The inspiration for it came from the human ability to hear music played by any instrument and to then be able to whistle or hum it, thereby translating it from one instrument to another. This is something computers have had trouble doing well, until now. The researchers fed their translator a string quartet playing Haydn and had it translate the music to a chorus and orchestra singing and playing in the style of Bach. They’ve even fed it someone whistling the theme from Indiana Jones and had it translate the tune to a symphony in the style of Mozart.
Shown here is the architecture of their network. Note that all the different music is fed into the same encoder network but each instrument which that music can be translated into has its own decoder network. It was implemented in PyTorch and trained using eight Tesla V100 GPUs over a total of six days. Efforts were made during training to ensure that the encoder extracted high-level semantic features from the music fed into it rather than just memorizing the music. More details can be found in their paper.
So if you want to hear how an electric guitar played in the style of Metallica might have been translated to the piano by Beethoven then listen to the samples in the video below.
[Matlek] had an interesting problem. On one hand, a 40 minute bike commute without music is a dull event but in France it is illegal for any driver to wear headphones. What to do? Wanting neither to break the law nor accept the risk of blocking out surrounding sounds by wearing headphones anyway, and unwilling to create noise pollution for others with a speaker system, [Matlek] decided to improvise a custom attachment for a bike helmet that plays audio via bone conduction. We’ll admit that our first thought was a worrisome idea of sandwiching metal surface transducers between a helmet and one’s skull (and being one crash away from the helmet embedding said transducers…) but happily [Matlek]’s creation is nothing of the sort.
The bone conduction is cleverly achieved by driving small DC motors with an audio signal through a TPA2012 based audio amplifier, which is powered by a single 18650 cell. By using motors in place of speakers, and using a 3D printed enclosure to hold the motors up to a sweet spot just behind the ears, it’s possible to play music that only the wearer can hear and does not block environmental sounds.
[Matlek] didn’t just throw this together, either. This design was the result of researching bone conduction audio, gathering a variety of different components to use as transducers, testing which performed best, and testing different locations on the body. Just behind the ear was the sweet spot, with the bony area having good accessibility to a helmet-mounted solution. Amusingly, due to the contact between the motors and the rest of the hardware, the helmet itself acts as a large (but weak) speaker and faint music is audible from close range. [Matlek] plans to isolate the motors from the rest of the assembly to prevent this.
Inspired by an old Old Spice commercial, [Juliodb96] decided he too wanted to make music by flexing his muscles. An Arduino and a MyoWare sensor did the trick. However, he also tells you how to make your own sensors, if you are so inclined. You can see the instrument in action in the video below.
If you use the ready-made MyoWare sensors, this is a pretty easy project. You just respond to sensor input by playing some notes. If you decide to roll your own, you’ll have some circuit building ahead of you.
In particular, the signal conditioning for the sensors involves filtering to eliminate signals not in the 20 Hz to 300 Hz passband, several amplifiers, a rectifier, and a clipper. This requires 3 IC packages and a handful of discrete components.
Unlike the original commercial (see the second video, below), there are no moving parts for actuating actual instruments. However, that wouldn’t be hard to add with some servo motors, air pumps, and the like. This may seem frivolous, but we had to wonder if it could be used to allow musical expression for people who could not otherwise play an instrument.
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.
One of the great joys of Hackaday are the truly oddball requests that we sometimes get over the tip line. Case in point: [DC Darsen] wrote in with a busted 1970s organ in need of a new top-octave generator, and wondered if we could help. He had found a complicated but promising circuit online, and was wondering if there was anything simpler. I replied “I should be able to get that done with a single Arduino” and proceeded to prove myself entirely wrong in short order.
So we’re passing the buck on to you, dear Hackaday reader. Can you help [DC Darsen] repair his organ with a minimum amount of expenditure and hassle? All we need to do is produce twelve, or maybe thirteen, differently pitched square waves simultaneously.
On-screen controls in a digital audio workstation expand the power of a DJ or musician, but they are not intuitive for everyone. The tactility of buttons, knobs, sliders and real-world controls feels nothing like using a mouse, trackpad, or even a touchscreen. Unfortunately, devices meant to put control into a DJs hands can be unavailable due to location or cost. [Gustavo Silveira] took charge of the situation so he could help other DJs and musicians take control of their workstations with a customized MIDI interface for Traktor DJ software.
MIDI is a widely used serial protocol which has evolved from a DIN connector to USB, and now it is also wireless. This means that the Traktorino is not locked to Traktor despite the namesake. On the Hackaday.io page, there’s even a list of other workstations it will work with, but since many workstations, all the good ones anyway, accept MIDI hardware like this, the real list is a lot longer.
The custom circuit board is actually a shield. Using an Arduino UNO, the current poster child of the Arduino world, opens up the accessibility for many people who don’t know specialized software. A vector drawing for a lasercut enclosure is also included. This means that even the labeling on the buttons are not locked into English language.
Morse code — that series of dots and dashes — can be useful in the strangest situations. As a kid I remember an original Star Trek episode where an injured [Christopher Pike] could only blink a light once for yes and twice for no. Even as a kid, I remember thinking, “Too bad they didn’t think to teach him Morse code.” Of course odd uses of Morse aren’t just for TV and Movies. Perhaps the strangest real-life use was the case of the Colombian government hiding code in pop music to send messages to hostages.
In 2010, [Jose Espejo] was close to retirement from the Colombian army. But he was bothered by the fact that some of his comrades were hostages of FARC (the Revolutionary Armed Forces of Colombia; the anti-government guerrillas), some for as many as ten years. There was a massive effort to free hostages underway, and they wanted them to know both to boost morale and so they’d be ready to escape. But how do you send a message to people in captivity without alerting their captors?