Cultural advice

The Australian National University acknowledges, celebrates and pays our respects to the Ngunnawal and Ngambri people of the Canberra region and to all First Nations Australians on whose traditional lands we meet and work, and whose cultures are among the oldest continuing cultures in human history.

Aboriginal and Torres Strait Islander peoples are advised that ANU Library collections may include images, names, voices, and other representations of deceased persons.

Material in the collection may contain terms, language or views that reflect the period in which the item was created and may be considered inappropriate today.

Histories of the Schmitt Trigger in Handmade Electronic Instruments for Making Sound in the Arts: A Literature Review

Loading...
Thumbnail Image

Date

Authors

van Gelder, Pia

Journal Title

Journal ISSN

Volume Title

Publisher

International Conference on New Interfaces for Musical Expression

Access Statement

Research Projects

Organizational Units

Journal Issue

Abstract

The Schmitt Trigger was invented by biophysicist Otto Herbert Schmitt in the 1930s as a “simple hard valve circuit” that “provides off-on control with any desired differential from 0.1 V to 20 V.”[27] Schmitt was a graduate student at the time, stationed at a Marine Biological Laboratory working with large nerve axions of squid. Since its invention, applications of the Schmitt Trigger have proliferated, appearing in a variety of common technologies, popularly utilised for signal conditioning and to execute relaxation oscillators. The Schmitt Trigger is also a popular integrated circuit used in introducing people to building their own electronic synthesisers. This is evidenced in Nicolas Collins’ “Handmade Electronic Music: The Art of Hardware Hacking,” first published in 2002, with projects from “My First Oscillator” to various noise makers, all utilising the Schmitt Trigger. This paper presents findings from a literature review investigating histories of applications of the Schmitt Trigger in the making of instruments for sound art and music practices. Preceding Collins, resources include handbooks for practitioners that reveal the circuit’s cultural impacts and associated historical communities, while contemporary discourse in experimental practice have emerging thematics, some of which present curious parallels with Otto Schmitt’s own research interests.

Description

Keywords

Citation

Source

Book Title

Proceedings of the International Conference on New Interfaces for Musical Expression

Entity type

Publication

Access Statement

License Rights

Restricted until

Downloads