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ondes martenot
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Infrablue



Joined: Dec 29, 2011
Posts: 123
Location: Utah

PostPosted: Wed Feb 20, 2013 7:14 pm    Post subject: Reply with quote  Mark this post and the followings unread

Finger resting on a note pearl: (it feels equally telling when my finger is resting between any of the pearls... the actual printed keys show the white keys on a piano... a little odd but worked out best for that small and just took a minute for my mind to lock it down while playing).

Posted Image, might have been reduced in size. Click Image to view fullscreen.

Finger not touching pearl, just smoothly playing alone edge of the keys on the printed keyboard:

Posted Image, might have been reduced in size. Click Image to view fullscreen.

Last edited by Infrablue on Wed Feb 20, 2013 7:22 pm; edited 3 times in total
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Infrablue



Joined: Dec 29, 2011
Posts: 123
Location: Utah

PostPosted: Wed Feb 20, 2013 7:15 pm    Post subject: Reply with quote  Mark this post and the followings unread

frijitz wrote:
Infrablue wrote:
On my Ribbon with pearl references it's nice because I can feel those note points if I want and I can also change the angle of my hand and ignore them and just have a smooth ribbon to glide up and down.

I guess this is pretty dumb, but I still don't get the ribbon on the eowave. How big is it, and where is it located relative to your printed keyboard and the pearls? I've looked and looked and haven't been able to find its dimensions anywhere.

Thanks!

Ian


Here is the sensor used in the Eowave Ribbon, which is what I modified. I think it's that softpot that is out there and even used with the Doepfer ribbon controller. This image shows the sensor under the Ribbon, but here mounted on something maybe sightly wider than the Ribbon instrument but close.

Posted Image, might have been reduced in size. Click Image to view fullscreen.


On my mod, contact with the pearls doesn't actually touch any sensor. My finger just rests lightly if at all on the pearl and my finger tip presses down in the very center of the keyboard image (which is right where the bottom of the printed little keys is).

The width of the ribbon's printed area is 7/8ths of an inch and the center 3/8ths of the width is were the sensor sits beneath the printed part.

With it like this I'm only getting sensed if I'm nicely right in the center of the width, which turns out was another great reason for the pearls and the printed keys... the key edge image shows me not just where the note generally is, but where the ribbon center, the sensor is. Also the feel of the pearls similarly gives a note reference and a feel of the center.

I do find myself not looking all the time, and it does come down to the ears. Though I have a lot of more practice to do on it really. For sure, the pearls and image turn out to be an aide to get there but intonation comes down to the ear, as you say. Especially since any fixed printing on a ribbon, Martenot or any contiuum is pretty much a well tempered clavicord when it comes to intonation. Each note needs to be adjusted slightly within the key of the music.

Also... I like very small notes widths on my Ribbon, which makes large movements do much more to the pitch. I love this for what it does to vibrato and dives and rises, but it does mean I need to really monitor the pitch more carefully. To contrast this, on my DIY Martenot ring controller I'm having key lengths probably to end up about a half an inch, which is at least double what I use on the Ribbon.

I'm still just playing the Martenot Ring/loop a lot before committing to a key size, just so I can have it just right where it works best for me.
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frijitz



Joined: May 04, 2007
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PostPosted: Wed Feb 20, 2013 7:27 pm    Post subject: Re: thanks Reply with quote  Mark this post and the followings unread

Infrablue wrote:
The width of the ribbon's printed area is 7/8ths of an inch and the center 3/8ths of the width is were the sensor sits beneath the printed part.

Thanks for the info. I was just on the SpectraSymbol website, and it seems they no longer specify what the width is! The stock one I have is close to 7mm overall, ie close to 1/4". So if the EoWave is 3/8", that's a huge difference.

And really the sensors are sitting on a flat surface without any kind of groove for guidance? Boy, that sounds hard to play!

Ian
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Infrablue



Joined: Dec 29, 2011
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PostPosted: Wed Feb 20, 2013 9:14 pm    Post subject: Re: thanks Reply with quote  Mark this post and the followings unread

frijitz wrote:

And really the sensors are sitting on a flat surface without any kind of groove for guidance? Boy, that sounds hard to play!

Ian


It is a bad aspect of the Eowave Ribbon and does make you need to keep an eye on it to play it. Still quite playable though, but a downfall on that aspect.

