Showing posts with label Hyve Touch Synthesizer. Show all posts
Showing posts with label Hyve Touch Synthesizer. Show all posts

Friday, 7 February 2020

Isomorphic Keyboards - Deluge etc

This post is mostly centered around the Synstrom Deluge's isometric keyboard, however the info can be applied to the many other iso - keyboards out there.. both of the software & the hardware variety.
So what's an Isomorphic Keyboard?
There are lots of different varieties. You can find them on devices like the Deluge, the Novation Launchpad, the Linninstrument, Native Instruments Maschine, AKAI's Force, Geoshred (ipad), the Abelton Push controller and Korg's SQ-64 sequencer. These instruments have square keys.


The keys can also have different shapes. Devices like the Hyve Synth and the Axis controllers by C-Thru Music, use hexagonal keys.  


Accordions using round and hexagonal keys in various isomorphic layouts have been built since the 19th century. So the idea isn't new.


The word isomorphic derives from the Greek iso, meaning "equal," and morphosis, meaning "to form" or "to shape."
Your standard keyboard looks like this:

The iosmorphic keyboard, in comparison, has the notes of a standard keyboard but they are arranged differently.


Moving left to right horizontally, the lit keys  are A, B, C, D , E , F, G.
The unlit keys are your sharps / flats : A#/B-flat, C#/D-flat, D#/E-flat, etc etc
That is, each key is 1 semitone apart from the next. ... pretty much like a standard keyboard.

However, differences appear when we move in a vertical direction
If we move up or down the isometric keyboard, each key is 5 semitones or a perfect 4th from the next.
For example moving from A to D on a normal keyboard looks like this:

But on an isometric keyboard, it's just one button away.

This setup on the Synthstrom Deluge is called a ‘chromatic fourths’ arrangement.
It's a bit like a fretted string instrument such as a guitar.


Notice also that each note appears more than once on the isometric keyboard.

The advantage of this layout comes when you try to learn chords.
When you play a chord on a standard keyboard you need to learn many finger positions.
Every chord has a unique finger configuration. Eg if you wish to learn the major chords you have to learn 12 different variations, for each root note.

On an isometric keyboard, you only have to learn one shape or pattern for each chord. Then you just apply that to other notes.

For example a Major chord is a triangle.
So a C major chord (CEG) will look like this:

A D major chord (D,F#,A)









An E Major Chord ( E, G#, B)

 Here are some basic Chromatic Isomorphic keyboard shapes to remember.


The video below shows how after pressing the scale button all you see are the root notes.



In this case the root note is C.
When you press any C note, all the other C notes light up.

The Deluge by default  ships with its keyboard set to a C major scale
The video below shows how to change the root note.


In this case its from C to G
1. press the Scale button.
    (you will see only the C notes lit up)
2. Hold down the Scale button &  Press the note you wish the root to be (G in this case).
    So now we have a keyboard set up with a  G major scale.

To change the scale type press shift + scale
Thus you can cycle through some common types:
As of writing the available scales are:
Major
Minor
Dorian
Phrygian
Lydian
Mixolydian
Locrian
Melodic Minor
Harmonic Minor
Hungarian Minor
Marva ( Indian Raga scale)
Arabian
Whole tone
Blues
Pentatonic Minor
Hirajoshi (Japan)

Music Intervals
An interval in music is the measured distance in pitch between two notes. It defines the space between sounds, either played sequentially (melodic interval) or simultaneously (harmonic interval). Intervals are the building blocks of melodies, scales, and chords, classified by number (e.g., third, fifth) and quality (e.g., major, minor, perfect).

Key Aspects of Musical Intervals:
Melodic vs. Harmonic: Melodic intervals occur when notes are played one after another, while harmonic intervals occur when two notes sound at the same time.

Measurement: They are measured by counting the steps between notes, including the starting and ending notes (e.g., C to E is a third: C-D-E).

Quality: Intervals are further defined by their quality—perfect, major, minor, augmented, or diminished—which describes the exact number of semitones between the notes

Some Basic Interval Patterns to play around with using left/right hands:

Unison (Two notes of the same pitch)
Octave (The distance between a note and the next note with the same name)
Major Seventh. (11 semitones.  Eg: C to B, F to E, D to C#)
Minor Seventh. (10 semitones. Eg., C–B#)


Minor sixth (8 semitones eg; C to A flat, A to F)
Major Sixth (9 semitones. Eg C to A)
Perfect fifth (7 semitones. Eg C to G).


