PLAY THE BARCODER

Published on Jan 29, 2020 ELECTRONICOS FANTASTICOS!

Spotted on Chris Randall's (Audio Damage & Analog Industries) Patreon page.

'Barcoder: generates sounds by connecting scan-signals of a barcode scanner directly to a powered speaker, not a cash register.
And this is a huge receipt version┃┃┃┃_ρﾞ
ー
バーコードリーダーのスキャン信号をレジではなく、スピーカーに直接接続して音を鳴らす《バーコーダー》。
そしてこれは巨大レシートバージョンです┃┃┃┃_ρﾞ
　
Created by Hideki Tanaka + Ei Wada + Nicos Orchest-Lab
Played by Ei Wada
　
Official web site ｜ https://www.electronicosfantasticos.com"

Giant Wall Sequencer

Visual reel _ 2020 Published on Feb 13, 2020 Servando Barreiro

"LED screens, projection mapping, interactive installations, vector graphics, simple games, etc."

Hate Loop Tape Destruction feat. Red Means Recording, Simon The Magpie and Noir Et Blanc Vie

Published on Aug 27, 2019 HAINBACH

Note this one is not safe for work.

"In which I tackle the troublesome topic of online hate, namely YouTube comments, with tape loop destruction. Featuring hateful comments read by Red Means Recording, Simon The Magpie and Noir Et Blanc Vie, I create an abrasive yet strangely beautiful collage from some the worst stuff we get thrown at us regularly.

FULL AUDIO OF THE DESTRUCTION: www.patreon.com/hainbach
(and soon on YouTube, too)

Machines used: Nagra III 64, Nagra 4.2, Uher Report Monitor 4000
Tape: SM468 and unknown consumer grade tape
Destruction: Leatherman Wave, boxcutter blades, sand paper

Questions and answers: http://reddit.com/r/hainbach
Chat and Post-Show hangout: https://discord.gg/MUBp5AB"

Yamaha - pulse - Milan Design Week 2019 report

Published on Aug 25, 2019 Yamaha_Global

"Video reports from the 'pulse – Milan Design Week 2019' event at which we exhibited in April 2019.

We welcomed over 27,000 visitors over a six day period, the most of any of the design exhibitions outside Japan in which we have participated.
Thank you very much for coming to see us.

https://www.yamaha.com/en/about/desig..."

"Exhibition Concept

Yamaha Design Laboratory makes a return to Milan Design Week—one of the world’s largest design-related events—for the first time in 11 years. The Laboratory’s exhibition, titled pulse, will feature four sound-related installations that highlight the pleasure found within complex mental and physical states.

For four years, from 2005 to 2008, Yamaha Design Laboratory presented designs showcasing the Yamaha world view at Milan Design Week. Directly experiencing the responses of attendees from around the world helped the Laboratory to further develop its design philosophy and more clearly define the identity of Yamaha design. Now, for the first time in 11 years, the Laboratory will once again participate in the event, exhibiting four new designs that showcase Yamaha’s world view.

For the theme of the exhibition, the Laboratory chose pulse, a word that expresses the beating of the heart, the rush of excitement, and by extension our emotions. Through its design of musical instruments and more, Yamaha has made an impact on the pulse of its customers by offering a richness that is complex and full of contradictions: the differing perspectives of the players and the audience, the difficulty and enjoyment that come with practice, or the feeling of oneness with one’s instrument when absorbed in a performance.
Further refining the appeal to the pulse of the performers, creators and listeners, this exhibition will feature four designs that each offer an experience that is uniquely captivating. These experiences will make the heart race by highlighting the pleasure found within complex mental and physical states for which a word as simple as "emotions" falls short."

Featured:

"Pianissimo Fortissimo

Pianissimo Fortissimo is a wall-mounted piece that can be played like a musical instrument. Standing in front of a large painting sometimes inspires the feeling of being part of the world it depicts… what would it be like to be able to interact with that world?
If you could create real-life musical performances while immersed in this pictorial world, perhaps you might feel a deeper emotional connection to it…

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Celestial Harmonies (installation)

Celestial Harmonies (installation) from Alberto Novello on Vimeo.

