DJ Scratch Table ish


For my personal project I wanted to make a dj scratch table using max and Arduino. The idea was to have a series of buttons, a couple potentiometers, and a motor. The box containing all of these pieces was laser cut from acrylic and the disk was also cut form acrylic.  The motor was attached to the the red disk and the idea was that it would track which way it was turning and I would use max to apply a scratching effect based on that. The buttons would control different samples and the potentiometers would control things like EQ and reverb. However when I hooked up the ardunio to max, I could not get any stable readings from the motor. It would bounce around randomly and did not give any reliable data.  What I learned upon further research was that an encoder attached to the motor would do exactly what I wanted. It tracks the rotational motion of the the motor so it would tell me how far it spun.

So I ignored the motor and just used the potentiometer and buttons. In the end the final design had 3 buttons and 1 potentiometer.image4 Now came what I thought was the easy part. I spent hours google methods of applying scratch effects with max and finally gave up and found methods to do it with ableton. I settled on the this method From there my scratch table essentially became a midi controller which I accomplished by sending note values with noteout in max whenever I pressed a button. I got the max patch and ardunio code from and then modified it to suit my needs.

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However getting the dial in max to control a value in ableton was very difficult. I ended using multimap after running around trying to find access to the software (which is why my project is so late). Screen Shot 2016-04-22 at 5.40.20 PM

Then there came the issue of getting the buttons and potentiometer to work together also the tutorial I watched was in a different version of ableton so it made it hard to handle. But I finally managed to produce a semi scratchie sound shown in the video above. A problem I noticed while scratching was I couldn’t turn the potentiometer fast enough so it lacked the punch of a usual scratch sound.



There is a video, which is not completed yet (two cluster computers have crashed in the making of it).

Creation is a performance piece featuring robotics by Arnelle Etienne, Cleo Miao, Anna Rosati, and Elliot Yokum. It is inspired by the Chinese story of the creation of humans, in which the goddess Nuwa created the first humans out of clay.

In Creation, Arnelle plays the goddess, and with her singing, she brings two creatures to life–one a minimalist puppet resembling wings controlled by Anna, the other, a human played by Elliot. Over time, the goddess begins to play with a metallic percussion instrument–after growing bored, gives the instrument to the human. The human plays with the instrument by themself at first, only to soon discover technology, which they then use to play the instrument. Through live mixing done by Cleo, the sounds grow throughout the room, as machine replaces man’s job.

The goddess perch, with the heat sink instrument.

For this project, we chose to build an atmosphere out of the room through sculptural elements, including a depiction of the goddess atop a podium which Arnelle sat on, and a large floating orb which hung from the ceiling. The puppet Anna controlled was our final major structural component.

Anna and her wings puppet.

We used two robotic elements in the piece, using an Arduino with a motorshield. We had a motor which rhythmically plucked a string attached to the floating orb, which Cleo then live mixed. We also had a solonoid on the ground near where Elliot sat, which was used to strike the heat sink percussive instrument.

The final setup. The block Arnelle is sitting on is where the string for the motor was placed, and the floor nearby is where the solonoid was placed.

Our project went through several iterations and concepts: early ideas included making a color theremin, rolling marbles down pipes, and making a robotic music box. However, upon finding two heat sinks, and hearing the interesting noises they made while struck, we decided upon doing something with that. Eventually, the topic of the Chinese creation myth came up in a discussion about Cleo’s heritage, and Anna, a sculptor and puppeteer, came up with several pieces that could be used as sculptural elements. The combination of these two somehow turned into the performance piece we’ve created.

An early brainstorming session.

We had several technical difficulties with this project. None of us were very comfortable with the Arduino software. Our motor would randomly refuse to work and our motorshield would occasionally start smoking. Many of the motorshields available for use were burnt or broken, leaving us with very limited quality material. We had two failed performances due to issues with the Arduino, but finally managed to succeed a third time, creating a performance that integrated storytelling, puppets, song, and robots.

Guy – Research Project – Dominico

For my research Project, I wanted to try making a composed pice of music, something I had never done before. Unfortunately, I didn’t have access to a DAW more advanced that Audacity due to my own poor planning and Carnival. That being said I think the result turned out pretty well

I was interested in using the human voice as a instrument, and see how far I could push it to create interesting sound. However I wanted to use languages I was unfamiliar with since using English would have, for me, removed focus from the sound of the voice itself rather than the meaning. In the indI found a recording of a man speaking in a  Dominican language called Lindala. I like the sound of it so much I decided to limit myself to sing exclusively this recording and try and build a piece of music out of it.

