Dead oak tree returns to life as sound sculptures, musical instruments, and playable records by artist Steve Parker. On display in an exhibition named Funeral for a Tree, the project began when a 65-year-old live oak tree in the artist’s yard died from oak wilt, a disease that slowly kills trees. Instead of removing the tree and moving on, Steve Parker chose to listen to it by transforming the oak tree into sound sculptures, allowing the tree to perform its own memorial. At the heart of the exhibition are the wood cookies, which are round slices cut from the oak’s trunk. 

The artist carefully turned them into playable records, similar to vinyl records, and each wooden record is engraved with recordings of migratory birdsong. These are sounds from bird species that once rested in the oak during different seasons of its life. When placed on a custom-made wooden turntable, the records spin and play, letting the tree remember the life it once supported.

all images courtesy of Ivester Contemporary and Steve Parker

Other instruments include medical breathing bags and brass

The records shown in the exhibition are made directly from the tree itself, and as the wood continues to dry over time, it naturally cracks and changes shape. This affects the sound quality, causing the music to fade, distort, or fill with static. The artist allows this to happen instead of fixing it, so in this way, the sound slowly disappears, just like memories change over time. Sound in the exhibition is also shaped by the sheng, a traditional Chinese mouth organ linked to ideas of rebirth and the phoenix. Sheng musician Jipo Yang performs the birdsongs, and throughout the gallery, sheng instruments appear in many forms. Some are played live, while others are connected to machines like ventilators and CPAP devices. These machines gently push air through the instruments, giving them breath. 

Other sound sculptures fill the space as well, still made of recycled oak tree. One includes a live oak branch connected to a camshaft that slowly moves and brushes against a wind chime. Another features a large bass drum covered in wood shavings. When birdsong plays, the shavings gently shake, making the sound visible as well as audible. There are also abstract turntables fitted with horn speakers, turning sound into something you can feel in the room. There’s even a plant-like instrument made from salvaged brass, medical breathing bags, and sheng reeds. It looks part machine, part organism, and each performance rearranges and activates the sculptures in new ways. The exhibition Funeral for a Tree by artist Steve Parker was shown at the art gallery Ivester Contemporary between November 29th, 2025 and January 10th, 2026.

at the heart of the exhibition are the wood cookies, which are round slices cut from the oak’s trunk

detailed view of the playable records

view of the turntable made from oak tree

exhibition view

there’s even a plant-like instrument made from salvaged brass, medical breathing bags, and sheng reeds

detailed view of the musical instruments

other sound sculptures fill the space as well, still made of recycled oak tree

the sound sculptures shown in the exhibition are made directly from the tree itself

exhibition view at Ivester Contemporary

project info:

name: Funeral for a Tree

artist: Steve Parker | @steveparker

gallery: Ivester Contemporary | @ivester_contemporary

The post dead oak tree comes back to life as sound sculptures and playable records appeared first on designboom | architecture & design magazine.

Forte3D introduces 3D printed cellos and violins that use carbon fiber as the main material instead of wood, providing resistance to cracks and deformities. Assembled by hand, the string instruments adopt the lightweight material, which doesn’t react to temperature and humidity and avoids any morphing when the environment changes over time. The idea stems from lead inventor and CEO Alfred Goodrich and Yale Engineering senior student Elijah Lee, co-founders of Forte3D, when Elijah was asked by Alfred, his high school orchestra director, if he could use his 3D-printing skills to help design a cello that was strong, low-cost, and easy for more people to use. The pair worked with computer-aided design tools so they could test different thicknesses of the instrument. 

They could shape the sound in a more controlled way with this, and Elijah Lee explained it helped them ‘dial in’ the acoustics because they controlled every part of the structure. The final design of the cello doesn’t copy a traditional wooden one, as the top and back panels are made from flat sheets of carbon fiber. The ribs, neck, and scroll are made by 3D printing, using polymer material. Some old parts stay the same, including the sound post, fingerboard, and bridge. The resulting instruments allow musicians to bring their cello or violin to places without fear of damage, all the while keeping the quality of the sound the same as their wooden counterparts.

all images courtesy of Forte3D and Yale University

Adjustable string height system for each musician’s needs

The company adds that playing comfort is essential since, if the strings are too high or too low, the musician feels pain in the hands and their personal technique becomes harder. The team added an adjustable string height system so each player can move the strings up or down on their 3D printed violin or cello. They only need a small tool, and luckily, this comes with the carbon fiber-made instrument. The cello comes with tuning pegs that move smoothly as well as devices for stopping wolf tones. The bridges sit in the correct place with the help of a printed guide, and all these design parts work together to support playing and sound production.