"Audiovisual installation using sound to modulate the blue beam of a cathodic ray monitor.

programming and construction Alberto Novello a.k.a. JesterN

more info/booking: www.jestern.com"

I asked Alberto what was creating the sound. He replied with the following:

"I use a BELA board (bela.io) to generate the sound. I sampled impros from my modular synth (this is the original video I made few years ago using only my modular [embed below] that I use in the installation).

For most parts I used a WMD PDO back then + lota of Ring Modulation and AM. I also use some low pass filters controlled by BELA through CV to generate the drones. I made a DIY amp to amplify BELA levels to modular, and a circuit to output all that through the speakers. The monitor is a modified vectrex, (a game console from the 80s). So it's partly digital party analog."


Celestial Harmonies (short movie) from jestern on Vimeo.

"Video recording of a modified Vectrex monitor excited by signals produced by a modular synthesizer.

Inspired by the orbits of planets and other celestial bodies.

Video recording of the performance in the Saint Francis church in Udine.

www.jestern.com"

::vtol:: rotor

::vtol:: rotor from ::vtol:: on Vimeo.

- arduino uno (atmega328 custom diy boards)
- sony d2
- custom electronics
- dc motor
- spin fv1 dsp + joystick controller

via ::vtol::

"Ever since childhood I have viewed compact discs as the embodiment of futurism: ideal shape, mirrored surface, and a crystal-clear sound. And I also loved how they would malfunction. Scratches, scuffs, read errors – at a time when I still knew nothing about IDM and glitch music, I tried to engineer a repeat of these sounds, but felt like I was chasing ghosts. And then all of a sudden discs went out of fashion and were forgotten.

As a rule players would only reproduce the sound in play mode. In all other modes, even though the laser continues to read the information on the surface, the sound would zone out. This was done to ensure that the player did not play the errors and did not emit any sound on a pause, the scratch marks, etc.

Recently I stumbled upon a description of one the processors of old Sony CD players, including instructions on how to modify the player so that it continues to emit sounds in any operating mode. Experimentation was not long in coming: I ordered several old Sony D2 and D20 and started my preparations. As the thirty-year old electronics would literally fall apart in my hands, I assembled one operable device from three players. After replacing all the capacitors, I was struck by the sound quality of this player – state of the art MP3 players don’t even come close. The new device is capable of playing any compact discs with profound scratch marks, makes a sound during rewind, on pause and also during the stoppage/start-up of a disc. Furthermore, I added an intercept function for the motors responsible for the movement of the laser head and the rotation of the disc. I also added to the device a digital processor with joystick for evocative manipulations of the sounds obtained from the player. Another option was an additional revolving optical disc. As well as the visual impact, owing to the emergent induction it is capable of influencing at high speed the motor of the CD, which results in fascinating data read errors.

Taken altogether, this made it possible to create a robust instrument for the deconstruction of existing music and also manipulations with discs specially recorded for the experiments. And that is how compact discs suddenly became an extremely topical format for me once more.

Inspired by Nicolas Colins projects.

CLICK FOR MORE »

::vtol:: last breath

::vtol:: last breath from ::vtol:: on Vimeo.

http://vtol.cc/filter/works/last-breath

Recently I have been actively developing the concept of “passive instruments”. I understand passive instruments to be different multimedia objects that do not require management so much as co-existence with them based on relations born of a mutual “hybrid” symbiosis.

“Last breadth” is an example of such an instrument. The operating principle of the object is fairly simple – the exhaled air (its pressure and flow rate) activates the generative process, which depends on the exhalation parameters and is managed by the air movement in the organ. The object does not require any special game technique, although any change in the breathing (either premeditated or caused by physiological factors) is directly dependent on game dynamics and also on all the other parameters used to generate the sonic flow.

The idea of this project came to me during an emotional upheaval and concerns about my health that occurred all of a sudden. It is not as I had real grounds to worry about my life. On the other hand, however, the outcome is well-known and could happen at any moment. I don't feel any existential fear of death. On the contrary the “transition” is a wonderful topic for studies as part of art practice. I consider this object to constitute a deathbed mask – a ritual instrument of dying that can be played with when I no longer have any strength to use any other instrument. Until my last breath. And the final representation of the object was formed on this basis: sterile cyber-gothic, new rituals, the organs that support the functioning of the organ.


soft:

- pure data

hard:

- custom electronics
- diy breath controller
- multichannel sound system

video, photo - Anna Kortyukova, Moscow, 2019.

