The Instrumentarium: An Overview in .NET

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DC Plug, RS part # 274-1573 DC Jack, RS part # 274-1576 Banana Jacks, RS part # 274-725b Banana Plugs, RS part # 274-730 Pembleton Electronics: Mini Pushbutton, momentary (NC), part # GC 35-3458 Bending Probes, part # GC 12-1647 CE Distribution: Mini (16mm) 500K pot for Incantors, part # R-VAM-500KA Your local hardware store: Body-contact (tapped 8/32 brass ball, Westinghouse part # 70660 or equivalent). You ll find it in the lamp or home lighting section.
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I have assumed that you have at hand rosin core solder, wire-wrap wire, bus wire, eyelets for your body-contacts, heat-shrink tubing, and the proper workshop tools outlined previously in this book. These items, which are common to all projects, do not appear in the project parts lists.
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Contacts: Radio Shack can be contacted through its walk-in retail outlets or via Pembleton Electronics can be faxed at 260-484-0163 or called at 260-484-1812. CE Distributors can be called at 1-800-840-0330; website:, email: Several projects call for potentiometers with a value above 1M. These can be difficult to find. If there s an electronic surplus outlet in your area, pay it a visit. If not, search online, and give the following retail outlets a try:
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Part IV Eighteen Projects for Creating Your Own Alien Orchestra
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Be sure to check out Appendix B for more bending resources.
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There. Now we re covered. Here comes the fun stuff. . . .
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Project 1: Original Pushbutton Speak & Spell Incantor
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ir Richard Paget, an insightful scientist of the early 1900s, somehow managed to get hold of a complete human vocal tract removed from a corpse destined, as it were, to speak again. Paget s work with this human tissue of tongue, throat, and larynx followed a long and, at times, macabre history of investigation into, first, understanding the mechanics of speech, and second, synthesizing it. Speech, after all, is an ultimate indicator of thought (even if Polly doesn t really want a cracker). What is the talking dummy without the ventriloquist The intrinsic force of speech itself as ultimate communicator forces its cerebral impact and intellectual power, even if the speaker is unlikely or inanimate. Or dead. While an assistant directed compressed air through the vocal tract, Sir Richard manipulated the cold flesh, creating sounds that not only illustrated vocalization processes but also ended up inspiring a utilitarian invention. The vocal tract, now molded in plasticine and combined with resonators, was reconfigured as a motor buggy horn enabling the deceased to shout Away! Away! at the living. In this case the living were often horses, already frightened by the horseless carriage and hardly in need of further, dare I say, spooking. Attempts to harness or synthesize the power of human speech reach way into the past, usually with amusing results. Greek deities such as the Speaking Head of Orpheus contained hidden tubes through which divine (or at least priestly) communications could pass. In Cervantes Don Quixote the conversing bust of a Roman emperor was likewise endowed. But the key to the final unlocking of synthetic speech would have to wait until the advent of electronics, telecommunication, and, in fact, the birth of Homer Dudley.
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Parts Open it up! Circuit at first glance Step-by-step bending Choosing a cool control layout Case considerations Marking the board Drilling holes Painting Control mounting Soldering Testing Reassembly Musicality
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Part IV Eighteen Projects for Creating Your Own Alien Orchestra
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The Bell Telephone Laboratories introduced Dudley s invention in 1937. Known as the VODER, this wrap-around console, replete with foot pedals and piano-like keys, was capable of producing somewhat convincing human speech. You and I would have to wait decades, however, to play around with electronic synthetic speech technology. We d have to wait until 1978, when the Texas Instruments Company released what would become the most circuit-bent instrument in the world, the Speak & Spell. The first Speak & Spell had pushbuttons and a three-wire speaker (see Figure 14-1). I bent it immediately, naming it the Feletcress Solution Device. The Speak & Read and Speak & Math would follow, with the entire series proving to be wonderfully bendable. I introduced my findings in 1993 in Experimental Musical Instruments magazine, naming the bent instrument the Incantor (as in incantation). You ll be building all four Incantors here, unlocking one of the most interesting alien music engines around. Bending all versions is straightforward. Note, however, that the battery compartment has a pair of spring contacts at one end, coaxing you to insert the four batteries all pointing in the same direction. Fine, if you want a foot warmer. But if you don t want the batteries to fry, position them the right way, contrary to what the battery contacts seem to indicate: two facing one way and two the other, just as the easy-to-miss diagram molded into the bottom of the plastic compartment advises. In some models, you ll discover a speaker held in position only by the back half of the case. You ll need to keep this speaker in place while you work. A few dots of hot-melt glue will do the trick, as will a section of masking tape. Keep in mind that there are many variants of the circuits contained within the Speak & Spell product series. If your model does not exactly match the circuit shown in Figure 14-2, don t worry. Bending points are often the same. Just follow the diagrams and wire things as shown. If the diagram indicates that a bending wire attaches to point 3 in a line of 10 similar points, solder your wire to point 3 even if the actual printed circuit traces around the 10 points look different. If a connection doesn t have the result intended, poke around in the same area on the circuit. A similar bend is often near. In your rummaging around, you re likely to find, in time, both the original pushbutton Speak & Spell as well as the later version with a flat, membrane keypad. Let s look at bending the original version first. The original pushbutton Speak & Spell, although the classic, is the least hi-fi of the series. If you like the coarseness of early speech synthesis, this unit is for you. Its fidelity was still groovy enough to inspire the later variants (Speak & Read and Speak & Math), both sounding much clearer. You ll do a double-take when you pop the original Speak & Spell open and look at the speaker. Three wires In this first Speak & Spell, the vocalizations were split between two channels. These two signals were mixed at the speaker, the extra signal using the extra wire. That s pretty weird. You ll have fun with it.
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