Forte3D’s violin also allows players to adjust its string height. Its body has a hole at the back to support sound flow, and the violin ships with strings and tuning pegs that make tuning easier. Like the cello, it can handle weather changes and bumps. Compared to wood, cleaning is simpler with the carbon fiber-made musical instruments because a cloth and common household cleaners are enough to polish them, unlike with wood, which may need special products for maintenance. For the team, their 3D printed violins and cellos aren’t about style. It’s about what people need, they say, which means less worry about damage, easier carrying, simpler care, and lower cost.

by using carbon fiber, the instruments may have a sturdier frame

detailed view of the string system

assembled by hand, the string instruments adopt the lightweight material

detailed view of the wooden bridge

Forte3D co-founder and Yale Engineering senior student, Elijah Lee with the 3D printed cello

side profile of the cello

view of the 3D printed violin

the violin can also resist deformities and cracks

the parts are assembled by hand

rear view of the violin

project info:

name: Carbon Fiber Cello and Violin

company: Forte3D | @forte3dinstruments

The post 3D printed cello modernizes 300-year-old instrument with non-warping carbon fiber appeared first on designboom | architecture & design magazine.

Burls Art creates an electric guitar from air and recycled cardboard that still plays and works as a musical instrument. The craftsman’s idea comes from a cardboard guitar made in a collaboration between Fender and Signal ten years ago. That guitar used corrugated cardboard as the main material, and the designer thought of upgrading the first version using the same materials but in a different way. He wanted to design a working electric guitar that is very light in weight, around three or four pounds, and since recycled corrugated cardboard is mostly air, it can weigh much less than a normal wooden instrument. While the cardboard is strong for its weight, the challenge is to make the guitar strong enough to hold string tension. For the current model, Burls Art uses laminated sheets of recycled cardboard without casting the body in resin. 

Instead, each layer of cardboard is soaked in resin before stacking to make the paper material stable and strong enough while keeping the hollow flutes inside each sheet. After lamination, the cardboard gives him a thick blank that’s easy to cut and shape with woodworking tools. He finishes the process by removing the excess resin and then planing the surface with a router sled. The body of Burls Art’s musical instrument made of recycled cardboard follows the shape of a standard electric guitar. The designer switches from used shipping boxes to new cardboard sheets to avoid dents or folds that could change the final shape, and the laminated body also shows the corrugated openings to create a surface where some parts of the guitar can be seen through from certain angles.

all images courtesy of Burls Art

Resin removes air pockets in the paper-made instrument

The neck of the electric guitar made of recycled cardboard needs more strength than the body because it holds the strings tight. The craftsman then investigates two ways to orient the cardboard sheets: cutting through the long side of the flutes or cutting along the short side. In the video he uploaded on Youtube, Burls Art also tests an alternated pattern because a cardboard chair shown at the London Design Museum uses this method. 

A simple force test shows that alternating the pattern increases strength, so for the final neck, the designer fully saturates the cardboard in resin to remove most air pockets and create a solid structure that can resist string pressure. Inside the neck, a truss rod is added, and a thin strip of maple wood covers the truss rod slot to allow adjustment of the neck if the strings pull too hard. The fretboard is cut into shape, and each is measured and sawed with a jig. After that, the neck is carved to remove weight and make the guitar more balanced. 

Burls Art uses laminated sheets of recycled cardboard without casting the body in resin

lightweight guitar made of ‘air’

The electric guitar made of recycled cardboard also uses two single-coil pickups and a bridge plate installed on the back of the body. Because screws cannot hold well in cardboard alone, an inset support block made from a resin-soaked offcut is added. The electronics cover uses magnets and metal screw heads hidden inside the flutes.

