It’s common knowledge that tapping a wine glass produces a pitch which can be altered by adjusting the level of the tipple of choice inside. By filling twelve glasses with different amounts of liquid and tuning them to the twelve notes of the scale, it’s possible to make a one-octave instrument – though the speed and polyphony are bottle-necked by the human operator. If you think it sounds like a ripe project for automation, you’re correct: [Bitluni’s lab] has done what needed to be done, and created a MIDI instrument which plays the glasses using mallets.
Electronically it’s a simple build – some 12 V solenoids driven by MOSFETs, with an Arduino in charge. For the mechanical build, a 3D printer proved very useful, as each mallet could be made identical, ensuring a consistent tone across all glasses. Rubber covers printed in flexible filament were fitted to reduce the overtones and produce a clearer sound. [Bitluni] also utilised different types of glasses for the low and high pitches, which also helped to improve the clarity of the tone.
MIDI is of course the perfect protocol for this application; simple, lightweight and incredibly widely used, it’s the hacker’s delight for projects like this. The instrument can perform pre-programmed sequences, or be played live with a MIDI controller. Both of these are shown in the video after the break – stick around for a unique rendition of Flight Of The Bumblebee. For a more compact wine glass based music creation solution, we recommend this nifty project, which alters pitch using a water balloon raised and lowered into the glass by a servo. Continue reading “The Precise Science Of Whacking A Wine Glass”→
These days, MIDI controllers are just plain cool. There are a million of them out there, and they’re all dressed to the nines in flashing LEDs and sporting swag like USB MIDI interfaces and sliders that just feel right. With our italics budget running out, I should get to the point – you can make your own, and the OpenDeck platform makes it easy.
In its most refined form, the OpenDeck is a board covered in pin headers. To these, you may connect an absolute truckload of buttons, encoders, sliders, and LEDs. The OpenDeck handles all of the inputs and outputs, while you get to have fun attaching your various gizmos to the control surface/keytar/birthday cake you happen to be building. It saves you reinventing the wheel as far as reading switches and potentiometers goes, allowing you to focus on the creative side of your project. All configuration is handled through a simple web interface.
MIDI sequencers are surprisingly expensive, making them an excellent target for [RH Electronics] who has created a sixteen-step device. It supports up to eight playable parts per step, which can be either MIDI or drum triggers.
The case and front panel are built to a very high standard, and on a piece of stripboard within lies an ATmega644 which does all the MIDI work, an ATmega328 that runs the many LEDs, and an ATtiny85 that reads the front panel buttons. The whole is kept in sync by a timer on the 644 set to produce the required MIDI clock. There is an LCD display too, which carries the status and programming interface.
You can see the result in the video below the break, in which the sequencer is put through its paces alongside a tantalising glimpse of a matching synthesiser. Is this another project, or a commercial device on which Google fails us when we try to find it? Meanwhile this is certainly not the first MIDI sequencer we’ve brought you here at Hackaday, this Arduino one is another example of several also using Atmel parts.
Korg Introduced the Monotron analog mini-synthesizer back in 2010. They also dropped the schematics for the synth. Hackers wasted no time modifying and improving the Monotron. [Harry] incorporated several of these changes into his build. The Low-Frequency Oscillator (LFO) has been changed over to an envelope generator. The ribbon controller is gone, replaced with a CV/gate interface to sound notes.
The CV/gate interface, in turn, is connected to an ATMega328P which converts it to MIDI. MIDI data comes from one of two sources: A two-octave full-sized keyboard pulled from a scrapped MIDI controller or a MIDI connector at the back.
The user interface doesn’t stop with the keyboard. The low-cost pots on the original Monotron have been replaced with much higher quality parts on the front panel. The tuning pot is a 10-turn device, which allows for precision tuning. All the mods are mounted on a single board, which is connected to the original Monotron board.
Have you ever seen something and instantly knew it was something you wanted, even though you weren’t aware it existed a few seconds ago? That’s how we felt when we received a tip about Zynthian, a fully open source (hardware and software) synthesizer. You can buy the kit online directly from the developers, or build your own from scratch using their documentation and source code. With a multitude of filters, effects, engines, and essentially unlimited upgrade potential, they’re calling it a “Swiss Army Knife of Synthesis”. We’re inclined to agree.
At the most basic level, the Zynthian is a Raspberry Pi 3 with a touch screen, a few rotary encoders, a dedicated sound card, and MIDI support. Software wise the biggest feature is arguably the real-time Linux kernel for the lowest latency possible. There’s also a custom web interface so you can control the Zynthian from another machine on the network if you want. As a matter of course, it also includes a wide array of pre-installed audio packages to experiment and create with.
Kits are offered at various prices from $420 USD for the top of the line model down to unpopulated PCBs for a few bucks. We like that they broke things down this way; allowing users of various skill (and or patience) to pay what they want. If you just want to buy the custom boards and roll your own case and Pi solution, you can do that.
If you want to go all in, you can build one entirely from scratch as well. Everything from the CAD files for the case to their custom rotary encoder library is completely open (most licensed under GPL v3) for anyone to use however they see fit. There’s even a page in the wiki for listing hardware which isn’t officially supported by the project, but remain as options for those looking to cut their own path.
It’s often hard to know what to do with a classic bit of electronics that’s taking up far too much of the living room for its own good. But when the thing in question is an electronic organ from the 1970s, the answer couldn’t be clearer: dissect it for its good parts and create two new instruments with them.
Judging by [Charlie Williams]’ blog posts on his Viscount Project, he’s been at this since at least 2014. The offending organ, from which the project gets its name, is a Viscount Bahia from the 1970s that had seen better days, apparently none of which included a good dusting. With careful disassembly and documentation, [Charlie] took the organ to bits. The first instrument to come from this was based on the foot pedals. A Teensy and a custom wood case turned it into a custom MIDI controller; hear it in action below. The beats controller from the organ’s keyboard was used for the second instrument. This one appears far more complex, not only for the beautiful, hand-held wooden case he built for it, but because he reused most of the original circuitry. A modern tube amp was added to produce a little distortion and stereo output from the original mono source, with the tip of the tube just peeking above the surface of the instrument. We wish there were a demo video of this one, but we’ll settle for gazing at the craftsmanship.
In a strange bit of timing, [Elliot Williams] (no relation, we assume) just posted an Ask Hackaday piece looking for help with a replacement top-octave generator for another 1970s organ. It’s got a good description of how these organs worked, if you’re in the mood to learn a little more.
It is a great shame that back in the days when a typical home computer had easy low-level hardware access that is absent from today’s machines, the cost of taking advantage of it was so high. Professional PCBs were way out of reach of a home constructor, and many of the integrated circuits that might have been used were expensive and difficult to source in small quantities.
Here in the 21st century we have both cheap PCBs and easy access to a wealth of semiconductors, so enthusiasts for older hardware can set to work on projects that would have been impossible back in the day. Such an offering is [Serdef]’s Tiny Parallel Port General MIDI Synthesizer for DOS PCs, a very professionally produced synth that you might have paid a lot of money to own three decades ago.
At its heart is a SAM2695 synthesiser chip, and the board uses the parallel port as an 8-bit I/O port. The software side is handled by a TSR (a Terminate and Stay Resident driver loaded at startup, for those of you who are not DOS aficionados), and there are demonstrations of it running with a few classic games.