Goodnight Sweet Prince

Group Members: Steven MacDonald, Tamao Cmiral, Coby Rangel, Samir Gangwani
The Building Process:
All of us had the same responsibility of building the instrument and we all participated in the process. None of us have very much experience with using arduino, and it was a long process trying to put the piece together. At the very start of the process, Steven obtained the wooden plank which became our base for the instrument. We knew we wanted to attach bits and pieces to the plank and apply solenoids, motors, and/or servos to create an instrument but we weren’t too sure how. We tried out a lot things, and to put it simply our biggest struggle was getting them to do what we wanted. Finding ways to not only have the motors do what we wanted in terms of coding and programming the arduino, but to then take those motors and have it apply to our instrument in a way that would produce a significant sound. This was a challenge for us.
We went to home depot and found parts to add to the plank. This included various items but the metal sheets eventually became our main source of sound for the instrument. We created our piece by attaching two metal sheets to the plank. These were connected by servos which twisted and turned them in place. In between the sheets, we attached another servo with a metal rod connected to it. We dangled string from this rod with little pieces of metal at the bottom. The idea was to have these swing at the metal sheets to create a unique “wobbly” sound effect. We then connected a contact mic onto each sheet which were hooked up into max. As the string swung, the sound would be picked up by the contact microphones and processed through max for ambisonics. On the other end of the plank, we drilled a hole and inserted a motor. The idea was to have something descend from plank, and then rotate to hit the sheets as well, but this became a problem as it was too difficult to maintain the object in place. Eventually we detached this item and gave it a different purpose: Moosh moosh.
Pictures of the process:
The Performance:
Our group was aware that our project/instrument did not have much value and would not be able to carry out much of a performance on its own. Our group’s lack of experience with arduino made the whole process very slow and therefore we knew we wanted to add more on our own. That’s when the idea of created a live performance was introduced. Our instrument reminded us of a baby mobile and so we decided to play out a sketch for the day of the performance. Tamao was able to get the air mattress he used for his previous project, and we were able to form a short skit. Tamao and Steven played the roles of father and son. The performance went very well.

Chaos | Order: a robotic musical compilation

Robot Sound Project | Arduino Theremin

Group Members | Adrienne Cassel, Amy Rosen, Patrick Miller-Gamble, Seth Glickman

Initial Brainstorming

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Our project began with no shortage of creative, raw design ideas.  Flexing sheets of aluminum, shaking tambourines, playing an assortment of drums and percussion instruments, spinning and striking metal cylinders, throwing objects into operating blenders, motoring air pumps into buckets of water (of various sizes), constructing a Rube Goldberg machine, were all part of spirited brainstorming sessions.  Conjuring grandiose robotic visions, it would seem, was well within our collective skill set coming into the project.  Any experience or innate concept of building the components of these visions was unfortunately not.

Table of Initial Collected/Tested Tools

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 Use of Saw + Foot Cymbal Video

We began with a “golden spike”—a proof of concept that the four team members could together build a simple robotic musical device.  Starting with a “motor-test” patch, we removed the multi-directional code to instruct an Arduino to spin an external motor in a single direction, at a desired speed.  To the end of the motor, we attached a liquid dropper at the tip.  The dropper itself had been modified to contain a cutoff of a standard pencil connected at a perpendicular angle.  The motor and said attachments were placed inside a metal cylinder, which rang loudly as the motor spun the makeshift contraption.

“Pencil Metal Thing”

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From there we aimed a degree larger: The Air Pump.  Removing the motorshield, we connected the Arduino to a more robust external power supply and programmed instructions from a modified “blink” patch.  We connected an air pump found in the shop to the circuit and successfully achieved a degree of air pressure being distributed from the pump.  However, again unfortunately, the air pressure was not powerful enough to blow out a candle, no less power through a bucket of water.  Our second attempt though was indeed successful as we replaced the existing pump with a powersync and connected that bottleneck to a pump capable of more significant air power.

“Air Pump”

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Pump Video

“Air Pump as Sound Activator” – Movement Hitting Other Instruments

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Amidst other trials, we began constructing the beginnings of a narrative to guide the preparation for our eventual performance.  We listened closely to each prototype and began to appreciate various aspects of the sounds they created.  To us, they were robots in a given space, interacting, conversing, even fighting with one another.  We designed Arduino code to operate servos at various speeds and delays, and combined these with the growing collection of other orphaned robot musicians.

“Robot Arguments”

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Robot Argument Video

Meanwhile, one of the prototype developments exceeded our anticipation and expectations.  Using a breadboard, a light sensor and an external speaker, Adrienne constructed a system that would translate and scale light input data into a variable audible frequency.  She’d essentially created a performable Arduino-driven theremin, which quickly became the narrative denouement of the project.

