Materials:

• Strong Neodymium Magnet
• 42 AWG Enameled Copper Wire
• Solder
• 12-16 Gauge Coated Wire
• 1/4″ TRS Plug
• Audio Interface
• USB Cable
• Laptop & DAW
• Misc. electronic devices
  (other signals that our pick-up can detect)

Schematic:

See below, a schematic of our design.

Essentially, will place hold our pickup near or against a device whose signals we will be able to capture in audible form; these signals will then flow through a cable to the audio box so that the computer can receive the signals as audio that can be arranged and manipulated.

Below is another image, showing the alternating flux and eddy current in this system.

source: http://farhek.com/jd/t5186r12/hf-faq/1216ie8/

Equations and Measurement:

To consider ways to quantitatively measure the function of our pick-up and attributes of the signals it would receive, we have been looking at this website: https://www.electronics-tutorials.ws/inductor/inductance.html

We plan to use the below formulas to measure the inductance of our coil, using the formula below:

Where L (inductance) is in Henries, i (current) in amperes, and s in seconds. We perform the measurement by placing a source signal near the inductor pickup. The pickup, ideally, will record the disturbance in its electromagnetic field, transmit this through the cable and to the pickup, which is connected to a multimeter. This meter will allow us to record the changes in current and voltage, over a specified interval of time. This will give us the information that we need to solve for the inductance of our Inductor Pickup. We also may decide to use different sources or tools as well, to see whether or not our math is reliable.

Compositional Plan:

Given that it will take a great deal of experimentation to determine what kinds of sounds we can capture using our pick-up, it is impossible to describe our composition in detail at this point. However, we can describe its components conceptually, outlining the textures and effects we intend to create in production. Fundamentally, we expect to create an atonal cacophony of the “silent” sounds that surround us. The projected structure is as follows:

Part A: A plain, simple, pensive presentation of the samples we’ve collected – distinct and unaltered, like we are laying out our puzzle pieces.

Part B: The samples will again be presented, unaltered and distinct (not layered), but now in a rhythmically organized fashion; the logic grows.

Part C: The samples remain unaltered but now begin to overlap; rhythmically confusion grows

Part D: The samples change, becoming altered by various effects (pitch modulation, tremolo, vibrato, various filters)

Part E: The samples combine to reach a peak cacophony

Part F: An awakening- the texture undergoes a sudden reduction, returning to a simpler arrangement analogous to that of Part A