Interesting research from Disney Research at Carnegie Mellon University in Pittsburgh. It’s a speaker that can be made by a 3D printer that can be created any shape. This is basically an electrostatic speaker using a thin conductive material and an electrode plate separated by a layer of air, but made via a 3D printer.
Read more: http://bobbyowsinski.blogspot.com/2014/05/the-3d-printed-loudspeaker-that-can.html#ixzz31lGs0ENu
Under Creative Commons License: Attribution
Link to project page & press release:http://www.disneyresearch.com/project…
We propose technology for designing and manufacturing interactive 3D printed speakers. With the proposed technology, sound reproduction can easily be integrated into various objects at the design stage and little assembly is required.
This short video shows the difference between normal synthesis and expression control using AeroMIDI, our 3D MIDI controller.
Tales From The Bridge is a 3D soundscape collaboration covering the length of the Millennium Bridge in London. The piece was commissioned by the Mayor of London to launch at the start of the London 2012 Olympics, and will run until the end of September.
“We’ve been working for quite a few months now on creating the most amazing installation, which is going to be on the Millenium Bridge during the Olympics,” explains Ware. ”It’s called Tales From The Bridge, which is a combination of ambient sound and an electronic soundscape which we composed together with a fantastic poetic kind of magic realist overlay of spoken word in three dimensions, which is going to be drifting across the bridge.”
The video features an interview with Ware about the piece and a behind the scenes look at its creation:
Ware: We did a piece called Timepiece for the Mexico City installation that we did, Sound Oasis. This was composed of very slowly-drifting chords that changed almost imperceptibly in related keys, over an hour-long loop.
I thought it would be quite nice to use a similar structure, but change the sounds and make it more adapted to the kind of environment here. So that’s the basic musical element, plus some additional, inspirational kind of almost like Blade Runner-ish synth, virtual synths. So we used a lot of Omnisphere.
We used a lot of virtual synths including Arturia’s Moog Modular synth, Korg MS-20, and some Roland System 100 as well.
That’s the basic template of what we did, and it’s slowly drifting, additional kind of Vangelis-type melody lines that weave in space and time around the piece as well. Then we overlaid the fantastic script that Mario Petrucci has written, and performed by a couple of actors with beautiful voices, Mia Austen and Steven Alexander.
The idea was to relate the lyrical content at this end of the bridge to the City and the Church and government, and on the other side to the theatre and the playground of the rich, even though it was a poor area historically, and the arts, and recreation. And the central section of the bridge, compositionally, is about the history of the Thames itself.
More info here>> Kitmonsters.com.
Join this lovable crew of droids as they solve their differences the only way dubstep robots know how.
A 3d animated short set to music by Nostalgia.
More info: fluxelmedia.com/fluxelmedia/projects/Dubstep_Dispute/Dubstep_Dispute.html
Full Length Track: soundcloud.com/nostalgia/knights-of-cydonia-nostalgia-dubstep-remix
Synthesize music with sculpted waves; grok mesmerizing visuals.The Strange Agency has introduced a new software synth for iOS, HyperSpace.
HyperSpace, a ‘waveform-sculpting 3-D oscilloscope synth’ is the latest edition of TSA’s Space series. HyperSpace uses a unique algorithm to generate images from sound. It works similarly to a harmonograph, but uses its 3 voice oscillators instead of pendulums to create images. Each oscillator is mapped to a dimension in 3-D space. Playing a single note creates a wave, like on an ordinary oscilloscope. Playing two notes at once creates a plane as with the harmonograph, and playing a three note chord creates a volume. There are two oscillators to crossfade between. These can be set to standard shapes as with older synths, but HyperSpace also lets you sculpt the waves with touch. Changing the wave shapes of course alters the sound, but it also alters the generated imagery.
A project I’m doing for a university assignment. It’s a 3d exploration-based granular synthesis engine. It evolved from my previous sine web project, but it’s still in the early stages. It has a sonified particle system with gravity.
For more information and to preorder: http://www.djtechtools.com/2012/02/27/introducing-the-midi-fighter-3d/
DJ Tech Tolls tells us that their MidiFighter has now been released, here’s their pitch:
Today we’re very proud to usher in the newest DJTT creation: The Midi Fighter 3D controller. Equipped with 16 RGB arcade buttons and full three dimensional tracking of the controller’s movement in space, this latest addition to the Midi Fighter line is our most ambitious and expressive creation to date.