I didn't even realize that until I put the pearls on and realized...."oh, now I can feel just where the censor is!" It really fully countered that issue.
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Infrablue



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PostPosted: Sun Mar 17, 2013 2:01 am    Post subject: Reply with quote  Mark this post and the followings unread

The first live clip in this demo is a keyboard/ribbon approach that was inspired by the Martenot. In this case the filter stays shut until a key is hit with the left hand, but most of the pitch motion is handled by the right hand on the ribbon.

Left hand is doing articulation, though just envelope triggering... but it does make for a different effect. Keys also change to boost the range of the ribbon so to speak.

There is first some opening credits, then into the live demos..
http://www.youtube.com/watch?v=eh1-A_dYY6Y

This voice is then used at the end of the video... here is the 1 and a half minute piece I made for the end credits, it melodically features that same key/ribbon alien singing voice... this time quite a bit higher. Makes for a good biological sound.

The alien singing sound played on the ribbon is using an FM formant tone that is modulated through different vowel shapes simultaneously by ribbon position as well as a slightly random sine lfo... nothing too drastic or fast.

Soundcloud recording...

https://soundcloud.com/monkeydrums/vactrol-storm
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Infrablue



Joined: Dec 29, 2011
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PostPosted: Fri Mar 22, 2013 7:28 pm    Post subject: Reply with quote  Mark this post and the followings unread

Breath controlled Martenot demo video...

http://www.youtube.com/watch?v=ZY3FwFswrAc

Still a work in progress, but along enough for some fun playing on it... breath controlling the volume/filter brightness and pitch on a ring/pulley controller like the martenot.

Warning... there is some heavy interpretive dance in this video.

Thanks for having a look!
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frijitz



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PostPosted: Fri Apr 19, 2013 9:24 pm    Post subject: Reply with quote  Mark this post and the followings unread

Brief demo of my from-scratch ribbon controller now on u-tube:
http://youtu.be/th9v66KzUCI

I'm doing reasonably well learning to play it with just some dots marking the note positions. I looked up some steel guitar demos -- they just have lines indicating where the frets would be. Nothing tactile, as far as I can tell.

Ian
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Infrablue



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PostPosted: Sat Apr 20, 2013 1:33 am    Post subject: Reply with quote  Mark this post and the followings unread

frijitz wrote:
Brief demo of my from-scratch ribbon controller now on u-tube:
http://youtu.be/th9v66KzUCI

I'm doing reasonably well learning to play it with just some dots marking the note positions. I looked up some steel guitar demos -- they just have lines indicating where the frets would be. Nothing tactile, as far as I can tell.

Ian


Ian,

As always you have built an incredible piece from the ground up. Looks great and from all your approaches and research, sounds like it is optimized well for a good feel and response. I've even myself looked up medical tape to use on these things after seeing your recommendation on it.... the feel is so important. I'm always impressed with your great work and incredibly scientific approaches.

On the tactile... I have finally put my own tactile references on my Martenot and enjoying how it works. But on my ribbon I'm about to remove them and go with just the visual notes. For some reason with all my practicing I'm just finding it works better for me on that one without... which is a big reversal for me, just after a lot of practice. So I'm going with just visuals only, like you suggest with a slide guitar etc.... or as you know from being a cellist even.

Been practicing both and fairly soon have some demos of the completed instruments.

Great stuff though! I'd love to see you do some with your breath controller as well... with ribbon and the Stealth instruments.... they look amazing.

Keep up the great work!
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frijitz



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PostPosted: Sat Apr 20, 2013 12:06 pm    Post subject: Reply with quote  Mark this post and the followings unread

Infrablue wrote:
Looks great and from all your approaches and research, sounds like it is optimized well for a good feel and response. I've even myself looked up medical tape to use on these things after seeing your recommendation on it.... the feel is so important. I'm always impressed with your great work and incredibly scientific approaches.

Many thanks for the kind words. This is always very encouraging for me. The tape I'm using right now is 3M Nexcare "flexible clear". (Hospital name: 3M Transpore Surgical Tape.) While trying to clean off some ink markings I had made on it, I discovered that rubbing alcohol softens it slightly. So you can reduce the bumpiness to get the feel you like! It's scary at first, because the tape sags a bit, but it pulls back up tight when it dries completely. I also found that I can get rid of small wrinkles by softening it with a heat gun -- a trick the screen-door guy taught me!

Quote:
On the tactile... I have finally put my own tactile references on my Martenot and enjoying how it works. But on my ribbon I'm about to remove them and go with just the visual notes. For some reason with all my practicing I'm just finding it works better for me on that one without...

