View allAll Photos Tagged oscillator
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
Monophonic analog synth
2 oscillators, 2 filters (hp,bp,lp)
2 vca
3 enveloppes
1 lfo
sequencer
crazy routes possibilities
lot of fun :)
Wonderwerp #58
Studio Loos, Den Haag
I was educated as a classical pianist, as which I had to follow a rigid regime regarding the piano literature I had to practice, the harmonic and melodic framework I exercised, and the physical posture I had to train, whereby I had to focus mainly on the position of my hands in relation to the piano keys. The piano repertoire I became most familiar with includes Bach, Beethoven, Mozart, Liszt, Chopin, Debussy, Webern and Schoenberg. Improvisation was not part of my training, at all. But the urge to create something unique and new in music brought me to explore improvisation. While improvisation typically is not part of a classical instrumental training, it can be a powerful tool to free oneself from any musical dogmas. As an improviser I started a process of deconstructing the deeply embedded classical repertoire within myself, and came to add electronics in a very personal way.
Maia Francisco is a pianist, graphic designer and sound artist. She studied art and design at Barcelona’s Escola Massana Centre d’Art I Disseny and piano at the city’s Conservatory of Music. Maia is currently enrolled as a student of Sonology at the Royal Conservatoire of The Hague, where she researches the use of pure sine waves in music. She is investigating improvisational environments that will allow her to interact with the acoustic piano and sine wave oscillators.
This rotary drill rig can be seen excavating dirt from a steel pile casing. Piles in this part of the work zone are called tangent piles, and will be the exterior walls of the main part of the station, down to the platform, nearly a hundred feet down.
A variation on the famed "Atari Punk Console" this is a crude (sort of) FM synth, with body contact points and light control for each oscillator.
The Color Oscillator board has the oval shaped silver 3.58 MHZ Crystal Oscillator which is sent to the Video Output Board that drives the electron guns, and then the Service Board that turns the guns on and off and adjusts the Kine Bias and Pincushion. The High Voltage Assembly sweeps the beams across the screen (way more rapidly than the vertical speed) and also supplies 26,500 Volts to the face of the CRT.
Symphony #1 for oscillators and internal combustion engine vibrations Live at the Athens Biennale,
June 27th,2009. A Lancia Y10 with a 1000cc f.i.r.e engine was used as the main
instrument. Additional vibration tests were made on a VW Kübelwagen at Kyriakidis
car lab in Athens, May 2009
The performance was part of ¨Live¨ exhibition curated by D.Papaioannou and
Z.Xagoraris for the Athens Biennale
Thanks to Yiorgos Kyriakidis, Kima Bo, Ektor, Nicolas, Anna Varoucha and all
the Biennale crew at Acharnon 8 and at the Esplanada
Performed,Recorded and Mastered by ILIOS
Cut by Peter King
Edition of 25 numbered copies copies,33rpm
Absurd#80
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
The model VFO-62 is a self-powered variable frequency oscillator for 6 and 2 meter operation. Front panel crystal control. The VFO-62 is designed to operate with most equipment using crystal oscillators operating in the 8- to 9-mc region or with most equipment using overtone oscillators in the 25- to 27-mc range. The VFO-62 can be connected directly to the crystal socket of existing commercial transmitters.
Dirty Electronics Mute Synth Mod with single LFO, switchable between either of the 2 oscillator and feedback. Beech ply case, polycarbonate panel.
I built this analog synthesizer, it’s a Sound Lab Mini-Synth Mark II designed by Ray Wilson at Music From Outer Space so I called it "MFOS MINI 2" to make it shorter :)
I added a triangle wave form to each oscillator using the Sawtooth To Triangle Wave Converter also designed by Music From Outer Space, as well as a built-in MIDI converter from MIDImplant.
I designed the front and back panels which are inspired by sndbyte www.flickr.com/photos/sndbyte/4899386667/ and made by Schaeffer AG in 3mm thick black anodized aluminium (texts and signs are engraved, not painted). The case is made of solid walnut wood.
This synthesizer is so interesting, creative and fun to play, thank you Ray for creating such nice devices and allowing everyone to build them!