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pulse - Milan Design Week 2019

Published on Apr 4, 2019 Yamaha Corporation

"We will be exhibiting displays themed around the keyword “pulse” at Milan Design Week 2019, the largest design event in the world.
*April 9 (Tue) to 14 (Sun)"

Wish I could say there's a wall of synth for you, but it appears to be a piano. The Piano Fortissimo.

Gemini 6B Performance

Published on Mar 27, 2019 Mickey Delp

"Live performance on Mickey Delp's Gemini 6B interactive light and music installation. Recorded at Hopscotch Light & Sound, March 22, 2019. Performers are Ben Scheffler, Bradford Kinney, Thomas Echols, and Mickey Delp."

COMPOSE | DECOMPOSE Conversation: Eleanor Annand + Make Noise Featuring Synthesizer for Two Coasts

via Penland Gallery

Mixed-media sculpture and sound installations
March 26 – May 12, 2019
Reception: Saturday March 30, 4:40-6:30PM | Make Noise modular synthesizer performances by Walker Farrell, Meg Mulhearn, and Jake Pugh

"For Compose | Decompose, the fourth installment in the Penland Gallery’s Conversation series, Annand proposed showing her work alongside the instruments and music of Make Noise. Their conversation is about exploration within defined systems. Annand makes modular sculptural elements from cardboard and cast paper; Make Noise makes modular systems for electronic music composition. In both cases modularity is not about creating predictability, it’s about providing a framework in which to cast expression and, sometimes, disruption. In works like Entropic, Annand avoids the purity of mathematical tessellations. She opts to create arrangements that contain disorder, making them analogous to human lives in their unpredictability and the possibility of playfulness within constrained systems. Make Noise takes this concept further with Synthesizer for Two Coasts, a conceptual instrument that only plays Bach’s Invention No. 4 in D minor. However, even within this narrow scope the user can find expression by manipulating timbre and injecting random notes into the music. Their systems are not designed for traditional composition, but for the 'discovery of unfound sound.'"

Check out MAKE NOISE's Synthesizer for Two Coasts here.

SPIEL | performance for prepared mouth

SPIEL | performance for prepared mouth from Peter van Haaften on Vimeo.

Created in Pure Data

PETER VAN HAAFTEN | MICHAEL MONTANARO

Performed by Nien Tzu Weng

Spiel is an in-situ performance for prepared mouth.

​While absorbed in conversation you notice a stranger approaching. With a curious instrument affixed to their face the visitor leans in, and listens. The mouth opens, patterns of rhythm and sound emanate from within: voices recognizable as your own.

Spun out of focus, words reveal their ingrained subtleties as the collector of conversation captures the sentence but not the sentiment. Vocal exchanges are recalled and reflected. Voices are transformed by physical formant inflections, while acoustic hallucinations seem to reference what might have been said.

An étude on hearing lips and seeing voices, the performer’s mechanically augmented vocal tract reshapes and filters conversational spectra into new modes of mis-communication. Spiel physically unravels the tenuous synesthetic relationship between what is seen, heard and understood.

//bookings contact: peter@petervanhaaften.net

-----------------------------

Credits

-----------------------------

PETER VAN HAAFTEN | MICHAEL MONTANARO

PETER VAN HAAFTEN

Creative direction, composition, sound, interactive design, programming, and electronics

MICHAEL MONTANARO

Original concept, creative direction, and visual design

TATEV YESYAN

Visual design, mask fabrication

NiEN TZU WENG

Performer

Research collaboration: Topological Media Lab / Concordia University [an “in time” FQRSC funded project]

With special thanks to: Greg Salinger, Nicolas Bernier, Garnet Willis, Navid Navab, and Laboratoire Son / Matière (Université de Montréal)

::vtol:: poise→[d]

::vtol:: poise→[d] from ::vtol:: on Vimeo.

"more about - http://vtol.cc/filter/works/Poise-d

Poise→[d] is a hybrid installation that uses chemical and physical reactions to control its behaviour and sound synthesis. The installation consists of the main control unit and three balancing robots. The main control unit has three core systems where the reactions occur, with everything analysed by a computer algorithm using cameras.

