If you’ve put in all the necessary practice to learn bike tricks, you’d probably like an appropriately dramatic soundtrack to accompany your stunts. A team of students working on a capstone project at the University of Washington took this natural desire a step further with the Music Bike, a system that generates adaptive music in response to the bike’s motion.

The Music Bike has a set of sensors controlled by an ESP32-S3 mounted beneath the bike seat. The ESP32 transmits the data it collects over BLE to an Android app, which in turn uses the FMOD Studio adaptive sound engine to generate the music played. An MPU9250 IMU collects most position and motion data, supplemented by a hall effect sensor which tracks wheel speed and direction of rotation.

When the Android app receives sensor data, it performs some processing to detect the bike’s actions, then uses these to control FMOD’s output. The students tried using machine learning to detect bike tricks, but had trouble with latency and accuracy, so they switched to a threshold classifier. They were eventually able to detect jumps, 180-degree spins, forward and reverse motion, and wheelies. FMOD uses this information to modify music pitch, alter instrument layering, and change the track. The students gave an impressive in-class demonstration of the system in the video below (the demonstration begins at 4:30).

Surprisingly enough, this isn’t the first music-producing bike we’ve featured here. We’ve also seen a music-reactive bike lighting system.

Thanks to [Blake Hannaford] for the tip!

Both small children and cats have a certain tendency to make loud noises at inopportune times, but what if there were a way to combine these auditory effects? This seems to have been the reasoning behind the creation of the Meowsic keyboard, a children’s keyboard that renders notes as cats’ meows. [Steve Gilissen], an appreciator of unusual electronic instruments, discovered that while there had been projects that turned the Meowsic keyboard into a MIDI output device, no one had yet added MIDI input to it, which of course spurred the creation of his Meowsic MIDI adapter.

The switches in the keys of the original keyboard form a matrix of rows and columns, so that creating a connection between a particular row and column plays a certain note. [Steve]’s plan was to have a microcontroller read MIDI input, then connect the appropriate row and column to play the desired note. The first step was to use a small length of wire to connect rows and columns, thus manually mapping connections to notes. After this tedious step, he designed a PCB that hosts an Arduino Nano to accept input, two MCP23017 GPIO expanders to give it enough outputs, and CD4066BE CMOS switches to trigger the connections.

[Steve] was farsighted enough to expect some mistakes in the PCB, so he checked the connections before powering the board. This revealed a few problems, which some bodge wires corrected. It still didn’t play during testing, and after a long debugging session, he realized that two pins on an optoisolator were reversed. After fixing this, it finally worked, and he was able to create the following video.

Most of the MIDI hacks we’ve seen involved creating MIDI outputs, including one based on a Sega Genesis. We have seen MIDI input added to a Game Boy, though.

[Moby Pixel] wanted to build a fun MIDI controller. In the end, he didn’t build it just once, but twice—with the aim of finding out which microcontroller was most fit for this musical purpose. Pitted against each other? The ESP32 and Raspberry Pi Pico.

The MIDI controller itself is quite fetching. It’s built with a 4 x 4 array of arcade buttons to act as triggers for MIDI notes or events. They’re assembled in a nice wooden case with a lovely graphic wrap on it. The buttons themselves are wired to a microcontroller, which is then responsible for sending MIDI data to other devices.

At this point, the project diverges. Originally, [Moby Pixel] set the device up to work with an ESP32 using wireless MIDI over Bluetooth. However, he soon found a problem. Musical performance is all about timing, and the ESP32 setup was struggling with intermittent latency spikes that would ruin the performance. Enter the Raspberry Pi Pico using MIDI over USB. The hardwired solution eliminated the latency problems and made the controller far more satisfying to use.

There may be solutions to the latency issue with the wireless ESP32 setup, be they in code, hardware configuration, or otherwise. But if you want to play with the most accuracy and the minimum fuss, you’ll probably prefer the hardwired setup.

Latency is a vibe killer in music as we’ve explored previously.

The MP3 file type has been around for so long, and is supported by essentially all modern media software and hardware, that it might be surprising to some to learn that it’s actually a proprietary format. Developed in the late 80s and early 90s, it rose to prominence during the Napster/Limewire era of the early 00s and became the de facto standard for digital music, but not all computers in these eras could play this filetype. This includes the Amigas of the early 90s, with one rare exception: this unreleased successor to the A3000 with a DSP chip, which now also has the software to play back these digital tunes.

The AA3000, developed as a prototype by Amiga, was never released to the general public. Unlike the original A3000 this one would have included a digital signal processing chip from AT&T called the DSP3210 which would have greatly enhanced its audio capabilities. A few prototype boards did make it out into the hands of the public, and the retrocomputing scene has used them to develop replicas of these rare machines. [Wrangler] used one to then develop the software needed for the MPEG layer 2 and 3 decoder using this extra hardware, since the original Amiga 3000 was not powerful enough on its own to play these files back.

If you want to follow along with the community still developing for this platform there’s a form post with some more detail for this specific build (although you may need to translate from German). [Wrangler] additionally points out that there are some limitations with this implementation as well, so you likely won’t get Winamp-level performance with this system, but for the Amiga fans out there it’s an excellent expansion of this computer’s capabilities nonetheless.

Thanks to [Andy] for the tip!

As any Linux chat room or forum will tell you, the most powerful tool to any Linux user is a terminal emulator. Just about every program under the sun has a command line alternative, be it CAD, note taking, or web browsing. Likewise, the digital audio workstation (DAW) is the single most important tool to anyone making music. Therefore, [unspeaker] decided the two should, at last, be combined with a terminal based DAW called Tek.