Tritone (3 whole tones or 6 semi tones. F to B or C to F#).... the devil in music.
Perfect Fourth (5 semitones. Eg C - F, G–C, D–G, A–D, E–A).
Major Third (4 semitones eg C-E)
Minor Third (3 semitones. A to C, E to G, C to Eflat)
Minor Second (one semitone) E-F, F-F#)
Major second (2 semitones eg C-D)


We can now combine the basic intervals to form triads

Triads
Triads are three-note chords formed by stacking musical intervals. 
The foundation of a triad consists of a root note, a third above the root, and a fifth above the root. The specific type or quality of the triad (major, minor, diminished, or augmented) is determined by the specific sizes of these intervals.

Here is how different intervals form the four main types of triads:

1. The Core Structure: Stacked Thirds
    Triads are built using thirds. They are made up of:
+ Root: The foundation pitch.
+ Third: Located a third above the root.
+ Fifth: Located a third above the third (which is a fifth above the root).

There are 4 types of triads:
Major, minor, augmented, diminished (& sus chords)


Major chord
comprises : Major, 3rd, 5th

The minor chord 
The primary difference between major and minor chords is the third note of the chord, which is lowered by a half-step in minor chords to create a darker, sadder, or more intense sound compared to the bright, happy sound of major chords. Major chords consist of the 1st, 3rd, and 5th notes of a scale, while minor chords use the 1st, flat 3rd, and 5th.


Augmented chord
An augmented chord is a three-note triad (1-3-#5)
formed by stacking two major thirds, resulting in a major chord with a raised fifth, 
such as C-E-G#

Diminished Chord
A diminished chord consists of two stacked minor thirds (root,M3 A5) 
creating a dark, "scary" sound that resolves to a minor chord.
(minor 3rd with diminished 5th)
In comparison, An augmented chord has two stacked major thirds , 
 creating a bright, "dreamy" or suspended sound that resolves to a major chord


Suspended (Sus) chord
A suspended (sus) chord is generally considered a three-note chord (triad), but it is not a traditional major or minor triad because it lacks a 3rd. Instead, the 3rd is replaced by a major 2nd (sus2) or a perfect 4th (sus4), creating a, 2, 5 or 1, 4, 5 structure.

Types:
Sus2: Root - 2nd - 5th (e.g., C-D-G)
Sus4: Root - 4th - 5th (e.g., C-F-G)

Structure: They consist of a (Root), (2nd or 4th), and a (5th).
The third is replaced by a dissonant tone to add tension and dissonance.


---------------------------------------------
Note:
This post covers the deluge with firmware V3.0 (2020)
(post updated 2026 Chopin firmware)
-------------------------------------------------------

Links
* Wicki-Hayden Note Layout
* Axis 49 keyboard
* Hyve Synth
* Linn Instrument 
* XotoPad for Windows multi-touch devices.
* Geoshred

Wednesday, 3 January 2018

Hyve Touch Synthesizer - Tonnetz keyboard

I'm exploring the Hyve's upper keyboard. This is not your familiar black/white piano.
Apart from it not having any moving parts, it's arranged in a lattice structure.
This is a network representing tonal space "first described by the mathematician Leonhard Euler in 1739.Various visual representations of the Tonnetz can be used to show traditional harmonic relationships in European classical music".

It's all about chords and harmonies. Each note is harmonically related to its adjacent notes.
Straight up is a perfect 5th (a interval spanning 7 semitones), up to the right is a major 3rd (a interval of 4 semitones), and up to the left is a minor 3rd (interval of 3 semitones).


So the way it's arranged is if you play any note in a straight line from top to bottom, or bottom to top, it will play in perfect 5ths.
If you play notes going up to the right you will have a augmented pattern (it will go up or down in Major 3rds).
And playing notes to the left will have a diminished pattern (Minor thirds).

This layout of neighbouring fifths and thirds also makes it easy to form major and minor seventh, ninth, 11th and 13th chords.

