PCM-M10 Shock Mount

Several years ago I played with a lot of audio stuff including making binaural recordings of things like cicadas, train rides, and festivals in Japan, and the singing of tree frogs in my back yard when I lived in a forest in Missouri.  Those recordings were done on a MiniDisc recorder because it was the best available audio quality recorder for people on a budget (i.e. cheapskates) like me.   Time and technology wait for no one, and I’ve been getting the itch to do some recording again, so I recently picked up a Sony PCM-M10 recorder.   This little machine records in many different formats up to and including 24 bit/96 ksps (though self-noise really limits the machine to about 15 actual bits).  The audio is recorded onto micro SD cards so unlike the MiniDisc, you get access to the raw digital data without any compression or associated quality degradation.

My previous recordings were done using a DIY binaural microphone that used a roughly matched pair of electret condenser mic capsules mounted on a wire bail that held the capsules inside my ears.  Even though those mic capsules were pretty noisy, the recordings came out pretty good.  When you listen to them with headphones you get a real “you-are-there”, surround-sound experience that can be quite startling.  You can hear those recordings here: http://mark.rehorst.com/Binaural_Recordings/index.html   Soon, I’ll be starting a new binaural mic project to go with the new recorder, this time using much higher quality mic capsules.

In the meantime I was looking for a shock mount to use when making recordings using the built in mics.  The shock mount prevents low frequency noise from handling, bumping the table the recorder sits on, etc., from being coupled to the mics through the body of the recorder.  I did a web search and found only a couple unsatisfactory designs so I did what any maker would do- I made!

One of the flaws in the few designs I saw was that some of the numerous switches and I/O jacks on the recorder would not be accessible when it was bolted to the shock mount.  They also didn’t look very nice.  After a lot of sketching possible designs on a whiteboard and paring the thing down to a minimal implementation, and spending much too much time making a 3D model of the recorder, I came up with a printable 3-finger design that holds the recorder either on a tabletop or a tripod and keeps ALL the switches and I/Os available.  The only thing you can’t do while the recorder is mounted is swap batteries (but with 40 hours record time on a set of two AAs, that shouldn’t be a problem).

I used DesignSpark Mechanical to make the recorder model and design the shock mount.  DesignSpark makes rounding corners of complex 3D objects easy (nearly impossible in Sketchup), but I did run into some of its limitations that I hadn’t previously considered.  One huge limitation is that there is no way to put any form of text into a drawing without some special work-arounds (use Sketchup to make text, then import into DesignSpark).

CAD drawing of shock mount

PCM-M10 on shock mount- CAD

This shock mount design is available here:  http://www.thingi

verse.com/thing:384567

I printed the shock mount on MegaMax using Coex3D Aqua ABS filament.

Materials were:

•  4 pieces of  6’  long, 4 inch PVC
•  4 pieces of 10’ long of 2 inch PVC.
• 2 & ½ bags of 2 inch 90 degree elbows
• You’ll eventually need PVC primer and glue as well once you’re ready to lock everything in place.
• 2 3/8” hole drill bit. (Exterior diameter of 2 inch PVC is 2 3/8)

The math behind the right lengths for the right tones are pretty straight forward – I just followed the recommendation from a PVC instrument instructable by tallman1996 – there he explains:

“I got an equation from nate true that will give you the length of the pipe you need when you plug in the frequency: Tube Length (in) = (13300/(2*Frequency))+(Tube Diameter/2)

For the frequencies of the notes in the range of the piano go here: http://en.wikipedia.org/wiki/Piano_key_frequencies
My low note was number 16 (C2) in the list on the wikipedia page.”

Drilling the holes through the 4 inch pipe was easy, just lay two parallel lines opposite each other on either side of the pipe and mark your drill holes on either side at equal distances from one end. The 2 3/8 hole bit went through easily but you had to keep it completely perpendicular to the pipe or it would jam. I highly recommend you use a drill with a torque setting so you don’t snap your wrist or have the pipe turn and crack you in the head when it jams. Don’t ask me how I know this.

Also, PVC power / flecks have amazing static cling powers so be aware that it’s rather messy.

Since I was worried about the pipe length hitting the ceiling and didn’t want a spaghetti mess of pipes on it I opted for a C3-C4 whole note scale with an extra C2 at the bottom for a nice low note.

