This caused hot spots in the display. If you like it that way, you don't have modify them. I wanted more even lighting. The two most common ways of converting point source LED's to diffused is to either sand them or just encase them in hot melt glue. I decided to use hot melt glue. Just put a big blob of hot glue on each LED. I found that it looks more even if you can keep the glue blob smooth.
The shape doesn't have to be perfectly round, but if you apply it in layers, the edges between the layers tend to cause variations in the brightness. In the photo below, the LED in the top right cell has hot glue on it, while the rest are bare. Note that it does a decent job of evening out the light. At first, I used white copier paper to cover the LED's. It darkened the display to bit too much, and looked grainy.
Then I went to an art store, and found. It looks a lot better. It has the added complexity that in order to keep our current within the limits that the AtmegaP can handle, we can only light at most 2 LED's at a time. Therefore, we also scan from left to right.
Even though only 2 LED's at a time are lit, to our eye, they appear to all be lit at the same time due to a phenomenon called persistence of vision. The display code is interrupt driven, and uses the Timer1 library.
Timer1 isn't bundled in the Arduino software installation. Therefore, to install it, you must download TimerOne. A Frame is a screenful of data. A very straightforward and common way of storing the data would be to use a byte for each LED.
This would use 25 bytes per frame. To save memory, we define it as an array of 5 bytes. Each byte represents an entire row of our display. Since a byte is composed of 8 bits, and we only have 5 LED's per row, we only use the bottom 5 bits, and the top 3 bits are ignored. There are 5 bytes because we have 5 rows.
We could save another byte by packing 25 bits into 4 bytes, but that complicates the code unnecessarily, and makes it impossible to graphically view the frame declarations in frames. This causes current to flow through the selected LED.
The most straightforward way to do this would be to use the digitalWrite function on each LED in sequence. However, that's not very efficient. Instead we use direct port manipulation to turn on the columns. Note the ordering which we used in our declaration of the cols array above: 12,11,10,9,8. This way, bit0 of PORTB corresponds to the far right column, bit1 corresponds to the next column to the left, until bit4, which corresponds to the far left column.
But since we are allowed to turn on at most only 2 LED's at a time, we have to loop 3 times for each column, scanning 2 bits at a time.
This is because instead of handling the scanning in our loop function, we call it in the background via the Timer1 library. The main loop simply steps through all of our animation frames. The animations are stored in frames. A frame is just a full screen of data. The default animation that I put in it contains frames.
You can specify frames by just typing them in one by one. Any bit which is set to 1 is lit, and 0 is off. The top 3 bits are ignored.
This manual process can get rather cumbersome if you want to make complex animations Ian was kind enough to share the code for his Internet Graffiti Wall. Thanks, Ian! I hacked it up to generate code for frames. To create your own animations, simply load daftpunkanimationbuilder. Follow the instructions on the screen to create your own animation.
When you're satisfied with it, click the Generate button, and copy the code from the text box, and paste it into frames. If you want to save your animation for editing later, check native fmt before clicking Generate, and then copy and paste the contents of the text box into a text file.
You can later load your saved animation back into the animation builder by pasting it into the Restore from sequence code text box, and then clicking Add before current frame. Please send me any cool animations which you are particularly proud of, and I'll add them to this Instructable for others to download. Circuit Modifications To allow our LED matrix to synchronize the animations to music, we need to interface it to an audio source.
Although there are various designs for color organs, which work with various frequency bands, I prefer syncing with the bass track. We could use an analog pin to sample music, and then do frequency analysis on the Arduino, but this would introduce a delay, and still require us to build an antialiasing filter.
Since we need to build a filter, we might as well keep things simple. I built an analog low pass filter, fed its output into an analog input in, and then simply tested the amplitude against a threshold. I started with a the simplest possible filter, a first order low pass RC filter. Much to my surprise, it worked fairly well. To design the filter, I first needed to figure out what cutoff frequency to use. The cutoff frequency, Fc, of a filter is the frequency where the power is cut in half.
Connect its input to an audio source, such as the headphone jack of a stereo, or an MP3 player. Any audio source designed to drive headphones should be safe. Since I use the headphone jack on a stereo, I can still hear the music even when the circuit is plugged in. If you're using something with only one output, such as an MP3 player, you can hook up two TRS jacks in parallel, and then feed the audio from the 2nd jack to a set of powered speakers or headphones.
Note that the circuit above only monitors one channel of audio, which works with most songs, since the bass is generally approximately equal amplitude in both channels. It works OK, but I found that in order to get a high enough input for the Arduino to respond nicely, I have to turn the volume up a bit too high for my tastes. You can substitute any suitable op amp.
I used the TLCCP because that happens to be what I had on hand, and it has the particularly nice characteristic that it doesn't mind running on a single-ended power supply of only 5V, so I could just hook it up to the Arduino's power. The circuit above mixes the left and right audio channels, and has a gain of Just hook it up to your stereo audio source, and connect the output to analog pin 0, as before.
If you prefer to use a microphone rather than direct wiring, pepehdes has posted an alternate circuit using an electret mic in Step 1's comments, which he says works well. Note that it is an all-pass design so it will trigger on all frequencies, not just bass. I didn't use a microphone, because my design tracks the bass which might not be picked up very well via small speakers and a microphone.
Sketch Revisions Next, we need to modify the sketch to read the audio input, and trigger the next animation frame when a threshold is exceeded. The new sketch, daftPunkSyncV2. You can switch the sketch between music sync and free-running by modifying. This will cause the LED to blink when threshold is exceeded. I have it turned off in the sketch by default, because I'm using my tiny breadboard instead of an Arduino now, and it doesn't have an LED.
