What I wouldn’t give to be able to spend a day in vtol‘s Moscow studio and see how some of these things get conceived and built. See – and hear! – it in action in the video below.
I have always perceived the concept of modulation in music as a complex cyclical visual system: the ricochets of the crest of a wave constricted in its own amplitude, rotations within rotations (in particular, if the shape of the wave is aspiring for a sinus), compound pendulums and centrifugal spirals. Meanwhile, I actually experienced the frequency modulation as synesthesia a long time ago – I had such an experience when playing a guitar, with the oscillatory movements of my fingers accurately and demonstrably accompanying the palpable vibrations of the string.
The modulator is a system consisting of electric motors and a composite hand, with a passive magnet installed at the end. The Hall effect sensors register the movements of the magnet. This only occurs if the rotation phases coincide in such a way that both composite parts of the hand with the magnet at the end and the senor are on one line. After registration of the magnet’s movements, the status of the entire system shifts -– there is a change of pace, the direction of the rotation of one or both motors changes, and most importantly – the parameters of the sound synthesis. The more frequently the system mutates, the more complex the sound becomes and vice-versa, the more infrequently, the tone becomes more diffuse. As the Hall effect sensors register not only the existence of a magnetic field, but also its strength and polarity, another three additional magnets have been installed on the object on the rotating axes which modulate the position of the main magnet when it is all of a sudden in close proximity to them. Taken all together, they form a composite dynamic system in a closed loop and in a constant state of mutation and modulation of its state rotating in an endless sound composition.