Sonic Screwdriver’, Meant for Implementation in Iterations of Daniël Maalman’S Lost & Found Orchestra Sound Art Installations

Total Page:16

File Type:pdf, Size:1020Kb

Sonic Screwdriver’, Meant for Implementation in Iterations of Daniël Maalman’S Lost & Found Orchestra Sound Art Installations Abstract This thesis showcases the development process of a tool for achieving a sustained, non-percussive sound that captures the sonic essence of ceramic objects, a so-called ‘sonic screwdriver’, meant for implementation in iterations of Daniël Maalman’s Lost & Found Orchestra sound art installations. The tool is meant to use a different way of sound excitation than Maalman’s conventional method of simply tapping objects with cores of solenoids. This is done by means of creating an audio feedback loop on the surface of the objects, which allows the objects speak in their own voice by using its resonant frequencies in an audio feedback loop. The audio feedback loop is composed of a contact microphone, a surface transducer and an audio amplifier. The system achieves accurate pitch control of the audio feedback at the resonant frequencies of an object by means of a control signal being input into the audio feedback loop via a second surface transducer. The developed solution can be used as a powerful tool in the creation of many types of sound art. 1 Quinten Tenger | Creative Technology | University of Twente | 2019 Acknowledgements First of all, I would like to thank Daniël Maalman for giving me the opportunity to work on this project, inspiring me with his way of working and being available to answer questions day and night. It has been a truly interesting and rewarding challenge. Furthermore, I would like to thank Edwin Dertien for helping me stay on track in times of confusion and frustration and his continuous support and guidance, as well as Erik Faber’s. Erik Faber, Eddy de Weerd and Douwe de Bruijn all deserve my gratitude for helping me out with the experiments with the HP 4194A Impedance/Gain-Phase Analyzer. Finally, a word of thanks is in place for Koka Nikoladze and Diemo Schwarz, who both helped me out via email despite both of their busy schedules and not being affiliated to the University of Twente. 2 Quinten Tenger | Creative Technology | University of Twente | 2019 Table of Contents Abstract ......................................................................................................................................................... 1 Acknowledgements ....................................................................................................................................... 2 List of Figures ............................................................................................................................................... 6 1 Introduction ........................................................................................................................................... 8 2 State of the Art on sustaining sounds in ceramic materials................................................................. 10 2.1 Introduction ................................................................................................................................. 10 2.2 Background research ................................................................................................................... 10 2.2.1 Introduction ......................................................................................................................... 10 2.2.2 Audio feedback ................................................................................................................... 10 2.2.3 Methods of Feedback Control ............................................................................................. 11 2.2.4 Conclusion .......................................................................................................................... 12 2.3 State-of-the-art review ................................................................................................................ 13 2.3.1 Introduction ......................................................................................................................... 13 2.3.2 EBow ................................................................................................................................... 13 2.3.3 Koka’s Magnetic Bow ........................................................................................................ 16 2.3.4 The Sound of Ceramics ....................................................................................................... 16 2.3.5 Ceramic Sound Art Instruments .......................................................................................... 17 2.3.6 MIDI Sprout ........................................................................................................................ 19 2.3.7 Conclusion .......................................................................................................................... 20 3 Methods & Techniques ....................................................................................................................... 21 3.1 Introduction ................................................................................................................................. 21 3.2 Ideation ....................................................................................................................................... 22 3.2.1 Scientific literature research ................................................................................................ 22 3.2.2 Co-design ............................................................................................................................ 22 3.3 Specification ............................................................................................................................... 22 3.4 Realization .................................................................................................................................. 23 3.4.1 Building prototypes ............................................................................................................. 23 3.4.2 Laboratory experiments ...................................................................................................... 23 4 Ideation ............................................................................................................................................... 24 4.1 Introduction ................................................................................................................................. 