Forms Modulator
The Forms Modulator is a device designed to scan and interpret the shape of three-dimensional objects made from phosphorescent clay placed on a rotating disc. Proximity sensors detect the irregularities in the shapes, which then influence the modulation of the device’s internal synthesizers, effects, and samplers. This interaction between physical form and sound allows for the dynamic generation of audio responses based on the contours and movement of the objects.
Additionally, the Forms Modulator functions as a master control for my robotic instruments, which algorithmically generate improvised percussion and noise. This integration enables the system to create complex, synchronized soundscapes where both human-controlled and robotic elements interact seamlessly.
Stepper Rattle
2017
I am drawn to rattles for their unique mechanical properties, which lend themselves to rhythmic unpredictability. Their loose, variable mechanics allow them to fall slightly off-beat, producing organic rustling textures and white noise that can enrich and wash over rhythmic and harmonic passages. Rattles have historically held a significant role in ritual, dance, and performance, connecting the performer’s movements, the instrument’s visual design, and the sounds they generate into a unified expressive performance. Embracing this multidisciplinary tradition, I incorporated a closed-circuit camera into the instrument to project its movements in live performances, enabling audiences to visually experience its sound production.
For over twenty years, I have worked extensively to build robotic instruments that operate with precise programming and minimal latency. However, the Stepper Rattle (SR) deviates from the conventional MIDI grid, embracing irregular, off-tempo behavior through the complex sonic textures generated by its stepper motor. Unlike standard motors with a single coil, stepper motors have at least four coils, each controlled by a circuit that creates sequences of pulses, generating precise forward and reverse steps. This pulsing movement not only enables refined control over movement but also produces distinct tonal sounds.
The Stepper Rattle’s internal components include 3D printer driver circuits and a microcontroller, which collectively facilitate its unique sound and behavior. Two contact microphones capture the output: one attached directly to the motor to capture its oscillating, synthesizer-like tones, and the other on the soundboard to amplify the percussive hits of the mallet. Each mic has an independent volume control, allowing for nuanced sound mixing. Additionally, the pitch knob, combined with toggle and tempo controls, allows manipulation of the stepper’s full range of sonic behavior—from rhythmic drones to rapid metallic percussion and even erratic squeals.
The SR also features an infrared (IR) sensor that signals the program to change direction after striking the soundboard, contributing to its unpredictable character. Each performance with the Stepper Rattle unveils new potential as I continue exploring its diverse soundscape and dynamic movement, pushing the boundaries of its musical and performative possibilities.
Classification: Percussion, Electrophone
The Tine Organ
2015
The “Tine Organ” is a chromatic instrument that generates sound through an array of vertical tines, each paired with a small, MIDI-controlled electromagnet. As each magnet pulses at a specific modulated frequency, it produces a cycle of magnetic attraction and release, causing the tines to resonate continuously. This method yields a sustained, pipe organ-like timbre, somewhat akin to the effect of bells played with a bow. The Tine Organ provides 20 chromatic notes in full polyphony beginning at middle C and can be integrated seamlessly with a standard keyboard or DAW.
Crafted from mahogany and bubinga, the instrument’s body encloses the soundboard and houses a miniature microcontroller. This microcontroller is responsible for processing incoming MIDI data and regulating software oscillators that control the voltage sent to each magnet, allowing precise and dynamic expression.
Classification: Lamellophone, Electronophone
Magnetic Membrane Cello
2015 – 2016 (See The Magnetosphere )
Magnetically resonated membranophones are neither struck nor bowed but are continuously excited by an internal, MIDI-controlled electromagnet. This electromagnet induces vibrations in the tin membrane, enabling it to resonate across a spectrum of frequencies. Given that membranophones often have irregular frequency responses, the firmware compensates for these uneven “dead spots” and “hot spots” across the chromatic scale by modulating the PWM square wave. This adjustment ensures a more consistent resonance, while MIDI continuous control (CC) messages allow for precise volume adjustments and microtonal variations, which are translated into PWM and frequency values.
The tin drum is securely fixed to the soundboard, with a soundpost wedged between the back of the tin and the instrument’s backplate, creating a secondary resonating surface—similar to a cello’s soundpost function. The design intention is to amplify both the front and back of the tin membrane by encasing it in a larger resonant box, which enhances the instrument’s resonance and boosts lower frequencies, allowing it to project a fuller, richer sound.
