Saucer Sled Synth

Recently I built a Posc (Pocket Oscillator by Sonodrome) and discussed it in this entry with an audio example. Shortly afterward I built the circuit into a cardboard box and used the instrument in a number of performances and recording sessions. Now I have disassembled my beloved cardboard box and created a new instrument for an upcoming dance performance. This updated prototype is made from a plastic saucer sled, a 4″ speaker, a recycled nine volt amplifier, and the Posc circuit.

I started by drilling a grid pattern of air holes for the speaker. I then mounted the speaker behind the grid as shown. Finally I soldered the Posc circuit to the nine volt amp and the amp to the speaker. Two nine volt batteries and some duct tape completed the prototype. The night of the build I handed it to Pramila Vasudevan, the choreographer for the piece, and was amazed by the sound quality, and the response of the instrument to her movements. The final product will most likely be fabricated out of fiberglass to improve the rigidity and resonance of the disc or “shield”.

Read on to see a few more photos of the instrument.

Here’s the inside of the saucer sled synth. In the upper right you can see where the body contacts are duct taped to the handle. The contacts, along with the LDR and the rest of parts, will be mounted more securely on the upcoming fiber glass model.

Here’s the original model, built into a cardboard box, that I disassembled for the saucer sled synth. Since I have become quite fond of this device, I’ll be building another into a more study case soon.

Finally, here’s a view inside the late Cardboard Posc.

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About John CS Keston

John CS Keston is an award winning transdisciplinary artist reimagining how music, video art, and computer science intersect. His work both questions and embraces his backgrounds in music technology, software development, and improvisation leading him toward unconventional compositions that convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. Performers are empowered to use their phonomnesis, or sonic imaginations, while contributing to his collaborative work. Originally from the United Kingdom, John currently resides in Minneapolis, Minnesota where he is a professor of Digital Media Arts at the University of St Thomas. He founded the sound design resource, AudioCookbook.org, where you will find articles and documentation about his projects and research. John has spoken, performed, or exhibited original work at New Interfaces for Musical Expression (NIME 2022), the International Computer Music Conference (ICMC 2022), the International Digital Media Arts Conference (iDMAa 2022), International Sound in Science Technology and the Arts (ISSTA 2017-2019), Northern Spark (2011-2017), the Weisman Art Museum, the Montreal Jazz Festival, the Walker Art Center, the Minnesota Institute of Art, the Eyeo Festival, INST-INT, Echofluxx (Prague), and Moogfest. He produced and performed in the piece Instant Cinema: Teleportation Platform X, a featured project at Northern Spark 2013. He composed and performed the music for In Habit: Life in Patterns (2012) and Words to Dead Lips (2011) in collaboration with the dance company Aniccha Arts. In 2017 he was commissioned by the Walker Art Center to compose music for former Merce Cunningham dancers during the Common Time performance series. His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015). He has appeared on more than a dozen albums including two solo albums on UnearthedMusic.com.

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