Aha! Exactly what I found. Good to hear the confirmation. I think I have some idea what is going on here. When you play an instrument you always have to anticipate what is coming. Now, with your brain you can "think ahead", and with your eyes you can "look ahead", but you can not "feel ahead". Simple as that? For me, the sensation is that you are always feeling the bumps/frets/whatever too late. This causes confusion about timing. On a fretted instrument this doesn't matter, because you finger just needs to be between the frets. IOW, the frets are a mainly a pitch quantizer, and it is your brain's kinesthetic memory that allows you to hit the correct position. Well, that's my current theory, anyway. It doesn't really explain what is going on with the Ondes. Maybe the sliding friction is so low that your kinesthetic memory doesn't work as well? Maybe you could try the surgical tape on the ondes?

Let me know what you think. This all is really interesting to me.

Ian
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Infrablue



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PostPosted: Sun Apr 21, 2013 1:18 am    Post subject: Reply with quote  Mark this post and the followings unread

frijitz wrote:
Infrablue wrote:
Looks great and from all your approaches and research, sounds like it is optimized well for a good feel and response. I've even myself looked up medical tape to use on these things after seeing your recommendation on it.... the feel is so important. I'm always impressed with your great work and incredibly scientific approaches.

Many thanks for the kind words. This is always very encouraging for me. The tape I'm using right now is 3M Nexcare "flexible clear". (Hospital name: 3M Transpore Surgical Tape.) While trying to clean off some ink markings I had made on it, I discovered that rubbing alcohol softens it slightly. So you can reduce the bumpiness to get the feel you like! It's scary at first, because the tape sags a bit, but it pulls back up tight when it dries completely. I also found that I can get rid of small wrinkles by softening it with a heat gun -- a trick the screen-door guy taught me!

Quote:
On the tactile... I have finally put my own tactile references on my Martenot and enjoying how it works. But on my ribbon I'm about to remove them and go with just the visual notes. For some reason with all my practicing I'm just finding it works better for me on that one without...

Aha! Exactly what I found. Good to hear the confirmation. I think I have some idea what is going on here. When you play an instrument you always have to anticipate what is coming. Now, with your brain you can "think ahead", and with your eyes you can "look ahead", but you can not "feel ahead". Simple as that? For me, the sensation is that you are always feeling the bumps/frets/whatever too late. This causes confusion about timing. On a fretted instrument this doesn't matter, because you finger just needs to be between the frets. IOW, the frets are a mainly a pitch quantizer, and it is your brain's kinesthetic memory that allows you to hit the correct position. Well, that's my current theory, anyway. It doesn't really explain what is going on with the Ondes. Maybe the sliding friction is so low that your kinesthetic memory doesn't work as well? Maybe you could try the surgical tape on the ondes?

Let me know what you think. This all is really interesting to me.

Ian


Ian, I really think you are right on to it with the "feeling ahead" dilemma there. In my mind, I was finding that I didn't like being nearly forced to "pay attention" to both sight position and feeling position and this really rings true as to why.

With the ribbon, they have to be sooo near to each other and that forces it. With the Martenot, I found a keyboard image that looked so differently from what I feel really confused me, actually gave me slight motion sickness.. lol. Really. So instead I made a more seeable (from moving it upward) mirror image of exactly what I was feeling.

This helped, but what it really opened up was a smooth path along the wood of the martnot between them and I end up most of the time just gliding alone that and occasionally landing on a tactile note. It's working well, and does support the disconnect with inability to feel ahead/anticipate with feeling sensations.

I've never played a real Martenot and would be interested to try and see how this goes. I just love a smooth surface for a continuum. I'll dig up some photos of my notes on my Martenot. The instrument is nearly finished and I'll have some demos up pretty soon.

But with the visual and tactile notes there now... I am finally really hitting notes intentionally and able to do melodies from the written page, so to speak.

I've been also mindful of the fact that on a cello, for instance, it helps intonation to have a smooth continuum. Notes within a given scale are tuned slightly differently, and having the Martenot or ribbon be a "well tempered clavichord" is not really the best goal. So I am finding any references are nice to get you in the neighborhood, but then it really needs to still be ear driven.

That scares me a little, being more proficient on trumpet and piano (which switch you right to the note virtually) and newer to continuum instruments like a cello etc. But I'm really enjoying what it forces my ear to do. And it's so expressive and human.