24 4.2 Stakeholders ................................................................................................................................ 24 4.3 Brainstorming ............................................................................................................................. 25 4.4 Interviews .................................................................................................................................... 25 3 Quinten Tenger | Creative Technology | University of Twente | 2019 4.5 Preliminary requirements ............................................................................................................ 26 4.6 Building plans ............................................................................................................................. 26 5 Specification ....................................................................................................................................... 27 5.1 Introduction ................................................................................................................................. 27 5.2 Object sonification ...................................................................................................................... 27 5.3 Excitation .................................................................................................................................... 29 5.3.1 Introduction ......................................................................................................................... 29 5.3.2 Surface transduction ............................................................................................................ 29 5.3.3 Conclusion .......................................................................................................................... 34 5.4 Pickup ......................................................................................................................................... 35 5.4.1 Introduction ......................................................................................................................... 35 5.4.2 Condenser microphone ....................................................................................................... 35 5.4.3 Magnetic coil pickup ........................................................................................................... 35 5.4.4 Laser microphone ................................................................................................................ 36 5.4.5 Hall effect sensor ................................................................................................................ 37 5.4.6 Contact microphone ............................................................................................................ 38 5.4.7 Conclusion .......................................................................................................................... 41 5.5 Amplification .............................................................................................................................. 41 5.5.1 Introduction ........................................................................................................................
Recommended publications
  • Magpick: an Augmented Guitar Pick for Nuanced Control
    Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK f.morreale@auckland.ac.nz a.guidi@qmul.ac.uk a.mcpherson@qmul.ac.uk ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction.
    [Show full text]
  • Guitar Resonator GR-Junior II
    Guitar Resonator GR-Junior II User Manual Copyright © by Vibesware, all rights reserved. www.vibesware.com Rev. 1.0 Contents 1 Introduction ...............................................................................................1 1.1 How does it work ? ...............................................................................1 1.2 Differences to the EBow and well known Sustainers ............................2 2 Fields of application .................................................................................3 2.1 Feedback playing everywhere / composing / recording ........................3 2.2 On stage ...............................................................................................3 2.3 New ways of playing .............................................................................4 3 Start-Up of the GR-Junior .........................................................................5 4 Playing techniques ...................................................................................5 4.1 Basics ...................................................................................................5 4.2 Harmonics control by positioning the Resonator ...................................6 4.3 Changing harmonics by phase shifting .................................................6 4.4 Some string vibration basics .................................................................6 4.5 Feedback of multiple strings .................................................................9 4.6 Limits of playing, pickup selection,
    [Show full text]
  • The Microphone Feedback Analogy for Chatter in Machining
    Hindawi Publishing Corporation Shock and Vibration Volume 2015, Article ID 976819, 5 pages http://dx.doi.org/10.1155/2015/976819 Research Article The Microphone Feedback Analogy for Chatter in Machining Tony Schmitz UniversityofNorthCarolinaatCharlotte,Charlotte,NC28223,USA Correspondence should be addressed to Tony Schmitz; tony.schmitz@uncc.edu Received 16 March 2015; Accepted 13 May 2015 Academic Editor: Georges Kouroussis Copyright © 2015 Tony Schmitz. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. This paper provides experimental evidence for the analogy between the time-delay feedback in public address systems and chatter in machining. Machining stability theory derived using the Nyquist criterion is applied to predict the squeal frequency in a microphone/speaker setup. Comparisons between predictions and measurements are presented. 1. Introduction with the workpiece surface causes the tool to begin vibrating and the oscillations in the normal direction to be copied Self-excited vibration, or regenerative chatter, in machining onto the workpiece [4]. When the workpiece begins its has been studied for many years. The research topic has second revolution, the vibrating tool encounters the wavy encouraged the application of mathematics, dynamics (linear surfaceproducedduringthefirstrevolution.Subsequently, and nonlinear), controls, heat transfer, tribology, and other
    [Show full text]
  • Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
    CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral.
