Bending Beyond the Basics in .NET

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11 Bending Beyond the Basics
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Transparent film sheet FIGURE 11-24: Locating film at edge of instrument for reference
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FIGURE 11-25: Locating film at detail of instrument for reference
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3. After you ve decided how to position or mark the film so that you can locate it the same way next time, make a dot on the film with the pen corresponding with each dot on the case where a hole will be drilled and a component will go. 4. After you ve dotted all positions on the film, use a compass point, a sharp awl, or any other pointy object to poke a small hole in the center of each layout dot on the film. 5. Position this perforated film over the next instrument, align with sides or details, and, using the pen again, mark a dot through the tiny holes and onto the new instrument. With care to position the template precisely, and with careful marking all through the process, this procedure will streamline series production. I often design several templates for a single instrument. Separate templates might be needed for different sides of the instrument, or for difficult, indented, or oddly shaped areas.
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Part III Dr. Frankenstein, May We Proceed
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Bending Toward Concept: Two Examples
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Although you clearly can t attempt to make a bent circuit meet your needs the way a storebought synthesizer is designed to, you re not completely at its mercy, either. You can, to a degree, have it serve your will. Two territories will stand as examples of this: bent designing toward the concepts of instruments played by the environment; and instruments as ambiance synthesizers.
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As you bend instruments, you ll find many circuit areas that will present great variable output when run through potentiometers. And potentiometers are, you ll recall, variable resistors. If you use photo cells in place of potentiometers, you instantly have an instrument that will respond to changes in lighting. As mentioned earlier, you can substitute solar cells for batteries to the tune of three cells per 1.5-volt battery you re replacing. Wire them like batteries, in series, all soldered in sequence, positive to negative on down the line (see 9, Figure 9-26). Now, in addition to the photo cell modulation, the overall power of the solar cells will vary with the brightness of sunlight, causing the instrument to sound very different from morning to dusk as its supply voltage changes. My solar bug box series is a good example of this solarpowered, solar-modulated instrument technique (see Figure 11-26).
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FIGURE 11-26: Solar bug box
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11 Bending Beyond the Basics
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But that s not all. Available is a plethora of other sensors that can be soldered into the middle of your bent circuit paths. These include temperature, humidity, water level, water direction, water velocity, wind direction, wind velocity, barometric pressure, UV radiation, ground-moisture sensors, and more. There is a vast territory to explore! Search surplus outlets for sensors.
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Ambiance Synthesizers
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We think of instruments for creating music to be the things up there on the stage, the guitars and drums we ve shelled out money to hear. But for the greater history of human experience, music was played outdoors in the midst of environmental sounds. There is a balance missing when we bring music indoors, into the sonically sterile environments of the recording studio or acoustically deadened recital hall. Of course, we do this for a reason: good audio listening and reproduction. Understood. I have a sound studio, too. But environmental sonic ambiance can be pretty interesting. Toward this goal I built the Dworkian Register, the surround-sound instrument I mentioned a little while ago (see Figure 11-27).
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FIGURE 11-27: The Dworkian Register
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Part III Dr. Frankenstein, May We Proceed
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The cartoon sounds of the book strips become all new entities when sped way up or slowed way down, exactly the final result of the bending. But the discrete four channels are not meant to be brought out to the stage speakers, but rather to speakers hidden in the corners of the auditorium. Now a surreal surround sound can be created in which the other instruments, the heart of the performance, can take center stage. The audience may forget the surround-sound elements. But just as the birds of a nearby field subliminally impressed listeners of open air Renaissance music, the Dworkian Register provides similar, though rather fanciful, atmosphere. Many of the instruments we ve just looked at benefit from dramatic finishing elements. Check out this book s companion Web site ( to see some of these instruments in full color. And in the next chapter, discover for yourself how the final transformations are done.
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