This project is based on self-organising structures viewed from several different angles. All the three robots are connected to the main control unit and represent through sound and movement one of the three processes that are happening. The first robot is connected to a sound/mechanical process, the second one to a thermodynamic reaction, and the third to a chemical reaction. Taken together, they create a new and more complex system, as they affect each other through the movements of robots and the main algorithm. To a certain extent, this hybrid system consisting of robotised kinetic objects and chemical/physical reactions is symptomatic of pre-biotic chemical evolution. Another important aspect is the use of Belousov-Zhabotinsky’s chemical reaction - owing to its complexity and singularity, fascinating studies were conducted on cybernetics and some scientists were even enthused to create a chemical computing machine. In this project, the reaction is the most important component of the algorithmic process of the entire installation."

hard:

- arduino mega
- 2 usb cameras
- 4 channel sound system
- custom electronics
- heating mechanism
- servo-motors
- led lights

soft:

- pure data
- max/msp

CLICK FOR MORE »

::vtol:: mayak

::vtol:: mayak from ::vtol:: on Vimeo.

more info - http://vtol.cc/filter/works/mayak

"Mayak is an interactive sound installation consisting of four LTE-modems connected to four Wi-Fi routers. The LED responsible for the display of the Wi-Fi-based data transmission from each of the routers is connected to an Arduino board. Arduino analyses the "flashing", and triggers the synthesizer generating sounds.

To all intents and purposes, the installation represents four open Wi-Fi Internet access points. By connecting to these points, people influence, through their network activity, a rhythmic sound generation process."

hard:

- arduino uno
- axoloti board
- 4 wi-fi routers
- 4 lte modems
- 2 channel sound system

CLICK FOR MORE »

Resonance Reappearing

Published on Feb 7, 2019 Gordon Monahan

"Resonance Reappearing is a motion-activated sound sculpture. Using Max/MSP software, a continuously changing score is created that draws from a library of prerecorded sounds. These sounds are transmitted through a network of motors and wires creating a vibrating, kinetic audio system that gives physical form to sound.

Four long piano wires are suspended in the gallery, with groups of electric motors hanging on each wire. The motors are attached to the speaker outputs of audio amplifiers, which have audio soundfiles playing through them, that are then amplified through the motors and into the wires. Each wire has a contact pickup attached at each end, and these contact pickups send amplified signals into a PA system in the gallery. At the same time, there are motors attached at the end of the piano wires, that cause the wires to flex with off-center motor movements. A motion sensor triggers the system to fade in and fade out, resulting in a continuously changing flexible sound system.

The piece attempts to visualize the invisibility of sound, by deconstructing the audio system into a vibrating network of motors and wires that are set in motion by the sounds transmitted through them, thus creating a kinetic audio system that is activated by the sound waves travelling through and emanating away from themselves."

::vtol:: sonometer

::vtol:: sonometer from ::vtol:: on Vimeo.

A new mechanical sonic creation from ::vtol::

"page - http://vtol.cc/filter/works/sonometer

Sonometer is an automatic sound object (monochord) which changes string pitch (tension) by using an ultra-slow motor. It takes 40 minutes to reach the highest note and 36 minutes to drop it down. Because of extremely low speed, it's almost impossible to recognize changes of the pitch in the realtime, only by comparing the pitch after at least 30 seconds.

It uses electromagnetic coil feedback bow aka eBow to activate the string and piezo pickup. Additional electromagnetic solenoid is used as retrigger and random rhythmical element."

"Time is one of the most complex issues in contemporary sound art. On the one hand the category of time has always served as dividing line, separating music (as a particular form of sound art) from a number of other sub-types of creative interpretation of sound. On the other hand, this measure is used to indicate the extent of the audience’s engagement in the perception of a work of art: whether this is performance art, a musical performance or listening to a sound installation.

Recently I have been creating more and more frequently works arranged around some virtually imperceptible or insignificant processes and phenomena. To all intents and purposes, this is based on the practice of seeking the boundaries of perception and the frontiers of the feasible, which is on each occasion transformed into an attempt to reduce to its logical conclusion a work of art, whose concept emerges from similar studies.

