Gijs’ Servo Sequencer, Opto-Mechanical Music, Events in Breda + Eindhoven

serv_seq

The Servo Sequencer with its hypnotic-looking optical disc. Photo courtesy Gijs Gieskes.

Artists Gijs Gieskes’ sequencers are almost like physical, mechanical software, an expression of musical structure in object form. As such, even as they make strange sounds, they become musical sculpture. His latest Servo Sequencer combines optical and mechanical process, as frequency circles spin on a turntable and tone arms float above them.

The Servo Sequencer is built for exhibition use – meaning, yes, he’s brave enough to let you play with this contraption. Sequence the arms using buttons, then adjust the volume mix and placement of each arm using the joystick.

Serv Seq from Gijs on Vimeo.

This project is unusually well-documented. Gijs provides complete specs, the script that controls the arms, and even a little web app that generates those lovely patterns.

http://gieskes.nl/instruments/?file=serv-seq

But for those of you near the Netherlands, you should go check this out in person. Updated: The piece will be part of an exhibition in Breda through August 23, with multiple opening events featuring local artists from Eindhoven and Breda, plus live performances and concerts including Gijs and his talented brethren and neighbors.

Here & There Exhibition, mu.nl [Info in English]

The events:
Opening Part 1:
KOP, Breda
Thursday 25/06 08.00 pm

MU, Eindhoven
Friday 26/06 08.00 pm

(It’s a bit confusing as the events swap between Breda and Eindhoven — there’s a second opening Saturday July 25. Gijs explains “the first [opening] is in breda (thursday), then a day later (friday) in eindhoven, where my machine will be. and then a month later its the other way around.”)

You know, Breda. Like, right … here. We’ve got a number of readers in the area (whom I suspect know more or less exactly where this is); let us know if you make it!

Beep-It: Portable, Open, DIY Optical Theremin


Beep-it from Michael Una on Vimeo.

Cast your shadow, shine a light, make a square wave synth make noise.

Michael Una is at it again. This time, he’s created something called the Beep-It. It’s a wonderfully elegant design for a light-controller soundmaker, an optical Theremin. He describes it to CDM thusly:

This minimalist electronic musical instrument eschews esoteric interface in favor of intuitive, expressive control.  One button turns the device on or off, which can produce a continuous tone or a rhythmic sequence.  One sensor varies pitch of the output waveform in response to ambient light.  The resulting system encourages playfulness and body movement.

You can buy all this goodness in hand-built, signed form for US$25 from Mike’s Etsy store, and he’s made the whole project open-source.

Beep-It @ Etsy

If you’re luck enough to be in Chicago, Michael is part of an art show called “Electrify” with more of these sorts of creations. You can buy your own Beep-It from the man himself, while soaking up the live musical stylings of Moment Sound. Electricity isn’t just for electronics: these artists will interpret the theme in the form of “painting, photography, sculpture, stencil, collage, and video.”

Electrify, November 15 @ Deadline Projects (Saturday 6-11p)

Schematics, images, explanation

Straight out of Michael’s notebook / brain:

read more

ISO Releases Standard for Care and Feeding of Your CDs, DVDs, Blu-ray Discs

The ubiquitous shiny disc. Photo: “Fanch The System.”

There’s a massive misconception of digital formats, that somehow if something’s digital it’ll last forever in a pristine state. Of course, nothing could be further from the truth: because digital formats are so intolerant of any error, they’re actually more susceptible to physical harm than analog formats. (If you don’t believe me, compare a vinyl LP with some scratches on it to a CD with a single scratch.)

Now, the question is, how dedicated are you to proper care and feeding of your discs? Enough to care whether you’re handling your CDs and Blu-ray discs according to an internationally-recognized standard published by the International Organization for Standardization (better known as ISO … not IOS)? Got 108 Swiss francs burning a hole in your pocket and want some unusually dry bedside reading?

ISO 18938:2008 addresses the issues of physical integrity of the medium necessary to preserve access to the recorded data. These include:

  • use and handling environments, including pollutants, temperature and humidity and light exposure
  • contamination concerns
  • inspection
  • cleaning and maintenance, including cleaning methods and frequency
  • transportation
  • disasters, including water, fire, construction and post-disaster procedures
  • staff training

I kid, of course – I imagine there could be some utility to this document for people who depend on optical storage and want this sort of official document. I will say, though, ISO – any thought of releasing a free executive summary for everyone else?

New ISO standard gives recommendations for care of optical discs [iso.org]

Proper care and handling isn’t the only challenge facing optically-stored digital information. The materials from which discs are made don’t last forever. (They don’t bio-degrade, either, but what they will do is fatigue and age to the point that you can’t read the information on them or return them to the Earth, ashes to ashes style.)

So, I’m curious, optical experts out there? What do you recommend for care of optical discs? And for long-term archiving, what sort of options do people have?

ThingamaKIT: Thingamagoop Sound/Noisemaker Goes DIY

We’re celebrating 48 hours of DIY stuff here as we get ready for Handmade Music tomorrow night in Brooklyn! Thingamagoops are the friendly, optical emitter antennaed electronic creatures. Whether your cat / significant other / fan base would describe them as a sweet-sounding instrument, they do make a lot of noise and look cute in the process. Optical sensors onboard mean you can reposition the lights for some fun.

They were fun to begin with. But in kit form, you’ve got even more good times as you assemble them / find an odd case to put them in.

The kits come with groovy labels, eyes and mouths a la Mr. Potato-Head (well, in sticker form), and all the knobs and parts and things you need to make it work. A kit will set you back US$55. If you can’t be bothered to find an enclosure but still want to have some assembly, the enclosure-included version is US$66.

ThingamaKIT Product Page

And for an example build not by the Bleep Labs folks, MAKE shows off the build process:

ThingamaKIT build photos [MAKE: Blog]

I hope we’ll see more of this kind of kit in muso land soon.

But here’s why appropriated enclosures are enviro-friendly and fun – from Flickr, an example of an enclosure rescued from an old desktop intercom by Bleep Labs creator Dr. Bleep.

Refresh: Asides

The First Audio Recording: 1860, Optical

Play this track:

 

Sorry, Edison. It seems the famed “Mary Had a Little Lamb” recording by Thomas Edison — thought to be the first-ever audio recording — was actually late to the party. A recording on April 9, 1860 by a typesetter and inventor (Édouard-Léon Scott de Martinville) was apparently first, according to a discovery by audio historians digging through an archive. Scientists at the Lawrence Berkeley National Laboratory in Berkeley, Calif. have reconstructed that recording. It sounds — well, barely like a recording at all, but you can vaguely make out singing in the background. (Not quite hi-fi.)

Au Clair de la Lune [MP3]

The Edison recording worked more like phonograph recordings to follow; it was recorded on tin foil. But this recording was essentially optical — a phonautogram that recorded sound visually. There’s a terrific article at the New York Times:

Researchers Play Tune Recorded Before Edison (via … my Dad! Thanks, Dad!)

Anyone familiar with phonautogram technology, I’d love to hear from you. Historians in our midst, perhaps?

More historical oddities: How Francis Bacon predicted the recording studio in ‘New Atlantis’ in 1626 on Music thing

Updated: The original inventor didn’t get to hear his recording — it debuted in 2008. (And you think your record label takes a long time to release things.) The reason? The device could record, but couldn’t play back.

More on the technology involved, including a bizarre alternative using a dead person’s ear.