Accidental Electronic Instrument

post by jefftk (jkaufman) · 2024-05-06T02:10:02.297Z · LW · GW · 6 comments

I've been working on a project with the goal of adding virtual harp strings to my electric mandolin. As I've worked on it, though, I've ended up building something pretty different:

It's not what I was going for! Instead of a small bisonoric monophonic picked instrument attached to the mandolin, it's a large unisonoric polyphonic finger-plucked tabletop instrument. But I like it!

While it's great to have goals, when I'm making things I also like to follow the gradients in possibility space, and in this case that's the direction they flowed.

I'm not great at playing it yet, since it's only existed in playable form for a few days, but it's an instrument it will be possible for someone to play precisely and rapidly with practice:

This does mean I need a new name for it: why would you call it a "harp mandolin" when it has nothing to do with a mandolin and little to do with a harp?

While you play it totally differently, the instrument it feels most similar to me is a hammered dulcimer. You can play quite quickly, and the only information you're producing is the note selection, the timing, and the initial velocity. It also makes me wonder whether this would pair well with a damper pedal, reasonably common on hammered dulcimers, to allow you to mark the ends of notes? My feet are already allocated, but perhaps a strip running along the left hand side, for your thumb, would do this well?

On the construction side, some things I've learned:

I have four more of the circuit boards if anyone else would like to put one together. I'd be happy to include the diodes, resistors, and piezos, which are super cheap. You'd need to supply a teensy 4.1, and make the teeth (1/16" aluminum angle, 3/4" x 1/2", which you cut and shape).

I do still want to explore the mandolin-mounted version at some point, but it's mostly dependent on figuring out how to make much smaller sensors. This model is a good spacing for fingers, but for picking I want something with the horizontal spacing of frets and the vertical spacing of strings: about 3/8" by 3/8".

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comment by cousin_it · 2024-05-06T08:31:50.194Z · LW(p) · GW(p)

For similar instruments, you've seen the array mbira, right?

For marking the ends of notes, to me the most intuitive solution would be muting with fingers, but I'm not sure how that translates to electronics.

Replies from: jkaufman
comment by jefftk (jkaufman) · 2024-05-06T11:03:18.846Z · LW(p) · GW(p)

I was thinking that finger muting wouldn't be possible, because the sensors are physically damped and there's no vibration left for your fingers to stop. Except now that you mention it, it might still be possible! It could be that gently placing your finger on one of them has a sufficiently recognizable signal that if it's currently "vibrating" and you do that I could treat that as a mute signal.

Replies from: cousin_it
comment by cousin_it · 2024-05-06T11:30:06.346Z · LW(p) · GW(p)

Maybe you could reduce the damping, so that when muting you can feel your finger stopping the vibration? It seems to me that more feedback of this kind is usually a good thing for the player. Also the vibration could give you a continuous "envelope" signal to be used later.

Replies from: jkaufman
comment by jefftk (jkaufman) · 2024-05-06T12:58:26.728Z · LW(p) · GW(p)

I do think that would be possible, but then I think you'll also get more false triggers. The strong damping is what makes it so I can sensitively detect a pluck on one tine without a strong pluck on one tine also triggering detection of a weak pluck on neighbor tines.

Replies from: cousin_it
comment by cousin_it · 2024-05-06T13:11:27.941Z · LW(p) · GW(p)

Crosstalk is definitely a problem, e-drums and pads have it too. But are you sure the tradeoff is inescapable? Imagine the tines sit on separate pads, or on the same pad but far from each other. (Or close to each other, but with deep grooves between them, so that the distance through the connecting material is large.) This thought experiment shows that damping and crosstalk can be small at the same time. So maybe you can reduce damping but not increase crosstalk, by changing the instrument's shape or materials.

Replies from: jkaufman
comment by jefftk (jkaufman) · 2024-05-06T14:55:25.258Z · LW(p) · GW(p)

I do think it's possible to have low crosstalk with low damping. The problem is that my current design uses the same rubber (sorbothane) pad for both purposes. Possibly this could be two layers, first sorbothane (for isolation) and then something springing (for minimal damping). Or an actual spring?