- Can’t solder to conductive thread. It is best to create wire rings and loop the conductive thread around it many times to ensure a good connection
- Hot glue can be used as a strain relief for wires attached to the circuit. I used hot glue to relieve the strain on the piezo sensor solder joints
- Hot glue can be used as strain relief on snaps, too
- To sew very short stitches, push the point of the needle slightly into the fabric, then push your finger against it to make the needle point exit the fabric again
- When sewing on snaps and sewing conductive thread out from the snap (as opposed to terminating a conductive thread trace at a snap), tack one side of the snap down with non-conductive thread. Tie a knot in the end of the conductive thread and sew the conductive thread in the middle of the spot where the snap is being sewn. The messy knot should be on the outside of the garment. This is useful because it allows more control over the frayed ends of the conductive thread. It keeps them underneath the snap on the outer surface of the garment rather than exposed on the inside.
Friday, February 16, 2007
Wednesday, February 14, 2007
Tuesday, February 13, 2007
Ahn reviewed my prototype v1.1 on Saturday afternoon. The following are notes I took.
- He didn’t understand that the “|30″ notation indicated the current memory position
- He wanted to see the entire memory displayed as it is entered; had the idea to display each of the thirty characters as a smaller font
- He would like the < and > butons to auto repeat
- He originally thought the LED indicators meant there were three independent character sets
- I was reluctant to make any enhancements to the program… I already had so much invested in the program and tried to defend having to do more work.
- Ahn believes that reviewing the character memory would be a very useful enhancement to the prototype
- What about a pressable jog dial?
- I spent a fair amount of time explaining the operation to Ahn. This leads me to believe that the prototype as proposed is not as intuitive as it could be; one downfall is once you’ve entered a character, you can’t go back and erase it. On the real machine you can.
After we met, I revised my software:
- Prototype now starts up in alpha entry mode which it didn’t before. This gives the user a frame of reference to start from.
- Implemented auto repeat for the < and > keys
- Added “Not available” message for buttons that aren’t implemented
[ Here is the latest version of the program ]
I also need to explicitly state the task I want users to accomplish, ie. “Please enter ‘JACK.SMITH’”
Sunday, February 11, 2007
I found this lovely little item at the Family Dollar for $5. Coupled with a pair of pants for $3.75, I think I have the makings of a pair of percussion pants.
Sunday, February 11, 2007
Making a solid prototype takes time. I thought my prototype from last week was fairly solid, but now the switches won’t move at all.
When I began planning my work, I had in mind something that would look like a cutaway from the side of the sewing computer:
I thought I would try to make a skin out of polymer clay in order to accomplish the feel of the real device. If I was analyzing the ergonomics of the device I would definitely concern myself with the form (and perhaps materials).
I started off by transferring the button spacing from my breadboard onto a perfboard. To do this, I took my buttons off the breadboard and punched them through the paper label that was covering them.
Once the buttons were placed with the proper spacing, I soldered them onto the perf board and ran wires. To keep things neat, I soldered a 7-conductor ribbon cable to the top of the board. I debated about whether it was better for the cable to stick out of the top or the bottom, but ultimately decided on the top so the prototype could sit flat on its side.
Three hours later, after drilling, cutting, and wondering if I should have drawn things out first, I had a solid prototype. The way I’m used to working, at least when I work with wood, is to draw detailed plans before beginning. Although I had an idea in my mind (see above sketch) of how the prototype was going to come together, I didn’t know how all of the layers were necessarily going to get connected. When I discovered that I didn’t have enough standoffs and the right size screws to attach them, I had to keep improvising. It reminded me a lot of playing with Legos when I was younger. I always seemed to run out of the one length of axle I needed and had to piece things together another way. In short, I wonder if it takes more time to hack something like this together, or to draw out detailed plans and then construct it.
It is definitely my tendency to want to lay things out in Visio or sink some serious time into Sketchup (even though I don’t know it very well). Since I was working at home and didn’t have the precision of the drill press, I felt that I might as well just improvise and keep working rather than wasting the day drawing plans I wouldn’t need to use again. Yes, I would have had nice illustrations for my blog, but it wasn’t worth the two or three additional hours. It’s all about the constraints, right? Today’s constraint was time.
After assembling the unit, I covered the button with cardboard to prevent electrical shorts. I didn’t have long enough screws to go through the bottom of the IPAC2 and a sheet of acylic.
Lest I should give the impression that this week’s assignment came and went without the requisite burst of madness, I did try to create buttons for my prototype.
That’s right, I sculpted buttons… and they would have worked, but I ran out of steam when I realized I was going to need to drill another six holes in another sheet of acrylic. I may attempt this feat again before Tuesday. This is contingent upon first tweaking my code to recognize the new button assignments. The physical construction of the prototype encouraged a different wiring scheme from the one I used on the breadboard.
Sunday, February 11, 2007
I’m working with Ji-Sun Lee and Ai-Chen Lin on a “secret tree” for Living Art. Our assignment is to “Make a Random.”
You can approach the tree and tell it a secret; in fact, it may be that the tree needs to be told secrets in order to stay alive.
Ji-Sun has already constructed a prototype tree.
Ai-Chen and I have been working on MAX/MSP and Arduino code prototypes to record the secrets and transform them into lights on the tree.