It turned out well, we need to paint and glue the PVC together and drill the elbows to the lower cross member but even with the dry fit they stay together pretty well. With the 90 degree elbow on the end, he could continue to stick pipes on it and change or add notes if he’d like.

Paddles for now are just a pair of old flip-flops that will be modified to have handles. Any dense foam rubber will do.

This was also a great excuse to try out my new GoPro 3 on Time Lapse, so here is a video I did of the build:

I used the dynamic duo of Cacophonator and Mohogonator with Auditionator (i.e. Adobe Audition) to record a session for about 12 minutes at a blazing fast 192kHz sample rate.  After chopping the recording into individual tracks, I digitally slowed them down to the customary rate of 44.1kHz, thereby expanding the work to its final ~45 minute length.  For inspiration while I was recording, I listened to Beatles songs sped up to 435% (which is 192/44.1) of their customary speed.  My tracks needed a bit of post-processing: on some of them I chose to bump the pitch back up an octave or two and add “Beatle Fades” to the beginning and end.  Anyway, within twenty minutes after the recording was made, I had edited the songs and uploaded them.  You’ve read that correctly, in less time than it takes to listen to the pieces, they were composed, recorded, processed, mastered, named and uploaded.

Today is also the 50th anniversary of the first Beatles song hitting #1 on the US pop charts: “I Wanna Hold Your Hand.” This whole project was inspired by this apparent coincidence in timing, and each track was directly inspired by listening to the sped-up Beatles original.  I hope you enjoy each of the 11 tracks I created!

While My Cacophonator Gently Weeps
Got To Get You Into My Cacophonator
All You Need Is Cacophony
With A Little Help From My Cacophonator
Sgt. Cacophonator’s Lonely Hearts Club Band
Cacophonator Came In Through The Bathroom Window
Lucy In The Cacophonator With Diamonds
Got To Get Cacophonator Into My Life
A Hard Day’s Cacophonation
You’ve Got To Hide Your Cacophonator Away
Cacophonator Wants to Hold Your Hand

It may be more convenient to listen to the entire album: “Cacophonator 2: Electric Boogaloo; A Love Tragedy in 11 Parts” on the RPM Challenge site’s Cacophonator page. Just scroll down to “My Player.”  There is plenty of February left: I encourage everyone to participate!

Around 25 members have hopped in the new Milwaukee Makerspace Theater after the last two Tuesday meetings.  Its up and running in a “no hearing protection required” way!  The bass still goes way down to subsonic tones, but its being powered by a small & sensible surround sound amp.   Its a very immersive audio experience, and likely sounds much better than any 5.1 system you’ve heard because there’s only one seat!  The sound has been optimized for the single theater-goer: You!  The theater is hooked up to a DVD player, and is available 24/7  for any member to watch a movie in: no check-out required.   Note that any video source you have can be hooked up via the HDMI cable.  Alternately, you can follow the lead of JasonH, who used the theater with a portable audio player to rock out while he worked on his own project near by. See the photos below for the simple instructions on how you can start up the theater, and feel free to take a break from making by using the theater!

The request went out on the message board. Pete P., Shane T., and I all expressed interest, but life got in the way and it soon became a matter of whomever got to it first would be the one to make it. I ended up devoting the better part of last weekend to this project (much more time than I anticipated) but I can honestly say I’m pretty happy with the result.

The goal was fairly straight-forward: make an enclosure for the switch Tom had already provided. It was a color-coded, 4-button, mechanical switch that had been wired to provide four settings: OFF, LOW, MEDIUM, and HIGH. The more laser cutters in use, the more air you’d need and the higher the setting you should choose. There’s four duct connections available for the three laser cutters we currently have.

There’s a saying: “Better is the enemy of done.” Truer words have never been spoken in a makerspace.

At first I wanted to build the enclosure out of acrylic. Then I remembered this awesome plastic bending technique that Tony W. and some others told me about. I found a video on the Tested website and got inspired. (If you don’t know about Tested, please go check it out. You’ll thank me later.) Unfortunately, my bends kept breaking and melting through, so after a few hours of tinkering I moved on.

