VTOL Volфram

video upload by Shirato_Noise

"Sketch of Sound Experiments."

::vtol:: phason

::vtol:: phason from ::vtol:: on Vimeo.

https://vtol.cc/filter/works/phason

"Phason – an audio object using rotating, perforated discs to create cyclical triggers (sequencer). The light passing from the console panel through fibre-optic light guides serves as the controlling agent. Light passing through the perforation hits the photo sensors, triggering the synthesizer. The object may be used as an instrument or an autonomous sound machine. To interact with it, can be use the built-in flashlight on flexible holder or any other small light sources (for example, flashlight on a phone).

The idea of the object is predicated to a large extent on Soviet experiments with optical sound, and also the automatic music boxes and caskets at the turn of the 19th-20th centuries, when disks were frequently used to encode sound and rhythms."

- axoloti core
- dc-motor
- optical fibers
- LEDs
- LDRs
- 2 channel sound system

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::vtol:: rbs-20 - Ruler Based Mechanical Synth

::vtol:: rbs-20 from ::vtol:: on Vimeo.

ruler bass synth, 20 centimeters

more info - https://vtol.cc/filter/works/RBS-20-cm

The device is based on the school experience of imitating bass lines at the desk and a fun way to disturb teachers. The instrument can be classified as an automated plucked contrabass monochord.

The pitch change is implemented by quickly changing how far the ruler is extended relative to the nut. Movements, plucks and presses of the ruler along the nut are driven by powerful and fast motors, which allows to play pretty fast lines. Two pressing motors can work simultaneously or selectively, which allows to choose the register: the range and amplitude of oscillations depends on the place in which the ruler is clamped before the pluck. Motors may not press the ruler at all, leaving the string / ruler "open". Thus, from one position of the ruler, you can get 4 notes that are different in pitch and duration: open (lowest), clamped by the upper motor (highest tone), clamped by the lower motor (low) and clamped by two at once. The sound is picked up by a small piezo element, which is getting hits by a ruler directly (the instrument has no resonator). The instrument is equipped with 12 touch keys, each of which can be reassigned to a specific length of the ruler. A small OLED display is used to select modes, tune notes, and indicate processes and states.

See the vtol label for additional unique creations.

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::vtol:: drop

::vtol:: drop from ::vtol:: on Vimeo.
more info - http://vtol.cc/filter/works/drop

"The object is a small automatic device consisting of a Geiger counter (a device that registers ionizing radiation), electronics used to generate sound and control all processes, and also a hydraulic system consisting of a container with water, a set of pipes, a valve, and a pump.

The operating principle is that whenever an ionising particle activates the Geiger counter, the valve releases a water droplet, which falls into the container. This leads to a splash and oscillations in the water, which are registered by sensors. The amplitude of the waves and interference of numerous falling droplets are also detected by the system of optical sensors. All these data activate and control the sound synthesis system. In turn the sound constantly mutates and changes, owing to the non-linear nature of the emerging oscillations and the random falling of droplets. However, there are also some regularities: the lower the radiation, the calmer the behaviour of the system.

Conceptually, the device is a hybrid of a scientific instrument and musical installation, but is in actual fact a small fountain. The object is the embodiment of a perceptual paradox. On the one hand, the ionizing radiation (radiation) is destructive and frightening in its imperceptibility. On the other hand, it is constantly present in space and surrounds us (background radiation). At the same time, the sound, which is constantly dependent on the intensity of radiation, becomes a direct indicator of atmospheric developments, and to a certain extent is a safety indicator. The actual image of the object is sound and its mirror-image visual embodiment of water, the cyclical nature and mediation of sounds and processes induce a more contemplative mood (provided that there is no intense radiation).

The object was created with the support of the Aksenov Family Foundation."

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::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.

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::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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::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

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::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

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::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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::vtol:: klicker workshop

::vtol:: klicker workshop from ::vtol:: on Vimeo.

more info - http://vtol.cc/filter/ws/klicker

"My ironical response to modular synths growing market. Computer mouse to eurorack self-clicking module conversion project, specially designed to be build on workshops. Real internet of things to modular synth implementation! Probably the cheapest modular to computer interface. Average materials budget is around 12$. Specially created to be build on workshops. Approximately time of conversion ~ 4-5 hours. Any mouse can be used.

You can use it for triggering anything in your computer using internal LFO or cv/trigger input. Activate you samples, surf on the internet, play games, send messages, place bids on ebay!

26-27.09.2017, Ljudmila, Ljubljana (@Rampa lab)"

::vtol:: 12 262

::vtol:: 12 262 from ::vtol:: on Vimeo.

more info - http://vtol.cc/filter/works/12262

The Kola Superdeep Borehole (СГ-3) is a scientific drilling project of the Soviet Union on the Kola Peninsula, inside the Arctic Circle. The project attempted to drill as deep as possible into the Earth's crust. The drilling began on 24 May 1970. СГ-3 reached 12,262 meters [7.62 miles/40229.66 feet] in 1989 and it is the deepest artificial point on Earth. In 1990 drilling was stoped.

In 2008 СГ-3 was abandoned. The Borehole was conserved. Station is placed in a very hard to reach area on Far North and it is slowly collapsing.

For a long time project was top secret, due to which fact there appeared many legends about it. Level of difficulties and technologies that this project involved is comparable with sending the man into space. Amount of data and samples that were obtained during experiments is so huge, that it will be studied for many more decades.]

In 2016 I found in one of abandoned laboratories of the station a roll of punched tapes for computers, that were used on the station to record scientific data. This tape has inspired me to create a sound installation dedicated to СГ-3.

This installation is an automatic sound object that drills stone samples sourced from different depths and uses data from punched tape as the program for controlling the motors.]

In July 2018 I went to visit the station СГ-3, to resume the drilling process after 28 years of downtime.

Commission by NCCA-ROSIZO, special for TECHNE "Prolog" exhibition, Moscow, 2018.

Curators: Natalia Fuchs, Antonio Geusa. Producer: Dmitry Znamenskiy.

soft:

- pure data
- max/msp

hard:

- stepper motors x5 + 2
- dc-motors x5
- arduino mega
- lcd monitor
- custom electronics
- 5 piezo microphones
- 2 channel sound system

::vtol:: modulator

::vtol:: modulator from ::vtol:: on Vimeo.

Another fascinating creation by ::vtol::. The sound that you hear is software. The hardware controls the sound.

"I have always perceived the concept of modulation in music as a complex cyclical visual system: the ricochets of the crest of a wave constricted in its own amplitude, rotations within rotations (in particular, if the shape of the wave is aspiring for a sinus), compound pendulums and centrifugal spirals. Meanwhile, I actually experienced the frequency modulation as synesthesia a long time ago – I had such an experience when playing a guitar, with the oscillatory movements of my fingers accurately and demonstrably accompanying the palpable vibrations of the string.

The modulator is a system consisting of electric motors and a composite hand, with a passive magnet installed at the end. The Hall effect sensors register the movements of the magnet. This only occurs if the rotation phases coincide in such a way that both composite parts of the hand with the magnet at the end and the senor are on one line. After registration of the magnet’s movements, the status of the entire system shifts -– there is a change of pace, the direction of the rotation of one or both motors changes, and most importantly - the parameters of the sound synthesis. The more frequently the system mutates, the more complex the sound becomes and vice-versa, the more infrequently, the tone becomes more diffuse. As the Hall effect sensors register not only the existence of a magnetic field, but also its strength and polarity, another three additional magnets have been installed on the object on the rotating axes which modulate the position of the main magnet when it is all of a sudden in close proximity to them. Taken all together, they form a composite dynamic system in a closed loop and in a constant state of mutation and modulation of its state rotating in an endless sound composition.

soft:

- axoloti

hard:

- axoloti
- 3 custom made Hall-sensors
- 5 dc motors
- custom electronics
- 1 channel sound system

Moscow, 2018."

Be sure to see the vtol label for more.

