Sound Multiply Yuma Zip !!LINK!!
Click Here - https://urllio.com/2tgNmw
Switches are useful for turning power on and off to a circuit to save battery life, for turning on and off specific sounds or functions, and for resetting a circuit if it freezes up. They are often described in catalogs, on Web sites or in packaging by arcane abbreviations. Here are the main distinguishing features.
The majority of electronic toys manufactured since the early 1990s are essentially simple computers dedicated to running one program. In most, a crude clock circuit determines the pitch of the sounds and the speed of its blinking lights, graphics and/or program sequence.If you can locate the clock circuit and substitute one component, you can transform a monotonous bauble into an economical source of surprisingly malleable sound material.
Substituting resistors should give you a good idea of what values produce what kind of sound, but you will probably want to vary the pitch/speed more fluidly. A potentiometer is a continuously variable resistor. In order to extend the pitch downward you need a pot whose maximum value is greater than the resistor you removed. Since most clock circuits use rather large resistors (100kΩ or larger) you will probably need a pot whose maximum value is 1megOhm (1,000,000Ω) or greater.
If you want to both the gestural quality of the photoresistor and the controllability of the pot, you can combine the two: if you wire a pot in series with a photoresistors (see figure 4), the pot will determine the maximum frequency of the clock in full light, and darkness will cause the speed to go down from that maximum. If you wire the pot in parallel with the photoresistor (see figure 5), the pot will set the minimum frequency of the clock in full darkness, from which the speed will go up as light increases. (If this sounds confusing, just try it).
In the same sense, Giuliano Obici (Brazil) argues that hacking is \"a way of gambiarra,\" a Brazilian term for an informal and improvised way of solving a problem in the absence of proper resources or tools. This hacker and sound artist finds that both hacking and gambiarra \"emerge from the need to keep a certain autonomy of the individual in the face of restrictive circumstances\" and that both \"point to the limitations of an instituted technical and/or ideological system and with that, its action can generate the collapse of the system, be it in a social, political or artistic way.\"7
Bonnie Jones's electronic setup offers her perspective on how one might explore the sonic affordances (if not personalities) of electronics. Jones's improvisations reveal sounds produced throughout the circuit board by removing the back cover, flipping the pedal bottom up, and touching a one-eighth-inch jack to various solder joints on the board. In contrast with Vic Rawlings's exploration of multiple types of pedal circuits (see his video in the Laying of Hands: section of the Gallery on the website), Jones investigates generations of a specific series of digital delay effects. Each revision of the pedal has a different circuit layout, resulting in different feedback patterns that get piped to the P.A. This is not the way the manufacturer intended these pedals to be used, and each effect box reacts differently to the harsh feedback treatment, with some components misbehaving or failing over time. Jones's system thus almost hacks itself, much like the self-destructive cybernetic circuits of Louis and Bebe Barrons, which produced the soundtrack for the 1957 film Forbidden Planet and overheated themselves into malfunction.17 Jones states:
Victoria Shen and her LED meter earrings extend material exploration in directions suggested by Perner-Wilson, Blasser (see Chapter 26) and Nyler Steiner (Jordan 2015, 44). Shen, who performs under the name Evicshen, worked in the mid-2000s helping Jessica Rylan build chaotic synthesizers as part of her Flower Electronics brand.24 Shen has built flexible vinyl-cut circuits that correlate the sound intensity picked up by a microphone to the brightness and color of LEDs. Presented as earrings, these wearable circuits offer visual feedback for and around Shen's sonic performances, indicating when sounds are reaching potentially dangerous levels of volume. Echoing the wearables and soft circuit work of Kat McDermott's Urban Armorseries, these handmade experiments offer an alternative basis for the assembly of circuits (clear vinyl) to complement a visual interpretation of sound.
The tradition of art-oriented engineering in Japan can be traced back to the legendary UCHIDA Hideo (one story has it that he was the actual inventor of the transistor.) In 1962, having previously worked at the NHK research laboratory, he opened a shop in Akihabara (the store remained in the same place with the same name until quite recently). Later he devoted himself to elucidating paranormal phenomena through electrical engineering. Echoes of Uchida can be heard in the work of artists SHII Kei and MURAI Keitetsu . In the 1970s Shii had studied with Kosugi at Bigakko, the base for anti-academic education at the time. He has since provided electronic devices for many artists, and with other Kosugi alumni is a member of Marginal Consort, which employs a wide range of electronic instruments. MURAI Keitetsu assisted Kosugi with electronics in later years, and is known for solo performances, most memorably those using a candle flame to trigger an array of oscillators to produce a resounding roar.
