Circuit Playground Express Chord Guitar

Since there are seven touch pads on a Circuit Playground Express, that’s enough for traditional 3-chord (Ⅰ, Ⅳ, Ⅴ) songs in the keys of C, D and G. That leaves one pad extra for a Ⅵmin chord for so you can play Neutral Milk Hotel songs in G, of course.

CircuitPython source and samples: cpx-chord_guitar.zip. Alternatively, on github: v1.0 from scruss/cpx_chord_guitar

The code is really simple: poll the seven touch pads on the CPX, and if one of them is touched, play a sample and pause for a short time:

# Circuit Playground Express Chord Guitar
# scruss - 2017-12

# these libraries should be installed by default in CircuitPython
import touchio
import board
import time
import neopixel
import digitalio
import audioio

# touch pins, anticlockwise from battery connector
touch_pins= [
    touchio.TouchIn(board.A1),
    touchio.TouchIn(board.A2),
    touchio.TouchIn(board.A3),
    touchio.TouchIn(board.A4),
    touchio.TouchIn(board.A5),
    touchio.TouchIn(board.A6),
    touchio.TouchIn(board.A7)
]

# 16 kHz 16-bit mono audio files, in same order as pins
chord_files = [
    "chord-C.wav",
    "chord-D.wav",
    "chord-E.wav",
    "chord-Em.wav",
    "chord-F.wav",
    "chord-G.wav",
    "chord-A.wav"
]

# nearest pixels to touch pads
chord_pixels = [ 6, 8, 9, 0, 1, 3, 4 ]

# set up neopixel access
pixels = neopixel.NeoPixel(board.NEOPIXEL, 10, brightness=.2)
pixels.fill((0, 0, 0))
pixels.show()

# set up speaker output
speaker_enable = digitalio.DigitalInOut(board.SPEAKER_ENABLE)
speaker_enable.switch_to_output(value=True)

# poll touch pins
while True:
    for i in range(len(touch_pins)):
        # if a pin is touched
        if touch_pins[i].value:
            # set nearest pixel
            pixels[chord_pixels[i]] = (0, 0x10, 0) 
            pixels.show()
            # open and play corresponding file
            f=open(chord_files[i], "rb") 
            a = audioio.AudioOut(board.A0, f)
            a.play()
            # blank nearest pixel
            pixels[chord_pixels[i]] = (0, 0, 0) 
            pixels.show()
            # short delay to let chord sound
            # might want to try this a little shorter for faster play
            time.sleep(0.2)

This is roughly how I synthesized the samples, but I made them quieter (the MEMS speaker on the CPX went all buzzy at full volume, and not in a good way) and added a bit of reverb. Here’s the sox command from the modified script:

sox -n -r 16000 -b 16 "chord-${chord}.wav" synth 1 pl "$first" pl "$third" pl "$fifth" delay 0 .05 .1 remix - fade p 0 1 0.5 norm -5 reverb

Really, you do want to take a look at shortening the delay between the samples: you want it long enough for all of the notes of the chord to sound, but short enough that you can play faster songs. I came up with something that worked for me, kinda, and quickly; it’s worth fixing if you have the time.

Synthesizing simple chords with sox

SoX can do almost anything with audio files — including synthesize audio from scratch. Unfortunately, SoX’s syntax is more than a bit hard to follow, and the manual page isn’t the most clear. But there is one example in the manual that gives a glimpse of what SoX can do:

play -n synth pl G2 pl B2 pl D3 pl G3 pl D4 pl G4 \ 
     delay 0 .05 .1 .15 .2 .25 remix - fade 0 4 .1 norm -1

While it plays a nice chord, it’s not obvious how to make audio files from this process. I have a project coming up that needs a few simple guitar chords, and with much trial and error I got SoX to spit out audio files. Here’s what I keyed into the shell:

cat guitar.txt | while read chord foo first third fifth
do
  echo "$chord" :
  sox -n \ 
    -r 16000 -b 16 "chord-${chord}.wav" \
    synth pl "$first" pl "$third" pl "$fifth" \
    delay 0 .05 .1 \ 
    remix - \ 
    fade 0 1 .095 \ 
    norm -1
done

with these lines in the file “guitar.txt”

G   :  G2  B2  D3
C   :  C3  E3  G4
D   :  D3  F#4 A3
F   :  F3  A3  C4
A   :  A3  C#4 E4
E   :  E2  G#3 B3
Em  :  E2  G3  B3

