If you spend much time around industrial processes, you may have seen a vibrating bowl feeder at work. It’s a clever but simple machine that takes an unruly pile of screws or nuts and bolts, and delivers them in a line the correct way up. They do this by shaking the pile of fasteners in a specific way — a spiral motion which encourages them to work to the edge of the pile and align themselves on a spiral track which leads to a dispenser. It’s a machine [Fraens] has made from 3D printed parts, and as he explains in the video below the break, there’s more to this than meets the eye.
The basic form of the machine has a weighted base and an upper bowl on three angled springs. Between the two is an electromagnet, which provides the force for the vibration. The electromagnet needed to be driven with a sine wave which he makes with an Arduino and delivers as PWM via an H-bridge, but the meat of this project comes in balancing the force and frequency with the stiffness of the springs. He shows us the enormous pile of test prints made before the final result was achieved, and it’s a testament to the amount of work put into this project. The final sequence of a variety of objects making the march round the spiral is pure theatre, but we can see his evident satisfaction in a job well done.
Oddly this isn’t the first bowl feeder we’ve seen, though it may be one of the most accomplished. We particularly like this tiny example for SMD parts.
Somehow [hvde] wound up with a CB radio that does AM and SSB on the 11 meter band. The problem was that the radio isn’t legal where he lives. So he decided to change the radio over to work on the 6 meter band, instead.
We were a little surprised to hear this at first. Most radio circuits are tuned to pretty close tolerances and going from 27 MHz to 50 MHz seemed like quite a leap. The answer? An Arduino and a few other choice pieces of circuitry.
In particular, [hvde] removed much of the RF portion of the radio, leaving just the parts that dealt with the intermediate frequency at 7.8 MHz. Even the transmitter generates this frequency because it is easier to create an SSB signal at a fixed frequency. The Arduino drives a frequency synthesizer and an OLED display. A mixer combines the IF signal with the frequency the Arduino commands.
The radio had a “clarifier” which acts as a fine tuning control. With the new setup, the Arduino has to read this, also, and make small adjustments to the frequency. The RF circuits in the radio took some modifications, too. It is all documented, although we will admit this probably isn’t a project for the faint of heart.
There’s a lot more to learning how to play the guitar than just playing the right notes at the right time and in the right order. To produce any sound at all requires learning how to do completely different things with your hands simultaneously, unless maybe you’re a direct descendant of Eddie Van Halen and thus born to do hammer ons. There’s a bunch of other stuff that comes with the territory, like stringing the thing, tuning it, and storing it properly, all of which can be frustrating and discouraging to new players. Add in the calluses, and it’s no wonder people like Guitar Hero so much.
In an interesting departure from standard stringed instrument construction, plucking is isolated from fretting. The player fingers notes on four strings but plucks a special, fifth string with a conductive pick that closes the plucking circuit. By contrast, the fretting strings are normally high. When pressed, they contact the foil-covered fingerboard and the circuit goes low. All five strings are made of carbon-impregnated elastic and wrapped with 30AWG copper wire.
All five strings connect to an Arduino UNO and then a laptop. The laptop sends the signal to a Bluefruit friend to change Bluetooth to UART in order to satisfy the PIC32. From there, it goes out via 2-channel DAC to a pair of PC speakers. One channel has the string tones, which are generated by Karplus-Strong. To fill out the sound, the other DAC channel carries undertones for each note, which are produced by sine tables and direct digital synthesis. There’s no cover charge; just click past the break to check it out.
What do you get when you combine a direct digital synthesis (DDS) chip, a power detector, and an Arduino? [Brett Killion] did make that combination and wound up with a practical network analyzer.
The project uses an Analog Devices AD9851 DDS chip clocked at 180 MHz which will output a sine wave at any frequency from 0 Hz and 72 MHz. A Butterworth low pass filter processes the DDS signal and then feeds a two-transistor amplifier. The circuit will output about 0dBm into 50 ohms. The power detector is an Analog Devices AD8307 along with a 50-ohm input load. There is no filtering on the power detector so it can measure from very low frequencies to 500MHz.