    [Show full text]
  • Distortion Improvement in the Current Coil of Loudspeakers Gaël Pillonnet, Eric Sturtzer, Timothé Rossignol, Pascal Tournier, Guy Lemarquand
    Distortion improvement in the current coil of loudspeakers Gaël Pillonnet, Eric Sturtzer, Timothé Rossignol, Pascal Tournier, Guy Lemarquand To cite this version: Gaël Pillonnet, Eric Sturtzer, Timothé Rossignol, Pascal Tournier, Guy Lemarquand. Distortion improvement in the current coil of loudspeakers. Audio Engineering Society Convention, May 2013, Roma, Italy. hal-01103598 HAL Id: hal-01103598 https://hal.archives-ouvertes.fr/hal-01103598 Submitted on 15 Jan 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. AES Audio Engineering Society Convention Paper Presented at the 134th Convention 2013 May 4–7 Rome, Italy This Convention paper was selected based on a submitted abstract and 750-word precis that have been peer reviewed by at least two qualified anonymous reviewers. The complete manuscript was not peer reviewed. This convention paper has been reproduced from the author's advance manuscript without editing, corrections, or consideration by the Review Board. The AES takes no responsibility for the contents. Additional papers may be obtained by sending request and remittance to Audio Engineering Society, 60 East 42nd Street, New York, New York 10165-2520, USA; also see www.aes.org. All rights reserved.
    [Show full text]
  • Player's Guide
    Player’s Guide Contents Imitations Flute...................................................................................6 Introduction Cello ..................................................................................6 Horn ...................................................................................6 How the EBow Works ........................................................2 Harmonica .........................................................................6 Opening Tips .....................................................................2 Energy Slide ......................................................................6 Switch Positions ................................................................2 Distortion Pick....................................................................6 How to Hold the EBow.......................................................2 How to Position the EBow .................................................2 Other Grips Methods of Control Reverse Grip .....................................................................7 Thumb Grip........................................................................7 String Activation .................................................................3 Finger Grip.........................................................................7 Gliding ...............................................................................3 Pressing.............................................................................3 Review Tilting .................................................................................4
    [Show full text]
  • Electronic Pipe Organ Using Audio Feedback
    Electronic Pipe Organ using Audio Feedback Seunghun Kim and Woon Seung Yeo Audio & Interactive Media Lab Graduate School of Culture Technology, KAIST Daejeon, 305-701, Korea seunghun.kim@kaist.ac.kr, woony@kaist.edu ABSTRACT 2. RELATED WORK The organ is a musical instrument with a long history. Based This paper presents a new electronic pipe organ based on on its sound-producing mechanism, organs can be catego- positive audio feedback. Unlike typical resonance of a tube rized into several groups such as pipe, reed, electronic, and of air, we use audio feedback introduced by an amplifier, a digital organs. Virtually none of these, however, utilizes lowpass filter, as well as a loudspeaker and a microphone the idea of acoustic feedback we propose. in a closed pipe to generate resonant sounds without any Examples of acoustic feedback used for musical instru- physical air blows. Timbre of this sound can be manip- ments include the hybrid Virtual/Physical Feedback Instru- ulated by controlling the parameters of the filter and the ments (VPFI) [2], in which a physical instrument (e.g., a amplifier. We introduce the design concept of this audio pipe) and virtual components (e.g., audio DSP processors feedback-based wind instrument, and present a prototype such as a lowpass filter) constitute a feedback cycle. The that can be played by a MIDI keyboard. Audible EcoSystemics n.2 is a live electronic music based only on Larsen tones (i.e., sound generated by audio feed- back) [3]. In [4], Overholt et al. documents the role of feedback in 1. INTRODUCTION actuated musical instruments.