Thankfully, we have a small cache of plastic and metal project enclosures on our our Hack Rack. I managed to find a clear plastic, vandal-proof thermostat guard. It looked workable.

I tried laser cutting it, but the moment I saw the plastic yellow and smoke, I knew there was probably some nasty, toxic stuff in it, so I moved to the CNC router. About an hour later I had my holes cut.

Then came the wiring. Up until this point I had been focused on the control box itself. Now I wanted to add a light!

No, two lights! Yeah!

One light to tell you when everything was off, and another that lit whenever the fan was in use. People could look at the lights from outside the room and instantly know if the fan had been left on. (It should be noted that the new fan, despite being twice as powerful than our last, is actually much quieter. Tom added a homemade muffler to the inlet of the blower and shrouded the whole contraption in 3″ fiberglass batt insulation. The best way to know if the fan is running is to open a slide gate damper and hear air being sucked in.)

OK, I totally got this.

Draw myself a ladder diagram and get out the wire connectors… Remember that I need to isolate the signals from each other so any button doesn’t call for 100% fan… A few more relays… Some testing… and done!

Wait a second… the motor drive doesn’t have a ground for the control signal.

Hmm.

Guess I can’t power it from the drive. I’ll just tie into the drive’s ground. Nope, that didn’t work.

I’ll read the motor drive manual. OK, it has a set of “run status” contacts I can monitor.
….and they’re putting out a steady 0.4 volts DC. That’s enough to light up a single LED! …except, no. It’s not lighting. Doesn’t seem to be any real current.

I’ll just use a transistor! That’s the whole point of a transistor!
….well nothing I tried worked.

I’ll build a voltage multiplier circuit!
….and this isn’t working either.

On Day 3 of this “little project” Ron B. made a comment about using a pressure switch of some kind.

Wait.

We have a Hack Rack full of junk and I know there’s this old bunch of gas furnace parts. It couldn’t be that easy…

Yeah. So, three days (and a few frustrating epiphanies) later, this all came together. Press the beige button, get some air. Press the other buttons, get some more air. Any time there’s suction, the red light comes on. The indicator light is powered by its own 24 volt DC wall pack. The pressure switch has both normally open (N.O.) and normally closed (N.C.) contacts so it would be totally feasible to add another light at some point. The controller could display “OFF” or “SAFE” or whatever as well as “ON” or “FAN IN USE” or whatever. The text is just a red piece of paper with words printed on it, then holes laser-cut out to fit. We can trade it out with different words or graphics if we ever feel the need. I was just glad to have it done, so I called it. Better is the enemy of done, indeed.

You can learn more about the evolution of our laser cutter venting system on our wiki!

Simply put, the Humorously Maniacal Milwaukee Makerspace Multimedia Machine (HMMMMMM) is a personal sized movie theater, with 5.16 surround sound.  That’s right, this theater is like a conventional 5.1 home theater, but with 15 extra subwoofers to delight the senses. While the bass in a live concert can be felt in your chest, the bass in the HMMMMMM can be felt in your soul(!).  In addition altering listener’s consciousness, the HMMMMMM will soon be used to screen our yet-to-be-filmed Milwaukee Makerspace orientation video as an integral part of our onboarding process for all new members. The HMMMMMM measures about 7 feet long and about 4 feet wide.  An eager movie-goer can simply climb up the integral stairs (shown on the left) and jump in through the 27” diameter escape hatch in the top of the HMMMMMM. Despite its crazy appearance, the HMMMMMM offers a surprisingly comfortable reclining position, much like that of a lazy-boy.  Check out this photo of the HMMMMMM under construction for a better idea of the ergonomic internal layout: There is a pillow for one’s head, and ones feet extend to the right.  The 27” display is mounted to the angled portion on the top surface, about 24” from the viewer.  Eventually, two 24″ monitors will expand the visual experience into the periphery.

