Fuzzy Dicer video

Fuzzy Dicer

a couple new ideas

The theme of the moment is integration:

Rhythm world







Gilad world




Oscillators plus keyboards

Overdue Update

Since September, I've been teaching English in France, so that's why there haven't been any updates here. There is, however, a new blog that Sarah and I have created for that, if you're interested: Sarah and Brendan in France. No electronic supplies = No Futuree Electrode. But I'm getting all my stuff shipped to France, since I've found myself with more free time than I know what to do with, so I should start building soon. I also found an electronics hobby shop right down the street from me in Tours, France - Radio-Son!

Anyway, to get myself back into a futuree mindset, I thought I would try to write something on the theoretical end of the Osc-A-Lot, my last instrument. When I'm building, the last thing I want to do is try to write or think about what I'm doing - I always start out with a really basic concept that then is realized (often in a different way) in construction. Documenting comes later, and can be a useful exercise in rediscovering forgotten concepts or corridors that I considered, then abandoned along the way.

So, with the Osc-A-Lot, my initial concept was:

a sculptural garden of sound, light (from LEDS) comes down from above onto photoresistors to create sounds. the sounds will be spatialized through multiple small speakers to cement the garden's location in space and as a "sound/object" rather than a synthesizer.

The first build of the Osc-A-Lot, called the Pizzillator, which I presented as my final for Ron Kuivila's course at Wesleyan, "Computers and Music", reflected this idea pretty closely. The photoresistors were in a small circle, like a little garden, and the lights shone down from above. The oscillators were "listened in on" with small speaker modules (386 amps taped to speakers), which were placed around the system. Sound/electrical signals can travel through air, so the instrument was actually "played" with the speakers - no wires were attached from speaker to sound generation - instead the speakers were moved by hand over and around the Pizzillator, to hear different parts of the instrument sound. The simplest analog is a metal detector, where you "play" sounds (metal objects in the ground) by moving the amplifier (metal detector), rather than playing the instrument itself. It's an exercise in using speakers as instruments - but not in the David Tudor/"Rainforest" way, where the speakers' locations are fixed.

Building

I decided to make my Pizzilator prototype into an instrument for Sarah's birthday. I wanted to create something that retained the concept of 'sculptural electronics' but was more playable as an instrument.

For my final project in Ron's class, I had focused on playing the Pizzilator by moving the speakers, but there were three other ways to play it that I hadn't explored fully:

1) Moving the LEDs closer and farther away from the photoresistors.

2) Changing the frequency of the oscillators by changing resistance through potentiometers.

3)Changing the frequency of the blinking LEDs.

So for this new, more playable instrument, I mounted the LEDs on flexible wire that can be bent many times, in every imaginable direction. I also added pots to control the frequency of the oscillators. In this new configuration, the pots served as 'coarse tuning', and the photoresistors as fine tuners. I could reveal subtleties of the interaction of oscillators more easily by giving myself more frequency control.

Making the LEDs blink dramatically faster or slower was a radical development. I made some of the LEDs have phases of as long as one minute. With this configuration, my new instrument (now called the Osc-A-Lot) could produce minimalist phase music. The composer could bend the wires to a configuration, set the LEDs to different frequencies, and then leave the instrument alone so a piece could unfold by itself over the course of hours. The Osc-A-Lot, then, could be played like an electronic instrument, by moving the wires and changing frequencies frequently, or treated as a music-box: once set in motion, the music unfolds on its own.

Osc-A-Lot 222222

Online shoutouts

Osc-A-Lot featured on Wesleying (Wesleyan student blog):

"It looks kind of like a balding Medusa's head, or a tangle of electrostatic vines, and sounds like what either of those might if you added some shrieking rainforest animals with laser guns.:"

And a nice page on a circuit bent "Rainbow Keyboard" I built:

Courtesy of my friend Pascal in France, who bought it from me on eBay.  Here's a link to his instrument collection: The Wunderbar Loop Session

He also has a wonderful collection of videos of his instruments, some shot in PixelVision!!! Check out the ones of a Stylophone.

Osc-A-Lot video

Osc-A-Lot

New Distortion Effectt

DISTILLATION BUCKS #5
NEW EFFECTIVE DISTORTION
USING CD4049 IC
and a TRANSISTOR FUN

Thesis Online!

http://hdl.handle.net/10090/5039
\

My thesis is called Electronic Friends: David Tudor and Live Electronic Music.



No soundfiles yet, unfortunately...I'm working on it.

New Keyboard

Distortion/ Bit-breaking pedal

This is a distortion/ bit-crusher-ish circuit of my own design housed in a recycled magnetic stirrer. It is on sale on Ebay right now if you want it. It is an effects processor rather than a synth.
SOUND OF SK1 thru Butttbreaker

Circuit bent santa claus

I purchased Santa sans head and with a dislocated arm at the new Goodwill Outlet here in Connecticut for $2. A quick pitch bend slows him down and speeds up the audio and animatronics.

Santa also has an audio-in jack, and the animatronics respond to sound being played through him.

Links Issue Fixed

A lot of the links to sound files are still broken, but at least some of the ones on Wesleyan's servers work now - they switched a server thing without telling anyone! So try those and in the mean time (after my thesis is handed in April 14) I will go back and fix broken links.

Previews from my Thesis

I am almost done writing my thesis on Wesleyan's David Tudor electronics, noise, circuit bending, and my own work. The video of my thesis concert will be on youtube as soon as I can replace the sound from the video, which is badly distorted from 1000W subwoofers, with the official Music department recording. In the meantime, here's a sound and pictures from my David Tudor system that will be on an audio CD accompanying my thesis.
3 chaoticall loopes

Thesis Concert

My concert is March 1
8pm
CFA Cinema
at Wesleyan University.

It will feature David Tudor electronics, an analog Arduino controller running in Supercollider, my own homemade synths and other things I have built, a complex tape feedback system, and a performance by Jock Jams.

Working

PC Boards

These are PC boards I etched today. They're touch interfaces for my thesis project - one will interface with a variety of analog feedback loops, and the other will work with an Arduino/Supercollider. There's space for 10 fingers, which is all I have. I designed the top one, my girlfriend did the bottom one.

New Galaxy Guitar

You may remember the galaxy guitar from this post, and that it was completely fucked. Well, no more! I replaced the faulty transistor, so now it's REALLY loud, and added a couple of innovations -- I found that I could make an LED light up in response to sound by connecting it across the new transistor - so I wired that up and stuck it out the front of the galaxy guitar, my inspiration is at the top.
. Now it can be wiggled around in front of the photoresistor, allowing for excellent expressive control.
I also added a voltage control input that has some (limited) interactivity with the pitch control. It works extremely well with a piezodisk, and not much else. A wonderful effect (which, of course, I can't find now) involves a piezo I attached some wires to, then strummed the wires while playing the galaxy guitar, creating really warbly noise and junk sounds.

SOUND LINK

Workspace

Ultrasonic Doppler Flow Detector

My first "real" electronics project, this is a Nic Collins design on a 74HC14 chip - 5 oscillators, 4 of which are available via knobs. I'm going to write a lot more about this later.

EDIT:
This is 5 oscillators on a 74HC14 digital logic chip. Four of the knobs control individual oscillators --the 5th knob is interesting because it allows you to choose between two signal groups - one of which includes all the oscillators going, and one is just a few oscillators. It has a built in speaker, which is amplified from a 386 audio amplifier, and a 1/4" out. The fun thing is that the oscillators sort of cross-modulate each other, I assume because of limited power supply - they cannibalize each other's and ending up dirtying up the signal, which is great for me. I'm going to post some tracks that I've made with this box soon too.

AUDIO LINK: http://www.hotlinkfiles.com/files/416916_in5s9/ultrasonicdoppler.mp3

Repackaging and Controlling

These are my first two attempts at repackaging toys, both from over a year ago. I've gotten a little better at it (see the previous post on PINK BOX), but I really like the messy, science fair project-gone-wrong feel these things have to them. This one in the grey box was also my first experiment with building my own controllers - I tore open a calculator, traced lines on the circuit board myself to find pin connections, and used the buttons to control various functions on a toy guitar (notes, pitch, distortion, etc) that I found while bending it. An interesting result was that different button combinations would create very different levels of resistance, and would be completely different than pressing the buttons independently. Another interesting effect of this is that the calculator interface would allow certain buttons to be activated only when other ones were pressed down -- which I never really analyzed, making for a chaotic and interesting interface.


EDIT: Sound link for this thing now available:
http://www.hotlinkfiles.com/files/416921_vlwf3/superbox.mp3

This second project was built into a small dumpstered typewriter case, and was an experiment to indulge my fetishization of patch bays, and using circuit bent voltage signals to process other toys. It's made from the insides of 4 independent toys - an Elmo toy, a "bomb box" that made explosion sounds, a telephone toy, and a steering wheel toy. The patch bay allows you to interconnect their signals, and wasn't a total success. I really wanted to have the audio output of different toys be the control voltage to modulate each other's pitches, in some sort of weird feedback loop that I could patch between. Unfortunately, an audio signal doesn't do the job very well -- if I were to rebuild this today, I would use LED/photoresistor (also known as vactrol) combos to patch between instead of just straight electricity, but I'm not going to go back and fix it now.

Blog notes

If you haven't already discovered Google Reader , it's the best way to read my blog: just type in futureeelectrode.blogspot.com and you're all set.

Also, I removed some of the sound samples from earlier posts because I only have 20MB on my wesleyan web world, if someone knows how to get better free file storage that's not RapidShare or the like, email me.

Music Maker Keyboard

This is a typical black-blob type chip, but it seems to do some sort of fake synthesis, because connecting the pins results in many different alterations to notes, including modifying sustain, attack, volume, envelope shape (sort of), and of course, a pitch shift. I decided the best way to use this would be through body contacts, and it came out alright.

http://boconnell.web.wesleyan.edu/musicmaker.mp3

PINK BOX

Sounds:

http://boconnell.web.wesleyan.edu/pinkbox.mp3

Apparently means something to some people - it's a toy I re-housed in a pink plastic box. The plastic was messy to drill through - it's the really hard kind that cracks extremely easily. The original toy was a microphone with "sound effects" such as people booing (represented in typical Engrish fashion by a ghost), applause, laughter, etc. I found an internal pitch shift, as well as another slightly different one accessed through a voltage drop.

I really like these toys that are built with overpowerful amplifiers, so the microphone feeds back when you bring it even slightly close to the speaker, which then slows down everything else the toy is doing by virtue of sheer mismanaged power usage.

Yamaha PSS-16

In general, Yamahas don't offer the glitch capabilities of Casio keyboards, but as far as I can tell, their two speakers are amplified semi-separately - I assume this is done purely for signal strength, as the keyboard only normally plays in mono. The distortion bends I added to this keyboard - a bend I frequently use to make oscillator tones using the amplifier and surrounding components as the oscillator - sound very loudly in the right speaker, and just a little bit in the left. I wired separate 1/4" outputs for each speaker to take advantage of this situation. Unfortunately, I don't have a mixer with me, so you can't hear the result in this recording:
http://boconnell.web.wesleyan.edu/yamaha.mp3

Tiny Keyboard

This keyboard is only a foot or so across, and the circuit board is about an inch square - not too many bending possibilities on a "black blob"-type one like this, so I just added a clock speed mod by unhooking the resistor that controlled it and wiring it in series with a pot. I added two body contacts that take advantage of human voltage to distort the signal a little bit, too. http://boconnell.web.wesleyan.edu/rainbowkeyboard.mp3

Futuree Plans

1.Build an Echorec. From what I can tell, this things never caught on but seem a lot, a lot cooler than the more popular and well-known Echoplex. I'm planning to build it onto an old turntable.

2.Build everything from Handmade Electronic Music.

3.Build a glitch/555 keyboard (as described two posts down) that actually works.

Tape Techniques I Use

In addition to circuit bending, my main interest for the past couple years has been tape delay techniques, using reel-to-reel players. I currently have three reel-to-reel players - they are rather hard to find for cheap, but if you look around at thrift stores, junk lots, etc. you will eventually find some - I got two from my uncle, one for $10 from a school that was being abandoned and having a tag sale, another in a neglected back room of a junk shop in Middletown CT for $10, and one for free from the electronics dump at Wesleyan. The techniques have been around since the 60s, pioneered by a lot of people, but mainly Pauline Oliveros. In her excellent book Software for People, there's a great essay detailing many of the same tape delay techniques I figured out myself. Essential listening is Electronic Works 1965-1966, particularly the track Big Mother Is Watching You (preview here).

The most basic setup for tape delay involves two reel-to-reel players on the same reel of tape, with one set to record from a mic or whatever, one to play, and the play signal looped back to the record head.




In this most basic setup, the sound is simply delayed based on the length of tape between the heads. If you're running tape at 7.5 inches per second (ips), this can turn into a sizeable delay with the reel-to-reel players not too from each other.

The setup I currently use in performance, which works on the same basic principle as the basic setup just described, is considerably (unnecessarily?) more complicated.



I use 3 reel to reel players, usually with no input, but in a closed feedback system, analogous to mixer feedback like this:



or pedal chain feedback in the noise world. Sometimes I use a mic to yell into, which becomes completely unitelligible processed through my system. My basic interest in this system, however, is in the tape players themselves, and their internal sounds - hence the feedback loop. The guitar effects pedals give me additional possibilities, but the source sound comes from the reel to reels themselves - specifically, the cheap, discard-type reel-to-reels I use - no pro gear here.

Myspace of my band Jock Jams in which I use this setup (playing with a guy doing a lot of circuit bent stuff and more pedal complicated feedback loops than I use)

Experiments with the 555 IC

The 555 chip is a versatile oscillator with lots of practical applications for circuit benders.  A lot of good information can be found on them that specifically pertains to benders.  My idea in this (ultimately failed) project was to find a way to use 555s as glitch triggers.  I had a Casio with pretty good glitch capacity, so I hooked up photoresistors with a range of maybe 300K-1M Ohm between the glitch points.  I then breadboarded a couple of 555s to light up LEDs.  LEDs were taped to photoresistors, and the setup was complete.  Unfortunately, my next good idea destroyed the keyboard - injecting the 555's output signal directly onto the circuit board, which fried it surprisingly quickly.  
             The glitch trigger setup, however, worked very well.  I think it's simple enough and versatile enough for lots of people to be using it, but I haven't seen any projects like this.  The best analogy I can give for how it worked was like scrolling through glitches - I put a pot on the frequency control of the 555, so it could go anywhere from 1 pulse/second to 500 or so per second.  I would usually run it at 20 or so, listen to the tiny glitch snippets I heard, and then disable the photresistor with a switch to listen to the specific glitch I had heard.  The other really great thing is that the instrument would essentially play itself - if I wanted to reset it, I just had to wait until it scrolled through enough dead glitches, then it would come back to life on its own.  

No sound samples or pictures because I destroyed the keyboard.  I am definitely going to implement this in the next thing I build with good glitch capacity.