The voltages out of the A-178 can be used for controlling any voltage controlled parameter of your Eurorack, like pitch or pulsewidth, loudness, panning, filter frequency or resonance from all of the filter modules, phasing, frequency shifting, envelope parameters and tempo, to name just a few.
YouTube user Wellurban created a video with some great examples...
Video: Modular Theremin Explorations by Wellurban
" Playing with a Doepfer A178 Theremin Voltage Source module to control various aspects of modular synthesiser patches (rather than just pitch and amplitude, as with a traditional theremin)."
Wow... It took me quite some time to complete reading this book, but it was worth it... and i believe I have never read such an interesting biography as this one.
Maybe it has to do with the broad spectrum of interests that this book covers, maybe just because Lev (Leon) Termen (Theremin) had such an interesting life.
Theremin - Ether Music and Espionage
by Albert Glinsky
Before i started reading this book i only knew a few things about Theremin; his Russian origin and his main
invention the Theremin (created in 1919, patented in 1928), originally known as the ætherphone/etherphone or termenvox/thereminvox.
Theremin lived from 1896 to 1993 and this book takes you along on his journey through a very interesting time with some of the world's major events of the last century: the Russian Revolution, two world wars, America's Great Depression, Stalin's purges, the cold war and perestroika.
It clearly shows how Theremin lived a life between communism and capitalism and "from the KGB to Macy's store windows, Alcatraz to the Beach Boys, Hollywood thrillers to the United Nations, Joseph Stalin to Shirley Temple."
The book is very well written and closely follows Theremin's life from the time when he came up with his first invention - the only instrument that is played without being touched, and also shows that he wasn't just a 'one-hit-wonder'.
In fact, he invented loads of things and was a true electronic pioneer that stood on the base of techniques that we still use today like burglar-alarms, television, those loops in the asphalt near traffic-lights and even RFID
A few of Theremin's other inventions on a row: Burglar alarm, or "Signalling Apparatus" which used the Theremin effect (1920s) Electromechanical television – Nipkow disk with mirrors instead of slots (ca. 1925) Terpsitone – platform that converts dance movements into tones (1932)
Theremin cello – an electronic cello with no strings and no bow, using a plastic fingerboard, a handle for volume and two knobs for sound shaping (ca. 1930)
Keyboard theremin (ca. 1930), looking like a small piano, "with hornlike tones" The Great Seal bug, also known as "The Thing" – one of the first passive covert listening devices; first used by the USSR for spying (1945 or earlier)
The Buran eavesdropping device (1947 or earlier) Rhythmicon – world's first drum machine (1931)*
The book is IMHO must-read for Theremin players, but also a good read for people who are only interested in lifestyle and culture in the first half of the last century.
I can't wait to get a real Theremin now... I must say my skills on the Doepfer Theremin are improving after reading this book, so i might take the step to buy a 'real' one this year... an Etherwave or a ThereMAX for example.
" Ancestor of the Drum Machine: Leon Theremin's Rhythmicon
The Russian inventor Leon Theremin is best known for the eponymous instrument he created around 1919. But another invention of Theremin's is perhaps even more prophetic of later developments in electronic music: the Rhythmicon, produced in 1931 at the behest of the American composer Henry Cowell.
This device allowed for the real-time generation of complex rhythmic patterns thought to be un-performable by humans.
Each successive note on the keyboard triggered a division of the basic beat in whole number ratios: the second key beating twice for each basic beat, the third key beating three times, and so on.
This video shows the Russian scholar Andrey Smirnov demonstrating the how the Rhythmicon is played.
The device shown in the video is likely the later version, developed in the 1960s and now housed in the Theremin Center in Moscow."
Theremin - Ether Music And Espionage by Albert Glinsky
(Music in American Life) - ISBN - 978-0-252-07275-8
Also worth watching:
the documentary 'Theremin: an electronic odyssey' - Trailer
, plus the 'Moscow Electro'/ 'Elektro Moskva' documentary,
that also seems to have interviews with Theremin.
(thanks for the tip @adicarter)
Wow... this looks impressive.
David Cranmer, from Nervous Squirrel built this very cool Theremin with an Owl that can move up and down..
