The brainchild of Tomás de Camino Beck, Polymath Boxes are experimental sound boxes. Using a Genuino Uno and 101 along with some 3D printing, these units enable young Makers and adults to experiment with programming and math to produce noises and tunes, from square and triangular waves to sample players and interactive sound generators.

The boxes were originally conceived by Camino Beck as part of an open-source experimental art project with the goal of stimulating STEAM in education, from high school to college, and to allow artists, engineers and computer scientists, or pretty much anyone interested, to explore programming and digital fabrication. They were developed and fabricated in “Inventoria”–Costa Rica’s own idea of a Makerspace.

More than just a finished project, these boxes are designed to be hacked and to help move away from more conventional ways of thinking when it comes to sound.

These boxes use coding as a way to “write music,” and to take advantage of the diversity of physical low cost sensors to trigger sound. Some of the boxes play with basic waves, just creating basic  PWM, and others go from there to create arpeggiator and interactive. They will be used in several workshops and experimental music concerts in Costa Rica.

[Folkert van Heusden] sent us in his diabolical MIDI device. Ardio is a MIDI synthesizer of sorts, playing up to sixteen channels of square waves, each on its separate Arduino output pin, and mixed down to stereo with a bunch of resistors. It only plays square waves, and they don’t seem to be entirely in tune, but it makes a heck of a racket and makes use of an interesting architecture.

Ardio is made up of three separate el cheapo Arduino Minis, because…why not?! One Arduino handles the incoming MIDI data and sends note requests out to the other modules over I2C. The voice modules receive commands — play this frequency on that pin — and take care of the sound generation.

None of the chips are heavily loaded, and everything seems to run smoothly, despite the amount of data that’s coming in. As evidence, go download [Folkert]’s rendition of Abba’s classic “Chiquitita” in delicious sixteen-voice “harmony”. It’s a fun exercise in using what’s cheap and easy to get something done.

For the release of his latest EP, Dario Marturano brought together electronic music, technology, science, and dance to create an awe-inspiring music video called “Pyrite.” The artist (and STEAM advocate), who goes by the stage name Holograph, built a set of illuminated cubes using plexiglass boxes and LED strips that are MIDI-triggered via Arduino circuitry.

As Make: Magazine explains, the setup consists of an Arduino, some MOSFET for 12V (in the LED cubes), and opto-triac for 220V (for the big lightbulb props). Holograph wrote a MIDI sequence in Ableton Live that syncs with the tunes, assigning every note to a light-up box. The sequence is sent to Arduino, which activates the LEDs as the dancers move through their choreography.

It should be noted that this isn’t the first time the musician has employed MIDI-driven lights either. See the magic in action below!

"It's not only a musical project, but a union between different arts and sciences, where the sound meets design, electronics, and computer science"

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The post LEDs and MIDIs: Check Out the STEAM-Inspired Music of Holograph appeared first on Make: DIY Projects and Ideas for Makers.

Designed by Montreal studio Daily tous les jours, Mesa Musical Shadows is a public installation which turns several blocks of pavement in Arizona’s Mesa Arts Center into a super-sized dance pad that reacts to your moving shadow with the sounds of singing.

Shadows cast on different tiles trigger different voices, all while singing in harmony. Length of shadow is dependent upon the season, the time of day and the weather; meaning, a visitor may never quite cast the same shadow twice. The sounds themselves also change with the angle of the sun, which makes interacting with the installation a dynamic experience in the morning, midday, evening, and in the middle of the night. As the day turns into night, the tracks shift from upbeat, Pitch Perfect-like acapella to creepier, ominous tones.

Though all the audio originates with recordings of the human voice, a large variety of sounds and moods are created throughout the day. The sounds triggered in the morning are peaceful and ethereal: sustained choral tones that follow your long shadow, singing you into your day. Later, when the sun is hot overhead, and shadows are shorter; the sounds are chopped and frenetic, creating a rhythmic, energetic soundtrack. As the shadows become long again toward sunset, clusters of complementary, interlocking melodies are triggered. Finally, after dark, the sounds harken toward the natural landscape: Insect or bird-like vocal sounds evoking a nocturnal meadow are triggered by users navigating their way through the night.

