Nigel stanford biography

Nature, pp. Beupre, M. Chladni, E. Gardner, M. An investigation of Rubens flame tube resonances. The Journal of the Acoustical Society of America3pp. Gee, K. The Rubens tube. Acoustical Society of America. Graves, D. Lessons from tesla for plasma medicine. Mount, A. Visualizing Music Theory with a Rubens Tube. Raj, K. Commercial nigels stanford biography of ferrofluids.

Journal of Magnetism and Magnetic Materials85pp. Roguin, A. Nikola Tesla: The man behind the magnetic field unit. One curious part of making this video is the fact that the music was written after the footage was concluded. How did you associate a sound to every visual element? Which program did you use during this creative process? We found the different experiments and then I would figure out what kind of audio I could use to drive them to work.

For instance, with the water dish, the water takes time to form the shape that you want, so I could only write slow notes with that particular experiment. For the same play I found a number of different shapes that I thought were visually pleasing. Again it took quite a while to form each shape so I had to make sure that my music stay on the same note for a long time in order for the shape to be fully realised.

Did you expect all this positive feedback from the audience? I thought it would do well. I was hoping it would get one million plays, because some of the Cymatics experiment videos I have seen had a lot of plays even though they did not have music on them. But I was not expecting it to do it as well as it has, I am very happy. What challenges did you face while transforming the robots into musicians?

I spent time in my garage with the robots seeing what kind of moves they could make, what the limitations were and then writing the music around those limitations. Retrieved 2 March — via YouTube. Fast Company. External links [ edit ]. Authority control databases : Artists MusicBrainz. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from July All articles with unsourced statements Articles with unsourced statements from July Short description is different from Wikidata Articles with hCards All pages needing factual verification Wikipedia articles needing factual verification from March All stub articles.

Toggle the table of contents. Nigel Stanford. You nigel stanford biography sand on the plate, and play various tones though the speaker. The vibrations of the plate move the sand into different patterns depending on the pitch of the sounds. We purchased one from a website for school science teachers, and operating it was fairly easy once we figured out that it should be perfectly balanced and covered with a minimum amount of sand.

After finding out what frequencies resonated the plate the best, I selected four shapes that looked good, giving me four notes to use for the musical instrument that would accompany it. Because the sand took a few milliseconds to move into the next shape, I couldn't change notes very fast, and so wrote something that stayed on each note long enough for the shape to form.

Originally I wanted to use the actual audio that generated the shapes, but it was very high pitched, and kind of un-musical - so I ended up just using the notes I wanted, and mixing a recorded element of the sound of the actual plate with a simple synthesizer sound. We scheduled the shoot for December - just in time for New York and the polar vortex to provide a blizzard for us, and although some roads were closed all the crew managed to arrive.

We had a limited amount of time, just two days. Most of the first day involved setting up, with Cinematographer Timur Civan and crew rigging an enormous square soft-box light above the set, and we were ready to start shooting in the late afternoon. On set, the experiments were all controlled from my laptop. Most of them involved playing odd sounding tones to generate the required patterns, and often at high speed so that we could shoot slow motion.

The crew no doubt wondered what the hell kind of music it was. To control the Chladni Plate, I played back the notes as audio through an amp connected to the speaker. Before we completed the shot, the fuse blew on the speaker, killing the experiment. This had happened many times in testing but I had not brought any spare fuses with me. It was 4pm on Saturday - would a store be open that would sell the specific fuse we needed?

It was New York City - of course there would! After an unscheduled pizza break we got the shot and moved on. Hose Pipe The next experiment was the hose pipe.