Friday, February 9, 2007
I’ve updated my operational prototype with the LEDs as Amit suggested in class. After trying them out, it seems I need to determine how they should behave after I’ve pressed the “A” button and I’ve used the “>” or “<" to go out of the range of the characters indicated by the new LEDs.
Options:
- LEDs only stay on after “A” is pressed until the “>” or “<" buttons are pressed
- LEDs always reflect the current position in the character set
What do you think?
I’m also wondering for the final prototype if I need to expose the “mem” and mem “<” buttons. They are not completely necessary for the operation I want to work with: setting the name. The “<” button allows review of the current items in memory. Is the idea here to simulate everything or just enough to show the concept we’re trying to improve?
Friday, February 9, 2007
Last week, Peter assigned us readings from John Cage and Luigi Rossolo.
Cage’s thoughts on the need for new instruments in “the future of music: credo” parallel Rossolo’s in “The Art of Noise.” Both men anticipated the development of flexible synthesis techniques by which sounds of any character might be constructed. I’m not sure when Russolo wrote “The Art of Noise,” but I imagine it was in the late 1800s. While he didn’t have the technological vocabulary to describe some of the concepts Cage was promoting, he described synthesis in his own way.
I’m personally in favor of a hybrid of these techiques, where recorded sound combines with generated sound.
Cage’s writing style intrigued me. I found I could read his section headings by themselves as a coherent statement or read them as introductions to the body paragraphs. I don’t believe I’ve seen written composition like that before.
I didn’t agree with Russolo’s dismissal of all musical sound as banal. While his interests lay in moving farther and farther away from traditional music and into the complete freedom of pure sound, I continue to be moved by the live performance of music by a human person.
Wednesday, February 7, 2007
Sample 1: Additive Synthesis
I started playing around with this right after class last week and had it in mind to make some sort of nasty sounding bass patch. I used envelopes to control the frequency and DC offset of the oscillators. I can’t seem to predict, though, how the envelopes actually get used. The way I think it should work is that the metronome kicks off the envelopes and the frequencies I drew should be smoothly sent to the cycle~ object. That’s what happens, except that the full envelope I drew doesn’t get used.
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01 – Rumble.wav MAX/MSP Patch |
Sample 2: Ring Modulation
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Ring Modulation.wav MAX/MSP Patch |
Sample 3: FM Fwub Bass
I modified Peter’s FM patch to ramp the modulator amplitude between 20 and 250 over 1 second. This, in combination with the other modulation parameters, yielded a flappy bass sound.
Sample 4: FM Grow Tone
Using the FM synthesis patch again, but this time with different parameters, I created bass tone using a sine wave that evolved with a sound like a resonant filter sweep.
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03-FM_Fwub_Bass.wav 04-FM Grow Tone.wav MAX/MSP Patch |
Sample 5: Faux Scratch
I discovered an interesting sound by scraping the first modulator frequency between -20 and 20. It made the sound burble a bit and sound almost like a turntablist scratching.
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05 Faux Scratch.wav MAX/MSP Patch |
Sample 6: Blippy
Blippy, Atari-like noise sample. This one makes use of the modulo function to create the nasty repeating, yet random, blips.
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06 Blippy.wav MAX/MSP Patch |
Sample 7: Metallic Additive “Feedback”
I took a look in the MAX/MSP documentation folder and looked through the tutorial pages. There are tutorial topics on all of the synthesis techniques we looked at in class along with some helpful patches. I took the additive synthesis patch and started hacking away at it to see what I could produce. The tutorial contains a subpatch called “partial~” which encapsulates some of the basic elements of an oscillator so the patcher doesn’t get so messy. The first patch I created with my modifications uses a fundamental frequency and makes two sets of tone clusters, one of which is subltey randomized. I find that this sounds a bit like feedback in a PA system, but with some interesting pulses caused by the beating of adjacent frequencies.
Sample 8: Metallic Additive Shimmer
One of the presets from the original MAX/MSP tutorial patch sounded interesting when I played it back through my modified version of the patch. I think it sounds a bitter like a metallic shimmer.
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07 Metallic Additive Feedback.wav 08 Metallic Additive Shimmer.wav MAX/MSP Patch |
Download all samples from this entry.
Wednesday, February 7, 2007
This is a low-tech piece which considers the differences between humans and computers.
Consider for a moment that all computers know how to do at a fundamental level is deal with bits of information: ones and zeroes strung together in finite lists.
Consider for a moment that any “creativity” a computer possesses has been given it by a human programmer.
Let’s further constrain our thinking to the process of drawing. Computers “draw” using pixels, or discrete bits of information. We create using continuous lines. We put pen or pencil to paper and the inspiration flows out of our minds and onto the page. Even constrained, we have infinitely more imagination than a computer.
Let’s confine ourselves to rectangles and a simple set of rules
Equipment
- Felt-tipped pen
- 8.5″ x 11″ sheet of paper
Rules
- Please read all rules before beginning
- Use the provided felt-tipped pen to draw a rectangle on the paper
- If the paper is blank, you may draw a rectangle of any size anywhere you wish on one side of the paper
- If the paper is not blank, please follow the following guidelines
- Your rectangle must be drawn on the same side of the paper as existing rectangles
- Your rectangle must be drawn outside of any existing rectangle
- Your rectangle must not intersect any existing rectangle
- After you have drawn a rectangle, ask someone else to draw the next rectangle
- The drawing is finished when it is no longer possible to satisfy the above conditions