Check his website : www.musicfromouterspace.com
3 oscillator "synth". One LM556 (salvaged from a rodent deterrent noise maker) provides 2 osc and one LM555 provides the third.
two are running in astable operation and with different ranges of frequencies. the third is running as "pulse position modulator" which i'm really not able to describe right but is in the LM555 datasheet.
each oscillator is adjusted with the potentiometers.
patchbay made from cut up pieces of a coat hanger, bent and patched with alligator clips.
each oscillator has one patch for output, one for CV in and one for "trigger/threshold". So each osc can be used to modulate the others or you can just run them all together into the output.
incorporated ideas from sqarewave parade's Blast Fed Disaster (basically an atari punk console with mods), and the horrible insect synth (on this page www.notbreathing.com/noise.html)
here's an crumby, unnecessarily long clip of it, i'm still getting the hang of it, so this doesn't show everything: drop.io/4kbwfik
Tunable power oscillator for driving ion guides / traps using twin tetrode QQE 06/40
Output 2-5 MHz sine(2 phases) 0-500 Vpp
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
This is a synth guitar I built from a second hand First Act mini electric guitar that I stripped down, and rebuilt using Ray Wilson's WSG synth schematics. With only one Wacky/Weird/Zany voice, and without the oddness filter (it can plug into guitar pedals for effects and filters.)
Two ribbon controllers on the neck control the wacky and weird oscillator frequencies. Controls where the pickup used to be effect the Zany oscillator, and switches near the neck control the wacky send and range.
The hand polished aluminum panels replace the original plastic ones.
THEREMIN: strumento elettronico / dal sito di Mr. Popescu www.benedict-popescu.ro
Question 1: Is this instrument your invention ?
Answer 1: It is quite an old idea, belonging to the Russian Lev Sergeivitch Termen (Anglicised to Leon Theremin). He invented the instrument immediately after the first world war (in 1919 actually) while a student at the University of Petrograd. At that time electronics was still very close to its beginnings. Theremin’s invention was, in fact, the first synthesis of an acoustic sound using electronic circuits. That’s why Leon Theremin is now recognised as being the parent of other electronic musical instruments (analog and digital synthesisers). As you probably realise, the instrument is not my invention, but it is 100% my own design (see the explanations concerning my style of play – the Answer to Question 10).
Question 2: What is the name of this instrument ?
Answer 2: It is called theremin, coming from the name of its inventor. The instrument was initially called the ‘aetherphone’, then the ‘thereminvox’ and finally it received the name of its inventor.
Question 3: How does it work ?
Answer 3: The theremin is based on the ‘beat frequency oscillator principle’ or heterodyne effect. The audio signal arises from the difference between relatively high frequencies of two oscillators - one having a fixed frequency and the other one a variable frequency. The variation of the oscillation frequency for the second oscillator is determined by the variation in capacitance of only a few picofarads between an antenna and the player’s hand. Two such pairs of oscillators are used in each theremin: one is to control the pitch and the other one is to control the volume. The player uses his (or her) hands to control simultaneously the pitch and the volume.
Question 4: Is the theremin sensitive to any body or hands movements around it ?
Answer 4: Yes. The theremin ‘feels’ the presence of any body, hands or even fingers (not only of the player, but of any other person or animal!) moving in its proximity.
Question 5: Is it difficult to play the theremin ?
Answer 5: Yes. The theremin is, in my opinion, the most difficult instrument to play. One difficulty comes from the fact that the performers have to move their hands in real time (sometimes with the precision of a millimetre or even less), the only control being the results of these movements. Another difficulty comes from the fact that, when the performer has to play higher and higher notes, the ‘spacing’ (or distance between hand positions in space corresponding to successive notes) becomes smaller and smaller, thus making the intonation of achieved notes less and less accurate.
Question 6: Does the player touch the theremin while performing ?
Answer 6: No, not at all. The player only touches the knobs for tuning the instrument before performance, but not during playing. The theremin is unique in that it is played without there being any physical contact whatsoever between the performer and the instrument. Therefore the theremin performer plays without the benefit of any tactile reference. Unlike, say, a violinist, who is in continuous contact with the instrument’s fingerboard, the thereminist feels no shape or force when moving from one pitch (or volume) to another. The performer is constantly moving his or her hands, listening carefully to how the resulting sound changes, and then intuitively ‘trimming’ the precise position of the hands to get the desired pitch and volume. The process is one of continuous feedback. Notably playing the theremin can produce music of great expressiveness. The player leaves his personal mark on the rendition.
Question 7: Does everyone have chances to become a good thereminist ?
Answer 7: Unfortunately not. There is a minimum of conditions without which it does not merit to try: you must have a perfect ear for music and a very precise control of hand motions.