- Fully customizable high performance RGB arcade buttons
- 4 banks of controls
- 6 side buttons
- Optional hand strap for full instrument control
- Full 3D motion tracking of five degrees of movement (Patent Pending)
- Highly grippy rubberized feet and sleeve
- Gyroscope, Accelerometer and Compass for absolute orientation tracking.
This is a very cool demo of the AudioGL modular, check it out
Another update on the AudioGL project. This video features a crowdfunding announcement, and a software demonstration.
AudioGL is a Modular Software Synthesizer and Sequencer. It is designed to allow musicians to create complex compositions with ease. AudioGL has a dynamic 3D interface which focuses on streamlining workflow, so composers can spend less time navigating the interface, and more time writing music.
Here are the specifications of the computer I have been using to develop AudioGL
Make/Model: Lenovo X61 Tablet
Processor: Intel Core 2 Duo 1.8ghz
Graphics: Intel X3100 (low quality integrated graphics card)
Audio: M-Audio Fasttrack Pro & ASIO4All
Display: 1024×768 (Laptop) – 1280×1024 (External)
As you can see, AudioGL does not require a high performance computer. If your system specifications are close to or higher than mine, AudioGL should run just fine for you.
Although the interface is rendered in 3D, it does not consume any more resources than a typical 2D interface. Furthermore, the graphical quality of the interface can be raised or lowered, depending upon your preferences.
The synthesizer is designed towards low CPU usage without compromising sound quality. To provide both, the instruments you create in AudioGL will only consume CPU when they are playing. This makes it possible to create a large composition on an underpowered laptop, provided that you only have so many instruments playing at one point in time.
Steelberry Clones got our hands on the newly released Sketch Synth 3D for a review (version 1.0.4). To best describe Sketch Synth 3D you can say that it is both a synth and a control interface that lets you shape and scalp your soundscapes in 3D. You can use it straight out of the box; but sketch synth also offers you the ability to extend and control your other synths in 3D using Midi output and OSC input & output. We made a short test run of the app on an iPad 2 featured in the video below:
Sketch Synth 3D has a quite different and “rough” UI that may take some time to get used to, but once you have gotten used to it, it is fairly easy to jump from different performance and editing modes. The sounds coming from the Sketch Synth 3D are quite intriguing and easy to manipulate. In one sense from a music creation perspective this app is somewhat what you could expect from an updated KORG Kaossilator. To draw sounds in 3D you can use a touchpad, accelerometers and automated envelopes. This gives you control over the shapes that your sounds take on. However, although beautiful and innovative we still feel that the app has some more steps to take before it is a viable alternative – especially seeing that the sketch pad tends to have glitches in the animation, we lack a sense of real flow in the animations. What is nice though is the ability to load samples and effectively manipulate otherwise fairly dry sounding sounds and take you music making to the next level – adding ambient feels to it. You can either use Sketch Synth’s sound engine to apply effects to samples (including wav files of your own), or you can use it to output OSC or MIDI to your existing synths.
First performance with QuNeo controlling sounds in Abelton Live. Pressure is mapped to repeat rate and X and Y control Filter and a Bit Crusher. Lotsa fun – we were fighting over who gets to go next.
Check out our KickStarter Page for more information: http://kck.st/taqBsn
QuNeo is a different species of pad controller for electronic musicians, DJs, VJs and DIY hackers. While it covers all of the functionality of other pad controllers, QuNeo adds the power of touch recognition in other dimensions.
16 square pads provide 127 levels of Velocity response. And X-Y location. And continuous pressure. For each pad. Times sixteen.
2 rotary sensors allow you to scrub, trigger, stretch, pinch and play phrases and sound files, manipulate continuous controllers and more . Each rotary sensor measures angle, pressure and distance from the center.
9 touch sensitive sliders can be mapped to fader and effects controls. LEDs within each slider act as VU meters or remind you where you were. Multi-touch lets you select a length between two fingers to set stereo locations or filter resonances. Tapping a slider can mute or toggle any track or function.
The switches are located in smart groupings to select samples, fader banks, and transport controls. Each of the switches can scan up and down through files at speeds variable with your touch. Great for quickly locating that perfect fill or telling your looper you really meant it.