It simply defines how many consecutive loops after the input exceeds our threshold before the sketch is allowed to trigger the next frame. I found that in many songs, bass beats are actually composed of several very closely spaced peaks. If we don't filter them out, then the display will advance several frames for each beat. You might actually like this effect, because it makes the display more lively. Play around with it, and see what setting you prefer. Also, the board is rather bulky.
A cheap way to power the project once you're done building it is to buy a cheap USB wall wart, such as is used to charge various devices.
You can get them on eBay, or if you're lucky, your local 99 cent store may carry them. Thanks for sharing Draft Punk! I made 5x5 LED matrix using a matrix I recovered from an old kids toy and made it work with shift ic other instructables. However, looking for examples I came across this and so made a another matrix with LEDS I will post a make when I have finished all steps. I got stuck on getting the thing to cycle through the Frames.
It would not cycle through the columns and only one column of LEDS worked. Test mode worked OK. I kept checking wiring and code but overlooked the obvious!
Even though it has same pin outs, it is not the same and does not support direct port manipulation. Now I can go on to the Music part! Can you provide an example of the final code for the Arduino setup of using the daftpunk and frames.
I am getting a bit confused as to where they belong or how they are related to each other. Reply 4 years ago. Is it possible to fry arduino when all leds is in high state? Hi All; Is there somelimit to the number of frames? I have a big bunch but when I get to 13K bytes the code functions erratically. Can someone help? Reply 6 years ago. With just that explanation its very difficult to diagnose but if you uploaed the codeyou problem should be your wiring.
Daft Punk likely used a sample-based Romper hardware synth for this track. The super-funky bass line is the highlight of Voyager and sounds like another use of the Roland Juno The MIDI programming on the bassline itself is very detailed, making use of 32nd note lengths for short funky notes.
The key to programming the sound on a synth is to set the filter resonance high and find the cutoff sweet spot. Set the envelope amount to 1. Judge for yourself:. Below you can check out my full remake of Voyager using all of these remade sounds. There are three funky background guitar loops, these were likely recorded by Daft Punk and instead of being sampled from a record or sample CD. Short Circuit is based around two sections, the first has a chopped-up feel and was likely created by sequencing pre-recorded synth samples.
The outro features woozy synth chords with a Ryuichi Sakamoto vibe that gradually become more distorted before the song fades out. The first patch has a wide, fast vibrato that comes in after a short delay.
This results in a slightly delayed super-wide vibrato, so program short, funky notes for this patch. There are two bass synths in Short Circuit , the first plays underneath the main vibrato chord stabs and can be created in TAL U-NO-LX with a mix of the sawtooth and full sub oscillators.
Set filter cutoff to 3, resonance to 5 and envelope amount to 4. The 2nd bass patch is the resonant sound that comes in 30 seconds into the song. For this sound, use the sawtooth wave with the sub-oscillator volume at 7. The filter is set up with a long envelope decay and a medium amount of resonance. I also found setting keyboard tracking to halfway helped in recreating the sound closely. For this patch the Chorus I effect is on, however, the original sound is completely mono.
You can record the Juno in mono by simply only using one of the outputs. Short Circuit ends with a downsampling effect that slowly distorts the entire track. To recreate it I used the updated and improved Redux effect in Ableton Live The drums are from the LinnDrum and the opening snare fill is the LinnDrum snare being repitched layered with the LinnDrum kick.
Veridis Quo has a distinct baroque-inspired harmony with some layered flutes providing the main melody. The filter slowly opens and closes as the song plays which was likely done by manually moving the filter cutoff frequency fader while recording the track.
The bass sound is a dark, filtered Arturia Mini V patch with chorus and stereo widening. There is also chorus and stereo widening applied to the DX7 flute and organ sounds that is automated in when the drums are introduced. The track is baroque-influenced, similar to Veridis Quo , and is made up of three distinct sections.
This leads into an extended tapping guitar solo that sounds like the guitar was processed with an envelope follower or a synth filter. The song ends with a brassy synth solo that breaks out into a funky groove. The main synth in the Aerodynamic is a classic mono synth brass sound using slightly detuned sawtooth waveforms and a soft filter attack to create the brassy effect.
I recreated the sound in Arturia Mini V with the filter set to 1 kHz with a small amount of resonance and envelope movement. The filter envelope timing is key to creating a brass sound; here the attack time is 60ms and the decay time is 70ms with no sustain. The brass synth sound has some studio magic applied to it. This brass sound is then layered with another melody that harmonises the brass by a musical third, very similar to Veridis Quo.
You can also hear the sound in Aerodynamite , Fall and Contact. The sound is from the Roland Juno and is created by using the noise oscillator with the filter in self-oscillating territory.
You can do this on any synth, but it sounds extra-special through the Juno chorus effect. It plays throughout the outro section and can be heard most clearly at the end when all the main synths drop out. The snare in this Aerodynamic remake comes from a super simple synth patch I put together in Ableton Analog using white noise with a short decay time. The kick drum and hi-hat sounds are Roland TR samples. The bell sound at the very end is a standard church bell sample pitched down to sound the same as the one in Aerodynamic.
Thanks for reading! If you enjoyed the article then sign up for the email newsletter at the bottom of the page to stay updated on new Daft Punk articles in the future. The presets from this article are also included in the Synth Sounds Collection , a free preset pack collecting the synth presets from all of my articles in one download. If you want explore these sounds further then consider supporting the site by becoming a Patreon supporter, which gives you access to the Ableton Projects , MIDI files and multitrack stems from the four Discovery recreations featured in this article.
This is fantastic, as usual. In the past, this has also been my go-to method. Am I missing something? Excellent work as always.
Thank you for valuable knowledge. Excellent work. Thank you for your valuable knowledge. This is amazing so good. Only one I think might be slightly different is the Harp on Voyager.
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