From the website:
" This was commissioned by Scott Williams, who got in touch to
express his love of both owls and theremins. Surely the two could be
combined somehow?
View without case
A
few drawings were developed, and then a meeting was arranged in the
Morgan Arms. Scott was easy to identify, being the only chap carrying an
owl.
The final unit consisted of a geometric timber log on a
steel stand, a classic analogue pitch & volume theremin, and a
motorised system to raise the owl from within the casing.
The image on the right show the casing removed.
The theremin is in fact an excellent PAiA Theremax, the same as used for the Badgermin.
The owl rests on a sliding carriage, which can slide along four
vertical bars fixed inside the log.
Control panel
When the motor is turned on a winch
mechanism winds a length of sash cord, which loops over the top of a
second pulley, which in turn lifts up the sliding carriage.
When the
carriage reaches the top, a limit switch is automatically pressed,
switching off the motor.
Volume antenna loop with
nice woodwork
For the owl to descend, the owl activation
switch is flipped once more, reversing the polarity of the motor,
allowing the carriage to be lowered down onto another limit switch.
The antennae disconnect for ease of transportation, and the lower half
of the stand can be unbolted. The owl variety is a Southern Boobok."
The theremin control voltage outputs can be used to play the synth in the background.
More details: www.nervoussquirrel.com/owltheremin"
When they ask why did you build a
stuffed owl theremin I do actually need a proper answer.
"Its funny" May not cut
it
— Lenny Henry VIII (@sadeagle) June
21, 2013
Happy New-Year everybody!
I hope you all had a great holiday season...
I found this one on the web, but it's not really new...
Video: Magic Ceramic Theremin Lamp Doepfer A-178
" The first test of the Magic Ceramic
Theremin lamp.
It was developed as a peculiar piece for the opening of
the Exhibition of several ceramists in Gallery Artibrak. from November until 28th of December 2011.
A Theremin is normally step-less, but in this case an A-156 is used as a quantizer..
Small explanation for those who are not familiar:
In
this magic piece of ceramic two antenna's are integrated.
One antenna
for the volume and one for the pitch.
The instrument does not have to be
touched.
The volume can be controlled by your left hand (when
approaching it the volume increases), the pitch can be controlled by
your right hand (when approaching it, the pitch of the sound goes up).
By approaching the antenna's you are influencing the potential
difference.
Just like the antenna of your transistor radio which
functions well or not when approaching it.
The Magic Ceramic is
based on the original Theremin invented by Léon Theremin in 1919.
That
electronic instrument is step-less variable and very expressive.
It
sounds like an opera voice or violin.
This ceramic version of the
instrument has a much more variety than it's original.
You can make the
sound stepless or let it be quantized, so that you hear a real
tonescale/musical scale.
The sinus-tone of the Magic Ceramic is
quantized (chopped in pieces), and in the way it is presented now only
the Minor notes are heard. (like the black keys on a piano)
In this way
the steps between the notes are bigger and easier to distinguish.
Other
possibilities are just Major notes or the complete tonescale, quantized
or not.
There is also a small sampler added, so when you reach the
highest note a spoken voice can be heard."
More info HERE
It's good to see that Doepfer also keeps improving the older modules.
I already complained in July 2011 about the lousy connector of the A-178 Theremin antennas
(read the post HERE), and look now what they recently announced:
" From August 2012 an improved version for the antenna connector is used.
A so-called BNC connector is used to connect the antenna to the module (same type of connector as used in measuring equipment like oscilloscopes)."
The old A-78 antenna with mini-
jack connector
The new version of the module is so brand new that it still has to be sent to Doepfer's photographer for taking pictures.
The new model seems to have a completely different front panel and pc board.
If you are experienced with DIY you may replace the 3.5 mm socket by a BNC socket yourself and increase the diameter for the new connector in the front panel, but you can also place it parallel to the original antenna socket at the same height, but more to the right where there is more space behind the front-panel (at the other side of the PCB).
Doepfer wrote to me:
" We never tried it but it should be possible to remove the old miniature jack socket and widen the hole asymmetrically (i.e. not drilling it but using a rasp) so that the BNC socket can be mounted and manually wired to the pc board.