How the SoX command line breaks down:

    • -n —use no input file: SoX is going to generate the audio itself
    • -r 16000 -b 16 “chord-${chord}.wav” — with a sample rate of 16 kHz and 16-bits per sample, write to the output file “chord-….wav”
    • synth pl “$first” pl “$third” pl “$fifth” —synthesize three plucked tones read from the file
    • delay 0 .05 .1 —delay the second tone 0.05 s after the first and likewise the third after the second. This simulates the striking of guitar strings very slightly apart.
    • remix – —mix the tones in an internal pipe to the output
    • fade 0 1 .095 —fade the audio smoothly down to nothing in 1 s
    • norm -1 —normalize the volume to -1 dB.

The chords don’t sound great: they’re played on only three strings, so they sound very sparse. As my application will be playing these through a tiny MEMS speaker, I don’t think anyone will notice.

Update: well, now I know how to do it, why not do all 36 autoharp strings and make the “magic ensues” sound of just about every TV show of my childhood?

Glissando up:

sox -n -r 48000 -b 16 autoharp-up.wav synth pl "F2" pl "G2" pl "C3" pl "D3" pl "E3" pl "F3" pl "F#3" pl "G3" pl "A3" pl "A#3" pl "B3" pl "C4" pl "C#4" pl "D4" pl "D#4" pl "E4" pl "F4" pl "F#4" pl "G4" pl "G#4" pl "A4" pl "A#4" pl "B4" pl "C5" pl "C#5" pl "D5" pl "D#5" pl "E5" pl "F5" pl "F#5" pl "G5" pl "G#5" pl "A5" pl "A#5" pl "B5" pl "C6" delay 0 0.05 0.1 0.15 0.2 0.25 0.3 0.35 0.4 0.45 0.5 0.55 0.6 0.65 0.7 0.75 0.8 0.85 0.9 0.95 1 1.05 1.1 1.15 1.2 1.25 1.3 1.35 1.4 1.45 1.5 1.55 1.6 1.65 1.7 1.75 remix - fade 0 6 .1 norm -1

Glissando down:

sox -n -r 48000 -b 16 autoharp-down.wav synth pl "C6" pl "B5" pl "A#5" pl "A5" pl "G#5" pl "G5" pl "F#5" pl "F5" pl "E5" pl "D#5" pl "D5" pl "C#5" pl "C5" pl "B4" pl "A#4" pl "A4" pl "G#4" pl "G4" pl "F#4" pl "F4" pl "E4" pl "D#4" pl "D4" pl "C#4" pl "C4" pl "B3" pl "A#3" pl "A3" pl "G3" pl "F#3" pl "F3" pl "E3" pl "D3" pl "C3" pl "G2" pl "F2" delay 0 0.05 0.1 0.15 0.2 0.25 0.3 0.35 0.4 0.45 0.5 0.55 0.6 0.65 0.7 0.75 0.8 0.85 0.9 0.95 1 1.05 1.1 1.15 1.2 1.25 1.3 1.35 1.4 1.45 1.5 1.55 1.6 1.65 1.7 1.75 remix - fade 0 6 .1 norm -1

Could maybe use some reverb in there for the ultimate nostalgic effect.

 

Y Niwl: We’ll keep a twang in the hillside

If you don’t love this, you may be dead.
(via The world’s oldest record shop: on the vinyl frontier since 1894 | Music | The Observer)

Black Walls – Acedia pre-release

Black Walls’ new album Acedia is available for pre-release purchase.

I’ve had Ken’s artwork on my wall as a huge print for the last couple of years. I’m stoked that this is now out.

Robyn Covers Syd

Robyn Hitchcock plays The Drake this weekend. Last night he covered Syd Barrett’s Terrapin. His Fylde has never sounded better.

Robyn Hitchcock - Terrapin

No-drill tremolo arm options for an American Standard Fender Telecaster

I’ve got a hankering for some surf twang from my Tele. As it’s quite a nice guitar, I’d prefer not to drill it. After not much luck asking on tdpri.com, I had to do some digging myself.

There are a bunch of options for Vintage-style telecaster bridges. Those are the ones with the familiar “ashtray” bridge, three saddles for a bridge and four screws securing them to the body. One of these is the Vibramate; their V5-TEAS for the Standard is coming out later in the year.

