Sound Multiply Yuma Zip 2021
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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: