It may be 2009, but you can still play electronic music as though you’re an invading alien visitor from the future. Just ask The Sonic Manipulator, an electronic musical performer and inventor, alias Claude Woodward. His musical creations range from warped radios to instruments derived from turntable scratches and Theremins. And then there are some instruments that seem to be sonic weapons. (Apologies to recent protesters in Pittsburgh.)
CDM reader Andrew Cordani caught Claude at the UK’s British Invention Show. Claude is apparently a Perth, Australia transplant, by way of Cambridge, though Andrew writes that he “has been known to travel about a bit (Mars, Venus, Jupiter, Alpha Centauri, Epsilon Indi, Teegarden’s star and further).”
What if you could mash, mangle, mush, and morph sounds with your fingers on a screen, watching the waveforms dance in response in three dimensions? That “what if” is expressed beautifully in a project by musician-developer Christian Bannister of Portland, Oregon, who works as Subcycle Labs.
The result is like being able to touch sound directly.
Three-dimensional forms morph and vibrate using visuals programmed in Processing, making architectural-organic shapes and spaces that really begin to “look” like sound. These forms can represent synthesis and effects parameters (Christian has done some work with the Massive synth from Native Instruments), or can allow navigation through loops using touch. Gestures remap offsets and duration for audio, scrub and slice, and apply granular resynthesis.
Nodes of musical events, arrayed onto virtual tracks, in Jakob Penca’s iLoveAcid sequencer.
Take a weekend, and make something: that’s the challenge behind the Music Hack Day, which joins a growing phenomenon of events built around collective creation. (CDM held its own tangible interface hackday online, which I definitely hope to follow up soon!) Initiated by Dave Haynes of music sharing service Soundcloud, the Hack Day has already hit London. Many of the events were Web app-based and focused on consumption rather than creation of music, but we also saw a chordal synth plug-in and beer bottle percussion instrument.
The Berlin Hack Day, which wound up earlier today, offers still more projects focused on the creation side of music hacking. Having Ableton and Native Instruments as sponsors likely helped the mood. And as you’d expect from one of the world capitals of creative hacking, Berliners don’t disappoint.
Among the projects: a beautiful, elegant 3D sequencer, a fun bird-and-sky multitouch soundmaker with multitouch trackpad input, and a robotic xylophone controlled by monome. Someone even worked out a way to turn NI’s Maschine into a rhythm game, complete with Street Fighter sounds.
Monomist Rob Böhnke and Ramsey Arnaoot created one of my favorite hackday projects so far: a monome-controlled robotic xylophone. The ingredients: one monome grid controller, one Java application for step sequencing to the output, one Arduino open source controller board, and one terrific xylophone “robot” made of an array of servos that strike the bars of the instrument. Oh, and some hot glue and wood, of course.
What’s the cutest conceivable musical instrument? It’d be tough to top an anthromorphic musical note, complete with eight-note flag, whose smiling face opens when it “sings.”
Boing Boing Gadgets (by way of Tokyo Mango) gets the story on this latest creation of art group Maywa Denki and lead creative instigator Novmichi Tosa. The Otamatone is only barely practical as an instrument; it sports a nasal tone from its simple electronic oscillator and, at the end of the video, demonstrates an entirely new way to render the US National Anthem slightly out of tune. (Apologies to Jimi Hendrix.) But it also exhibits sheer genius, like shaking it to get vibrato and adjusting formants by squeezing the character’s mouth open and closed. And it easily trumps those horrible plastic Yamaha recorders we were all forced to play in school.
It’s almost a surprise to see Maywa Denki with something selling at retail, as their previous creations have been designed to be completely absurd. Take the Tsukuba Series of instrumental devices, which includes:
An instrument built to punch bubble wrap (packing tape)
A “voice vibrator” you strap to your throat
A Brazilian percussion robot
“Guitar-la,” an array of six guitars played by a pedal organ.
You can see those and other creations by clicking through the “Art” section of the project’s site; there are other wonderful (and kawaii) toys, too, called “nonsense toys”:
Imagine drawing an interface on paper, then being able to use it as a musical interface. Or, heck, don’t imagine it – do it. Unfortunately, the kinds of intelligence necessary to make the music video in yesterday’s post just aren’t practical yet. (That is, you could draw a picture of a keyboard, and even use the picture as a music controller, but while you or I could recognize a keyboard from a drum pad and know that line is a fader, a computer would need some sort of advance structure for any recognition to work.) But you can do some really clever things, as folks have shared in comments.
And using some basic paper interfaces, you can make entire instruments for just a few dollars.
Of course, the awesomest way to do anything is with LAZORS. Greg Kellum and Alain Crevoisier presented a paper at last year’s NIME (a conference for new interface designs for music) proposing a system for making any surface a control surface. Like the music video yesterday, you can configure your surface to function however you like – even dividing it up into pads and faders.
By now, you’e likely seen plenty of multi-touch interfaces or means of tracking hands. But, to paraphrase the NIME paper, these either require a special surface (or transparent surface), or they can’t actually detect when you’re touching. You can even use multiple cameras or an IR beam, but there are limitations to accuracy and the size of the usable surface that would result. Kellum and Crevoisier use an infrared camera and two illuminators, each built by pointing a laser at a mirrors.
Yawn, you say, been there, done that, seen Jeff Han’s video… The advantage of this system is that you can use any surface, like your dining room table. And you can configure that surface however you like. There’s even a freely-downloadable Surface Editor you can extend in Java and Processing. The creators claim they can even get input latency down to a reasonable 10 ms using high-speed cameras.
db3ll has created a keyboard out of paper, and of course it works better than those flimsy rubber “roll-up” pianos you see for sale. “Conductive ink is what I used,” he says, “painted on as traces on the non-printed side of the paper.” That’s the twist – I had assumed you’d use the top of the paper, but the trick is to use the reverse side to provide the “wiring.” He also offers advice for making a fader:
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