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Bunned. James Bunned.
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sound switched LED component
A tiny unit that translates a frequecy of sound into a blinky.
Really this component is a transitor where the base charge is driven by sound ( crystal?, charge in a torsion bar?) and the circuit drives an led.
I was thinking of spider webs of fairy lights on a concert stage. These lights are special
in that they react to the sound waves, in the stage volume, in real time rather than computer timing patterns.
Frequencies and colors would be totally up to the artistic flair of the musicians. This would be subject to current LED colors, and frequency ranges of the base mechanics.
A wide spread through the stadium and audience might show sound propagation as a visual spectacular.
Visible Flcker [csea, Nov 30 2014]
||Could be improved by a frequency divider that
related audio (20-20kHz) to visual stimuli (~0.2Hz-
200Hz) in a logarithmic fashion. +
||//A wide spread through the stadium and audience might
show sound propagation as a visual spectacular.//
||You could sprinkle a few million of these into an urban war
scene. If a sniper shoots the S-LEDs would indicate exactly
where the sniper shot from.
||At least it sounds Xmassy
||//the artistic flare of the musicians//
||Won't the glare from the flares make it hard to see
||[csea] frequency mapping is a good idea, but as
described, I don't think there will be much visual
distinction since in a lot of music the full orchestra
is playing most of the time, so you'll usually be
getting light over most of the spectrum. My first
thought was to make is to map the visual spectrum
to the octave, so every C would be red, E would
be green, G# would be blue. But that still results
in a pretty full spectrum whenever a full cord is
||Maybe the sound could be classified according to:
Tone purity: single frequency -- chord --
dissonance -- white noise
||Maybe use red proportional to the volume of
sounds in the lower half of the frequency ranges
and blue for the volume of sound in the upper
half, with a gradual crossover centered around
middle C. Then use green to indicate the
complexity of the chord structure with no green
indicating a pure tone, levels of medium green
indicating major chords, minor chords, and
dissonance with bright green indicating white
noise (most drums).
||Hmm, still not right since you can't see the melody
or the chord progressions. It seems to me that
translating music into a single linear sequence of
light is not easy. If we weren't trying to make all
the lights have the same output we could have
some with a color mapping over an octave that
could follow the melody. Others lights could follow
harmony in some way. It would still be challenging
to make it so that any chord with a harmony that
sounds "good" results in pleasing color combination
and dissonant sounds would have poorly