The audio portion of the HMMMMMM is a 5.16 system.  The high frequencies are played by 5 uninteresting Swan/HiVi speakers that are arranged in a properly boring 5 channel surround configuration.  The more exciting portion of the audio system is the subwoofer – well, the 16 (Sixteen) 10″ high efficiency subwoofers that provide that TrueBass sensation the masses crave.  Its clear from the use of 16 subwoofers that one object of the HMMMMMM was to create an audio system that plays low bass.  Playback of really low bass typically requires an extremely large speaker box, and still notes as low as 20 Hz are rarely audible.  However, inside any speaker box the bass response is naturally flat to much lower (subsonic) pitches.  For more on the sound pressure level inside and outside speaker boxes, check out this link.  The graph below is a measurement of the SPL or sound pressure level (how loud it is) versus frequency (pitch) at the listener’s ears in the HMMMMMM.

The graph shows that with a sine wave input, the SPL inside the HMMMMMM is 148.6dB at 40 Hz.  That means the acoustic pressure on the 27” diameter escape hatch is 45 pounds.  Excellent.  Note that earplugs in addition to earmuff style hearing protectors are mandatory to safely experience the TrueBass.   To understand this strict hearing protection requirement, lets compare the sound pressure level inside the HMMMMMM to other audio systems that may be more familiar.  Note that the loudness of these other audio systems are not visible in the graph above, because essentially all other audio systems (including yours) are inferior.  Adjusting the margins of the graph a bit produces the following graph:

The plot shows how loud typical audio systems are, and how low they play.  For example, cellphone speakers play only a bit below 1khz, and are ~90 dB if they’re 40cm from you.  When a Jambox-type bluetooth speaker is about 60cm from you, it plays ~10 dB louder, and another 1.5 octaves lower, to 200 Hz.  Typical bookshelf speakers can get another 5 dB louder if you’re 1.5 meters from them, but only play down another octave to 100 Hz.  OEM installed car stereos are a big improvement, but they’re still not in the same league as the HMMMMMM.  Yes, the IASCA record holding car is louder than this, but it plays only from 50 Hz to 60 Hz, which isn’t even really bass.

Note that the difference in loudness between a cellphone and a car is 20 dB, while the HMMMMMM is 30 dB louder than a high-performing car stereo.  Also note that the frequency range of a piano, with its 88 keys, is about the same as a bookshelf speaker – a bit over 7 octaves.  Surprisingly, the subwoofer portion of the HMMMMMM has a 6 octave bandwidth, but it plays the 6 octaves you’ve never heard before!  The HMMMMMM plays 6 octaves below what your bookshelf speaker or Jambox calls bass. The HMMMMMM has a +/- 6 dB passband extending down to 2 Hz, with the output at 1 Hz being nearly still above the 120 dB “threshold of pain.”

Disclaimers: For safety, the big 2000 Watt amplifier that drives the HMMMMMM to its full potential is not available when the author is not present.  Ironically, the author has taught 75-100 people, the eager early HMMMMMM listeners, how to properly insert earplugs, meaning that the HMMMMMM is actually a learning tool for hearing safety! Finally, the author has some hesitancy in having the HMMMMMM reproduce recordings with 5 Hz content at 140 dB, because typical hearing protection has little effect at these unnaturally low frequencies.

PS:  Please don’t hesitate to contact me if you’d like to help with the video scripting, filming or editing.

Fortunately, I’ve just completed the Makerspace Eight Speaker Super Surround Sound System’s Enveloping Surround Sound Synthesizer (MESSSSSESSS).  The MESSSSSESSS takes stereo recordings and distributes sound to the eight speakers in an entirely fair and user configurable way, thereby eliminating the need for a “front of the room.” Now listeners can be arbitrary distributed throughout a room, and can even be oriented in random directions, while still receiving an enveloping surround sound experience!

The MESSSSSESSS user interface is somewhat simpler than most surround sound processers, as it consists of only four switches and one knob.  Somewhat inspired by StrobeTV, the simplest mode references questionable quadraphonic recordings, in that the music travels sequentially from speaker to speaker, chasing around the room either clockwise or counterclockwise at a rate selected by the knob. With the flip of a switch, sound emanates from the eight speakers in a random order. Things get considerably less deterministic after flipping the Chaos Switch, adjusting the Chaos Knob, and entering Turbo Mode:  Its best to visit Milwaukee Makerspace to experience the madness for yourself.  I’m legally obligated to recommend first time listeners be seated for the experience.