I don't play cello or any strings... everyone else in my imeediate family does but not me. But for a year I have been playing a slide trumpet (or soprano trombone) and that slide does the same things to my ear and mind that the ribbon and martenot do, if I let them be unrestrained with too much tactile stuff.
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Infrablue



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PostPosted: Sun Apr 21, 2013 1:47 am    Post subject: Reply with quote  Mark this post and the followings unread

My Breath/Martenot style instrument is nearly done. Video demos may happen pretty soon. Practicing tons.

The following is quoted from my site, ThePinesofMars.com...

"...."Choices" joystick module into my Breath Ring and Breath Ribbon controllers. They both actually use the same trill box, which attaches with industrial strength velcro quite effectively, and the same Choices module, which set's into a rectangular hole and stays put nicely. Both easy to switch over. I'll have some video demos up of them both like this soon.

Placement makes it comfortable to do the trill keys with the fingers while nudging around the joystick with the thumb.

There will be many uses for the joystick but the one I'm excited to get working is running a Grendel Formant Filter, which will real time allow for smooth vowel transitions... singing aliens etc.

Update... a few days later finished putting on the visual/tactile note references on the Breath Ring. The finger glides right down the middle of the mirror image arrangement of these. Nice and smoothly or lowered slightly to feel the notes. "

Posted Image, might have been reduced in size. Click Image to view fullscreen.

Posted Image, might have been reduced in size. Click Image to view fullscreen.

Posted Image, might have been reduced in size. Click Image to view fullscreen.

Posted Image, might have been reduced in size. Click Image to view fullscreen.

And newer hardware added in the last few days... touch sensitive octave buttons for arpeggios (in 2 patterns) and some other stuff... everything there has a job to do, if only occasionally in the music.

Posted Image, might have been reduced in size. Click Image to view fullscreen.

Posted Image, might have been reduced in size. Click Image to view fullscreen.

Posted Image, might have been reduced in size. Click Image to view fullscreen.

And a shot of the Ribbon instrument, which is pretty much finished... though soon I'm removing the black half pearl tactile references.

Posted Image, might have been reduced in size. Click Image to view fullscreen.
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mosc
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PostPosted: Sun Apr 21, 2013 1:01 pm    Post subject: Reply with quote  Mark this post and the followings unread

wow!

Beautiful work...

Must hear music...

_________________
--Howard
my music and other stuff
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frijitz



Joined: May 04, 2007
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PostPosted: Sun Apr 21, 2013 6:55 pm    Post subject: Reply with quote  Mark this post and the followings unread

Infrablue wrote:
Ian, I really think you are right on to it with the "feeling ahead" dilemma there. In my mind, I was finding that I didn't like being nearly forced to "pay attention" to both sight position and feeling position and this really rings true as to why.

That brings up the question of whether sensory overload is also involved. I've tended to think not, because other instruments have much higher bit rates.

Quote:
With the ribbon, they have to be sooo near to each other and that forces it. With the Martenot, I found a keyboard image that looked so differently from what I feel really confused me, actually gave me slight motion sickness.. lol. Really. So instead I made a more seeable (from moving it upward) mirror image of exactly what I was feeling.

I like your mirror idea! On my small ribbon I have dots both on the ribbon and above it. I confuse myself trying to decide which one to watch!

Quote:
I've never played a real Martenot and would be interested to try and see how this goes. I just love a smooth surface for a continuum.

One thing I've been wondering about. Would one of the advantages of the depressions on the Martinot be that you can anchor there while doing vibrato. It seems that's an advantage of using a ring -- because of the lever arm.

Ian
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axg20202



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PostPosted: Mon Apr 22, 2013 12:50 pm    Post subject: Reply with quote  Mark this post and the followings unread

Interesting thread. Getting back to Dana's design, I'm wondering what other off-the-shelf precision CV offset solutions could be used instead of the synthesisers.com Q125 module Dana used? Anyone got any ideas on this? I'm tempted to just buy one of these for my build but wondered if there were any good alternatives.
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frijitz



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PostPosted: Mon Apr 22, 2013 1:07 pm    Post subject: Reply with quote  Mark this post and the followings unread

axg20202 wrote:
Interesting thread. Getting back to Dana's design, I'm wondering what other off-the-shelf precision CV offset solutions could be used instead of the synthesisers.com Q125 module Dana used? Anyone got any ideas on this? I'm tempted to just buy one of these for my build but wondered if there were any good alternatives.

This can easily be done with standard, simple opamp circuits. So why not DIY it?