    [Show full text]
  • LM4651 & LM4652 Overture™ Audio Power Amplifier 170W Class D
    LM4651 & LM4652 Overture August 2000 LM4651 & LM4652 Overture™ Audio Power Amplifier 170W Class D Audio Power Amplifier Solution General Description Key Specifications The IC combination of the LM4651 driver and the LM4652 n Output power into 4Ω with < 10% THD. 170W (Typ) power MOSFET provides a high efficiency, Class D sub- n THD at 10W, 4Ω, 10 − 500Hz. < 0.3% THD (Typ) woofer amplifier solution. n Maximum efficiency at 125W 85% (Typ) The LM4651 is a fully integrated conventional pulse width n Standby attenuation. >100dB (Min) modulator driver IC. The IC contains short circuit, under voltage, over modulation, and thermal shut down protection Features circuitry. It contains a standby function, which shuts down n Conventional pulse width modulation. ™ the pulse width modulation and minimizes supply current. The LM4652 is a fully integrated H-bridge power MOSFET n Externally controllable switching frequency. IC in a TO-220 power package. Together, these two IC’s n 50kHZ to 200kHz switching frequency range. 170W Class D Audio Power Amplifier Solution form a simple, compact high power audio amplifier solution n Integrated error amp and feedback amp. complete with protection normally seen only in Class AB n Turn−on soft start and under voltage lockout. amplifiers. Few external components and minimal traces n Over modulation protection (soft clipping). between the IC’s keep the PCB area small and aids in EMI n Short circuit current limiting and thermal shutdown control. protection. The near rail-to-rail switching amplifier substantially in- n 15 Lead TO−220 isolated package. creases the efficiency compared to Class AB amplifiers.
    [Show full text]
  • Copyright by Yago Parra Moutinho Stucky De Quay 2016
    Copyright by Yago Parra Moutinho Stucky de Quay 2016 The Dissertation Committee for Yago Parra Moutinho Stucky de Quay Certifies that this is the approved version of the following dissertation: The Development and Experience of Gesture and Brainwave Interaction in Audiovisual Performances Committee: Sharon Strover, Supervisor Bruce Pennycook, Co-Supervisor Shanti Kumar Russell Pinkston Yacov Sharir Rui Penha António Coelho The Development and Experience of Gesture and Brainwave Interaction in Audiovisual Performances by Yago Parra Moutinho Stucky de Quay, B.Music.; M.Multimedia Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2016 Dedication To my parents, Isabel and José Acknowledgements I want to thank Bruce Pennycook, Yacov Sharir, and Sharon Strover for their significant intellectual and artistic contributions to this work. I also want to thank A. R. Rahman for inviting me to join his fantastic project with Intel, and Lakshman Krishnamurthy for his inspiring leadership in that project. Finally, I am grateful to have had Reema Bounajem supporting me emotionally throughout the writing process. v The Development and Experience of Gesture and Brainwave Interaction in Audiovisual Performances Yago Parra Moutinho Stucky de Quay, PhD The University of Texas at Austin, 2016 Supervisor: Sharon Strover Co-Supervisor: Bruce Pennycook Software and hardware developments in the 21st century have greatly expanded the realm of possibilities for interactive media. These developments have fueled an increased interest in using unconventional methods to translate a performer’s intentions to music and visuals.