But the Standard bridge is different; it has six blocks, three screws, and is a different length from the Vintage bridge:

Options for these are fewer:

  • The ZZGuitarworks Bigsby EZ-Mount System W/B3R Bridge looks promising. (The B3R is for right-handed Standards; B3L for lefty Standards. Similarly, B4R is for Vintage 4-screw ashtrays.)
  • The Stetsbar fits both Standard and Vintage. It does require neck shimming, though.

chris coole at the local

Chris Coole – The Local, Toronto – 7 December 02008:
Chris Coole at The Local

First Set

  1. Sail Away Ladies – medley
  2. John Henry Blues
  3. Hey Porter
  4. John Hartford intro
  5. Let Him Go On Mama, Don’t Put Him Down For It Now
  6. Chilly Wind Blues
  7. beautician’s school – cold guitar tuning
  8. Don’t Think Twice, It’s Alright
  9. I Know What I Know
  10. The Bandit Cole Younger
  11. Walking Boss intro – gourd tuning
  12. Walking Boss
  13. Little Sadie Intro – more tuning
  14. Little Sadie
  15. There’ll Be Hell To Pay intro
  16. There’ll Be Hell To Pay
  17. one more tune – tip jar – Slurf Song intro
  18. Slurf Song

Second Set

  1. Bonaparte’s Retreat
  2. re-intro
  3. Big Steel Rail
  4. John Hartford – batman cape anecdote
  5. Wish We Had Our Time Again
  6. recyclable banjo tuning
  7. Six Days On The Road
  8. Civil War Medley
  9. Introduction to Townes van Zandt
  10. Pancho & Lefty
  11. Railroad Blues
  12. Shelter from the Storm
  13. Old Dog
  14. Medley intro
  15. Turkey in the Straw, Soldier’s Joy
  16. tip jar – Uncloudy Day intro
  17. The Uncloudy Day
  18. tuning
  19. Lonesome Whistle
  20. thanks – and buy banjo CDs
  21. Cannonball Blues

i was the sound man (kinda)

I went to hear Chris Coole yesterday at The Local, and got pressed into the not-very-arduous duty of looking after the levels. With only voice and instrument, it’s not that hard, and I only once managed to produce an ear-splitting blast of feedback. There was a slight ring if Chris leaned forward and his guitar started to feed back a couple of times.

I also ran my first soundboard-audience matrix recording rig, with the PMD620 recording off the board, and my old minidisc recording from my table. The Local’s not short of ambient noise, so it’s nice to control it. The board gives a clean but rather dead mono recording, while the audience mics pick up lots of colour (and dropped plates, door chimes, …)

I haven’t put the full matrix together yet, but tried it on one excerpted song. Once you know what you’re doing, aligning tracks in Audacity is pretty simple – just find a clear note or beat in each track, get the tracks roughly aligned with the Time Shift tool, then zoom in as close as you can to refine the match. I suppose I should have delayed the audience track by about 0.01s to mimic the distance from the stage, but that’s a bit nerdy. Limiting the audience to 25% of the final mix, I get a great warm sound, but one that’s unfortunately almost entirely monaural.

Chris Coole at The Local

Chris Coole plays a relaxed set at The Local every Sunday. He had his new custom guitar last Sunday; it looks and sounds great.

He played his version of Michael Hurley‘s Slurf Song. He let me upload it, so here it is: Slurf Song [mp3].

bo the spider

We have quite the colony of largish, leggy spiders in our basement. They pretty much keep to themselves, as they have plenty of work thinning the woodlouse herds.

I was improvising a barre-chord hambone beat on the tele, when I noticed one of the spiders walking towards me. I stopped; it stopped. I started again; so did it. I switched to the 12-string acoustic and started bashing out the same rhythm; spider was like “meh” and stayed put.

Ladies and gentlemen, we have a spider with the soul the late Mr Diddley in our basement …

am I good, or what?

Presenting the Stewart C. Russell not-patent pick holder:

stewart's pick holder

Yes, it’s just a plastic eraser with knife cuts in it cable-tied to the guitar stand. It works, and both items were in my kitchen drawer. Now I’ll always be able to take my pick …

the dire effects of Whiskey Before Breakfast

This is allegedly what happens when the battery runs out on your Zoom H2 while recording: whiskey before breakfast. This is Nichol playing his Collings during a lesson.

somebody, please buy my guitar!

Black Godin SDxt. Floating tremolo bridge blocked out to make it a hard-tail. Plays very nicely. Cheap! $275, on consignment at Encore Music Exchange – call Dave at 416 691-2686.