S&E: Experiment Diary 3- So Close Yet So Far

After several failed attempts to connect the microphone to my speaker through different methods, I decided to use the MAX9814 module as a preamplifier for the microphone signal before passing it to the PAM8403 amplifier module.

This setup brought me the closest to success yet. For the first time, the speaker responded to the microphone’s input! I could actually hear sound output as I spoke into the microphone. However, it wasn’t quite what I expected. The output from the speaker wasn’t clear audio—it was a cacophony of crackling, popping, and snapping sounds, like a series of fireworks going off. While it wasn’t what I aimed for, it was encouraging to know the system was partially working.

Determined to pinpoint the cause of the noise, I began troubleshooting. My first suspicion was that the MAX9814 module’s output signal was still too weak for the PAM8403 amplifier to process effectively. To confirm this, I measured the voltage across the MAX9814’s OUT and GND pins while speaking into the microphone. The voltage fluctuated by only 0.4V, which was far below what the PAM8403 needed for clean amplification.Unfortunately, I didn’t have any other preamplifier chips on hand to test as an alternative.

Next, I focused on the gain settings of the MAX9814. By default, the module was set to 60dB (high gain), but I wanted to see if lowering the gain could stabilize the signal. I connected the GAIN pin to VDD, reducing the gain to 40dB. The result? The speaker’s volume increased noticeably, but the crackling persisted, and the output voltage fluctuation dropped to a mere 0.01V.In addition, the voltage readings from the MAX9814 output became highly unstable, making it even harder to determine what was going wrong.

At this stage, I suspect the instability is due to one or more of the following:

  1. Insufficient Signal: Even with the MAX9814, the microphone signal may still be too weak for clean amplification.
  2. Impedance Mismatch or Noise: The connection between the MAX9814 and PAM8403 might be introducing noise or failing to match the input requirements properly.

S&E：Experiment Diary 2

Attempt 2: Microphone to ESP32 ADC and DAC

This approach seemed promising in theory. I connected the microphone to the ESP32’s ADC (analog-to-digital converter) to process the input signal and then used its DAC (digital-to-analog converter) to output the processed signal to the speaker. ESP32, with its powerful capabilities, felt like the perfect choice for such a task.

I spent hours adjusting the wiring, ensuring the connections were solid, and tinkering with the code. Despite my efforts, the ESP32 continuously threw unknown errors that I couldn’t resolve. Whether it was a software bug, a configuration issue, or just my own inexperience with ESP32’s intricacies, I couldn’t get it to work. Frustration mounted as I realized I needed more debugging time than I had.

Attempt 3: Direct Connection – Microphone to PAM8403

With the ESP32 option shelved, I decided to simplify everything. This time, I used the Arduino’s 5V pin purely as a power source and directly connected the microphone to the PAM8403 amplifier. No microcontrollers, no ADCs, just a straightforward analog chain: microphone → PAM8403 → speaker.

The result? Only static and electrical noise came out of the speaker. No matter how I adjusted the connections, spoke into the microphone, or modified the PAM8403 settings, the output didn’t change. The simplicity of this setup should have worked, but I suspect the microphone’s signal was either too weak for the PAM8403 to amplify or the input impedance mismatch rendered the setup ineffective.

Both approaches were disappointing, but they added valuable lessons to my journey. I’m not giving up yet. Introducing a proper preamplifier stage to the microphone before it reaches the PAM8403 is pretty necessary after all these experiments. Each misstep is a step closer to a working solution—or so I keep telling myself.

SSAC Guest Lecture-Imani Mason Jordan

Attending Imani Mason’s guest lecture was a thought-provoking experience, especially when they discussed conceptualizing the voice both as an instrument that accompanies music and as its own kind of music—an entity that can be accompanied in turn. The way Mason recited the poem echoed the “Sonic Doing and Thinking” sessions I once participated in with Ingrid, where we explored scripts and collective vocal performances. In those sessions, our voices formed choirs that challenged the boundaries between speaking, singing, and soundmaking.

What struck me most was how Mason’s approach to voice abandons conventional notions of pitch and traditional musical scoring. It’s almost like rapping, but stripped of the rhythmic backdrop of beats. Instead, the voice itself becomes a central element, shaping the texture and meaning of the composition. This idea places more emphasis on the subjectivity of one’s presence within a composition. Listening to Mason’s perspective allowed me to reconsider how voice can serve not just as a medium of communication, but also as a fully realized sound practice that stands on its own, asserting and embodying the performer’s agency within the musical artwork.

