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Cryptosynth faceplate

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Cryptosynth Workshop in Pictures

Tarot reading to start the day

Tarot reading to start the day

LFSR testing

Workshop in progress

LFSR testing

Cryptosynth v0.1 Prototypes

6 4093 oscillators

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4093 Rizla Synth sound:

A quick recording of the sounds produced by by 4093 synth housed in a Rizla ciggarette tin.

Inspiration: Black Death Synthesiser

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“The input sound loses its sonic identity, and becomes just another parameter that influences the interaction among the individuals of the bacterial colony, creating ever-changing noise textures. The resulting sound is wild and evil, thanks also to the continuous clipping and aliasing, and the algorithms can be expanded by users who want to delve into the C source code.”

Saccoia, A. (2012). Blackdeath Noise Synth, sounds from the plague | Neural. [online] Neural.it. Available at: http://neural.it/2012/04/blackdeath-noise-synth-sounds-from-the-plague/ [Accessed 30 Apr. 2015].

One line of C

One line of C is a trial-and-error idea of using very short programs created by simple maths to synthesize sound.

Have a play around with different formulae to create different ‘songs’:

http://wurstcaptures.untergrund.net/music/

The Rungler

The Rungler

The Rungler, created by Rob Hordijk, is a dual oscillator, modular 1 bit circuit. The two oscillators are modulated against each other within a small time delay creating interference patterns that Rob calls a ‘stepped havoc wave’.
The Rungler uses a CMOS 4021 which is an 8-stage static shift register, whose main application would be used in Parallel to Serial Shifting, that has a data input of one oscillator with the output being fed back into itself, creating an unlimited amount of pattern generation.
The main use of the Rungler’s output is to manipulate other modules through the ‘rungler CV signal’, which is the signal sent from the shift register.

4093 Synth Development

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I took the 4093 synth built in the workshop with John and soldered the circuit onto some PCB and housed it:

4093 Synth Building

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Elective Music Project

For projects in creative practice, there are no set restrictions as to the medium or the means employed. Students are encouraged to explore and embrace new, even prototypical/experimental means of dissemination – emphasis is placed on the cultural viability of a project and having a clear idea of what it is trying to achieve and/or who (in terms of audience) it is intended for.