Theremin Video 1

Theremin Video 2

Amy designed the staging such that the arduinos and instruments were placed on “pedestals” and highlighted as sculptural entities.  Originally, the four group members were going to each play one of the instruments; however, after parsing and pruning a variety of performance configurations with the organic and robotic instruments, we eventually curated the setup to highlight the theremin and utilize our various prototypes as accompaniment.  The cables and chords were carefully strung through the “pedestal” boxes to create a clean and composed performance.

“Robot Sculptures”

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“Robot Band”

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Test of Theremin with Vocals

Final Staging + Display of Tools



The experimental piece was performed at the Hunt Library’s Media Lab on Wednesday, April 6, 2016.

Glass Solenoid Structure

Group: Breeanna Ebert, Erik Fredriksen,  Kaalen Kirrene, and Sean Yang


For our piece, we wanted to create a robotic instrument that was generated sound utilizing bottles. The final design was composed of eight bottles arranged in a circular manner. Each bottle had a solenoid paired with it that would strike the bottles. Each bottle would have a tube, which would deliver water into the bottles through a device that we 3-d printed. This would alter the pitch of the composition.

Instrument Building Process:

During brainstorming, we decided to build an instrument that was focused around having sound derived from bottles. First, we thought of using wind to blow over the bottles, but we decided to design it around having something strike the bottles instead. Our initial idea was to have a motor spin in the middle, with an arm attached to it that would strike the bottles. However, after a period of consideration, we decided that using solenoids would allow us to have more precise control of when the bottles would be struck.

After deciding on the idea, we created a platform to hold the bottles on. Then, we 3-d printed a device that would route water to different bottles. This device had a stepper motor attached to it, which would rotate the tubing of water into various holes, which would deliver the water.  We cut acrylic pieces in order to put together a structure that we would use to hold the stepper motor and the 3-d printed device. This structure had two levels, with the top level holding the basin of water, which was a milk jug, and the middle one holding the 3-d printed water delivery system.


The 3d Printed Water Delivery System


Wooden Platform for holding bottles


Acrylic Pieces for Structure


Final Design


Close up Of Water Delivery System

Composition and Presentation:

We focused on creating different loops of poly-rhythms by using arduino, Ableton, and Max. Most of it was hard coded in Arduino. However, a day before we were to present, we ran into an issue where the stepper motor stopped working, and couldn’t get it resolved. Also, the solenoids no longer functioned properly. On the day of the performance, the code for the solenoids randomly began working, but we were unable to get the stepper motor to work properly.

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Robot Folk


Guy De Bree: Instrument Design and Creation

Mark Mendell: Instrument Design, Software/Hardware

Matthew Turnshek: Sound Design, Software

Making the instruments themselves was largely the responsibility of Guy. The design for the string portion of our instrument is based heavily off of primitive folk instruments such as Diddley Bows, albeit with a tuning peg. Matt obtained the wooden frame used for the string instrument, and It happened to provide a lot of structural convenience for us. Essentially, we attached a taut string to our instrument with a strumming and tuning mechanism for it which would be controlled by the Arduino.

The glass tube used as a percussion instrument was Guy’s. We decided to use it since it’s a visually interesting article that produces decent sound. Initially, we wanted to use servos since they seemed like the best option for swinging some kind of mallet. Upon testing them we found that the sound of the servos themselves also added a lot of body to the overall sound of the robot. We ended up using hot glue sticks for the mallets themselves, since they could bend, making them safer to use when hitting glass.

Some of the craftsmanship for the string portion of the instrument could have been done better. Unfortunately, Guy had to fall back on use of hot glue and tape, which aren’t generally good for heavy mechanical use in a machine like this. Fortunately, they did hold out this time, and it wouldn’t take much more work to upgrade the construction to make it more reliable.


Next, we needed to synchronize the movements of five servos. To do this, we connected them all to an arduino uno and a separate 5V power supply with help from a breadboard. The arduino was connected via USB to a computer running Max and outputting serial data. The code on the arduino interpreted the numbers 0-180 as degrees for the tuning peg servo. 181-184 were indications to strike/pluck with the corresponding servo. For plucking, the arduino would alternate between the left and right side of the string when it got the signal. For striking, the servo would move towards the object and back a fraction of a second later.


Matt designed the algorithm ultimately used to control the string and mallets. We wanted to create a sound that changed over time and showcased the interesting sounds our instrument was capable of producing. As such, we focused on changing tempo frequently, heavy and light sections, and twangy string sounds.

The algorithm switched between three phases with different weights and average tempos in Markov Chain fashion, with equal likelihood to enter each phase from each other phase. Each phase had a different tempo range and likelihood at each beat for a mallet to swing or string to be strummed or tuned.


The strange acoustic noises our instrument produced and the methodical yet sporadic way it delivered them gave some of our listeners the impression of music from an exotic culture. This, along with the intimidating robotic visuals lead us to dub our project ‘Robot Folk’.