Ian
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axg20202



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PostPosted: Mon Apr 22, 2013 2:24 pm    Post subject: Reply with quote  Mark this post and the followings unread

Indeed. Many posts back there is a link to another thread that contains a schemo and board layout that might do the trick, but sadly no PCB image - the actual PCB is available for only $5 but there is a minimum order requirement and I'm in the UK too. I know its a simple enough circuit, but my time is valuable and limited. Would be great if someone knew of a PCB image for this that is ready to etch.

Here's the link again for convenience.

http://www.electro-music.com/forum/topic-34895.html&sid=ac4fc0276425300a5b4a1d63ad1419cf
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Infrablue



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PostPosted: Tue Apr 23, 2013 1:07 am    Post subject: Reply with quote  Mark this post and the followings unread

frijitz wrote:
One thing I've been wondering about. Would one of the advantages of the depressions on the Martinot be that you can anchor there while doing vibrato. It seems that's an advantage of using a ring -- because of the lever arm.

Ian


For sure it's a huge advantage to use the arm for vibrato as opposed the a wrist or other muscle group. This shows up in the trumpet and EVI...

Ian, on the cello, there appears to be a lot of wrist movement but isn't it also being greatly driven by the whole arm?

Also... the arm side to side resting on anything solid seems steadier with vibrato than the whole arm up and down for sure.

My father was talking to me about the Martenot I'm making and about how I'm trying to take ergnomics and playing comfort into account and he shook his head and said, "The violin is the most non ergonimical instrument ever." He's a really great violinist and he could appreciate how electronic instruments, with all their possible limits and differences, were sure nice for ergonomics by not demanding physical shapes to alter tone and playability. As a violinist he's had to really learn to contort some muscles with firm strength and then be able to relax others and breath and play peacefully.
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Infrablue



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PostPosted: Tue Apr 23, 2013 1:23 am    Post subject: Reply with quote  Mark this post and the followings unread

axg20202 wrote:
Indeed. Many posts back there is a link to another thread that contains a schemo and board layout that might do the trick, but sadly no PCB image - the actual PCB is available for only $5 but there is a minimum order requirement and I'm in the UK too. I know its a simple enough circuit, but my time is valuable and limited. Would be great if someone knew of a PCB image for this that is ready to etch.

Here's the link again for convenience.

http://www.electro-music.com/forum/topic-34895.html&sid=ac4fc0276425300a5b4a1d63ad1419cf


Axg20202, I use a ten turn pot (same one Dana used) and plug it into a powered socket on a Moogerfooger CP-251.

Doing it this way gives more of a parabolic curve, but gets more linear if you use fewer turns. It also appears if you just replace the attenuator pot (much like Dana did) on the CP-251 it would be fully linear, as the pot it's self is.

I got things very close to linear and then relized I missed the curved response as I really love having very narrow higher range note intervals for some of the "spacey" playing techniques I do. Also because different intervals have thier own strenghts and weaknesses and it's nice to have them all available.

Pretty much, close notes give more control over wide vibrato, dives and rises, and wider note intervals make accuracy much easier. On my instrument right now I have 8 octaves accross the board at once, 5 or so of them are nicely playable with accuracy with a variety of note widths, and then I can switch the whole range up and down through 3 octaves. Thought about having it 5 switchable octaves but three is doing fine.

Seems linear would be better if this were mass produced, but I really love the curve... much to my surprise. Takes some keeping track and practice but I love what it has added to some of the technique.

I grew up playing a trumpet model which had great tone but was known to not slot the notes so well as far as tuning goes. So I was always having to lip up or down certain notes. In time, muscle memory just took care of this and I did it without thinking about it. I'm finding I'm slowing having this happen with the Martenot with the different zones on the curve. But again, for a mass produced instrument this may meet to some frustration, and tastes vary for sure.

Later in life I got a more standard pro trumpet and was just stunned at how it tuned it's self per note. But then I had to really concentrate on tone more.

But anyway... from what Dana did so well, perhaps replacing the attenuator pot on about any standard module may just do the trick. I'm so terrible at electronics I can't even build an op amp so I have gone these sorts of directions.

Guys like Ian could mine and smelt thier own metal and build and power a synthesizer in a junge with a few wooden tools and a few captured electric eels. I design and play alright, but I sure admire those who can make if all from the ground up for sure. Not to mention, know the science and formulas inside and out.

