostly unconnected from one another by default, so the patch board is how the instrument is “programmed” and the connections made can be quite complex. The 4600 is one of a few synthesizer designs by [Trevor Marshall], who has some additional details about on his website.
The video (embedded below) is a complete walk-through of the unit, including its history, quirks, and design features. If you’d like to skip directly to a hands-on demonstrating how it works, that begins around the 10:15 mark.
Synthesizers have a rich DIY history and it’s fascinating to see an in-depth look at this one. And hey, if you like your synths complex and intimidating, do yourself a favor and check out the Starship One.
Handy diagnostic LEDs on the side of the tone generator boards. (Credit: Mend it Mark, YouTube)
Somehow, an Elka Synthex analog synthesizer made it onto [Mend it Mark]’s repair bench recently. It had a couple of dud buttons, and some keys produced the wrong tone. Remember, this is an analog synthesizer from the 1980s, so we’re talking basic 74LS chips and kin. Fortunately, Elka helped him with the complete repair manual, including schematics.
As usual, [Mark] starts by diagnosing the faults, using the schematics to mark the parts of the circuitry to focus on. Then, the synth’s bonnet is popped open to reveal its absolutely gobsmackingly delightful inner workings, with neatly modular PCBs attached to a central backplane. The entire unit is controlled by a 6502 MPU, with basic counter ICs handling tone generation, controlled by top panel settings.
The Elka Synthex is a polyphonic analog synthesizer produced from 1981 to 1985 and used by famous artists, including Jean-Michel Jarre. Due to its modular nature, [Mark] was quickly able to hunt down the few defective 74LS chips and replace them before testing the instrument by playing some synth tunes from Jean-Michel Jarre’s Oxygène album, as is proper with a 1980s synthesizer.
With inexpensive microntrollers capable of the most impressive feats of sound synthesis, it’s not so often we see projects that return to an earlier style of electronic music project. The 1-bit synth from [Electroagenda] takes us firmly into that territory, employing that most trusty of circuits, a 555.
It’s a time-honored circuit, a 555 provides a note clock that drives a 4017 that functions as a sequencer. This switches in a set of voltage dividers, which in turn control another 555 oscillator that produces the notes. It’s a fun toy straight from the 1970s, right down to the protoboard and hookup wire construction. There’s a demo video with some lovely beeps below, and we think most of you should have what it takes to make your own.
If you’re seeking more inspiration, may we introduce you to our Logic Noise series?
What is a sensory weaver? [Curiosiate] tells us: “A device which takes sensory data feeds in and converts it in various ways on the body as information streams as though a native sensory input.” As an example, they’ve built one.
This one, called “MK2 Lockpick” is a wrist-mounted array of linear actuators, with a lengthy design/build log to peek into. We don’t get PCB files (blame EasyEDA’s sharing), but we do at least get a schematic and more than enough pictures for anyone interested to reproduce the concept – the levels of bespoke-ness here warrant a new PCB for any newcomers to sensory weaver building, anyway. We also get a story of a proof-of-concept thermal input sensory weaver. The team even includes a lessons learned da, and plenty of inspiration throughout the posts on the blog.
This kind of tech is getting more and more popular, and we are sure there will be more to come — especially as we keep getting cool new gadgets like linear actuators in form of replacement parts. For instance, the actuators in this sensory weaver are harvested from Samsung S23 smartphones, and you could probably find suitable ones as iPhone replacement parts, too. Looking to start out in this area but want a quick build? Look no further than the venerable compass belt.
The early 2000s were the halcyon days of physical media. While not as svelte as MP3 players became, why are those early 2000s machines smaller than all the new models popping up amidst the retro audio craze?
We’ve bemoaned the end of the electromechanical era before, and the Verge recently interviewed the people at We Are Rewind and Filo to get the skinny on just why these newer cassette and CD players aren’t as small as their predecessors. It turns out that all currently produced cassette players use the same mechanism with some small tweaks in materials (like metal flywheels in these higher quality models) because the engineering required to design a smaller and better sounding alternative isn’t warranted by the niche nature of the cassette resurgence.
A similar fate has befallen the laser head of CD mechanisms, which is why we don’t have those smooth, rounded players anymore. Economies of scale in the early 2000s mean that even a cheap player from that era can outperform a lot of the newer ones, although you won’t have newer features like Bluetooth to scandalize your audiophile friends. A new Minidisc player is certainly out of the question, although production of discs only ended this February.
[Martin] of [Wintergatan] is on a quest to create the ultimate human-powered, modern marble music machine. His fearless mechanical exploration and engineering work, combined with considerable musical talent, has been an ongoing delight as he continually refines his designs. We’d like to highlight this older video in which he demonstrates how to dynamically regulate the speed of a human-cranked music machine by taking inspiration from gramophones: he uses a flyball governor (or centrifugal governor).
The faster the shaft turns, the harder the disk brake is applied.
These devices are a type of mechanical feedback system that was invented back in the 17th century but really took off once applied to steam engines. Here’s how they work: weights are connected to a shaft with a hinged assembly. The faster the shaft spins, the more the weights move outward due to centrifugal force. This movement is used to trigger some regulatory action, creating a feedback loop. In a steam engine, the regulator adjusts a valve which keeps the engine within a certain speed range. In a gramophone it works a wee bit differently, and this is the system [Wintergatan] uses.
To help keep the speed of his music machine within a certain narrow range, instead of turning a valve the flyball governor moves a large disk brake. The faster the shaft spins, the harder the brake is applied. Watch it in action in the video (embedded below) which shows [Wintergatan]’s prototype, demonstrating how effective it is.
[Wintergatan]’s marble machine started out great and has only gotten better over the years, with [Martin] tirelessly documenting his improvements on everything. After all, when every note is the product of multiple physical processes that must synchronize flawlessly, it makes sense to spend time doing things like designing the best method of dropping balls.
One final note: if you are the type of person to find yourself interested and engaged by these sorts of systems and their relation to obtaining better results and tighter tolerances, we have a great book recommendation for you.
