Here I show your how to integrate some new steps in your photographic PCB-production process.
After the usual step of exposure with a positive of your track patterns & development you just add another exposure with a negative of your solder mask pattern. As a result you get the rest of the etch resist as solder mask to stay on your PCB as protection. The idea comes from a Bungard datasheet.
The TOB production idea is derived from concepts of occupation of spaces and communication technologies and recycling/re-using materials:
1st level:- the input in micro-local space (diy vibrational microphones, kids toys, the guts of a videogame, fm receivers) is taking instruments, inner sounds of bicycles, selfmade electronic devices, feedbacks.
2nd level:- radio p.a. is supplying the next ambience with amplified acoustic events.
3rd level:- fm transmitters supply the wider ambience & are used for feedback.
4th level:- sometimes we transmit into global space via the internet.
The erroneous nature of all these communication ways producing interference, hiss, noises, hums – is part of the game.
As more and more is known about the physical background, electronics turned into a science where devices are digitally simulated and calculated according to mathematical models.
Especially digital electronics with its binary states´ precisely defined 0 and 1, is -nobody wonders- either working or not working. For the majority of digital hardware that means: One wrong bit will break its operation. What we will make from digital chips is always working – but never exactly.
By definition states between 0 and 1 are not allowed. In digital electronic databooks these states are called “not defined” or “illegal”. They are not usable to build a reliable, predetermined, deterministic machine (e.g. a computer) which produces exact, reproducible output within its enviromental parameters (i.e. the computer is functioning).
The answer is astonishing: Digital electronics use symbolic states outside the physical reality!
E.g. standard TTL logic gates (http://en.wikipedia.org/wiki/Logic_gate) operate with a 5 volt power supply. A TTL signal is defined as 0 or “low” when between 0V and 0.8V with respect to the ground terminal, and 1 or “high” when between 2.0V and 5V. States between 0.8V and 2.0V are “illegal”.
The experimental sound circuit SNU, which is the main device of the workshop, uses these illegal states and drives the digital chip it uses into this in-between world of uncertainty. What we get is complexity and uncontrollable behaviour. This workshop shows how building-blocks can be arranged in unusual ways. The SNU or the sequencer SEQ8 are just examples of how arrangements of the instruments can be build.
Not two of them will sound the same.
You get an alive instrument, different from a sampler that only controls premade sound. Like a violin, with many possibilities to create sound but also unpredictable moments, it requires constant judgement and adjustment of the player and at the same time has a live of its own.
or if you like..
Workshop Special Noise Unit (SNU)
„Einfluß statt Kontrolle“
Bei diesem Workshop erhalten die TeilnehmerInnen die Möglichkeit, experimentelle Synthesizer zu bauen, fantastische Noise-Maschinen. Jede ist anders, Gesetze werden auf den Kopf gestellt, IngenieurInnen kriegen die Krise & doch funktionieren sie:
Unkontrollierbar, launisch und eigentümlich wie nur wenige Instrumente.
Hier gibts reichlich Werkzeug, Lötkolben und Elektronikbauteile – Vorkenntnisse sind nicht nötig.
The next seven video snippets are by Natalia Borissova, Munich curator & artist, learning to know the SNU:
Some of my own pieces where the main soundsource is a SNU – SNU-II-Soundtest uses the additional Seq8-sequencer, all the “Fulda” pieces have a delay & occasional ring-modulator added. “Heisenberg” has an additional sample of Werner Heisenberg speaking about quantum physics & a tanpura loop: