Play Music With Your Painting Using Teensy

February 21, 2015 by Theodora Fabio 5 Comments

[sab-art], a collaboration between [Sophia Brueckner] and [Eric Rosenbaum], has created a touch-sensitive musical painting. Initially, basic acrylic paint is used for the majority of the canvas. Once that is dry, conductive paint is used to make the shapes that will be used for the capacitive touch sensing. As an added step to increase the robustness, nails are hammered through each painted shape and connected with wiring in the back of the painting. These wires are then connected to the inputs of a Teensy++ 2.0, using Arduino code based on MaKey MaKey to output MIDI. The MIDI is then sent to a Mac Mini which then synthesizes the sound using Ableton Live. Any MIDI-processing software would work, though. For this particular painting, external speakers are used, but incorporating speakers into your own composition is certainly possible.

A nice aspect of this project is that it can be as simple or as complex as you choose. Multiple conductive shapes can be connected through the back to the same Teensy input so that they play the same sound. While [sab-art] went with a more abstract look, this can be used with any style. Imagine taking a painting of Dogs Playing Poker and having each dog bark in its respective breed’s manner when you touch it, or having spaceships make “pew pew” noises. For a truly meta moment, an interactive MIDI painting of a MIDI keyboard would be sublime. [sab-art] is refining the process with each new painting, so even more imaginative musical works of art are on the horizon. We can’t wait to see and hear them!

Continue reading “Play Music With Your Painting Using Teensy” →

Turning A Cadenza Into A Finishing Move

February 19, 2015 by Sarah Petkus 12 Comments

What do you get when you mix dueling pianos with a 2D fighting game? Undoubtably some complex controls, but also an awesome platform for showmanship! The “Sound Fighter” installation by artists [Cyril] and [Eric] was built with the exact intention that two opposing parties could duke it out in a Street Fighter match with their piano playing abilities mapping into attack combos and dragon-punches.

In order to turn a piano into a glorified arcade stick, [Cyril] and [Eric] would need a way to register when and what notes were being played and then translate that data into commands for the fighting game itself. To start, they did their homework on the inner workings of different piano types. Whatever digital augmentation they were to design would have to work without inhibiting the piano’s function.

There were many possible methods of registering when the piano was being used and though several would have worked for their intended purpose, it took writing down and discussing the pros and cons of each sensor before they made a decision. Some of the options they considered included pressure sensors for the keys themselves, accelerometers to detect the movement of the individual hammers within the piano, and even a microphone to computationally analyze the sound heard from either instrument. In the end they chose to implement small and accurate piezo knock sensors tethered to the internal mechanism of each key. These could register both faint and strong notes when played without altering the natural sound of the instrument.

After deciding on a Street Fighter iteration for the PS2 to develop the rest of the project around, they had to play the actual game a bit to get a feel for the command list of moves. They wanted to conceive of a way to map the notes played to the controller, but not in the direct “key to button” sort of way. The idea was that if someone was good at playing piano, they would also be good at executing moves in game. So they had to sort out how groups of notes and chords would translate into moving the character or attacking.

I highly suggest checking out their in depth play-by-play as they built the installation from the ground up. In addition to being fascinating (they prepared this project in a fight against time for the reopening of a historical site in Paris), you’ll find that everything they developed is opened source. The completed installation is as awesome as it sounds. You can see it in action in an actual duel below:

Continue reading “Turning A Cadenza Into A Finishing Move” →

Logic Noise: 8-bits Of Glorious Sounds

February 17, 2015 by Elliot Williams 14 Comments

Logic Noise is all about using analog circuits to make sounds. Preferably sound that will be enjoyable to hear and useful for making music. Now, the difference between music, sound, and noise is certainly in the ear of the behearer, but you must admit that last installment’s simple square wave lacked a little something. (Although the sync oscillator circuit extension was kinda cool.)

This week, we’ll take our single wimpy square-wave oscillator and beef it up by adding a bunch of sub-octaves to the mix. And we’ll do it using a chip that’ll be really useful for us in the future as well: the 4040 binary counter chip.

Counters (binary or decimal) are going to be fertile ground for more musical noise experiments. Why so? Because octaves are just doublings or halvings of frequencies, and because a lot of rhythmic patterns have factors of two underlying them. Just think about the most basic drum pattern you know: bass drum on the one, snare on one and three, and hi-hats on one, two, three, and four. Each different instrument fires off twice as frequently as the one before it.

But for now, enough blabber. We’ve got an oscillator to build.

Continue reading “Logic Noise: 8-bits Of Glorious Sounds” →

Clocked 8-Bit Random Pattern Generator For A CMOS Synth

February 11, 2015 by Anool Mahidharia 33 Comments

A random noise generator is pretty handy when working with music, and building one using a micro-controller can be pretty trivial. So it’s nice when someone comes along and builds it from a few analog and digital parts. [acidbourbon] built his Clocked 8-BIT Random Pattern Generator for CMOS Synth inspired and motivated by the recent article Logic Noise: Sweet, Sweet Oscillator Sounds by [Elliot Williams]. It’s 8-bit output can be used as a random sequencer for DIY CMOS synths.
This pattern generator is suited to to be used in combination with a 4051 8-channel analog multiplexer. But it sounds quite interesting on it’s own (best enjoyed in stereo, check out the video after the break). After building some CMOS synth circuits, [acidbourbon] moved on to make some sequencers and multiplexers which then let him to devise this random pattern generator which could be gated using a clock signal.

The basic principle is straight forward – generate noise, amplify it, apply a clock to get the gated noise output. His design choices for the various sections are well explained, based on constraints that he had to work with. Everything needs to work at 5V, but his noise generator circuit requires 12V to work. He choose to use a charge pump to generate -5V, resulting in a 10V supply, which was barely enough, but worked. A boost regulator might probably have served better to generate 12V, but maybe he already had the ICL7660 charge pump IC lying around in his parts bin. The rest of the circuit uses standard CMOS/TTL devices, and [acidbourbon] provides all of the design files for what looks like a neat, single sided PCB that can easily be made using the toner-transfer method.

Video below.

Continue reading “Clocked 8-Bit Random Pattern Generator For A CMOS Synth” →

Ask Hackaday: Bringing Your Design To Market

February 9, 2015 by Will Sweatman 19 Comments

While many of us have made and documented our open source projects, not many of us have tried to sell our design to the masses. [Scott] developed, marketed, and “bootstrapped” a cool looking MIDI controller. Now, before you get your jumpers in a bunch – the project is completely open source. [Scott] documented the entire process of not only the design, but the trials and tribulations of bringing it to market as well. Calculating costs, FCC testing and the many other challenges of bringing a consumer electronics device to market are all detailed in his blog. Join me while we look at the highs and lows of his interesting and eventually worthwhile journey.

Putting yourself into a game where orders are in the tens of thousands, with hundreds of thousands of dollars changing hands is not easy when you’re just a guy with an idea and a soldering iron. [Scott] was up for the challenge, however. He quickly realized that much of the margin is spent on advertising and to cover risk. On his last order, some of the paint was chipping off. He had to fix the paint and repackage everything – all at his cost.

He also talks about the learning process of product design along the way. His original idea was to make a volume controller, but couldn’t sell a single one. He was forced to redesign the software into the MIDI controller as it exists today. He tried to launch a Kickstarter, but was rejected. This turned out to be a good thing, however, because he would have wound up kickstarting a product that didn’t work.

For advertising, he relied on Google and made some extremely detailed tutorials for his product. Many of them can be used for other MIDI controllers, and often come up in Google searches. Smart. Very smart.

Be sure to check out the video below, where [Scott] gets into some capacitive touch design theory, and talks about how not to cut your final product in half while on the CNC.

Have any of you ever tried to mass produce and sell one of your designs? Let us know in the comments!

Continue reading “Ask Hackaday: Bringing Your Design To Market” →

Modular 555 Synth Is Controlled By MIDI

February 7, 2015 by Adam Fabio 23 Comments

[Atdiy and Whisker] aka [The Tymkrs] have created a MIDI controlled 8 note modular synthesizer. (YouTube link). The project was designed to highlight some of the modules they have available at their Tindie Store. Essentially, the synthesizer is 8 classic Atari Punk Console (APC) tone generators. Each APC is made up of two 555 chips, rather than the 556 used in the original design. The APCs are tuned to a Pentatonic scale, with the 8 notes covering 1.5 octaves. [Whisker] added a single potentiometer which controls all 8 of the monostable oscillators at once. Tweaking this knob gives the synth that classic Atari Punk Console sound we’ve all come to know and love.

The 8 APC outputs are routed to once side of an AND gate. The other side of the AND gate is connected to a 74hc595 shift register. A Parallax Propeller processor converts MIDI note data into a serial stream that can be daisy chained across several ‘595 shift registers. The outputs of the 8 and gates are mixed to a single combined output, which goes out to [The Tymkrs] studio amplifier.

Like many [Tymkrs] videos, this one ends with a MIDI driven jam session, outlining how the circuit would sound in a song. Click past the break to see it all in action!

Continue reading “Modular 555 Synth Is Controlled By MIDI” →

Wireless Mic Helps Guitarist Rock Out Un-Tethered

February 3, 2015 by Rich Bremer 16 Comments

Any guitarist knows what a tangled mess of cords can come out of a long jam session. One possible solution would be to get a wireless guitar system, however, such a setup can range in price from about 50 to several hundred dollars. That’s a big price to pay for not having to untangle some guitar cords.

[mattthegamer463] wanted a wireless setup but didn’t want to spend the cash on one. He’s a tinkerer and had a spare wireless microphone setup hanging around. So, he decided to try converting the wireless mic to work with his guitar.

Both microphones and guitar pickups work in similar manner. In a guitar pickup, the vibrating guitar string disturbs a magnetic field and induces a current in the pickup’s coil. That current is the guitar’s signal. Microphones are similar, air pressure waves vibrate a diaphragm or ribbon which then disturbs a magnetic field to create the signal. [mattthegamer463] thought these principles were close enough for him to make quick work of the conversion.

First, the microphone was taken apart and the diaphragm module was removed, cutting the two wires that ran into the mic’s handle. A hole was then drilled into the wind screen so a 1/4″ jack could be installed. [mattthegamer463] states that it’s important to electrically isolate the jack from the wind screen or the signal and ground wires will short and the project won’t work. The two wires that were previously connected to the diaphragm module are then soldered to the newly added jack and the mic was screwed back together.

To use it, a patch cord is run from the guitar into the jack on the mic. The stock wireless receiver from the mic system is then plugged into the guitar amp. The modified ‘mic’ now transmits the guitar signals to the guitar amp! You may think it would be awkward to hold that mic while jamming. You’d be right if [mattthegamer463] didn’t come up with a nice looking aluminum and rubber belt clip.