[sdiy] Sal Mar Construction

[cheater cheater]

This is the first synth i've seen that uses plasteboard

D.

On Tue, Mar 2, 2010 at 06:48, Dave Manley <dlmanley at sonic.net> wrote:
> Paul Perry wrote:
>>
>> And here is a picture of the device the circuit was designed for (Franco
>> did the electronics.)
>> http://emfinstitute.emf.org/exhibits/martiranosalmar.html
>> and how it sounds: http://www.youtube.com/watch?v=AHhsBZU6gAo
>
> Thanks for the link, Paul.  I also found 6 more very short live performance
> videos at this users page:
>
> http://www.youtube.com/user/ZanterM
>
> Also found this in the Vasulka archives, written by Salvatore Martirano:
>
> "THE SAL-MAR CONSTRUCTION, a real-time composing/performing instrument.
>
> The SMC was designed, financed and built in 1969 - 1972 by engineers
> Givilbiss, Franco, Borovec and composer Martirano here at the University of
> Illinois. It is a hybrid system in which TTL logical circuits (small and
> medium scale integration) drive analog modules, such as voltage ­controlled
> oscillators, amplifiers and filters. The SMC weighs 15001bs crated and
> measures 8'x5'x3'.
>
> It can be set-up at ore end of the space with a "spider web" of speaker wire
> going out to 24 plexiglass enclosed speakers that hang in a variety of
> patterns about the space. The speakers weigh about 6 lbs. each, and are
> gently mobile according to air currents in the space. A changing pattern of
> sound-traffic by 4 independently controlled programs produces rich timbres
> that occur as the moving source of sound causes the sound to literally bump
> into itself in the air, thus effecting phase cancellation and addition of
> the signal.
>
> The control panel has 291 touch-sensitive set-reset switches That are
> patched so that a tree of diverse signal paths is available to the
> performer. The output of the switch is either set 'out 1' or reset 'out2'.
> Further the 291 switches are multiplexed down 4 levels. The unique
> characteristic of the switch is that it can be driven both manually and
> logically, which allows human/machine interaction. Most innovative feature
> of the human/machine interface is that it allows the user to switch from
> control of macro to micro parameters of the information output. This is
> analogous to a zoom lens on a camera. A pianist remains at one level only.
> that is, on the keys.
>
> It is possible to assign performer actions to AUTO and allow the SMC to make
> all decisions. During Musique et Ordinateur, May 3-19, 1983, at the
> University of Paris, d'Orsay, on May 4th, I played a 45 minute piece which
> was followed by questions and a discussion with the audience. At the
> conclusion of this exchange I assigned my role in a performance to AUTO. The
> SMC remained in place for the duration of the of the Conference.
>
> I was able to teach a French student, a bright computer science major, to
> play the SMC in about 6 hours. Since the control panel is made of kitchen
> counter top, Formica glued to flakeboard (washable), I labeled the functions
> of the most important switches directly under, the switches. He remained
> with the SMC during the rest of the conference and allowed visitors to try
> it with great success. I heard later, second hand, that a few chauvinists
> claimed that his performance was better than mine. I'm sure it was a slower
> paced performance."
>
>
> -Dave
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