Horror Sound Generator (GUZ)

Every man to his own taste. As for the sounds, mankind has also determined and is well endowed with the benefits of composers and extractors of musical amenities. Not everyone has developed hearing, but no one has doubts about the general innate ability to publish something unpleasant for others, although this is a misconception.

The proposed Horror Sound Generator (GUZ) "turns on" children aged 4 ... 12 years. The impudently destructive meaning of the game is to select the most inconsistent combination of frequencies.

The combination of several frequencies can always be evaluated on a scale perfectly - terribly. The development of any perception is determined by its working range. Refined aesthetes and connoisseurs of toilet folklore are equally boring in communication. Lovers of sweet and salty are lost for cooking. And what your dog thinks about the great French perfumery is better not to translate from the dog.

From the experience of coexistence with the state educational institution.
the goal of the competition has no practical meaning.
even on nerves.
to win you need talent, or at least ability.
skill is developing.
and the last will be the first.
for mind and body, as they are not required.
maxignity not yet found.
it ends simultaneously with the batteries.

With all the variety of approaches to the production of unpleasant sounds, they can be reduced to two structural schemes. In any case, there is a set of separate sound frequency generators, the selection of frequencies which achieve the desired impression. Further, you can either combine the signals from the outputs of the generators into one and use a common channel for amplification and sound reproduction, or each of the generators has its own amplifier and sound emitter.

Simple horrible sound generator

Synthesizer
In the simplest case, it is permissible to use simple pulse generators as individual sound generators. For collaboration, it is desirable to unify the characteristics of their output signals. Here they are meanders. A mixture of such signals slightly improves the perception of their interacting harmonics by ear.

Two generator channels are organized here, each of which consists of a frequency-tunable oscillator based on logic elements and a frequency divider in half on a single-bit counter from a D-trigger. After such a divider, we always have a pure meander.

The electrical circuit shows that there are significant differences in the performance of functionally identical generators.This is a necessary measure when assembling them from a set of logical elements of a single microcircuit housing. Experience shows that for generators of the same design, when tuned to close frequencies, what occurs is called frequency sticking, pulling, self-synchronization. Then the frequency controller of one of them ceases to operate and in a large range copies the setting of the other.

If two generators have equal frequencies at significantly different values ​​of the timing elements (here R2, PR1, C1 and R3, PR2, C2), then there is no such danger.

Although the microcircuits work well in the range of supply voltages of 3.5 ... 15V, here they are powered through a parametric stabilizer (4.7V) on the reference diode VD1. Its ballast are resistors R4, R5. Moreover, together with C3 they form a two-sided T-shaped filter from interference.

The frequency of the generators on the logic elements is highly dependent on the supply voltage. In stand-alone devices, the galvanic cells "sit down" over time and without stabilization, the extracted vilenesses will improve.

The indicated input voltages +7.8 ... + 10V correspond to a standard seven-cell galvanic battery of international standard size 6F22, known from us by its first (40 years ago!) Name “Krona” or a sealed cylindrical rechargeable battery 7D-0.125.

If you have other sources of stable voltage, you can safely use them by excluding the elements VD1, R3 and R4. C3 is best left.

Acoustics
Horror is decorated with decibels. And scare yourself, and generously share them with others. There are two ways. Or we use amplifiers and acoustics of existing household equipment, or we make a completely autonomous device.

The first way is simple, fast in execution, acoustically effective and ties a group of young experimenters to one place with a connecting cord, leaving the rest of the world for adults. The second way is good if adults are united by something stationary (a table, TV, sofa), and everything that interferes is removed the further out of the horizon, the better.

All music centers have inputs for connecting external stereo sources (AUX). There are similar inputs on computer sound cards (AUX, LINE). All TVs are equipped with audio inputs (mostly monophonic so far). In all cases, the signal from one output is fed to the left channel, from the second to the right. Actually "terrible" spatial separation of sounds does not interfere. Especially not up to the aesthetic experiences of the neighbors behind the wall.