The system itself consists of sensors that respond to changes in light, which prompt a range of melodic or percussive sounds emitted through speakers embedded in the colorful fabricated tiles. As Creative Applications details, Mesa Musical Shadows is controlled by a MaxMSP patch linking Arduino Mega boards via OSC.

The installation’s 47 sensors are run through six control nodes, comprised of an Arduino Mega, Ethernet shields, and custom connector shields – each of which is protected in a waterproof enclosure, placed underneath the tiling. Each sensor unit has a custom PCB with a light sensor on top and an LED on its bottom, for nighttime illumination and the more sensitive gear (computers, amplifiers, etc.) is all installed in the museum.

If this musical public display seems a bit familiar, that’s because you may recall Daily Tous Les Jours’ earlier project, 21 Swings, which used playground swings to form a giant collective instrument. Read more about the singing sidewalk here, and see it in action below!

What do you get when you combine 64 floppy drives, eight hard disks, and two scanners? An incredible computer hardware orchestra that can rock out like Kurt Cobain. Created by Pawel Zadrozniak, the Floppotron is not only capable of covering ‘90s hits like Nirvana’s “Smells Like Teen Spirt,” but can play other tunes ranging from Darth Vader’s Imperial March to the theme song of the TV series “Hawaii Five-O.”

As for how the old-school tech synthesizes such tunes, Zadrozniak explains:

Every device with an electric motor is able to generate a sound. Scanners and floppy drives use stepper motors to move the head with sensors which scans the image or performs read/write operations on a magnetic disk. The sound generated by a motor depends on driving speed. The higher the frequency, the greater the pitch. Hard disks use a magnet and a coil to tilt the head. When voltage is supplied for long enough, the head speeds up and hits the bound making the “drum hit” sound. The disk head coil can also be used as a speaker to play tones or even music, but… that would be too easy and too obvious.

Every column of eight floppy drives is connected to one 8-channel controller built on ATmega16 microcontroller. One controller acts as one voice with envelope simulation – the higher the volume, the more drives are playing. This allows to make ADSR-like shape and simulate a musical instrument, like a piano (exponential decay) or string instrument (sine, “vibrato”). The boards which were made a few years ago, were designed as a standalone “players” with optional USB-to-UART bridge and was not intended to be chained. My goal was to re-use old stuff and get the job done as fast as possible, so I used the on-board ISP (which in fact is a SPI interface) connector to link 8 drivers in a SPI chain. Long SPI chain with unidirectional communication is not an example good and reliable design, but it did not require any hardware modification and took a minute to build a controller network, so let’s call it… good enough for this kind of project.

Scanner and disk head controllers share the same base with floppy controllers, but have a different “instrument interface.” For driving the coils, I used two push-pull outputs (H-bridge) built with discrete SMD MOSFETs. Scanner head controllers were built using of-the-shelf boards – an Arduino Uno (firmware also builds for ATmega328) and L298 breakout to save time needed to draw and etch the boards. PC interface (another Arduino board) receives the data over UART (USB-UART), buffers the messages and keeps the timings while passing packets to “musical instruments” over SPI interface, so a Windows hiccup will not affect the playback. It can also be driven by anything else like Raspberry Pi, Android smartphone (with USB-UART or UART-over-Bluetooth adapter) or another microcontroller.

You can read all about the Floppotron here, or check out its latest jam session below!

Russian artist ::vtol:: is no stranger to the Arduino blog. His latest project–which was designed for the Polytechnic Museum Moscow and Ars Electronica Linz–is an autonomous light-music installation called “Divider.” The wall-mounted soundscape consists of seven lasers that horizontally send rays through 42 fans, which act as modulators to turn the light signals into rhythmic impulses. Seven photo sensors on the end monitor the presence or absence of light, while four Arduino Mega boards control the system.