[Brett] uses a Python program to process the data from the Arduino. For example, here’s a plot of a 10 MHz crystal from the software:
If you want to know more about DDS, our own [Bil Herd] has you covered (see the video, below). We’ve also seen similar antenna analyzers that are about the same thing.
Hackaday reader [Jan Ostman] has been making microcontroller-based DIY synthesizers for quite a while now. Recently, he’s opened up the source for a lot of them so that you can play along at home. All of these virtual-analog synths and soundmakers can be realized on an Arduino or AVR ATmega328 if you happen to have one lying around.
Extra parts like a keyboard, some pushbuttons, or some potentiometer knobs to twiddle won’t hurt if you’d like to make something more permanent or more obviously playable, like [Jan] does. On the other hand, if you’d just like to get your feet wet, I’ve tweaked his code to be more immediately plug-and-play. The code is straightforward enough that it’s a good learning platform. So let’s take a quick tour through three drum machines and a string synth, each of which you can build on a breadboard in just a few minutes.
To install on an Arduino UNO, fetch the zip file from this GitHub repository, and move each subfolder to your Arduino sketch directory. You’re ready to play along.
Simple Drum Machines
[Jan] has two sample-playback~based drum machines that he’s published the code for: the dsp-D8 with straight-ahead drum samples and the dsp-L8 loaded with Latin percussion. They’re essentially the same code base, but with different samples, so we’ll treat them together.
Working through [Jan]’s code inspired me to write up a longer article on DDS playback, so if you want to brush up on the fundamentals, you can head over there. The short version is that you can change the pitch of playback of a sample by using a counter that’s much larger than the number of data points you’re going to play.
[Jan]’s drum machines all use the AVR’s hardware pulse-width modulation (PWM) peripherals to play the samples back out. You could use something fancier, but this gets the job done with just an optional resistor and capacitor filter on the output, bringing the total parts count to three: Arduino, 1 KOhm resistor, and a decent-sized (0.1 uF?) capacitor. An interrupt service routine (ISR) periodically loads a new sample value into the PWM register, and the AVR’s peripheral hardware takes care of the rest.
One nice touch is the use of a circular buffer that holds the playback sample values until the ISR is ready for them. In the case of the drum machines, there’s not much math for the CPU to do — it just combines the samples from all of the different simultaneous voices — but in his more complicated modules this buffer allows the CPU to occasionally take more time to calculate a sample value than it would otherwise have between updates. It buys [Jan]’s code some breathing room and still allows it to make the sample-playback schedule without glitching.
[Jan] adds individual pitch control for each sample, which is great for live playing or tweaking, and you can watch him use them in his two videos: one for the dsp-D8 and another for the dsp-L8. Wiring up so many knobs is a breadboard-salad, though, so I’ve gone through the code for you with a fine-toothed chainsaw, and hacked off [Jan]’s button-and-knob interface and replaced it with the Arduino’s built-in serial I/O.
To play my version of [Jan]’s drum machines, each sample is mapped to a key in the home row: “asdfjkl;”. If you’ve got a proper serial terminal program that transmits each keystroke in real-time, you’ll be tapping out rhythms at 9600 baud in no time. Note that the Arduino IDE’s built-in terminal only sends the keystroke after you hit “enter” — this makes playing in tempo very difficult. (I use screen /dev/ttyACM0 9600 or the terminal that’s built-in with Python’s pyserial library myself. What do Windows folks use for a real-time terminal?)
If you haven’t already, download this zip file, move each sub-folder to your Arduino sketch directory, and connect an amplified speaker either directly to your Arduino’s pin 11 and ground, or include an RC filter. It’ll only take a second before you’re playing. When you want the full version with all the knobs, head on over to [Jan]’s site.