Sonometer is simultaneously a sound installation and instrument, a homage to the heritage of Alvin Lucier and reference to contemporary sound object automation experiments. The super-slow engine draws out over 40 minutes one single string which oscillates in response to an electromagnetic bow. The speed of uptake of the tone is so insignificant that the difference in the pitch can only be perceived after the passage of a certain amount of time. After attaining the maximum tension point, the reverse process starts, taking in total 36 minutes."

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::vtol:: magnetophone

::vtol:: magnetophone from ::vtol:: on Vimeo.

Interactive sound object/instrument.

"It sometimes happens that first the piece is born, and only after this you suddenly realize what it is about and how it should be used. Last summer (2018) I very quickly produced an interactive algorithmic object for a small exhibition. This object was producing endless aleatoric compositions using rotating magnets and magnetic field sensor (it was not the first time that I was using this scheme). The title appeared by itself: Magnetophon. The obvious simplicity of the object made me plan some remakes to follow. And then, at some point I got an old classic Soviet pocket radio receiver Neiva RP-205 - this model was so popular that it is still in production, almost without changes (it is being made by ’Production Association “October” - Kamensk-Uralsky’). Suddendly everything came together - the memories of waiting for the favourite song in order to record it on the audio cassette, and many hours spent combing through the radio waves in search of certain noises. I added to my initial object an antenna, a radio receiver and upgraded the firmware for transforming the recorded radio broadcast whirl.

The idea to use radio as a part of musical instrument is not new at all, of course - the musicians, artists and engineers were always attracted by the possibility to incorporate radio noises or randomly received radio broadcasts into the sound flow, or use them as a base for synthesizing new sounds. But of course it’s not a reason to not use this technology again and again. Especially interesting to me are receivers which work in a wide spectrum of frequencies: SW, MW, LW. In spite of the fact that the quantity of the stations is diminishing every year, still even in Moscow from the balcony you can catch programs in 5-6 different languages (for some reason, very often they are theological)."

hardware:

- axoloti board
- dc motors
- servo motor
- hall sensor
- leds
- ldr sensors
- custom electronics
- 1 channel sound system
- Neyva РП-205 radio

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Controlling a modular synth with Kinect

Published on Jan 3, 2019 Andor Polgar

"Controlling a modular synthesizer with a Microsoft Kinect V1 motion sensing device

Visuals: Petra Eros
Coding: Petra Eros
Sound art: Andor Polgar
Video: Andor Polgar"

Dennis Verschoor WRC_WORM

Dennis Verschoor WRC_WORM from hellviss on Vimeo.

"I first met Dennis whilst I was in the WORM studio on an artist residency in 2017. The WORM studio is like a geological trip through electronic music's history but I was about to travel even further back. Strange ghostly tones emanated from the old vocal booth next door, it was this space that Dennis had filled with mid 20th century audio test equipment, going back to the roots of audio electronic experiments before commercially available instruments from Moog or Roland, before keyboards, back to Stockhausen, Else Marie Pade, Daphne Oram, Raymond Scott and the like. Why now? is this the logical conclusion of Mark Fisher's cultural hauntology? do we end up back at the source? the sound of past futures? For Dennis it seemed more a way to dodge the hipsters, and invite collaboration.

Dennis and I had a friend in common Steve Grimley-Taylor, a lover of all things electronic and sound related (founder of Thonk.co.uk). When I expressed the idea of making a film about Dennis, Richard Foster from WORM kindly agreed to let us. This is a short film about Dennis, his journey and his installation.

Steve Guy Hellier 2018"

Vintage oscillators, filters, and other lab equipment.  Some classic synths come in after the six minute mark.

3 hours generative drone on elektron monomachine, using an Axidraw plotter as audio input.

Published on Oct 15, 2018 buromaschinen

"Soundscape for my illustration exhibition in Lucca Comics And Games 2018. Monomachine and Bigsky processing audio from two Axidraw plotter motors."

Synthfest 2018 - Noise Orchestra- From Russian Futurism To Light Triggered Sounds

Published on Oct 8, 2018 sonicstate

"Noise Orchestra started as an art project inspired by 1920s Russian futurist artists who were working with mechanical sound and has evolved into an organisation that creates installations, education and workshops - now branching out into DIY kits for light triggered instruments and noise sources."