The output level of the pulsed signals from the synthesizer is greater than that required for a conventional low-frequency amplifier (Uinp = 0.2 ... 1V, Rinp = 20 ... 100kΩ), so there should be no problems with pairing. You just need to remember that at the input of the VLF you need to apply an alternating signal without a constant component, i.e. through an isolation capacitor.

Pairing scheme for one channel. The RP5 trimmer matches the output level of the synthesizer to the input level of a specific amplifier. Install it so that the amplifier volume control optimally controls it.

An autonomous generator needs its own sound amplifier. We select them from the required output power. Combine the signals into one on a simple resistive mixer with the ability to separately adjust the output sound levels for each of the generator channels.

About setting
Frequency adjustment from low to high frequencies is carried out by changing the resistance of the tuning resistor. To get a comfortable feeling of a uniform frequency change from the angle of rotation of the knob, its characteristic should be logarithmic. For domestic elements, letter B corresponds to it at the end of the name. You can improve (complicate) the setting by dividing the audio range into two or three sub-bands.

For an honest group game (very much appreciated!) The settings memory is absolutely necessary. Even fixing just two settings is enough for a perfect competition with any number of players in the Olympic system with the loser eliminated. One of the settings stores the most impressive sound combination at the moment, and the second is used for the creative research of the applicant.By translating the switch, you can always compare both sounds and choose the worst one. When a bidder wins, his settings are fixed, and the next attempt comes with the controls of the pedestal overthrown from the pedestal.

Victory is desired and should not be tempted by the opportunity to slightly tweak the sound of a leader. Settings need to be protected from shustrikami. In this case, the simplicity of the electronics leaves this function to the housing designer. All mechanical locking options or difficulty in accessing the controllers of saved settings are suitable.
A good one has proved itself, for example, a wand protection, where adjusting resistors with a short slot, not protruding above the front panel of the device, are used as regulators, and only one pair of rearranged recessed handles is available.

Synthesizer of terrible sounds. The aluminum profile case with side visors protects the handles well from accidental touches, and the location of the knobs related to different settings on opposite sides makes attempts to bring down the leader’s settings very explicit. In the middle position of the A / V control switch, power is removed.

Two settings in one of the generators. In the “off” switch position, a separate switch group SA1 (not shown) turns off the power.

Design

Synthesizer print wiring. The power stabilizer (R3, R4, C3, VD1), necessary only in some cases, is not shown. Tuning resistors RP1 and RP2 are installed separately.
Mesh pitch 1.25 mm.

In jest, taking into account the last paragraph from "", a lot of common sense. For fullness of the wolves and the integrity of the sheep, 9V square batteries are ideal (Krona, 6F22). With a capacity of 200 mAh, the game gradually freezes in 3 ... 5 hours without going into the scandal phase with adults. The time was found out experimentally for a device with a built-in 1.5-watt sound amplifier. The discrepancy between the output power, the battery capacity and the time of its use is apparent. Even lovers of horror do not listen to them constantly and at the maximum level.

When you want to end cacophony once and for all, noting this fracture in the buffet of the conservatory, before the physical destruction of the State Educational Institution remember that secondary use is the motto of the era.

Exactly the same devices, differing only in name, are used to synthesize sounds in the studios of radio, cinema, TV and theaters to select the sounds of distant locomotives, antique cars, etc. Two cups in the calls of mechanical telephones and expensive alarms, double silver horns of car horn horn bodies, paired whistles of steam-wrapped locomotives, this is a way to get “imperious” sounds, as Europeans understand from the border of XIX-XX.

The choice of the most unpleasant sound in the game takes place by consensus, which means this property is objective for people. Sound, like any other stimulus, is perceived in contrast. If the background of the place is musical (disco, club), then it is difficult to think of a better signal for attracting, switching, and focusing attention than muck. In urgent cases, only the unconditionality of the result is important, not the rules of decency.