Question 8: Anything else?
Answer 8: Yes. Practice, practice and again practice until you will be able to move in real time your hands for faster and faster melodies in order to play them with correct intonation. Even more practice (years and years) will be required until you can play with feeling (to be capable of transmitting a sentiment from your heart to the heart of those in your audience).
Question 9: Are there different styles in playing the theremin ?
Answer 9: Yes. First of all, as for any other instrument, there are right and left handed players. But not only this. Most people play the theremin in the 'classical' style. For the classical theremin the pitch antenna is placed vertically in the right hand corner of a wooden or otherwise non-conducting cabinet. The volume antenna, usually shaped as a loop, is normally placed horizontally on the left hand side of the cabinet. The player changes the pitch of the sound by moving the right hand in a horizontal plane near the pitch antenna. The closer the hand is to the antenna, the higher the pitch of the generated sound. The player controls the loudness of the sound by moving the left hand in a vertical plane near the volume antenna. When the hand is close to the antenna the instrument is silent and maximum volume is obtained when the hand is moved away from the antenna. As you will see below, in playing the theremin I use my skills as a musical saw player and I have my own style, which I believe is unique in the world.
Question 10: Is it important how you place in space the pitch and the volume antennae ?
Answer 10: No. In order to avoid the interference between the two antennae you must place them in perpendicular planes. What is different in my style of play is the fact that I have changed the configuration in space for the pitch and volume antennae in comparison with the 'classical' style. For my theremin I use two pitch antennae, placed in horizontal planes, of the same length but different thicknesses. This arrangement allows me to improve the ‘spacing’. In order to control the pitch I can play low notes by bringing my left hand from my body nearer to the lower antenna, and higher and higher notes by moving my hand from the low to the high antenna. The way of controlling the volume is inverted when compared with the ‘classical’ style. The volume antenna looks like a simple plate - placed in the vertical plane. When my right hand is away from the plate the theremin is silent and the volume increases to the maximum when my right hand is moved closer, to within two inches of the plate.
Question 11: What about the tone produced by the theremin ?
Answer 11: The tone of the theremin depends on the instrument model used. Some people prefer the tone of theremin made by RCA (Radio Corporation of America) in the nineteen-thirties using electronic tubes. The tone of this model is close to that of a violin. Some other people like rather a smooth ethereal tone. I personally prefer the second one which is likened to that of a musical saw.
Question 12: Is it possible to use the theremin to create sounds other than that of the theremin itself ?
Answer 12: Yes. You can interface your theremin with other (digital) sources of sounds (sound modules, samplers, computers, etc.) using a MIDI (Musical Instrument Digital Interface) and command with your theremin these devices to generate sounds of a large timbral variety. The only requirement is to own a fast and accurate enough MIDI device.
751.001 (T478.1001) at Oslavny, Grumpy Railtours "The Oslavany Oscillator", Zvl R 10062 0910 Brno-Královo Pole - Oslavany, 07/07/17
EndRun Technologies Meridian GPS Timebase VFD Display Closeup.
Overall, a far better value from both a functional and build perspective than Symmetricom's competing products. Symmetricom is now charging $350 for a single firmware update... making their product even more ridiculously expensive. Or, if you don't want to upgrade the firmware yourself, they will do it for (ready for this) $650.
This equipment for generating the BBC time signal, or 'pips', employed an internal atomic clock, and the means to compare it electronically with other, remotely-sited, atomic clocks. Installed at the Royal Greenwich Observatory at Herstmonceaux in 1970, it had a working life of 20 years, feeding its precise signals by wire to Broadcasting House in London.
The BBC's first broadcast of the 'pips', 5 February 1924, was encouraged by Frank Dyson, the Astronomer Royal, and Frank Hope-Jones, inventor of the 'Synchronome' electrically driven pendulum clock. Hope-Jones was an advocate of William Hamilton Shortt's 'free pendulum' clocks which were installed at Greenwich in 1924 and provided the signal for the 'pips'. These were replaced in 1949 by two quartz oscillators, and then by the atomic clock shown here. The BBC now has its own compact system of atomic clocks, linked by radio to international atomic time standards.
These developments were part of a long-term drive to supply the British public with a precise time reference. From the mid-nineteenth century onwards, standardised 'railway time' was first disseminated by telegraph, replacing a system of 'local times' whereby, for example, Bristol time was ten minutes behind London. From 1880, Greenwich time was made the standard for Britain and increasingly accurate clocks were employed to this end.
