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Kategorie Technologik

Intravaginaler Lautsprecher für Ungeborene

Ich bin schon am komponieren…

Babypod is a small intravaginal device. Scientific studies show that is the only one that stimulates the vocalization of babies before birth through music and encourages their neural development. With Babypod, the strongest bond starts through music and inside the belly. It will be the first shared experience between a mother and her baby and the child’s first musical and learning experience.

Babypod is the only product of its kind scientifically guaranteed. It has been tested and approved by Institut Marquès, an internationally renowned centre in Gynaecology, Obstetrics and Assisted Reproduction. For parents, it is also an unforgettable and exciting experience and the first shared with your baby. Quite a show.

Give your baby a universal stimulus, send a message from the womb and make sure it is heard.

(via Nerdcore, die FAZ berichtet ebenfalls.)

Handgezeichnete Synthesizerpartituren (Russland 1930er+40er)

Wo wir bei Visualisierungen sind…

In 1929, the Russians produced their first talkie, the snappily titled The Five Year Plan for Great Works. The possibility of synchronized sound inspired a trio of pioneers, composer Arseny Avraamov, animator Mikhail Tsihanovsky and engineer Evgeny Sholpo who were fascinated by the curved loops, arcs and waveforms on the optical soundtrack. The patterns made them wonder if synthetic music could be created by drawing directly onto the sound track. Of course, this they did, at first testing out vase-shapes and ellipses then Egyptian hieroglyphs—all with startling results.

In 1930, Avraamov produced (possibly) the first short film with a hand-drawn synthetic soundtrack.

(via Dangerous Minds)

Beethovens Fünfte, in der Umkehrung

Was man halt so machen kann mit einem PlayerPiano.

Website mit dem Kammerton a’

Irgendjemand bezahlt dafür eine Domain. Vielleicht ist es ja Kunst?

http://www.kammerton.de/index1.html

(via Sixtus)

Smells Like Teen Shovel Coub

(via jetzt.de)

Kassettenrekorderkeyboard

(via)

Stereo to Mono Converter

(via Soup)

Die Geburt der Musikvisualisierung (1924)

It was during his boyhood in Denmark that the inventor began experimenting with light, making rainbows on the walls with prisms pilfered from the chandelier. Later he learned to project light forms from a cigar box; and finally the finished product of his boyish experiments appeared in the steel instrument on which he now performs.

The clavilux has three manuals and a triple light chamber, corresponding respectively to the keyboard and wind chest of the pipe organ. Disk keys appear on the manual, moving to and from the operator and playing color and form almost as the pipe organ plays sound.

There are 100 positions for each key, making possible almost infinite combinations of color and form. The “music,” or notation, is printed in figures upon a five-lined staff, three staves joined, as treble and bass clefs are joined for piano, to provide a “clef” for each of the three manuals. A color chord is represented by three figures as, for example, “40-35-60″; and movement of the prescribed keys to the designated positions on the numbered scale of the keyboard produces the desired figure.

(via modern mechanix)

Klinke auf XLR

Das Rhytmikon, die erste Drummaschine (1931)

Meine Filterbubble quillt regelmäßig über vor Berichten von alten Synthesizern; bin eh nicht so der Fan von altem Elektro-Zeug, ich habe was elektronische Musik fast nie mit was anderem als mit Nullen und Einsen gearbeitet, und damit bin ich ziemlich glücklich.

Das hier ist dann aber doch so ulkig, dass ich mir’s nicht verkneifen kann, zu verbloggen: Das Rhythmikon von Leon Theremin, das verblüffend heutiger Handhabe ähnelt.

The Rhythmicon relied on photoelectric technology to get the job done. The keys were each connected to a light that turned on when you pressed them. The lights then shined through a sequence of holes punched into two discs that rotated via a motor. On the other side of the discs was a photoelectric sensor that, when activated by the patterns of light, sent the Rhythmicon’s unique signals to a tube amp and thus to a speaker and out to dazzled audiences….

Maybe the biggest setback was that it just didn’t sound that good. One reviewer, after seeing the Rhythmicon demonstrated with violin accompaniment at a 1932 concert in San Francisco, likened its lower tones to “a cross between a grunt and a snort” and higher notes to “an Indian war whoop.”

(via BoingBoing)