Commodore Datassette Does Barbershop Quartet

October 20, 2023 by Kristina Panos 3 Comments

Okay, now this is just plain fun. [Linus Åkesson] modified a Commodore Datassette player to move its “mouth” and, when quadrupled, sing a clever barbershop tune called “Sweet End of Line” that’s a play on “Sweet Adeline“, a top hit from the summer of 1903.

What? Let us explain. Those with Commodore 64s who lacked disk drives often had the Datassette — a magnetic storage tape device, or cassette player used to load and save files. But they couldn’t open the doors themselves with a keypress, and they certainly couldn’t sing barbershop.

First off, [Linus] redirected the current that drives the magnetizing tape head through a speaker coil instead. Then he replaced the motor with a servo that opens the lid from the inside. A simple rubber band pulls the lid back shut. Software-wise, [Linus] is using a timer interrupt to run code that toggles the output signal, the rate of which determines the pitch.

Don’t worry — all of these modifications are reversible, so no Datassettes were truly harmed in the making. Don’t forget to check out the brief build/demo video after the break.

We’ve seen our share of tape players, but we’d never seen one with a crank until recently.

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Low-Cost Electret Microphone Preamplifiers

October 16, 2023 by Bryan Cockfield 8 Comments

Before the invention of microelectromechanical system (MEMS) microphones, almost all microphones in cell phones and other electronics were a type of condenser microphone called the electret microphone. The fact that this type of microphone is cheap and easy enough to place into consumer electronics doesn’t mean they’re all low quality, though. Electret microphones can have a number of qualities that make them desirable for use recording speech or music, so if you have a struggling artist friend like [fvfilippetti] has who needs an inexpensive way to bring one to life, take a look at this electret microphone pre-amp.

The main goal of the project is to enhance the performance of these microphones specifically in high sound pressure level (SPL) scenarios. In these situations issues of saturation and distortion often occur. The preampl design incorporates feedback loops and an AD797 opamp to reduce distortion, increase gain, and maintain low noise levels. It also includes an output voltage limiter using diodes to protect against input overload and can adjust gain. The circuit’s topology is designed to minimize distortion, particularly in these high SPL situations.

Real-world testing of the preamp confirms its ability to handle high SPL and deliver low distortion, making it a cost-effective solution for improving the performance of electret microphones like these. If you want to go even deeper into the weeds of designing and building electret microphones and their supporting circuitry, take a look at this build which discusses some other design considerations for these types of devices.

Screech Owl Is A Tribute To The Eowave Persephone

October 12, 2023 by Lewin Day 6 Comments

The Eowave Persephone was a beautiful thing—a monophonic ribbon synth capable of producing clean, smoothly varying tones. [Ben Glover] used to own a nice example that formerly belonged to Peter Christopherson, but lost it in the shifting sands of time. His solution was to build one of his own from scratch.

It’s a simple build, but the final result puts out a nice pleasant sound.

Known as the Screech Owl, the build is based around a custom shield designed to suit the Arduino Leonardo. The primary control interface is a Softpot 500 mm membrane potentiometer, layered up with a further thin film pressure sensor which provides aftertouch control. The Leonardo reads these sensors and synthesizes the appropriate frequencies in turn.

All the electronics is wrapped up inside a tidy laser-cut enclosure that roughly approximates the design of the original Eowave device. [Ben] noted the value of services like Fiverr and ChatGPT for helping him with the design, while he also enjoyed getting his first shield design professionally manufactured via JLCPCB.

It’s a tidy build, and in [Ben’s] capable hands, it sounds pretty good, too. We’ve seen some other great ribbon controlled synths before, too. Video after the break.

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Dial Up A Tune On The Jukephone

October 10, 2023 by Kristina Panos 9 Comments

What do you do when you find a nice corded phone with giant buttons out in the wild? You could pay $80/month for a landline, use a VOIP or Bluetooth solution instead, or do something a million times cooler and turn it into a jukebox.

Now when the receiver is lifted, [Turi] hears music instead of a dial tone or a voice on the other end. But playback isn’t limited to the handset — there’s a headphone jack around back.

To listen to a track, he can either dial one in directly, or call up a random track using one of the smaller buttons below. A handy directory organizes the tunes by the hundreds, putting children’s tracks between 1-99 and the intriguing category “hits” between 900-999.

The phone’s new guts are commanded by a Raspberry Pi Pico, which is a great choice for handling the key matrix plus the rest of the buttons. As you may have guessed, there’s an DF Player Mini mp3 player that reads the tracks from an SD card. Everything is powered by a rechargeable 18650 battery.

Jukephone is open source, and you’ll find more pictures on [Turi]’s blog post. Be sure to check out the very brief build and demo video after the break.

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Auto Xylophone Uses Homemade Solenoids

October 8, 2023 by Al Williams 26 Comments

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.

The last one of these we saw did have more conventional strikers if you want to compare. Honestly, we might have just bought the solenoids off the shelf but, then again, we don’t make our own relays either.

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Playing The Guitar Of DOOM

October 7, 2023 by Kristina Panos 7 Comments

Over the years, we’ve seen DOOM run on pretty much everything from an 8088 to a single keycap. We’ve also written up one or two controllers, but we don’t think we’ve ever seen anything like this — playing DOOM with an electric guitar.

The guitar in question is a Schecter Hellraiser Deluxe, which seems like a great choice to us. In order to get the notes to control the game, [DOS Storm] converted a handful of notes to MIDI using a VST plugin called Dodo MIDI 2 and the Reaper DAW. Then it was a matter of converting MIDI to keystrokes. This took two programs — loopMIDI to do take the MIDI data and route it elsewhere, and MIDIKey2Key to actually convert the MIDI to the keystrokes that control DOOM.

The result is that the notes that move Doomguy around are mostly in an A-major bar chord formation, with some controls up in the solo range of the fret board. Be sure to check out the demo video below and watch [DOS Storm] clear level one in a fairly impressive amount of time, considering their controller is a guitar.

That key cap isn’t even the most ridiculous thing we’ve seen DOOM running on. It’s probably a toss-up between that and the LEGO brick.

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Just What Is Tone, In A Microphone?

October 5, 2023 by Jenny List 23 Comments

As long-time Hackaday readers will know, there is much rubbish spouted in the world of audio about perceived tone and performance of different hi-fi components. Usually this comes from audiophiles with, we’d dare to suggest, more money than sense. But oddly there’s an arena in which the elusive tone has less of the rubbish about it and it in fact, quite important. [Jim Lill] is a musician, and like all musicians he knows that different combinations of microphones impart a different sound to the recording. But as it’s such a difficult property to quantify, he’s set out to learn all he can about where the tone comes from in a microphone.

He’s coming to this from the viewpoint of a musician rather than an engineer, but his methodology is not diminished by this. He’s putting each mic on test in front of the same speaker at the same position, and playing a standard piece of music and a tone sweep through each. He doesn’t have an audio analyser, reference speaker and microphone, or anechoic chamber, so he’s come up with a real-world standard instead. He’s comparing every mic he can find with a Shure SM57, the go-to general purpose standard in the world of microphones for as long as anyone can remember, being a 1960s development of their earlier Unidyne series. His reasoning is that while its response is not flat the sound of the SM57 is what most people are used to hearing from a microphone, so it makes sense to measure the others against its performance.

Along the way he tests a huge number of microphones including famous and expensive ones from exclusive studios and finally one he made himself by mounting a cartridge atop a soda can. You’ll have to watch the video below the break for his conclusions, we can promise it’s worth it.

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