The lasers serve a “independent binary variables” which become the basis for all sound composition. Since the fans can each spin at variable speeds, this allows for a constant shift of modulation phases and a wide range of noises.

According to ::vtol::, the Divider is inspired by Léon Theremin’s Rhythmicon, the world’s first rhythm machine. The 1931 device also used rotating discs to interrupt light rays and optical sensors to pick up light and produce rhythms.

Sound interesting? Wait until you see it perform below! You can also check it out here.

[dmitry] writes in to let us know about a new project that combines lasers with fans and turns the resulting modulation of the light beams into an autonomous soundscape. The piece is called “divider” and is a large, wall-mounted set of rails upon which seven red lasers are mounted on one end with seven matching light sensors mounted on the other end. Interrupting the lasers’ paths are forty-two brushless fans. Four Arduino Megas control the unit.

Laser beams shining into light sensors don’t do much of anything on their own, but when spinning fan blades interrupt each laser beam it modulates the solid beams and turns the readings of the sensors on the far end into a changing electrical signal which can be played as sound. Light being modulated by fan blades to create sound is the operating principle behind a Fan Synth, which we’ve discussed before as being a kind of siren (or you can go direct to that article’s fan synth demo video to hear what kind of sounds are possible from such a system.)

This project takes this entire concept of a fan synth further by not only increasing the number of lasers and fans, but by tying it all together into an autonomous system. The lasers are interrupted repeatedly and constantly, but never simultaneously. Listen to and watch it in action in the video below.

There isn’t a lot of in-depth technical information on the project page, but there are many really good photos. We especially love the way that the whole assembly is highly visual with the lasers turning on and off and interacting with different fans.

Any changing electrical signal can be played as sound, and if there’s one thing projects like self-playing musical hardware can teach us, it’s that if you have an electrical signal that looks strange or chaotic, hook a speaker up to it because it probably sounds pretty cool!

German composer Oskar Schuster recently uploaded a YouTube video showing off a new project he is working on: an Arduino-controlled upright piano. Called Utopiano, it’s described as an electro-mechanical device that replaces the traditional mechanical piano action and enables him to control the 100-year-old instrument with a computer keyboard. Amazing!

Electronic musical instruments are fun for Makers. With some cheap tools, know-how and passion, anyone can become a real synth geek. Just ask software developer Liam Lacey, who also happens to be a sound coder and freelance hacker. He recently won element14’s Open Source Music Tech design challenge for his Vintage Toy Synthesizer project — it’s an acoustic wooden toy piano converted into an open-source, standalone polyphonic digital synthesizer running on a BeagleBone Black and an Arduino Pro Mini.

Playing an instrument is about a lot more than just the sound you create – the way you play it; the physical feedback; and the overall feel and aesthetics of the instrument also play a big role in the overall experience, with these elements also helping to nurture inspiration, and can even affect your perception of the sound created.

Lacey developed the voice engine using the C++ audio DSP library Maximilian, and the keyboard mechanism uses homemade pressure sensors made out of Velostat. The instrument has 18 keys, with players able to also alter scales using the knobs on top of the mini piano’s lid.

Other dials are used to toggle dedicated waveform oscillators, various filters and onboard distortion effects, and there’s even vintage parameters for replicating old or broken analog synth voices. What’s neat is that the converted toy can also act as a MIDI controller to send velocity-sensitive note messages and polyphonic aftertouch to Logic Pro, Ableton Live and various music software programs.

Here’s a diagram of the software architecture of the synth:

You can read more about the hack here, as well as listen to some quick and rough sound/patch demos:

The project took three and a half months to bring to fruition, and let us just say, the final result is quite impressive! Check out the video below to learn more about  its specs and explore the complete documentation on GitHub.