S&E：Experiment Diary1

1.5 months. That’s how long it took for my long-awaited package to finally arrive after being stuck at customs forever. In my impatience, I had reordered the components, hoping to meet my deadline, but, alas, the replacements didn’t arrive in time either. And then, just as I was waiting for the results of my EC, the first package finally showed up.

I thought this marked the end of my struggles. “Now everything will fall into place,” I told myself. Little did I know, I was about to enter the next chapter of chaos.

First, I realized I had ordered the wrong versions of several crucial parts:

  • The ADAU1701, MT3608, and LM386 chips I received were all surface-mount devices (SMD) instead of the breadboard-friendly through-hole versions I needed.
  • My two 18650 batteries were not equipped with proper holders, leaving me unable to securely connect them to the circuit.

Desperate Measures: Fixing What I Could

Some parts weren’t entirely unusable but required modifications:

  • The speaker terminals didn’t fit the breadboard, so I had no choice but to cut off the connectors and solder two iron leads onto it. Surprisingly, this worked.
  • The PAM8403 amplifier module arrived without pre-soldered headers. My first attempt at soldering was a disaster: I ruined one board entirely. Later, during testing, I managed to burn another board alongside an LED. Ouch.

Mic Troubles

The microphone module wasn’t spared from my chaotic tinkering. Initially, I soldered thin wires to its pins, but the connections were fragile and unreliable. I finally replaced the wires with stiff iron leads, which improved the stability.

SMD Soldering: The Ultimate Test

The three critical SMD chips—ADAU1701, MT3608, and LM386—needed legs soldered to their minuscule pins. Time was short, so I began with the largest of the three: the LM386. Hours passed, and my soldering efforts ended in failure. With only frustration to show for my attempts, I had to admit defeat.

By now, it was clear I wouldn’t have time to reorder or even replace the damaged components. Every misstep added more pressure, and the clock was ticking faster than ever. Despite these setbacks, I resolved to make the best of what I had.

This project has been an ongoing lesson in perseverance, problem-solving, and patience—more than I could have ever anticipated.

Substitution Attempt 1

Facing the mounting challenges with the original plan, I turned to a replacement solution. I decided to use Arduino as an intermediary to process the microphone signal. The idea was simple: connect the microphone to Arduino’s analog input, use analogRead to capture the signal, and then output it through a PWM pin to simulate an analog signal for the speaker.

At first, it felt like progress. I could finally hear something through the speaker—a sign that the signal chain was functional. However, the result was far from ideal. What came out of the speaker was an extremely loud mid-high frequency tone, more noise than meaningful audio. It was frustrating, but also fascinating—a clear reminder of how tricky real-time audio processing can be without proper filtering or amplification stages.

S&E: Project Overview and Preparation

The goal is a fixed installation for an exhibition—something interactive yet low-maintenance. It doesn’t need fancy controls or a screen but should handle sound input (a microphone), sound processing (a DSP chip), and sound output (a speaker). Here are the main requirements I jotted down:

  • Input: Microphone for sound capture.
  • Processing: Leave room for effects like reverb or delay in the future.
  • Output: A small speaker to amplify and play back the processed sound.
  • Power: Needs to run on batteries for portability.

The First Questions

  1. What kind of microphone should I use?
    I found two options:
    • Electret Microphone: Reliable and cost-effective, but not very sensitive.
    • Condenser Microphone: Better sensitivity, but requires phantom power.
    I decided to use the electret microphone since the phantom power is bit too over, and I purchased an LM386 module for preamplification.
  2. How will I process the audio?
    I stumbled upon the ADAU1701 chip, which looked like a great solution. It’s a small DSP that can be programmed using SigmaStudio. I also plan to use an Arduino to integrate it.
  3. How do I amplify the output for the speaker?
    After some research, I settled on the PAM8403 module, which is simple and works well with 4Ω, 3W speakers.
  4. What about power?
    I already had two 18650 lithium batteries. With a TP4056 module for charging and an MT3608 module for boosting the voltage to 5V, this part seemed manageable.

Here’s what I ordered for the initial build:

  • Microphones: Both electret and condenser types.
  • LM386 Preamp: To boost the microphone signal.
  • ADAU1701 DSP Module: For audio processing.
  • PAM8403 Amplifier: To drive the speaker.
  • TP4056 Charging Module: To handle the lithium batteries.
  • MT3608 Boost Converter: To regulate power output.

I also grabbed breadboards, jumper wires, resistors, capacitors, and some basic tools. This should be enough to build a prototype.

I wanted the design to be modular, so each component could be replaced or upgraded later. For example:

  • The DSP can be programmed to add effects down the line.
  • The amplifier and speaker can be scaled up if needed.

I mentioned the acupunctual head model in my previous blog and I would have to get it from China. It usually takes 10-15 days to deliver after purchase and after price comparison I ordered all these gadgets from China as well. I lined out this whole plan in the early October and I wish all these components could be arrive soon so that I would be able to experiment earlier.

SSAC W2

I finally have decided my topic for the audio paper which would be on the study of cheugy house(?)=土嗨 I am still struggling about the translation of this term.

My first draft of the outline of the script

1. Introduction (1 minute)
Define 土嗨, or “Local Rave,” as a genre. Explain that while it loosely translates to “earthy” or “unrefined” electronic dance music, it’s often characterized by energetic, catchy beats and accessible melodies. It’s a genre that people either love for its simplicity and vitality or find amusing for its unapologetically bold style.

2. Genre Origination (2 minutes)
土嗨 has roots in two primary genres: Melbourne Bounce and Italo Disco or Eurodance.

  • Melbourne Bounce: Explain that Melbourne Bounce originated in Australia in the early 2010s. Known for its bouncy basslines, repetitive beats, and energetic feel, it serves as a precursor to 土嗨 by offering the catchy, straightforward structure that defines the genre.
  • Italo Disco/ Eurodance: Introduce Italo Disco, which originated in Italy in the 1980s. Known for its upbeat tempos, synthesizer-driven melodies, and European electronic influences, Italo Disco laid a foundation for dance music with simpler structures and infectious hooks.

土嗨 has essentially localized these international dance styles, integrating electronic dance music’s universal elements with an “earthy” Chinese twist that appeals to a broad local audience.

3. Cultural Origination and Influence (2 minutes)
土嗨 began emerging in China’s rural areas and smaller cities where people sought energetic, accessible, and affordable forms of entertainment. Unlike music originating in urban clubs or high-end venues, 土嗨 became popular among people who gathered at local events, outdoor parties, or even small-town festivals. Its popularity grew alongside the rise of short-video apps, where creators started using 土嗨 tracks as background music for entertaining content.

4. Features of 土嗨 (2 minutes)
土嗨 music has several defining features:

  • Simple, Repetitive Melodies: Tunes are easy to remember and get stuck in your head.
  • Heavy Basslines and Danceable Beats: Inspired by Melbourne Bounce, 土嗨 often has a distinct “bouncy” bass that encourages listeners to dance.
  • Accessibility: The music is straightforward, not overly produced, and often feels like it’s made for fun rather than artistry.
  • Distinct Sound Design: It tends to feature simple synthesizers and classic electronic sounds, lending a nostalgic, almost kitschy vibe to the genre.

5. 土嗨 as the “Work Chant of the New Era” (2 minutes)
土嗨 is widely used as background music for motivation. Due to its high-energy beats, people use it as a kind of “boost for energy,” particularly when doing repetitive or tiring tasks. In a way, 土嗨 becomes a “modern work chant,” as it keeps workers or young people energized, whether at home, the gym, or even during road trips. By promoting positive energy and endurance, 土嗨 has become a way to power through challenging activities with humor and liveliness.

6. Conclusion (1 minute)
Summarize 土嗨’s unique blend of Western electronic dance roots and its specific Chinese cultural resonance. Highlight how 土嗨, while simple and accessible, serves a broader social function: uniting people across regions with music that’s both energizing and light-hearted.

S&E Follow-up ideas of the project

After the tutorial with Milo, I started to come up with idea of adding acupoint to my head sculpture. In my first inspiration blog of this project, I mentioned having the sculpture covered in hairs; however I think that one would be to ideological for my assessment– I still need to make something with sound!

I sold my idea like this: making a live time interactive sculpture. In the first element, I will be making mouths of the people to speak and ears to listen. In the second element, which this piece will be exhibited, I will add more acupunctual features to it: having knobs on different acupoints which controls a variety of effects on the live-picked sounds.