::vtol:: msm mk2

::vtol:: msm mk2 from ::vtol:: on Vimeo.

2nd version of my Metaphase sound machine.

more info - vtol.cc/filter/works/metaphase-sound-machine

Snip:

"The Metaphase Sound Machine is a kind of homage to the ideas of the American physicist Nick Herbert who in the 1970s has created both Metaphase Typewriter (Fig. 1) and Quantum Metaphone (a speech synthesizer). These were some of the first attempts to put the phenomenon of quantum entanglement in practice and one of the first steps towards the creation of a quantum computer. The experimental devices, however, had not confirmed theoretical research, and Herbert’s obsession with metaphysics resulted in the publication of several of his works on the metaphysical in quantum physics, that have led to a serious loss of interest to the ideas of quantum communication. One day, in a course of his experiments, Herbert has hacked into an university computer trying to establish a contact with the spirit of illusionist Harry Houdini at the day of the centenary of his birth.

In his device Herbert in order to achieve a quantum entangled state used as a source radioactive thallium, which was controlled by the Geiger radiation counter. The time interval between pulses was chosen as conversion code. Several psychics had participated in the experiments. They tried to influence the endless stream of random anagrams arising from a typewriter or cause "the ghost voice" to be heard out of metaphone. Scientists also have conducted sessions to bring about the "spirit" of a colleague who had recently died, and who knew about this typewriter. In 1985 Herbert wrote a book about metaphysical in physics. In general, his invention and articles quite severely compromised the ideas of quantum communication in the eyes of potential researchers and by the end of the XX century no any substantial progress in this direction was observed."

you, me and all these machines

you, me and all these machines from ::vtol:: on Vimeo.
http://vtol.cc/filter/works/you-me-and-all-these-machines

by ::vtol:: and lovozero

“You, me and all these machines” is a performance for voice and electronic devices. The vocalist puts on his or her head a specially designed wearable interface tool to interact with the voice and display a visual score. Technically, the device consists of several elements: a narrowly directional microphone driven by a motor; an LED strip that shows the vocalist score; remote control with a joystick used by the second participant to control the interface. Shifting the microphone against the mouth makes it possible to achieve interesting sound effects, and makes it easier to manipulate the vocalist's voice. The LED line consisting of 10 diodes is a very primitive, but effective and convenient way of interacting with the vocalist, and the way of interpreting the values ​​is predetermined before each performance. During the performance, a sound canvas is formed, thereby changing the dynamics, consisting of a set of looped fragments created within voice and interface processing elements, without using other methods to generate sounds.

Initially, the project was built around the idea of using the body and its capabilities as a starting point or even a resource for later use in a hybrid work. However, the idea was subsequently transformed into a more subtle practice of interaction between two artists, using an electronic device and sound performance as its direct consequence. At the same time, the idea of ​​domination and manipulation was replaced by sensitive interaction, and the "resource" became more and more a source of inspiration. In many ways, the work can be described as a way of interpreting complexities in the relations between a couple, and the displacement of these complexities to the domain of creative interaction.

hard:
- arduino
- mic
- servo motor
- leds

soft:
-pure data

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::vtol:: driver

::vtol:: driver from ::vtol:: on Vimeo.

http://vtol.cc/filter/works/driver

- arduino
- pure data

"Kinetic sound object. The mechanism is a system consisting of two sound circuits and auxiliary mechanical and electronic elements. The first sound circuit is a speaker emitting square wave. This speaker forces copper balls, served one at a time or several at a time through a dispenser, to bounce up and down on its membrane. Depending on the amplitude and frequency of the sound of the speaker, the balls bounce at one of the same height or at another height. As they are confined in a pipe, they either fall back to the speaker, or jump out of it. If a ball jumps out, it ends up in one of seven collecting vessels and subsequently falls into the pipe. An optical sensor is installed in each of the seven pipes attached to the vessels, detecting the passage of the balls through this pipe. Subsequently, the ball ends up in the collector and may, as and when the balls are used, be returned to the mechanical dispenser through the use of a robotic 'hand'. Depending on the number of times that a ball ends up in a vessel (pipe) and a particular vessel (pipe), the algorithm of the generated sound changes in the second circuit, which executes the generative composition. The frequency of the sound in the primary circuit is also affected by the number of hits.