But I cannot guarantee that it works as I have no old A-178 available to try it out.
But you may also connect the BNC socket in parallel to the miniature jack socket. Pay attention that an isolated version of the BNC socket is required (no electrical connection to GND/front panel is allowed) !"
The connectors are not available via Doepfer, but i did already place an order today for 2 new antennas (for 20 Euros each).
You can probably read more about this project next month...
In 1993 Doepfer presented the Mogli MIDI Data Glove Controller, an alternative controller device that was based on a Nintendo Power Glove controller.
It had traditional NES controller buttons on the forearm as well as a program button and buttons labeled 0-9.
The complete Mogli set with Power Glove,
receivers, Mogli interface box and adapters
There were two ultrasonic speakers (transmitters) in the glove and you had to put three ultrasonic microphones (receivers) around your TV monitor.
The ultrasonic speakers took turns transmitting a short burst (a few pulses) of 40 kHz sound and the system measured the time it took for the sound to reach the microphones.
A triangulation calculation was performed to determine the X, Y, Z location of each of the two speakers, which specified the yaw and roll of the hand.
It could also sense the bend of the individual fingers, the only dimension it couldn't calculate was the pitch of the hand, since the hand can pitch without moving the location of the two ultrasonic speakers.
The Power Glove was originally released in 1989 and was in general a critical and commercial failure.
Partly because of the lack of accuracy and the availability of games (for it's original use with the NES)
The Mogli interface box, Power Glove and adapters
In 1993 Doepfer introduced an external box that could receive the glove's data and convert it into MIDI signals.
The name Mogli stands for 'Midi Output GLove Interface'
The original Mogli interface box was equipped with MIDI in and MIDI out, and it had a red 3-digit LED display.
The display was needed to program the unit (i.e.to assign different function to the fingers, to the X/Y/Z coordinates, to the rotating angle and so on).
After a calibrating procedure the glove could be used in different controller modes.
The 'Virtual Play' mode was maybe the most attractive mode, in which could make you play a virtual keyboard in the free space.
In Direct Mode you could assign any movement to any MIDI controller, other modes were Gesture Mode (converting sign-language to MIDI controllers) Vector Mode (position sensing only) and Manipulation Mode (for manipulating incoming MIDI with the glove).
Although i am not the world's greatest electronics-guy i do have a feeling that the original Mogli converter box could be easily transformed into a version that sends Control Voltage and/or Gate signals.
Original Nintendo Power Glove
If you can find one, it will probably just work just fine with one of Doepfer's MIDI-to-CV modules, but you might not get the most out of all the glove's many functions.
The price of the system was 598 DM (i.e. about 300 Euro) for the ready built unit including a Nintendo power glove.
The kit version was 448 DM (i.e. about 225 Euro) incl. Nintendo power glove.
The control box only (without the glove) was 398 DM (i.e, about 200 Euro)
A kit version of the box was also available for just 258 DM (i.e. about 130 Euro)
The unit was available from March 93 until December 1995, but Doepfer had to stop the production because the Nintendo Power Glove was no longer available.
Around 350 units were made in total.
Interesting fact is that the Mogli was also used by Kraftwerk (on 'Pocket Calculator' and 'Music Non Stop') during their concert at the Brucknerhaus in Linz/Austria on the occasion of the ARS Electronica Festival for Art, Technology and Society in 1993.
Okay, i admit that the technology of the Power Glove might be outdated by now, but the idea of controlling sounds/patches with the move of your hand will always stay an interesting subject.
Roland is famous for its D-Beam technology since 1998.
The A-178 Theremin Control Voltage module (or the discontinued A-179 Light Controlled Voltage Source) definitely do not offer all the functionality of a glove like this.
However, i do think we will see some kind of gesture-control-trend coming up this year with the recently announced Kinect motion sensing input device by Microsoft, that was already available for the X-Box platform but that will soon be available for the Windows platform too.
I wonder how soon the first interesting gesture-controlled modular synth-video's will pop up on YouTube...
Find the Mogli's user-manual (in German language only) HERE
Please let me know if you have an English version, or else check the start of my translation project (work in progress).