We’ve came across several experiments: audible pins, LDR controlled audible circuit, pure data and Bela boards. Programming was new to me yet interesting, but still, I would say, I prefer analogue to digital!! It is not because I have built some analogue synthesiser during the summer, it is all the digital related thing makes me feel like an idiot.

S&E Sound for Screen W2

I watched Gaze dir. Farnoosh Samadi 2017. The sound of the motorcycle and the footsteps built a sense of tension through out the film even without any background music. The contrast of the ambience: with traffic vs silent and the rhythm of the steps really contributed to the nervousness that does not need any voiceovers.

Please consider Akomfrah’s approach to sound on this film and write a paragraph about this on your blog. How does sound change POV? Include images in your blog.

Beyond the Archive: The Work of Remembrance in John Akomfrah’s The Nine Muses

  1. Emotional Resonance: The use of melancholic music underscores the emotional weight of migrant experiences, establishing a mood that enhances the viewer’s connection to the narratives being presented.
  2. Voice-over Narration: The narration often shifts perspectives, introducing personal stories that provide context and depth. This change in voice can alter the viewer’s understanding of a scene, prompting empathy and reflection.
  3. Contrast and Conflict: Akomfrah contrasts industrial sounds with the natural soundscapes of Alaska, creating a dialogue between the harsh realities of migrant labor and the beauty of their journeys. This duality invites viewers to grapple with the complexities of migration.
  4. Point of View Shift: The sound design often shifts the point of view, aligning the viewer with the experiences of the migrants. For example, when archival voices recount struggles, the accompanying sounds draw the audience into that moment, making it feel immediate and personal.
  5. Cultural References: The film incorporates music that resonates with the cultural backgrounds of the migrants, enriching the narrative and grounding it in specific histories and identities.

In The Nine Muses, Akomfrah’s innovative use of sound significantly alters the viewer’s point of view, creating a layered auditory experience that complements and deepens the visual narrative. The film’s soundscape intertwines melancholic music, industrial sounds, and poignant voice-over narration, effectively immersing the audience in the emotional weight of the migrants’ journeys. As the narration shifts perspectives, it personalizes the experiences being depicted, inviting empathy and reflection. For instance, when archival voices recount the struggles faced by migrants, the accompanying sounds evoke the historical context, making the past feel immediate and relevant. This interplay between sound and image not only enriches the narrative but also facilitates a nuanced understanding of the complex realities of migration, drawing viewers into a shared emotional landscape.

Images to Include

  1. Stills from the Film: Choose images that highlight key moments where sound enhances the emotional impact, such as scenes of migrants with accompanying music or evocative soundscapes.
  2. Soundwave Visualizations: Include graphical representations of sound waves to visually convey the layering of audio elements.
  3. Behind-the-Scenes Photos: If available, photos of Akomfrah and his team during the sound design process can provide insight into the film’s production.

S&E Sound for screen W1

The day when we are having our first session for Sound for screen, I used hydrophone to capture sound of the water from the little area outside Castle Center. I recorded three clips, and found that only the first one has sound. I listened to it with headphones and visualised it at home and generate this image which is so different from what came to my mind when we are doing the eye-closed listening exercise with Jessica.

The sound under water recorded by hydrophone sounds like trains and metal hitting with sparkles of strings and bubbles, which make me think of a pumpkin shaped jellyfish with beer foams in it and a train to pass by. This picture was very different to what I used to visualise that is more graphical and made up of fundamental shapes. What’s more, the sound quality and texture the hydrophone gives might not be good as the pole when we come to the application in commercial film production. What captured by H5’s microphone sounds more realistic to what we expect to how the water sounds.

S&E Inspiration

When I was walking on the street today, with the symphony of traffic and passerby, something suddenly came upon my mind. Sound is so all pervasive and passive, which, in Chinese expression, could be explicitly translated into “through every hole”, which reminds me of the growth of hair through pores- also unstoppable and could spread out the whole body.

Obviously human only grow hair on certain places, and even we take measures to get rid of extra hairs, but why we would be greedy on our desires. In Buddhism, greedy is one of the reason why we suffer. From money to interrelationships, we felt jealous, envy, ignored, unsatisfied because of the desire that could never be met. When we are saying “it could be better if…”, we are chasing a vision that could never be compromised. More does not necessarily means better. Experiencing the present is the best present I have.

I constructed an image with a human covered in hair, never been shaved. On social media hair is considered to be the symbol of liveliness, however we only felt disgusting seeing the person covered in hair. That’s how the Golden Mean meant to say.