The MESSSSSESSS is powered entirely by an Arduino Uno’s ATmega328 that was programmed with an Arduino and then plugged into a socket in a small, custom board that I designed and etched at the Makerspace.  The ATmega328 outputs can energize relays that either do or don’t pass the audio signal to the four stereo output jacks.  Care was taken to use diodes to clamp any voltage spikes that may be created as the relays switch, thus preventing damage to the ATmega328 outputs.

As shown by the minimal part count above, using the ATmega328 “off the Arduino” is quite easy:  Just connect pins 1 (The square one), 7 and 20 to 5 volts, and connect pins 8 and 22 to ground.  Then, add a 22uF cap and small bypass cap between power and ground, and a ceramic resonator to pins 19 and 20.  You can even use an old cellphone charger as the power supply.  Boom.  That’s it.  The real benefits of making your own boards are having a well integrated system, and cost, as the Atmel chip is $4.50 while a whole Arduino is $30.  Also visible in the photo are a programming header and the two ribbon cables that route all the signals to and from the board.

The Dynamic Duo of Cacophonator and Mohoganator teamed up with Auditionator (I.E. Adobe Audition) to record a session for 10 minutes and 32 seconds at a blazing fast 192kHz sample rate.  This recording was then slowed down to the customary rate of 44.1kHz, thereby expanding the work to its final 45.5 minute length.  Within twenty minutes after the recording was made, Cacophonator had a profile set up on the RPM Challenge site and the piece normalized, saved as a low bit rate mp3 and uploaded.  You’ve read that correctly, in less time than it takes to listen to this piece, it was composed, recorded, processed, mastered and uploaded.  Talk about Non-Causal Audio Delight!  Check out the piece here, by scrolling down to “my player.” This all happened very fast, but Cacophonator still isn’t quite finished – it hasn’t yet mailed a CD to RPM HQ, 10 Vaughan Mall, Suite 201 Portsmouth, NH 03801.  Interested participants still have over 11 days to enter the challenge!

Reviewers are raging about the unprecedented dynamics, midrange clarity, and sound stage:

“Perhaps it was in the region of articulation and musical dynamics that this system impressed the most.  The dynamic bloom from soft to extremely loud was exquisite, and so clearly delineated that listeners could unravel musical phrases down into the concert hall’s noise floor and below.” – The Audio Critic

“BIGheadphones speak with an organic integrity. They are hewn from the living wood—endangered old growth Amazonian timber… I wept openly when forced to return the demo model.”– Stereophile

“BIGheadphones make critical listening a joy rather than a strain.  I was flabbergasted by their brilliant pitch certainty.  The midrange sounds were open, clear, and stunningly present. Playback performance like this makes use of the word transparent not only forgivable, but mandatory.” –Audiophilia

“The 5.1 has an innate flair for speed and control that is incomparable. The command of bass dynamics moves beyond effortlessness to nonchalance. My eyeballs were vibrating! My hands are still shaking as I write this review.” –Sound and Vision

“…the most important innovation in audio reproduction since the permanent magnet.”  –Acta Acustica

“W.O.W.” –Bose listening panel

Reviewers agree that BIGheadphones are a huge leap in audio reproduction technology, larger than vacuum tubes, Stroh violins, carbon microphones and Edison cylinders combined.

Relative to planar speakers, typical box speakers are unable to develop the proper surface loudness or intensity typical of large instruments such as the piano.  This audio feat poses no challenge for BIGheadphones. Computationally modeled and optimized by a small and highly trained team of expert acoustical engineers over a period of 13 years, BIGheadphones were inspired by ingeniously thinking “inside the box,” not outside the box.  At the obsolete exterior listening position, a typical loudspeaker rarely generates even a realistic classical music concert level, but inside that same speaker, the sound pressure levels can quite easily exceed the 115 dB of a stadium rock concert. This realization was the BIG breakthrough, but was only the beginning of the struggle pursued by our elite acoustical research team.  Our uberengineers had to break the chains of common design practice to breathe the refreshing mountain air of inside-the-box acoustics, where nearly everything is inverted.