Tek functions similarly to other DAWs, albeit with keyboard only input. For anyone used to working in Vim or Emacs (we ask you keep the inevitable text editor comment war civil), Tek will be very intuitive. Currently, the feature set is fairly spartan, but plans exist to add keybinds for save/load, help, and more. The program features several modes including a multi-track sequencer/sampler called the “arranger.” Each track in the arranger is color coded with a gradient of colors generated randomly at start for a fresh look every time.

Modern audio workflows often span across numerous programs, and Tek was built with this in mind. It can take MIDI input and output from the JACK Audio Connection Kit, and plans also exist to create a plugin server so Tek could be used with other DAWs like Ardor or Zrythm. Moreover, being a terminal program opens possibilities for complicated shell scripting and other such Linux-fu.

Maybe a terminal DAW is not your thing, so make sure to check out this physical one instead!

Modern micro-controllers are absolute marvels, but it isn’t too many projects use one and nothing else. For an example of such simplicity, take a look at [oyama]’s Pi Pico MIDI looper.

It uses the PicoW to interface with a synth via MIDI-BLE, which can be anything from pro equipment to an app on your smartphone. The single control button is already provided by the Pico W– the bootsel button is wearing a lot of hats here, allowing one to select betwixt 4 tracks (all different drums), set the tempo, and input notes on the selected track.

The action is simple: pound out the rhythm for each track, and it will repeat forever, or at least until you press the single button again to change it. There’s also a nice serial interface so you can see what’s going on via UART or USB. For what it does, it is amazingly simple: the BOM is one item, the Pi Pico W. To see it in action, check out the demo video below.

Given the ADC chops on the Pico, it would probably be easy to extend this build with a speaker to make a tiny stand-alone, one-button synth. Or you could add more buttons buttons, but then it’s no longer the beautifully simple single-line BOM project that [oyama] showed us.

Of course, everything is open-source on GitHub, under the BSD license, and forking is encouraged, so [oyama] would doubtless be more than happy to see you go nuts hacking and extending this tiny MIDI looper.

We’ve actually seen the MIDI-BLE standard used before, like this hack adding it to a Eurorack. If you like synths, you may be interested to see what it takes to design one from scratch, sans microcontroller.

 

Classic demos from the demoscene are all about showing off one’s technical prowess, with a common side order of a slick banging soundtrack. That’s precisely what [BUS ERROR Collective] members [DJ_Level_3] and [Marv1994] delivered with their prize-winning Primer demo this week.

This demo is a grand example of so-called “oscilloscope music”—where two channels of audio are used to control an oscilloscope in X-Y mode. The sounds played determine the graphics on the screen, as we’ve explored previously.

The real magic is when you create very cool sounds that also draw very cool graphics on the oscilloscope. The Primer demo achieves this goal perfectly. Indeed, it’s intended as a “primer” on the very artform itself, starting out with some simple waveforms and quickly spiraling into a graphical wonderland of spinning shapes and morphing patterns, all to a sweet electronic soundtrack. It was created with a range of tools, including Osci-Render and apparently Ableton 11, and the recording performed on a gorgeous BK Precision Model 2120 oscilloscope in a nice shade of green.

If you think this demo is fully sick, you’re not alone. It took out first place in the Wild category at the Revision 2025 demo party, as well as the Crowd Favorite award. High praise indeed.

We love a good bit of demoscene magic around these parts.

Thanks to [STrRedWolf] for the tip!

Alvin Lucier was an American experimental composer whose compositions were arguably as much science experiments as they were music. The piece he is best known for, I Am Sitting in a Room, explored the acoustics of a room and what happens when you amplify the characteristics that are imparted on sound in that space by repeatedly recording and playing back the sound from one tape machine to another. Other works have employed galvanic skin response sensors, electromagnetically activated piano strings and other components that are not conventionally used in music composition.

Undoubtedly the most unconventional thing he’s done (so far) is to perform in an exhibit at The Art Gallery of Western Australia in Perth which opened earlier this month. That in itself would not be so unconventional if it weren’t for the fact that he passed away in 2021. Let us explain.

While he was still alive, Lucier entered into a collaboration with a team of artists and biologists to create an exhibit that would push art, science and our notions of what it means to live beyond one’s death into new ground.

The resulting exhibit, titled Revivication, is a room filled with gong-like cymbals being played via actuators by Lucier’s brain…sort of. It is a brain organoid, a bundle of neurons derived from a sample of his blood which had been induced into pluripotent stem cells. The organoid sits on a mesh of electrodes, providing an interface for triggering the cymbals.

“But the organoid isn’t aware of what’s happening, it’s not performing” we hear you say. While it is true that the bundle of neurons isn’t likely to have intuited hundreds of years of music theory or its subversion by experimental methodology, it is part of a feedback loop that potentially allows it to “perceive” in some way the result of its “actions”.

Microphones mounted at each cymbal feed electrical stimulus back to the organoid, presumably providing it with something to respond to. Whether it does so in any meaningful way is hard to say.

The exhibit asks us to think about where creativity comes from. Is it innate? Is it “in our blood” so to speak? Do we have agency or are we being conducted? Can we live on beyond our own deaths through some creative act? What, if anything, do brain organoids experience?

This makes us think about some of the interesting mind-controlled musical interfaces we’ve seen, the promise of pluripotent stem cell research, and of course those brain computer interfaces. Oh, and there was that time the Hackaday Podcast featured Alvin Lucier’s I Am Sitting in a Room on What’s that Sound.

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