updated - touch replaced by more "patch compose", as my virtuosoship is dedicated to a future instrument.
I escape from "endless possibilities", aiming for complexity I can handle, to avoid machines taking over expressions.
essentially, building a custom system is to set up workflow by reducing complexity.
balance : don't want more, yet won't settle for less.
too many wires so the faceplate won't close.
when I powered this unit up, I found complex noise at TR inputs of teletype coming from floating opamp inputs.
they travel through TR threshold so scripts may trigger randomly, even touching faceplate affects it.
a bit daunting at first, soon replaced by curiosity of exploring unusual expresssions.
接电之后我发现在 teletype 的 TR 输入端有复杂的噪音信号，它们来自浮空的运放输入。
btw, it's ceremonious to have designs of peter, gil, brian, oliver in a small box.
I have a number of works combining #ciatlonbarde circuits - cocodeer, dogdeer, sidrolz.
我有些作品是合并 #ciatlonbarde 电路：coco鹿，犬鹿，sidrolz。
different than those machines side by side, patched with wires. deeper considerations of mix and match, dedicated interfaces. they are prepared synthesizers as circuits are synthesised first and sounds after. instrumentality first, and modularity after.
sidrazzi and rolz are classic, for parallel layout of identical sections, result in interaction in control and instability in reactions. it's complexity not by functions but connections. a quantitative approach for a qualitative achievement.
sidrazzi 和 rolz 是经典的。相同电路的并列，却产生奇妙结果。控制和参数相互影响，反应很不稳定。它们的复杂性来自连接而非功能。量变的做法，得来质变的成果。
experience matures design,
prediction avoids failures.
fortunately i am still stupid,
making instruments with no sense,
and playing music with whole soul.
piezos on the back of touch modules,
cuts on rail that allow fr4 bends.
touch - squish
titanium is cold and walnut is warm.
a minimalist music computer, where digital polysyntheticism meets touch sensitive relabi.
rolz + eurorack + cherry mx blue + black walnut
i think perfection is balance in dynamics. for electronic musical instruments, it's of digital & analogue, generative & control, deterministic & improvisational, scarcity & redundancy... and freedom to travel between them by preference and coincidence.
patches is changed by a bunch of tilt ball switches installed in various directions. instant, chaotic but not random, muscle memories can be built through practice and play, achieving deeper expression.
I hit drum skin to yield slopes, and shake jingles to alter patch.
based on Peter's tetrax.
基于 Peter 的 tetrax。
a self-contained eurorack system
instant and tactile like an acoustic instrument
1) hardwired connections between Folktek Matter and Meng Qi Seashore;
2) tonal / atonal audio from Skot Wiedmann HYVE / IFM Mr.Grassi, travels thru body into various points within Matter;
3) left/rightmost inputs on Seashores are equipped with jacks, thus touch-controlled external signal injection / feedback are convenient;
4) Meng Qi DPLPG provides smooth vactrol based voltage control of volume and tone;
5) Recovery Effect Cutting Room Floor offers pitch shifting looping / delay / faux reverb, and is sensitive to incoming volume;
6) bottom jacks on ADDAC Size Matter is connected to a D-Class amplifier, a hefty built-in surface transducer provides strong sound and vibrations to feel with body.
it went through a few revisions.
I hope it stays in the fine line between redundancy and scarcity, like a well designed standalone instrument.
modulargrid : https://www.modulargrid.net/e/racks/view/328714
video : https://youtu.be/C1_8vtKr5Sw
video : vimeo.com/184161013
sc : https://soundcloud.com/mengqimusic/meng-qi-duet-with-myself
buy file : https://mengqi.bandcamp.com/track/duet-with-myself
Video : https://youtu.be/PfBJIGtCM44
Mocante from IFM (http://synthmall.com/ifm/index.html) with titanium blades kalimba on the back.
Piezo pickup and 1/8 output.
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a CL tetrax with interface that utilizes acoustic feedback. sounds are felt and manipulated by body. 一台利用了原声回授的 CL tetrax。声音可以被演奏者感受和操作。
press down, lift up, 下压，上抬，
bounce between hand and cone. 在手和纸盆间弹跳。
mono output, i forgot if the patch bay layout is random or not, try luck based patch and maybe mark ins and outs.
Squishable is a self-contained modular synth instrument. It has 3 parts that are all essential to the playing and composing experience.
Sidrassi is an analog modular synthesizer with 7 independent voices, each voice has 6 CV patch points (FM in / glitch in 1 / glitch in 2 / squarewave out / gesture out 1 / gesture out 2), you can modulate each voice with audio signal and gesture signal from other voices to make your own performing interface. Sidrassi is designed by Peter B (http://www.ciat-lonbarde.net) and Squishable uses Peter’s original PCB.
VM (Voltage Memory) is interally connected to control pitch of 4 voices / main pitch / timber of Sidrassi. It provides save/recall feature, and it offers a vast number of modularized recalling methods. Thanks to it, Squishable can save 84 sets of tuning, so you can play complex chords, melodies and tonal music pieces. As well as complex automated pitch changes controlled internally or externally .
2 of AM (Arcade Manifold) provide a versatile routing and mixing system, making patching process playable in real time. as well as connecting your squishable to your other modular systems.
第一个部分是 Sidrassi，是一个7复音的模拟合成器电路。每个复音都包含有6个 CV 输入输出。这部分电路使用 Peter B 的原装电路板。
第二个部分是 Voltage Memory。多模式六通道 Programmer。用来存储 Sidrassi 的音高，并且有多种音序、琶音、压敏感应功能。可以被 Sidrassi 的 CV 输出控制，根据演奏变换音高。
第三个部分是 Arcade Manifold。是一个为实时使用设计的信号连接控制模块。可以将信号混合，分配并被按键控制。通过使用这个模块，可以把信号连接这个本来非实时的过程变成实时可控、可演奏的过程。同时，它还包含有三种不同接口，方便连接 squishable 和其他的模块系统。
*for safety of Squishable, please keep the incoming CV in 0-9v range.
DogVoice + Deerhorn 两电路组成的乐器，两个电路均由 Peter B 设计。
a musical instrument made with DogVoice + Deerhorn, both circuits designed by Peter B.
DogVoice has 2 pairs of high freq osc, heterodyned to make audible tones, then though low pass filters.
Deerhorn is an advanced theremin. that intestine-shaped antenna sense flesh and output signals based on distance and motion (leaving / approaching).
sidrazzi with squarewave outputs divided into octaves, touch patch to output.
使用 sidrazzi 电路的方波输出，接入触发器获得多个八度音。通过触摸输出。
combining geometrical pulse generation circuits for rhythmical and high freq signals, triggering synthesizer voice or processed by filters. circuit designed by Peter B.
通过几何结构的脉冲循环电路产生节奏和高频信号，来触发声音合成电路或通入滤波器。电路由 Peter B 设计。
a MIDI keyboard based on the layout designed by Paul von Jankó in 1882. it's a type of isomorphic layout that results in each chord and scale having the same shape on the keyboard with the same fingerings regardless of key, so there is no change in geometry when transposing music.
这个 MIDI 键盘基于 Paul von Jankó 在 1882 年设计的同构式键位排列。这种键位的特点是——只要是同调式同和弦，无论主音是哪个，指法均相同。而且琴键排列让大音程更容易弹奏。