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ENCYCLOPEDIA OF RADIO ELECTRONICS AND ELECTRICAL ENGINEERING Impact force sensors for percussion instrument simulators. Encyclopedia of radio electronics and electrical engineering
Encyclopedia of radio electronics and electrical engineering / Musician The sensors are made from pieces of 20 mm plywood, which are given a streamlined shape with a thinner edge. In the center of the front side, a Ton-2 telephone with a resistance of 1600 Ohm is recessed, flush. A layer of vacuum rubber is glued on top of it (it was also checked with microporous rubber), and around the perimeter it is fitted with a rubber ring from the autocamera. This allows you to apply and hit the edge of the sensor. A clamp for fastening to the bearing articular tubes is cut out of sheet stainless steel. After grinding and painting, such sensors look quite attractive. All metal parts are polished to a mirror finish with GOI paste. For the bass drum, I ditched the traditional mallet and bolted the earpiece between layers of 10mm rubber, screwing it to the bottom of the pedal. The upper, movable, spring-loaded part of it elastically hits the rubber, causing a signal to appear. The entire pedal is made from thick duralumin using matching die-cast (bottom) and box-shaped (top) parts. The axis of rotation is fixed in bushings made from unusable SP-2 potentiometers and can withstand my weight of 126 kg without breakage.
Answers to questions about electronic drums: Thanks for the answer!!! Could you tell us in more detail about the manufacture of sensors for drums (material, dimensions, assembly), otherwise I could not understand everything on the site! And also about the computer and synthesis, if possible, tell us in more detail (so that you don’t assemble it twice in vain, but assemble the best option)! Once again, thank you very much! PS Max As a signal source for launching the simulators, I used a Ton-2 telephone capsule with a resistance of 1600 Ohms, because it has the most turns and, accordingly, the signal level (not counting, of course, headphones with a resistance of 2200 ohms, but they are no longer found now). At first, I tried various piezoelectric sensors, as the simplest and smallest ones, and in general it turned out that a lot of materials - plastics, rubber, linoleum, etc. have a piezoelectric effect to some extent. Using an oscilloscope, placing a sample between two layers of foil to read the piezo-emf, it is clearly seen that these materials generate voltage surges upon impact. But only special types of piezoceramics give a sufficiently powerful signal that does not require amplification. But such sensors also have disadvantages - the need for a high-resistance circuit input, high sensitivity to all kinds of acoustic noise and rustles, and ceramics also have a fragility of the material. It is also difficult to remove the piezopotential from sheet materials. Therefore, I used telephone capsules, which also have convenient clips for connection. These capsules are used not as microphones, as it might seem at first glance, but as inertial displacement sensors. I mounted the phone inside a thick piece of plywood to hide it from view and protect it from damage, but in principle it can simply be attached to the back of the plywood. So, the "shudder" of the plywood upon impact together with the capsule leads to the fact that the phone's membrane lags behind, bends and induces an electric signal of sufficient magnitude in the coils put on the magnetic circuit. Ordinary friction on plywood and rustles do not cause a signal to appear. These sensors serve only to launch simulator circuits that determine the "sound" of the instruments and no "sound" is required from the sensors themselves, rather, on the contrary, the shorter the echo, the after-sound of the piece of plywood itself, the better! In simulators, the first transistor is used to match, amplify and cut off weak sounds, and on the second, a special circuit is assembled to isolate one, first short pulse from a pack of plywood "bounce" pulses. This very short impulse, proportional to the strength of the impact, launches the inhibited generators, which give out fluctuations that quickly decay exponentially, tones of different pitches and are perceived by ear as the sounds of drums. So the designs of sensors can be very different. I took pieces of thick (about 25 mm) plywood with a diameter of 30 cm and covered it with soft rubber, so that when struck with sticks for hands, there would be a feeling similar to hitting a real drum and vibration from a hard blow would not be transmitted through the sticks, unpleasant during long playing. The size of the sensors does not play a role, and with a certain skill, you can hit even 10 cm "patch"! Having cut off a rubber ring from the autocamera, I pulled it and glued it around the perimeter of the sensor, hiding its "puffiness" and providing a soft blow with sticks and on the side of the sensor, as when playing on a hoop of real drums. Thus, the plywood was, as it were, in a "rubber case" tightly glued to it. At the same time, the playing technique does not differ at all from playing on real drums, and the similarity of the sound entirely depends on the settings of the imitators. As for computer synthesis, have you ever heard midi files? So, they contain not sounds, but sets of commands for the audio processor built into the sound card of your computer. According to these commands and in various ways (of which there are many), the synthesizer built into the sound card generates the sound of instruments, both electronic and natural. Recently, for a greater semblance of the sound of natural instruments, samples have been used - sets of sounds of real instruments collected in banks (wave tables), and according to these samples, the synthesizer generates notes of various pitches but with the coloring and characteristic sound of natural recorded instruments. The sound card synthesizer can work not only when playing midi files (of which there are many different types), but also from signals via the midi channel, which is built into all independent sound cards. So I have an Evolution 361C midi keyboard connected via USB, but it doesn’t matter, the computer itself translates its commands into midi signals for the sound card, and can also be connected via midi interface to the 15-pin midi port of the sound card. So, pressing the keys of such a keyboard causes midi commands to enter the sound card synthesizer and it generates the sound of any instrument, including various percussion instruments (in some banks there are over 600 of them!). And the "naturalness" of the sounds is amazing! It remains only to make a controller that, based on the signals from the shock sensors, will generate midi commands similar to those generated by a midi keyboard. Or you can "get with your feet" inside such a keyboard and pull out the wires for the sensors :-)! Just kidding, of course, pressing a key causes not just the closure of some contacts, but also produces a signal indicating the force (or acceleration) of pressing. I must say right away that I did not deal with this direction, because. at the time of my music-making, computers were still inaccessible ... However, it is worth looking on the Internet, it may very well be that someone has already solved this problem. And such a solution would be more serious than self-made imitators, especially since the "naturalness" of the sound of electronic cymbals is still worse than drums, but the sound card generates them 100% similar. Good Luck! Author: E. Shustikov (UO5OHX ex RO5OWG); Publication: shustikov.by.ru
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