Classification: Memebranophone, Electronophone
eViol
2015
Viols, historically related to guitars and lutes, feature tied-on frets and are typically played with horsehair bows. My reimagined version of the viol incorporates electromagnetic sustainers, combining traditional elements with modern technology. The frets in this version are flat and etched from a PCB board, acting as switches rather than conventional raised frets. When a string is pressed against one of these flat frets, it completes a circuit, triggering an electromagnet to pulse at a frequency matching the note of the string—similar to the function of the Tine Organ.
The neck of this instrument is crafted from maple, while the body is formed from a gourd with a mahogany soundboard. This unique construction merges the resonant properties of organic materials with electronic augmentation, allowing for sustained, clear tones with minimal bowing. The result is an instrument that pays homage to historical viols while enabling a new range of continuous resonance and tonal control.
Classification: Chordophone, Electronophone
eGuitar
2013
My seven-string guitar is equipped with feedback sustainers on the outer strings, which are designed to produce continuous sustain. The top string utilizes a slightly different type of sustainer compared to the bottom string, owing to the variation in string thickness. This distinction allows for more precise control over the sustain characteristics of each string. The guitar’s body is meticulously hand-carved from mahogany, chosen for its resonance and tonal qualities, while the neck is a maple Stratocaster replacement neck, providing a familiar and comfortable playing experience.
Classification: Chordophone, Electronophone, Electrophone
Electric Lamellophone
2013
My invented instruments do not all originate from the same conceptual framework. Some are designed to explore novel sounds or performance possibilities, addressing questions like, “What new kinds of sound or performance can I create?” Others arise from practical considerations, such as, “How can I produce big, complex sounds from a compact instrument, given the logistical challenges of transporting equipment for live performances?”
For this particular instrument, my initial design challenge was to create a piano-like instrument capable of producing rich bass tones, arpeggios, and chords within a highly compact form. I envisioned something with the sonic depth of a Fender Rhodes, yet small enough to fit in a shoebox. My electric lamellophone is distinct in that each prong has its dedicated pickup, enabling individual note clarity and strong low-end response, similar to an electric piano, as opposed to the single-pickup designs commonly used by other builders. Additionally, the instrument’s note layout is isomorphic, similar to the Hohner Guitaret, allowing for intuitive playability across its compact scale.
Classification: Lamellophone, Electrophone
The Sympathetic Stringboard
1997
The “String Board” was unfortunately damaged when it fell off a moving truck on its way to Brooklyn in 2005. While the instrument’s hardware was salvaged, I intend to rebuild it or create something similar in the future.
The primary objective behind this design was to create an acoustic-electric instrument inspired by the modular synthesizer, particularly in terms of how each module can interact with and influence the others. Applying this modular concept to an acoustic instrument led me to explore the notion of “sympathetic tones,” which became the central link between the various modules on the board. In acoustic instrument design, sympathetic resonance refers to the way certain components—such as strings, tines, or membranes—resonate when excited by a separate, moving part connected to a soundboard or bridge. For example, the drumhead of a banjo acts sympathetically, offering a range of resonant frequencies that contribute to the instrument’s unique tonal qualities.
In the context of the String Board, the modules are designed to excite one another through this sympathetic interaction. Each module, including the DC motor-powered hurdy-gurdy at the front, the tines in the middle, and the strings suspended above the 12-inch bridge, is equipped with its electromagnetic pickup. When a string is plucked, its fundamental frequency can resonate with nearby parts, creating a complex and evolving sonic environment.
Classification: Lamellophone, Chordophone, Electrophone
Amplified Programmable Music Box
2000
My modified Fisher Price music box is designed to play interchangeable discs, transforming it into a rudimentary programmable device. By utilizing CDs, which fit perfectly onto the turntable, the device can be customized with unique discs crafted by hardware hackers. I have created several variations of these discs using materials such as plastic bits, glue gun blobs, epoxy, felt, and wood. Although most of these discs have been lost over time, a few still remain. Today, I am able to easily laser-cut my own discs, providing greater precision and flexibility in the design process.
In addition to modifying the discs, I have made other enhancements to the music box. One such modification includes embedding a magnetic pickup under the tines, which I salvaged from an old spring reverb. This pickup captures the vibrations of the tines and contributes to the overall sound of the instrument. Additionally, I have attached a contact microphone to the plastic membrane that the tines are coupled to internally. This setup provides two distinct sound sources—one from the magnetic pickup and one from the contact mic—which can be combined or toggled at the output, allowing for a richer and more varied sonic experience.
Classification: Lamellophone, Electrophone