Various Artists
Monday 4 November, 12:00pm – 1:00pm
V&A Dundee
Juniper Auditorium
1 Riverside Esplanade
Dundee, DD1 4EZ
With a tide of change sweeping the globe and the socio-political landscape increasingly subject to crisis and change, automation, algorithms and AI are playing an influential role within this paradigm.
So who are we to trust? This panel of artists and technologists explores the complex anthropomorphic relationships we have with gadgets and robots and how this shapes our world view. The panel will include Kirsty Hassard, Jan de Coster, Professor Ruth Aylett and Julien Ottavi.
About the Panel
Kirsty Hassard is curator of the Hello, Robot. exhibition at V&A Dundee, which investigates how robots are helping to shape the world we live in, showing how design is a mediator in this relationship between human and machine. A relative newcomer to the world of robotics, she was previously assistant curator of Furniture, Textiles and Fashion at the Victoria and Albert Museum and was assistant curator on the Balenciaga: Shaping Fashion exhibition. She has an MA in History and a MLitt in Dress and Textile Histories from the University of Glasgow. She has lectured and published on the relationship between print culture and fashion in eighteenth century London and Paris.
Jan De Coster grew up with a vivid fascination for physics, science fiction stories and hacking stuff. In college he realized that all the stories around science were often far more appealing than the theory behind them, and in the mid 90’s he started on his first multimedia productions.
In 2007, Jan founded Slightly Overdone Robots, a production studio which explores the horizons of Human-Robot interaction, where he has been making interactive installations and Robots ever since.
On his quest to make Robots a more widely accepted creative medium, Jan is now teaching young and old about building Robots, focusing on the design and the process, and the way they make us feel.
In the late 90’s Jan De Coster started making interactive projects and physical installations, with a strong focus on storytelling.
Jan has a background in physics and engineering and worked at different Advertising agencies at the beginning of his career. In recent years, he started teaching and giving workshops and lectures about innovation, creativity and especially robots. These workshops have brought him to visit and engage with creative communities from Qatar to Mexico. His robots have been travelling the world as a part of different exhibitions and his social robots explore the meaning of human-robot interaction.
Prof Ruth Aylett – Ruth is Professor of Computer Sciences in the School of Maths and Computer Science at Heriot-Watt University. She researches Affective Systems, Social Agents in both graphical and robotic embodiments, and Human-Robot Interaction, as well as Interactive Narrative. She led three EU projects (VICTEC, eCIRCUS and eCUTE) in the period 2001-2012 applying empathic graphical characters to education against bullying (FearNot!) and in cultural sensitive (ORIENT, Traveller, MIXER). She also worked as a PI in the projects LIREC (investigating long-lived robot companions) and EMOTE (an empathic robot tutor). She led the EPSRC-funded network of excellence in interactive narrative, RIDERS. She is currently PI of the project SoCoRo (Socially Competent Robots) which is investigating the use of a mobile robot to train high-functioning adults with an Autism Spectrum Disorder in social interaction. She has authored more then 250 referred publications in conferences, journals and book chapters, and has been an invited speaker at various events, most recently AAMAS 2016.
Julien Ottavi – Doctor in Arts, Composer, Artist, Curator. A mediactivist, artist-researcher, composer / musician, poet and tongues destroyer, experimental filmmaker and an architect, founder and member of Apo33, Julien Ottavi is involved in research and creative work, combining sound art, real-time video, new technologies and body performances. Since 1997, he develops a composition work using voice and its transformation through computer. Active developer of audio/visual programs with Puredata, he has also developed since many years DIY electronics (radio transmitters, oscillators, mixers, amplifiers, video transmitters…etc) in the perspective of knowledge sharing on technological development. Main developer for the Gnu/Linux operating system APODIO for digital art and A/V & streaming diffusion. His practices is not limited to the art spheres but crosses different fields from technological development to philosophy / theoretical research, biomimetic analysis, robotics and experimentation. For many years he reflects on the relations between experimental practices and collective practices within the creation of autonomous collective groups, putting in question the authorship strategy of the “art ideology.”