By accident i learned that the same kind of thing that i advised for the A-198 Ribbon Controller (to remove the USB-cable from the controller after use, read the post HERE ) counts for the A-178 Theremin Controller's antennas as well...
If you, like i, have your A-100 system placed upright , the weight of the antennas is just a little bit too much for the mini jack connector.
The permanent sideways pressure, caused by the weight of the antenna can cause loose contacts of the connector. If you have your module installed on a flat (tabletop-like) surface the plugged-in antenna cause less sideways pressure and you'll probably be safe.
Although Doepfer uses a new type of jack sockets since 2003 with stronger springs and so-called "curly rear contacts", loose contacts can hardly be prevented.
But don't worry, if this problem occurs it is not a huge problem because most of the times you can fix them yourself by following the instructions that you can find HERE.
In my humble opinion it is just better to unplug your antenna from your A-178 module when you are not using the Theremin functions.
Better be safe than sorry...
Okay... Either you love the sound of the Theremin, or you don't. If you count yourself to the last category, feel free to skip this post and return to this blog in 3 or 4 days.
Yesterday was what would have been theremin virtuosa and electronic music pioneer, Clara Rockmore's 100th Birthday.
Clara Rockmore ( born as Clara Reisenberg ) studied violin in Leningrad, Russia, but she had to stop her career because of bone-problems due to malnutrition in her youth.
After she moved to the USA she started to work with Léon Theremin, who had recently invented the Theremin, and very quickly she mastered the instrument and became a virtuoso Theremin player.
In all the years performing with USA's finest orchestras and touring she developed a distinguished technique for playing the instrument and she proved that the Theremin really was a serious instrument, and not just an instrument to make 'eerie' sound effects for scary movies.
Although she also did these sound effects on commission, her true love was for the real classical compositions.
This 12-track CD has special arrangements of great classic composers like Saint-Saens, Rachmaninoff, Tchaikovsky, Ravel, Stravinsky and a few others.
Rockmore plays the Theremin beautifully, accompanied by her sister Nadia Reisenberg on piano. Pure and simple. If you are into classical music you will probably appreciate these wonderful recordings.
I have to admit that the tracks do sound a bit sad or moody, but that might just be the power of Clara's playing-style. With this recording and performances she definitely proved that you can really touch someone's soul with this instrument, and that is a great accomplishment with such a difficult to play instrument.
A few more recordings that were made during these sessions later appeared on the 'Lost Theremin Album' (1989), together with other old recordings.
Also worth watching: Theremin, an Electronic Odyssey, a 1997 documentary about Léon Theremin, his instrument and life, including various interviews and performances by Clara Rockmore.
Trialer: HERE
The Theremin, invented in the late 1920's by Léon Theremin was one of the earliest electronic instruments.
The instrument is known for it's distinctive ( spooky ) sound, but most of all for it's playing method; Instead of playing it with a keyboard, the Theremin has antennas that sense the movement of the players hand, without touching the instrument.
Best known for playing the Theremin is Clara Rockmore, one of Theremins finest students.
Most theremins use two antennas, usually one for pitch and one for volume, so with two Doepfer A-178 Theremin Voltage Source modules, an oscillator (VCO) and an amplifier (VCA) module, it is quite easy to re-create the sound of a 'real' Theremin. You can even easily extend that sound by patching in filters or other modules.
And again, that is what makes the A-100 modular so versatile.
Instead of just recreating the original Theremin you can use the module as a control voltage source for other modules.
The voltages can be used for controlling any voltage controlled parameter of the A-100, e.g. pitch or pulsewidth (VCO A-110/111), loudness (VCA A-130/131/132), panning (A-134), filter frequency or resonance from all of the filter modules, phasing (A-125), frequency shift (A-126), resonance peaks (A-127), envelope parameters (A-141/142), and tempo (A-147), to name just a few ;-)
The Gate-output with adjustable threshold (not available on the original Theremin) is a nice extra output. I often use this for (re-) triggering notes or filter effects, but it can also be used for starting sequences (A-155) or for reset or switching functions (A-152).
Doepfer recommends if two or more A-178 are used the distance between the modules/antennas should be at least 30 cm to avoid interference.