It seems that all the most important scales — major, minor, chromatic, whole‑tone, diminished, blues, etc — have logical and distinctive patterns that basically climb rightwards and up. 
============================================================
How it forms chords is really interesting.

I'm starting by looking at how it groups the Major Triads.
These are the most common  chords and are built by adding the third and fifth notes in the scale above a starting note (root). For example, in C major, the triad built on C contains:
  • C (the root)
  • E (the third note above C; often called just "the third")
  • G (the fifth note above C; often called just "the fifth")
The 3 major white-white-white triads are: C Major, F Major, and G Major.
.
C major: C E G
  F Major : F A C
 G Major: G B D
---------------------------------------

Minor Triads
 In C minor, the triad on C is built the same way:
  • C (the root)
  • E♭ (the third note above C; often called just "the third")
  • G (the fifth note above C; often called just "the fifth")
This is called the C minor triad.

C Minor Triad : C Ef G
C-sharp Minor Triad : C# E G#
 D Minor Triad : D F A
-------------------------------------------------------------------------------------------------------------
As discussed earlier, this layout of neighbouring fifths and thirds also makes it easy to form major and minor seventh, ninth, 11th and 13th chords.

First the 7th & 9th chords.
The C Major 7th Chord is C E G B
The C Major 9th chord is C E G B D
--------------------------------------------------------
The C major 11th chord is C E G B D F
 ---------------------------------------
The C major 13th chord (drawn in light green) is C E G B D F A
===========================================================
The minor chords now.

Below are just random examples.

The G-minor 7th chord interval is: G A# D F (G Bf D F)


The E-minor 9th chord interval is: E F# G B D


The C minor 13 chord contains C, E♭ , G, B♭, D, F and A♭ (C D# G A# D F G#) as on the diagram below:
 


Hyve Synth

This arrived in the mail today: A Hyve synth.
I've been eagerly waiting for this since Feb 2017.
It's facinating. I think the Hyve gets its name from the upper honeycomb keyboard (and it also sounds like a swarm of buzzy oscillators.... there are 60 voices !!!).

There aren't a lot of these Hexagonal Lattice type keyboards around. (Tonnetz).
It's very Buchla Easel in its responsiveness to touch.

The Hyve is a result of a kickstarter program.
 https://www.kickstarter.com/projects/skotwiedmann/hyve-touch-synth-make-the-future-of-musical-expres
Thanks Skot for this incredible instrument. It's a beautiful fusion of engineering with art.
So how does such a small synth have this huge sound? (I'll post some videos later).
The synth looks deceptively simple. The two main ICs are a SN74HC393DR & CD40106BM96
There are six 74HC393s. It's a dual 4-bit binary counter. Each chip contains 8 flip-flops.

There are two CD40106s. These are CMOS Hex Schmitt-Trigger Inverters.
Each chip consists of six Schmitt-Trigger inputs and is capable of making 6 square/pulse wave oscillators.

The upper section has a TDA1308T/N2,115 .. it's a audio amplifier & a UA78L05CPK .... a 5V voltage regulator.
If I'm understanding this circuit correctly, each CD40106 produces 6 square waves.
As there are two CD40106 we have 12 original square waves to play with.
Each square wave is fed into a Flip-flop. The flip flop outputs 4 squares waves (each a octave below the previous).

So in actual fact each of the original square waves has added to it 4 new waves at different octaves from the original. (1 + 4 = 5)

There are two CD 40106 ICs so there are 12 original square waves.
12 X 5 = 60
This I think, is how we achieve 60 voices.

(let me know if there are any mistakes)
------------------------------
This Octave-down effect has been used in the past in guitar pedals. The MXR Blue Box used this method to create a two octave drop by using flip-flop circuits to divide the frequency by two. 
This created a buzzy synthesizer like tone.

The Roland SH101 used a CMOS 4013 dual flipflop to give three sub-oscillator waveforms; square at -1 octave, square at -2 octaves, and a pulse at -2 octaves.
Roland just fed the main oscillator output to the CMOS 4013 bistable flip-flop circuit to give the sub oscillator waveforms. Simple but ingenious.

Links:
+  HyveSynth.com
+ Hyve touch Synth Facebook
+ Kickstarter
+ Factmag
+ Muffs
+ Muffs - Hyve modifications
+ CMOS