In collaboration with V&A Dundee
Photography Kathryn Rattray
The BUC (Block Up-Converter) is part of the transmit chain of your VSAT. It is often located on the feed horn, but if it is a large BUC, it may be located at the base of the antenna and connected with RF conduits (waveguides). The BUC converts the modem's L-Band transmit signal into higher frequency C-Band signals, then amplifies it before it is reflected off the satellite antenna towards the satellite. In order to perform both of its functions, the BUC is composed of two individual components: the Local Oscillator and the Power Amplifier. The Local Oscillator performs the frequency conversion between the L-Band and the satellite frequency, such as C-Band. The resulting satellite frequency is calculated by adding the L-Band frequency to a number known as the Local Oscillator Frequency that will be stamped onto the BUC. A Local Oscillator Frequency of 4900 MHz is used for a non inverted spectrum, and a Local Oscillator Frequency of 7375 MHz is used for an inverted spectrum. A typical system will require a 2-watt BUC or higher, depending on the application. Although BUCs are available with very powerful amplifiers, it is unlikely that a VSAT installation will require more than 10W, even in less than ideal circumstances. SkyVision will provide you with the specific power requirements for your service.
SMS303 Tantek Tanrak (9 module Modular FX):
- Comp-Lim2
- Parametric Equaliser
- Enhancer
- Modulation Oscillator
Info:
Mid 1980's Tantek, Tanrak Studio Effects Rack which was available in kit form or ready built. These were bought as kits and put together by an electronics engineer. On the face of it, they're simple analogue effects - a bit old-fashioned, really - but that's the charm of them. They've perfectly useable and immediately accessible, so you'll have great fun fiddling with the settings - try sweeping the EQ frequency, or riding the delay time for on-the-fly munchkinisation, for instance.
Even better, you'll find new ways to patch the modules together. Everything - in, out and sidechain - is accessible from the rear panel (there's a default path from left to right across the rack if you don't want to use patch cords) so you can create LFO-modulated delay effects, frequency-sensitive compression ... you think of it, you can do it.
STEREO COMPRESSOR/LIMITER - A high quality stereo comp/limiter with variable input, slope, attack and release controls, and a switched 'key' input that can link both channels...handy for de-essing, ducking etc. It's pretty much 'invisible' when used as a limiter, only squeezing when the threshold is crossed (depending on the ratio setting). Great for laying vocal tracks, mix thickening, fattening up drums, percussions and bass. In fact, it can make anything sound 'phat' but still retains that important top-end clarity.
MODULATION OSCILLATOR - A CV modulation source whose features include sinewave output, variable duty cycle, key or CV controlled depth, triggerable sweeps and two independently variable outputs. Used with the muli-dealy to create chorus, flanging etc.
Testing the 1MHz "phase2" clock for the SID chip (6581), using the HP LogicDART. I've used a 16MHz clock oscillator module that I happened to have (desoldered from some long-forgotten PCB) and divided it down with a 74HC393 chip. The LogicDART is a hand-held three channel logic analyser with additional modes for voltage and frequency measurement, and for continuity and diode testing.
IBS Electronics, global electronics components distributor, is offering a comprehensive selection of electronic components and computer products. IBS Electronics is warehoused more than 1000,000 at any time. At IBS Electronics, you receive highest level of service, product selection, price and overall value unmatched in the industry.
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
Presenter: Michael Bernard, Senior Regional Instructor, Midwest Region at TD Ameritrade. The options workshop (1.5 hours) was pretty basic: buying calls, buying puts, covered calls writing, cash secured puts, LEAPS... It was followed by "Market trading tactics" Workshop (2.5 hours), covering: Moving Averages, Oscillators, MACD, RSI, DMI, Stochastics, Volume, Short Selling. And of course, TD Ameritrade's trading tools. Customers attending the workshop will get 5 free trades. Yay!
Developing a variation of the Atari Punk Console with added Low Frequency Oscillator (LFO) to give a vibrato effect.
Made using just CMOS digital logic ICs (no op amps).
The 1st panel includes 5 oscillators (1 high, 2 mid, 2 low) using two 4069 ICs.
The 2nd panel includes 2 frequency dividers using the 4040 and 4020 ICs.
The 3rd panel includes a bunch of logic gates using 2 4019 ICs. Also, there is a 3 input resistor mixer and 3 input diode mixer.
The 4th panel includes 2 filters using 2 inverter gates from the 4069 IC in panel one. There is also a passive mixer with volume control and an output jack.
'Oscillator Bank', 'Waveform': mad-scientist lingo for unsuspecting musicians back in 1970.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.