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PROJECT DEVELOPMENT

WEEK 1 - 3 

DREAM -> VISION -> GOAL -> PLAN

A series of stepper motors that shape sound
through material and vibration. 


DREAM: 

Create a sound and non-denominational ritual experience that connects audiences with each other by listening to atmospheric, sonic textures. In the space itself, I picture an altar at the front and a semi-circle of people gathered around for a ritualistic “mass”. The space is there to serve as a form of spiritual excavation where folks get to “exorcise” any intrusive thoughts. Much like systems of mushrooms that break down dead wood and return nutrients to the living world, it’s also an ecosystem of death and rebirth, a cycle of decomposition and regeneration. The space encourages collective attunement and an audit of their own self-perception.  
VISION: 

My vision is a kinetic instrument composed of stepper motors. Its vibrations fill a space with a range of frequencies that are created through contact with different materials, attachments, and resonant containers. 

The instrument is meant to invoke the feeling of early human gatherings, where shared musical experiences led people to feel a sense of connection. People can gather in a semicircle around the instrument and listen to a composition of motor-driven vibrations. 

GOAL: 

  • User interface: The instrument is played through a custom MIDI-style controller: users press switches, or reimagined piano keys (an 8-key octave layout) to trigger notes, along with additional buttons that start and stop pre-programmed motor sequences. This will sit on top of the table/altar. 
  • Microcontroller: A Teensy 4.1. 
  • Drivers: Each motor is controlled through a stepper driver (the A4988).
  • Power: The motors run on a high-current 12v DC power supply.
  • Altar fabrication and motor mounting: Depending on what the research informs me about the best placement of the steppers and their attachments/containers, the motors will be mounted across the top surface of the altar structure as well as along the front-facing side. Basically, the placement of the motors will determine how the vibrations will travel through the frame. I’ll also place sonic horns in each compartment to amplify the sound. 

My goal is to make a callback to early humans and the relationships they had with the natural world, where music was created kinetically and immediately understood in the body. If someone hit two rocks together, people pretty quickly understood the relationship between the sound of it and the thing happening in front of them. Basically, I’m trying to make sure the technology is presented really clearly.

Ideally, I’d like to keep the components visible so that the relationship between what they’re hearing and seeing is clear. This aspect isn’t necessarily for educational purposes, but rather to help people tune into the connection between the objects and the sound so that they’re more quickly able to forget about the spinning clown show and are able to tap into a more embodied experience of the thing. 



OK, I’M PROBABLY BEING CONFUSING!!! 
LET’S DO THIS...PICTURE AN INSTRUMENT: 

 - A BUNCH OF STEPPER MOTORS 
- THEY’RE IN TINY SHELVES
- ON TOP OF SMALL, METAL, AND WOODEN BOXES 
- WITH DIFFERENT JINGLY THINGS HANGING FROM THEM
- AND DIFFERENT HORN-SHAPED THINGS THERE TO AMPLIFY  
- AND THE MAIN STRUCTURE IS ALUMINUM EXTRUSIONS AND MAYBE COLORED ACRYLIC

ALL PLAYED BY 8 KEYS!!!

ALL PLACED STRATEGICALLY!!!



I USED MY IMAGINATION, AND NOW THINGS FEEL LESS POSSIBLE

>>>>

I DON’T KNOW WHAT THE OVERALL SHAPE WILL BE YET! 
BUT GIVE ME A SECOND!!!!


BUT DON'T WORRY, I HAVE A PLAN!!!!!


 
 

    PLAN: 


    2/3
    RESEARCH: 

    - Discover different modes of kinetic sound methods, specifically related to stepper motor vibrations, and find out what different materials will produce different sound qualities. 
    - Research what would be the best frequency range and how the step rate might translate to the sound output.
    - Study how timing patterns create different sonic effects (frequency changes, tremolo/LFO-style pulsing, rhythmic modulation). Document how motor pulses and the contact pressure against different materials and containers will affect the sound.

    2/10
    Build an 8-note scale system with 8 motors, drivers, and power:  

    This will involve: 
    - Creating a temporary row of buttons arranged like piano keys. I’d basically map each switch to a motor/note so the scale is playable right away.
    Implement MIDI-to-step timing control so that when a button is pressed, the MIDI notes are converted into computer/motor beep-boop language. 
    - Calibrate the driver settings to match appropriately with each motor and its assigned frequency. Make sure the heat sinks are sinking the heat!
    - The motors should be able to play 8 frequencies at this point, cleanly and with no jittering from the motors.  

    2/17-2/24
    Experimenting with Attachments, Material, and Containers: 

    - Based on research, collect different attachments and materials (springs, sheet metal, containers, wood, glass, cone shapes) and experiment with different formations and placements.
    - Record how each frequency of the scale alters resonance, sustain, and tone color with the different attachments. This is basically where I’m loosely prototyping different attachments and materials (springs, metal plates, containers, wood, glass, cones) and recording how each alters resonance, sustain, and tone color.
    - Depending on what I learn here, this will give me information on how big the entire thing should be, how big each motor container should be, and how they should be attached. 
    - Create a prototype drawing with measurements for the final structure. 



    3/3
    Composition:

    - Experiment with composition ideas and decide on what frequencies are not being represented or are needed for the pre-written sequencing portion. The idea is that some motors will be assigned to the playable keyboard/scale, and some will be assigned to play various sequences. The complicated thing about this is that I’ll need to potentially pick a tempo beforehand (the steppers can’t understand tempo, but they can understand seconds/duration). Depending on what I experience with the different motors playing in sync, I’ll need to make some changes/calibrations to the composition, which will involve repeatedly diving back and forth between the stepper code and testing the output. 

    3/10
    - Based on my findings and what compositional elements I’m looking to add, I’ll then add the additional motors for the sequenced portion, along with their attachments, etc. These motors will be connected to a switch. Different switches will trigger different sequences, patterns, and melodies.  
    3/17 - 3/31
    Fabrication:

    - Measure the desired compartments for the front-facing portion and collect materials for the structure (sheet metal, aluminum profiles, M screws). 
    - Begin structural experiments to see how the mounting surface and vibrations affect the resonance/sound of the motors. Determine the best motor/attachment placement based on loudness, clarity, and resonance. Adjust layout accordingly.
    - Fabricate the final structure using thick sheet metal and aluminum profiles. Permanently mount motors and integrate attachments.


    4/7-5/5
    - Final decisions on how the motors will be fixed to the structure
    - Final decisions on compositional arrangements 
    - Stress test the full system (controller, motors, power, sequences). Refine tuning and finalize the physical/acoustic setup. 
    - Decide if micing is needed and experiment with micing techniques.