Last edited by Infrablue on Tue Apr 23, 2013 3:35 am; edited 1 time in total
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Infrablue



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PostPosted: Tue Apr 23, 2013 1:43 am    Post subject: Reply with quote  Mark this post and the followings unread

My instrument is so close to finished. Tonight I put together a breath controller mount to some good headphones, so I'm no longer just putting a tube in my mouth for the articulation. Plays really comfortably and used about $5 bucks of gardening parts from Home Depot. Gonna make another that doesn't have headphones on it. Also plan to cut off the extending end of the T joint that is superfluous. The boom support is 12 gauge solid wire. And it looks so evil scientist-hip that I'm seriously considering taking up smoking.

Posted Image, might have been reduced in size. Click Image to view fullscreen.

Posted Image, might have been reduced in size. Click Image to view fullscreen.

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Infrablue



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PostPosted: Tue Apr 23, 2013 1:46 am    Post subject: Reply with quote  Mark this post and the followings unread

So close to done. All this started seeing Dana's DIY info and photos on this thread, and I didn't think I could get there but so glad I tried. Used tons of his ideas in this.

These days Dana is working hard on his own instrument in some truly amazing, successful directions very different from my own. Good stuff is coming...
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Infrablue



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PostPosted: Tue Apr 23, 2013 2:22 am    Post subject: Reply with quote  Mark this post and the followings unread

mosc wrote:
wow!

Beautiful work...

Must hear music...


Thank you! Music is coming... Smile
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axg20202



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PostPosted: Tue Apr 23, 2013 3:20 am    Post subject: Reply with quote  Mark this post and the followings unread

@infrablue

Thanks for the insight. I've now changed my mind and decided that I may as well create a PCB layout so that others might benefit. Seems crazy to spend money on a ready-made module for something so simple. I already have a 10-turn linear pot, so once I've created a working circuit, I'll post it here for those that can etch their own PCBs. Even for small circuits, its what I prefer to use. It seems what is lacking is a step-by-step guide on how to build one of these things, a BOM etc. I will try and do this. All credit to Dana for the approach and to Dave Kendall for posting his schemo and layout.

@Dave Kendall - if you are reading this, are you OK with me making a new PCB layout based on your post and posting it here?
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frijitz



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PostPosted: Tue Apr 23, 2013 9:50 am    Post subject: Reply with quote  Mark this post and the followings unread

Infrablue wrote:
Ian, on the cello, there appears to be a lot of wrist movement but isn't it also being greatly driven by the whole arm?

Yes, but mostly lower arm.

Quote:
Also... the arm side to side resting on anything solid seems steadier with vibrato than the whole arm up and down for sure.

I've been practicing vibrato on my ribbon to try to get it better. Having a horizontal surface actually seems to make it harder for me. Probably just because I'm not used to it yet. It needs more of a rolling motion as opposed to just side-to-side, which is what I have been doing.

Quote:
"The violin is the most non ergonimical instrument ever." He's a really great violinist and he could appreciate how electronic instruments, with all their possible limits and differences, were sure nice for ergonomics by not demanding physical shapes to alter tone and playability.

Some people say you should start violin very young so your arm/hand can actually grow into that horribly contorted position! I've been practicing "The Swan" and every time I have to reach up to the highest note I chuckle to myself, because it is sooo difficult on cello. Of course having every note the same has the disadvantage of a boring lack of character. That's why I usually play my wind controller through a filter bank.

Ian
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Dave Kendall



Joined: May 26, 2007
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PostPosted: Tue Apr 23, 2013 2:48 pm    Post subject: Reply with quote  Mark this post and the followings unread

axg20202 of course, go ahead - it's a pretty standard circuit. You could add another 47pF cap in parallel with the 200K, and the 1k can be a 330 ohm resistor to bring it more in line with modern practice.
If its output is hardwired to the next stage, you can omit this resistor - it's only there as protection for the opamp when patching.
BTW, the new version CGS43 gives you seven of these circuit blocks on a single 10-dollar board!

Dana, Ian, Infrablue and all - Cool and inspiring thread indeed! - really amazing and beautiful work. Smile

cheers,
Dave

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axg20202



Joined: Mar 11, 2013
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PostPosted: Tue Apr 23, 2013 3:26 pm    Post subject: Reply with quote  Mark this post and the followings unread

Great. I've almost finished drawing the PCB. Yes, the penny dropped that I will need two of these circuits side-by-side (one to generate the sliding pitch of the ring, feeding into a second to tune it overall). I'll also be adding a 16-pin header for eurorack power.

The tough part of the design will be the volume control - there is no simple solution for this. It's a shame the guy that posted his coloured film button design only stopped by to post that one comment and photo but no details.
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