    [Show full text]
  • BOSS GT-3 FAQ Table of Contents
    BOSS GT-3 FAQ Table of Contents Questions from Prospective Owners Q: What type of guitar works best with the GT-3? What type of pickups? Q: What kind of Amp works best with the GT-3? Q: Where can I hear examples of the GT-3? Q: How does GT3 Compare against POD? Q: How does GT3 Compare against RP-7? Q: How does GT3 Compare against RP-14D? Q: What are differences between GT-3 and GT-5? Q: Can I use the pedals to turn individual effects on and off (manual mode)? Q: Can I use the GT-3 with my electro/acoustic? Q: Where can I get the best price on GT-3? General Questions Q: Does anyone know if there are ROM? upgrades available for the GT-3? What is the latest chip version and how would I check what version mine is? Q: What PC software is available for the GT-3? Q: What MAC software is available for the GT-3? Q: Where can I get good patches? Q: Where can I upload patches? Q: Can I use GT-5 patches? Q: What should I use for a gig bag or case? Q: What is the deal with Brass Eagle Paintball Case? Q: What is Manual Mode? Q: Is there a way I can get the GT-3 to work like stompboxes, so that each of the pedals will control an effect? Q: In Manual mode, is it only possible to have one set of pedal assignments for all patches? Connections Q: How do I hook this thing up to my amp? Q: How do I hook up to a computer (for recording)? Q: How do I hook this up to a computer (for patch download)? Q: What kind of cable do I need for MIDI? Where can I find one? Q: What is the 4 cable method? What is the 5 cable method? What is the difference? Q: How do I hook up an external stompbox in the OD/DS loop? BOSS GT-3 FAQ Rev.
    [Show full text]
  • Implement a Chorus Effect in a Real-Time Embedded System
    Universitat Polit`ecnicade Catalunya (UPC) Escola T`ecnicaSuperior d'Enginyeria de Telecomunicaci´ode Barcelona (ETSETB) Implement a chorus effect in a real-time embedded system by Gerard Amposta Boquera Advisor: Asunci´onMoreno Bilbao Barcelona, September 2016 \I was left with an urge to make the guitar sound like things it shouldn't be able to sound like." Adrian Belew (1949 - ) Universitat Polit`ecnicade Catalunya (UPC) Abstract Escola T`ecnicaSuperior d'Enginyeria de Telecomunicaci´ode Barcelona (ETSETB) Departament de Teoria del Senyal i Comunicacions by Gerard Amposta Boquera An implementation of a chorus effect in an embedded device has been devised. Some objective and subjective qualities of this implementation have been analyzed, with the purpose of being tested for their adequacy for usage in the music industry. These qualities include, but are not limited to: maximum delay, number of delayed copies of the original signal, waveshape of the signal modulating the delay, dependency of parameters of the modulating signal from parameters from the input signal, adaptability of the architecture to accommodate further effects without increasing significantly resources usage. It is encountered that a scientific approach to this study has either not been taken, or the results of this research are privately held, therefore being adequate to start this research for the public interest. The system has been implemented in a dsPIC33FJ256GP506 digital signal controller using a standard development board, and results show that this is a promising approach that could be industrializable using audio-grade components for the analog stages and a slightly more powerful DSC. Acknowledgements When my family and friends finally managed to overcome my stubbornness and con- vinced me to put it together and write this thesis, I knew what I was heading into was though.
    [Show full text]
  • Aalborg Universitet Towards an Open Digital Audio Workstation for Live
    Aalborg Universitet Towards an open digital audio workstation for live performance Dimitrov, Smilen DOI (link to publication from Publisher): 10.5278/vbn.phd.engsci.00028 Publication date: 2015 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Dimitrov, S. (2015). Towards an open digital audio workstation for live performance: the development of an open soundcard. Aalborg Universitetsforlag. (Ph.d.-serien for Det Teknisk-Naturvidenskabelige Fakultet, Aalborg Universitet). DOI: 10.5278/vbn.phd.engsci.00028 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at vbn@aub.aau.dk providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: April 30, 2017 THE DEVELOPMENT OF AN OPEN SOUNDCARD THE DEVELOPMENT OF FOR LIVE PERFORMANCE: AUDIO WORKSTATION AN OPEN DIGITAL TOWARDS TOWARDS AN OPEN DIGITAL AUDIO WORKSTATION FOR LIVE PERFORMANCE: THE DEVELOPMENT OF AN OPEN SOUNDCARD BY SMILEN DIMITROV DISSERTATION SUBMITTED 2015 SMILEN DIMITROV Towards an open digital audio workstation for live performance: the development of an open soundcard Ph.D.
    [Show full text]