Along with Ito, SUZUKI Manabu is a member of IMAI Kazuo trio mentioned above (in this group Imai acts exclusively as an outstanding jazz guitarist). In addition to building electric instruments for other artists, Suzuki performs his own work with a large number of eccentric electric devices, that translate chemical and physical motion data into sound. One performance work amplifies the electric potentials of an electrolysis of water; in he holds both his hands in a horizontal position for around 20 minutes; as the hands start to shake, sensors catch the movements and transform them to sounds.
There are three dominant approaches to hand-making electronic sounds in Australia: appropriating everyday electronics through hardware hacking; positioning human bodies as a kind of hardware that can control, or be controlled by, electronics; and investigating cosmic energies of the electromagnetic spectrum. This chapter does not pretend to present a complete list of attitudes or of instruments, only to offer a gathering some examples of how recent artists have developed the ideas and processes of handmade electronic music in Australia.1
Gambioluthiery reinforces connections between sound and its materiality as well as the paradoxical gaps between advantage and limitations that techno-consumption produces globally. While I use the term to refers to a particular Brazilian repertoire (examples described below), it can be seen more broadly in the idea of expanding the musical instrument through sound art.15
23 Geralda is similar to Acustica (1968-1970) and Zwei-Mann-Orchester (197173) by Mauricio Kagel (19312008), in which the instrumentation is a huge array of sound sources, a world of exotic instruments and almost surreal invention.
After World War II, Japan dominated the international market for piezo materials, manufacturing several types of piezoceramic signal filters that addressed needs arising in television, radio and communications equipment, as well as piezoceramic igniters for natural gas/butane appliances. The market for piezoelectric applications continued to grow, with the emergence of audio buzzers (such as those in appliances and smoke alarms) and ultrasonic transducers (used in motion detecting intrusion alarms and early television remote controls). More recently, piezoelectric technology has been applied in the automotive domain (wheel balancing, seatbelt buzzers, tread wear indicators, keyless door entry, and airbag sensors); computers (microactuators for hard disks, piezoelectric transformers); a wide range of other commercial and consumer devices (inkjet printing heads, strain gauges, ultrasonic welders, smoke detectors); and medical, biomedical and bioengineering applications, including insulin pumps, ultrasound imaging and therapeutics, piezoelectric and biomedical implants with associated energy harvesting.
Amplification may reveal a previously unheard, unsuspected range of sounds, drawn out of the hitherto mute or near-mute instrument of whatever nature, bringing about both quantitative and qualitative changes in the materials amplified.2
With regard to the development of live electronic music David Tudor was truly a pioneer: after a pivotal role as a virtuoso pianist in the development of the post-war musical avant-garde, Tudor became one of the first live electronic performers, with a very personal approach to electronic technology, strongly influenced by his collaboration with Cage8. After assisting in the development and performances of Cartridge Music, Tudor continued to experiment with similar setups in other pieces by Cage, such as Music for Amplified Toy Pianos (1960) and Variations II (1961).9 For each of these pieces, Tudor used a set of phono cartridges to amplify the piano sounds. He gradually acquired enough knowledge and confidence to design his own electronic circuits for use in conjunction with the cartridges, and came into his own as a composer (as distinct from a performer) of electronic music.
Between 1968 and 1975 Davies was a member of Gentle Fire.30 Beside performing compositions by living composers such as Stockhausen, Ashley, Cage, Cardew, Feldman, Wolff, etc. Gentle Fire performed collective pieces composed by the group between 1970 and 1973, which further explored live processing of sound as well as invented instrumentation. In Group Composition III and IV the ensemble shared a single instrument invented by Michael Robinson, the gHong, which was made up of three metal oven racks and a wooden crossbar on the fourth side from which four large springs were suspended.31 Each side of the gHong was connected to two contact microphones: one of high-quality, such as a stethoscope or transducer, the other a contact microphone with a reduced frequency response. By varying the balance for each pair of microphones on a mixer it was possible to obtain substantial filtering effects, so the use of microphones was crucial in the playing of the gHong.32 153554b96e
https://www.autisms-alright.co.uk/forum/welcome-to-the-forum/naga-3gp-video-mujra-download
https://www.juveacademyla.com/group/mysite-231-group/discussion/70d3b630-05ac-425e-8ae5-e35fa845026a