Experimenting with radio frequency (RF) interference as an audio and control source for synthesis.
A MIDI controlled Necktie. This is accomplished by leveraging the Pinoccio Mesh Networking features and a Max4Live patch running on Ableton Live. More details in here:
Imagine having a signature synthesizer sound that followed you around in the real world.
What if your sound could interact with others in a physical space?
What does it sound like flying around the room?
PollySynth combines simple UI with fun character design to virtually eliminate the learning curve associated with synthesizers and the technology involved.
PollySynth is a multiplayer polyphonic synthesizer created by Secret Feature.
Synthesizers are controlled by your smart phone, and visualized as members of the PollySynth gang. Spatial audio effects add to the fun as characters respond to the controls and parameters.
PollySynth is currently available as a location specific experience. For inquiries please contact firstname.lastname@example.org.
PollySynth created by Ray McClure and Sebastien Roux Superdeux at Secret Feature
Video Directed by Joe Stillwater at Bright Spectrum
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.
gusli robot – russian folk bot,
portable electro-acoustic orchestra
more info – vtol.cc/filter/works/turbo-gusli
- servo motors x6
- dc motor x1
- stepper motor x1
- solenoids x3
- spings x8
- strings x38
- arduino uno x2
controlling software – pure data
::vtol:: EGOphone – sound bot that use Facebook, Twitter and VK likes, shares and other notifications to activate the glitch sermon from Osho.
more info – vtol.cc/filter/works/egophone
New Media Art and Sound Summit (NMASS) 2014 Kickstarter exclusive! This hand-crocheted ghostly friend with custom light-sensitive analog synthesizer circuit and vintage Apple IIc joystick controller can be yours when you pledge here before May 18th, 2014:http://kck.st/1mE1h9P
Rubens’ Tube is an awesome demo and here we take it to the next level with a two-dimensional ‘Pyro Board’. This shows unique standing wave patters of sound in the box.
The pressure variations due to the sound waves affect the flow rate of flammable gas from the holes in the Pyro Board and therefore affect the height and colour of flames. This is interesting for visualizing standing wave patterns and simply awesome to watch when put to music. Thank you to Sune Nielsen and everyone at Aarhus for sharing this demonstration with me! And thanks for having me at your conference.
Music by Kevin MacLeod, www.Incompetech.com “Ice Flow”
This video shows how to use Oplab to make your own MIDI instruments from any objects.
For example, a drum kit from your friends, or perhaps a xylophone from sausages?
Click the video to play friends. Enjoy!
Oplab 01: Overview http://youtu.be/m00Pf8ZCf7A
Oplab 02: Sensors http://youtu.be/SrHQmk2hLtc
Oplab 03: Triggers http://youtu.be/F8FhBNeFCbk
Oplab 04: Sensors 202 http://youtu.be/4AUcMCBNxoM
Oplab 05: Human Rhythm Composer http://youtu.be/005697Msgd4
This video is a demonstration of the VlnVlaCelBass sound on the Continuum Fingerboard, performed by Edmund Eagan. This EaganMatrix string sound has been programmed to take advantage of the Continuum’s fast and accurate pressure sensing. Playing this sound with low velocity finger movement will create a smooth gentle start to each note. After the note starts volume and timbre changes can be applied by changing the pressure on the surface.
When played with a harder finger velocity, the sound gets more aggressive in it’s attack. This is due to the inclusion of timbre data that represents a real string attack.
The name of the sound includes the four names of the orchestral string family, violin, viola, cello, and double bass, reflecting the combined pitch range of these instruments. The sound is equally convincing and expressive at all pitches, even at the extremes.
Pressing the first foot pedal activates a mono mode which makes it easier to play fast monophonic intervals, such as whole tone or minor third trills.
The overall tonal character of the instrument can be changed by moving the Size barrel. Lower values of Size will create a larger sounding instrument, higher values a smaller one.
The VlnVlaCelBass uses the GrainSilo in the EaganMatrix, with a timbre element called Vla Sustained. The original source for this timbre element came from the first 100 milliseconds of a single note preformed by Rudolf Haken on a Pellegrina 5 string viola. This 100 milliseconds contains essential attack and sustain spectra. Through the power of the EaganMatrix formula structures, control of the timbre elements reference point, fundamental, spectral rolloff, spectral shift, and amplitude is mapped to the playing surface. The three dimensional performance of each finger can translate into exquisite control of this finite piece of data.