To all intents and purposes, the object represents a complicated feedback machine, where the feedback doesn't have a direct impact on itself, but uses kinetic and mechanical elements -intermediaries. These intermediaries are nothing other than the generators of random numbers inside a complex and harmonious system. This results in a constant change in the sound and the spectator’s observation of the system's attempts to retain balance and continue its work. To a certain extent, we may assert that the object is performing a routine ritual, infinitely repeating its actions in order to extend its life cycle."

See the vtol label below for more.

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::vtol:: until I die

::vtol:: until I die from ::vtol:: on Vimeo.

"This installation operates on unique batteries that generate electricity using my blood. The electric current produced by the batteries powers a small electronic algorithmic synth module. This module creates generative sound composition that plays via a small speaker. The blood used in the installation was stored up gradually over 18 months. The conservation included a number of manipulations to preserve the blood’s chemical composition, color, homogeneity and sterility to avoid bacterial contamination. The total amount of blood conserved was around 4.5 liters; it was then diluted to yield 7 liters, the amount required for the installation. The blood was diluted with distilled water and preservatives such as sodium citrate, antibiotics, antifungal agents, glucose, glycerol etc. The last portion of blood (200ml) was drawn from my arm during the performance presentation, shortly before the launch of the installation.

more information - http://vtol.cc/filter/works/until-I-die

Kapelica gallery, Ljubljana, 06-09.12.2016."

Materials: glass, coper, aluminium, steel, plastic, acrylic, custom electronics, Axoloti open-source synth module, 1 channel sound system

This one in via brian comnes, also on Deviant Synth.

See the vtol label at the bottom of this post for more of vtol's creations.

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::vtol:: phasmida

::vtol:: phasmida from ::vtol:: on Vimeo.

"Interactive robotic music instrument/installation. Transparent plastic pipe of 2 meters long with passive magnet ball and magnetic field detectors inside. Each sensor triggers different sound synthesis algorithms. Can be controlled wireless using cellphone gyroscope/accelerometer, or using custom controllers.

- servo motors
- arduino
- reed switches
- magnet
- pure data

http://vtol.cc/filter/works/phasmida"

::vtol:: ivy - 240 Step Sequencer

::vtol:: ivy from ::vtol:: on Vimeo.

The latest creation from ::vtol::.

"Interactive sound installation. Sequencer-synthesizer with 240 steps, that allows to create rhythmic compositions. Object has complex control system with possibility to add or delete "voices", change tempo of whole sequence or individually for each voice, to change number and direction of steps.

The project is created specially for Open Codes exhibition in ZKM center, dedicated to codes and programming in art. On one side, Ivy is a representation of an archaic method of electronic music programming for analog synthesizers. On the other side - gigantic scale and obsessive multiplication of simple primitive elements turns this project into an art installation, that is referring to the topic of graphic and physical organization of parameters in electronic music.

more info - http://vtol.cc/filter/works/ivy"

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::vtol:: motorgan

::vtol:: motorgan from ::vtol:: on Vimeo.

"Motorgan is an electromagnetic/electromechanical organ based on 3 dc motors of different size. The speed of each motor is controlled by voltage changes via touch keyboard with 24 keys. Keyboard is split into 3 parts (registers) for each motor, so it's possible to play chords/polyphonic lines by taking one note from each register. Electromagnetic fluctuations produced by motors are picked up with a single coil guitar pickup. It's possible to tune every key using potentiometers, to make any kind of music by tuning the combinations. It's not the easiest instrument to play and it takes some time to adapt to it.

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

- 3 dc motors (2 PC pc cooling fans and 1 motor with gears)
- arduino mega
- single guitar pickup
- 24 keys touch keyboard
- 6,3 Jack output.
- digital voltmeter for tuning
- 24 potentiometers for voltage control

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