O2 Minipops
[Jan]’s O2 Minipops machine mimics an old-school rhythm box: the Korg mini pops 7. Whether this primitive drum machine is horribly cheesy or divinely kitschy is in the ear of the beholder, but it’s a classic that has been used all over. [Jan]’s named his after an epic album Oxygene by Jean-Michel Jarre. You’ll hear them starting around 1:40 into the clip. Jarre famously used to press multiple buttons on the Minipops, making more complex drum patterns by playing more than one at a time.
The nice thing about having your own Minipops in firmware is that you can add the features you want to it. Instead of having to mash down multiple plastic buttons live on stage like poor Mr. Jarre, you can just tweak the firmware to suit. Need longer patterns? You’ve got the RAM. Emphasis? Swing? Tap tempo? It’s all just a matter of a few lines of code.
The sound playback code is just like the simpler drum machines above, so we won’t have to cover that again. The only real addition is the sequencer, but that’s where the real magic lies. After all, what’s a drum machine without some beats? Because there are eight possible drum sounds, each beat is a byte and so four bars of 4/4 time is just sixteen bytes stored in memory. I broke the data out into its own header file O2_data.h, so have a look there for the pre-programmed rhythms, and feel free to modify them to suit your own needs.
In order to make the O2 Minipops immediately playable, I stripped out the potentiometer code again (sorry [Jan]!) and passed off control over the serial port. The “user interface” has five controls. Press j and k to switch between patterns and f and d to speed up or slow down. (They’re under your first two fingers in the home row.) The space bar starts and stops the drum machine.
Try switching between the patterns on the fly with j and k — it’s a surprisingly fun way to create your own, slightly less cheesy, patterns. You need to download this code and give it a try. Trust me.
[Jan]’s Solina is a “virtual analog” in the sense that it builds up sawtooth waveforms in the microcontroller’s RAM and then outputs the corresponding voltage through PWM. And that’s a good start for a string synthesizer, because a filtered sawtooth waveform is a good first stab at the sound put out by a violin, for example.
Solina — the clone
The secret to the sound of the string section of an orchestra (and to string synthesizers that mimic it) is that it’s a combination of many different bowed instruments all playing at once. No matter how precise the players, they’re each slightly differently tuned, and none of the strings are resonating exactly in phase. The Solina mimics this by detuning each oscillator, naturally, and by moving them in and out of phase with each other. If you want to dig into the details of how exactly [Jan]’s Solina works, he explains it well in this blog post.
Again, I’ve converted it for direct-serial control, and you can control the envelope, detune, LFO speed, and modulation depth over the serial port. Press the spacebar once to simulate a keypress, and again to let go. Try the Solina with detune and pitch modulation around twenty, and play with the LFO rate and other parameters. That’s a lot of useful noise for just some sawtooth waves.
Keyboards and What’s Next
[Jan]’s builds are much more than what we’re demonstrating here, of course. His blog kicks off (in 2009!) with a project that essentially shoe-horns a PC into a keyboard enclosure, and the Solina and others get their own keys too. We’ve just presented the kernel of any such project — there’s a lot of labor-of-love left in wiring up all of the diodes necessary to do detection on a keyboard matrix, to say nothing of building enclosures, wiring up potentiometers, and making nice-looking front panels. But if you want to start down that path, you’ve at least got a good start.
[Jan]’s current project is the Minimo miniature monophonic synth that takes the Solina a step further and adds a lowpass filter with (digital) resonance to it. The resulting sounds are great, so we’re excited to see where [Jan] takes this one in the future.
Thanks again, [Jan], for opening the code up. And if any of you build something with this, be sure to post in the comments and let us all know. Since I started playing around with these, I’ve got the hankering to modularize the code up a bit and make it into something that’s even easier to adapt and modify. Maybe we’ll have to start up a Hackaday.io project — these little simple synths are just too much fun!
