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.
KMel Robotics presents a team of flying robots that have taken up new instruments to play some fresh songs. The hexrotors create music in ways never seen before, like playing a custom single string guitar hooked up to an electric guitar amp. Drums are hit using a deconstructed piano action. And there are bells. Lots of bells.
Many thanks to Lockheed Martin and Intel Corporation for their support.
See this show and more live at the USA Science & Engineering Festival on April 26 & 27 in Washington, D.C.
Lockheed Martin in the founding and presenting sponsor of the festival.
KMel Robotics (www.kmelrobotics.com)
Video Produced and Directed by Kurtis Sensenig (www.kurtisfilms.com)
Music Arrangement and Sound Design by Dan Paul (www.danpaulmusic.com)
Syntablism is the art of using a turntable as a musical instrument to create and/or manipulate sound with a modular synthesizer.
Swiss artist Zimoun (previously) just unveiled a large installation inside the windows of the Museo d’Arte di Lugano in Switzerland. Titled 36 Ventilators, 4.7m3 Packing Chips, the kinetic artwork relies on large fans that perpetually blow clouds of packaging peanuts against the museum’s broad windowframes. At night the effect is especially eye-popping as it appears the entire space is filled with a turbulent white sea. Via bitforms gallery:
Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of curiously collected material, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena blends effortlessly with electric reverberation in Zimoun’s minimalist constructions.
Another recent Zimoun piece is an installation at Orbital Garden in Bern using packaging paper and motorsthat similarly creates a water-like effect. (via Creative Applications which just launched a new print magazine,HOLO)
You can actually see sound waves as they travel through the air thanks to a clever photographic trick.
Produced by Adam Cole
Hands shot by Meg Vogel
Schlieren images provided by Mike Hargather (http://infohost.nmt.edu/~mjh/people.html)
J. W. Tang, A. Nicolle and J. Pantelic
“Eileen” by Lee Rosevere
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”
Available now from http://www.alphasphere.com/nexus-series
The interaction design of the 48 tactile pads allows sound to be triggered and manipulated with subtlety. Each pad is pressure and velocity sensitive and fully compatible with MIDI polyphonic aftertouch. The AlphaSphere is MIDI compatible, so you can use it in conjunction with all existing music production software. It is also OSC compatible and can be enabled as a controller for lighting and visual applications. Designed with musicality in mind, a series of logical notational arrangements can be mapped around the spherical hexagonal lattice form, representing a departure from linear musical convention. Explore the playing surface in combination with the accompanying software AlphaLive to unlock new musical ideas and your create own perfect ergonomic instrument. Enhance your musicianship.
See more architecture and design movies on dezeen.com/movies
In this exclusive video interview, musician Imogen Heap demonstrates the electronic gloves that allow people to interact with their computer remotely via hand gestures.
The interview was filmed at Heap’s home studio outside London, shortly before she launched her Kickstarter campaign to produce a limited production run of the open-source Mi.Mu gloves.
“These beautiful gloves help me gesturally interact with my computer,” says Heap, explaining how the wearable technology allows her to perform without having to interact with keyboards or control panels.
Pushing buttons and twiddling dials “is not very exciting for me or the audience,” she says. “[Now] I can make music on the move, in the flow and more humanly, [and] more naturally engage with my computer software and technology.”
Each gesture-control glove contains a wifi-enabled x-IMU board developed by x-IO Technologies containing an accelerometer, a magnetometer and a gyroscope.
These work together with a series of motion sensors incorporated into the fingers of each glove that track the degree of bend and the spread of the fingers. The gloves can also understand postures such as an open palm, a finger-point or a closed fist.
The latest version of the gloves feature e-textile technology, where sensors and wiring are integrated into fabric. Heap is now exploring how to make further use of electronically conducting textiles, to reduce the number of hard components in the gloves.
Heap says they will not just change performance, but the production of music too: “We really feel that they are going to change the way we make music.”
Heap’s Kickstarter campaign aims to raise £200,000 to develop and produce a limited production run of Mi.Mu gloves. If successful, she will make both the hardware and software open source, allowing people to develop their own uses for the technology. “It’s really exciting to see what people might do by hacking them,” said Heap. The Kickstarter campaign closes on 3 May 2014.
The music featured in this movie is Me, the Machine, a track that Heap wrote specifically to be performed using the gloves.
for more information about the technology in the gloves, read the edited transcript of our interview with Heap.
Dezeen and MINI Frontiers is a year-long collaboration with MINI exploring how design and technology are coming together to shape the future.