To illustrate, achieving loud bass external to a speaker typically requires the box be a very large size.  However, inside the box, the bass response is naturally flat to the lowest frequencies, and the smaller the box the louder and more impactful it becomes. Further, our astute engineers shrewdly realized that the stop-band and pass-band inside and outside the box are also opposite, as illustrated in the enlightening plot below of the subwoofer section of BIGheadphones. The Blue curve shows the hyposonic level inside, extending well below 10 infrasonic Hz, while the Red curve shows the meager sound pressure level in the more traditional listening position two meters in front of them.  Notice how the passband outside the box begins at 2kHz, whereas the passband inside the box ends at 2 kHz.  How many other speaker systems can boast of a subwoofer response that is flat over more than three orders of magnitude?  Now that’s innovation!  And this is just the customer-average response—the bigger your head the broader the bandwidth that you can brag about to your audiophile friends.

The observant reader has already noticed that this plot shows BIGheadphone’s output level is a mere 142 dB – only 22 dB above the threshold of pain.  Note though that this is with a paltry 1 Watt input – in reality, they are capable of 17 dB higher output with the optional high output amplifier add-on kit, though this reduces the playback time to under 36 hours per charge.  And that’s just the subwoofer!  The industry-leading, consciousness-altering bass response shown above is augmented by five horn loaded, carbon fiber reinforced porcelain dome, 2” diameter neodymium tweeters with single crystal silver edge wound voice coils.  With this critical addition, the frequency response of the BIGheadphones extends from below 10 Hz to 31 kHz and beyond!  Get your BIGheadphone audition today at your local Hi-Fi retailer!  “BIGheadphones, the last audible note in audio reproduction!”

(Not available in France.)

Thanks to the editors at RSW, Inc.

Sonic Vista is a real-time sound art installation.  It gathers all the airborne noise from the industrial cityscape, filters it acoustically, and plays the resulting harmonious sound back through two giant, brightly colored spherical speakers placed directly over the heads of listeners as they walk along the pedestrian bridge.  Walking along the bridge literally becomes a consciousness raising event as one enters the sonic environment of the piece.  Noise from the cityscape (backhoes, earth movers and jackhammers from the nearby bank construction site, trains, dogs, humans, jets, boats, busses, and other city roar) is captured by two 4” diameter, 18 foot long (B0) and 12 foot long (F#1) tubes, each containing one microphone.  The sound reaching the microphones is naturally filtered by the harmonic overtone series of acoustic modes supported by the long tubes.  These microphone signals travel directly to the speakers, and are not processed with any electronic effects (such as reverb or chorus).  To hear Sonic Vista, follow this link to SoundCloud.  The exact position of the microphone in each tube affects the harmonic balance it detects, as shown by the following plot:

I aided in the design of the 1 meter diameter spherical speakers, first in solving the directivity problem: How can the speakers be designed so that listeners walking along the pedestrian bridge hear a uniform sound pressure level as they walk?  The problem with overhead speakers is that they typically send most of their sound straight downward – so it is much louder directly under them than it is off to the side.  The problem is made more challenging by the wide bandwidth — the lowest note is 60 Hz, and the highest notes are near 3000 Hz.

I’ll skip all the math and acoustics theory, and just state the solution: a 12 inch diameter woofer needs to be positioned behind a 4 inch diameter hole that all the sound must exit through.  This greatly improves the radiation pattern for the highest notes.  The heights and horizontal spacing of the two speakers also play an important role in setting how loud the sound will be when one is in between the two speakers.  Interestingly, I was able to balance these factors and the system as built achieved a pressure that was uniform within a few dB as listeners walk along the bridge underneath the speakers.  The plot below shows the loudness as a function of position along the bridge at the highest and lowest pitches, along with the 35+ dB soundfield variation that would have resulted without this hole to fix the radiation pattern.  The speakers are located at 50m and 64.7m, the two loudest locations along the bridge.

The second problem arose due to the solution of the first:  That the speaker radiates through a 4” diameter, 4″ long port created an undesirable resonance that I correctly predicted through the use of a computational acoustics model.  This resonance was actually eliminated by simply equalizing the speakers electrically.

This front cavity does lead to the loss of almost half of the sound output, but it’s a high sensitivity, 300 Watt maximum input driver, so it is still more than capable of being loud enough.  This is a small price to pay for the tremendous improvement in radiation pattern and listener experience.  To hear Sonic Vista, follow this link to SoundCloud.