The final finishing steps include sanding, cleaning the cardboard flutes, and applying a clear coat that protects the material from moisture and makes the surface smoother.  After assembly, Burls Art plays his electric guitar made of recycled cardboard, and it seems to work well. He says that it weighs light, and the body structure gives a visual effect where the viewer can see through the guitar from the right angle. The video also documents the making of the musical instrument for viewers who’d like to build their own in their workshops.

each layer of cardboard is soaked in resin before stacking

a bridge plate is installed on the back of the body

the designer switches from used shipping boxes to new cardboard sheets to avoid dents

the body structure gives a visual effect where the viewer can see through the guitar from the right angle

detailed view of the instrument

project info:

name: I Built This Guitar Out of Cardboard

design: Burls Art | @burlsart

The post electric guitar made of air and recycled cardboard plays as functional musical instrument appeared first on designboom | architecture & design magazine.

MusiCubes comprises musical wooden cubes that produce instrumental sounds when placed on the smart vinyl-like board. Built with RFID technology, the surface reads the individually handcrafted cube and plays a sound, loop, effect, or recording as a way to give users a screen-free tool to make music. The device is based on a technology called TuneTouch, which uses passive RFID tags. Each musical wooden cube contains one RFID tag, holding information about the type of instrument or sound the block has. When the cube touches the tablet surface, the vinyl-like board detects the RFID signal and plays a sound or activates a function with low delay. 

The detection works in real time, so users hear the result as soon as the cube moves, and the system needs no cables, no buttons, and no screens. The design of MusiCubes focuses on direct physical use, so users don’t tap icons or menus. Instead, they place cubes on the tablet surface. If they want to stop the music, they just remove the musical wooden cubes from the smart vinyl board. This is where the users play with their creativity because they can mix and match the cubes until they produce the kind of music they like.

all images courtesy of MusiCubes

Smart vinyl board ‘reads’ the musical wooden cubes

MusiCubes has four main cube types.  The first one is the Loop cubes, which has one rhythm pattern or one melodic sound. When a Loop cube is placed on the tablet, the loop begins. The second set is for recording, or to activate the recording mode, in case the users want to register the production. Users can capture layers from Loop cubes or from live input, and when the Recording cube is removed, the recording stops. Then, there’s the series of Mic cubes for the microphone input. With these musical wooden cubes, the smart vinyl board records the users as they sing, beatbox, or record other instruments, adding a personal touch to their track.

The last is the Control cubes, which can change the audio settings. Here, users can adjust the volume, tempo, mix levels, equalizer settings, or effects of the music they’re producing, such as reverb, echo, or repeat. The RFID tag tells the tablet which parameter to adjust, and moving the cubes means applying changes to the current sound. MusiCubes works without a screen, internet, or software installation since the musical wooden cubes and smart vinyl board are fully physical. The team, comprising Hayri C. Bulman and Andy Keimach, states that future versions may support connectivity, but the current one is a stand-alone device. The device includes a library of loops, melodies, and effects that can be combined in many ways, allowing users to create long tracks, short patterns, or simple sound tests. So far, there’s no official release date for MusiCubes, but the team says that they’re launching it soon.

the surface reads the individually handcrafted cube and plays a sound

each block corresponds to a respective sound

there are several types or categories of music and function that each cube can operate

the images on the cube indicate the kind of sound to be played

the device is based on a technology called TuneTouch, which uses uses passive RFID tags

view of the vinyl- like board

project info:

name: MusiCubes

team: Hayri C. Bulman, Andy Keimach

The post musical wooden cubes produce instrumental sounds when placed on smart vinyl-like board appeared first on designboom | architecture & design magazine.

Software engineer Alastair Roberts builds Alma, a 3D printed synthesizer for toddlers that lets young users produce and play child-friendly electronic music. Complete with an onboard sound module and a built-in speaker, the musical toy can play sounds without connecting to a computer or external equipment. The design includes several control knobs for tempo, volume, scale, pitch, and instrument type, allowing the young users to change how the loop behaves. There’s an OLED screen on the front that gives visual feedback, and it also displays a small animated panda to help the young DJs understand when and what kind of notes are playing.

The small box comes with four sliders, each of which controls one note in a four-step loop. When a slider is moved up, the pitch becomes higher, and when it is moved down, the pitch becomes lower. The loop repeats continuously, so the user can move the sliders at any time to change the sound. The internal electronics are mounted on a custom printed circuit board, and the outer shell is 3D printed. These parts form the complete body of the synthesizer for toddlers, colored in pink to make producing child-friendly electronic music more playful.

all images courtesy of Alastair Roberts

Hand-building child-friendly musical toy from scratch

The device’s idea came from a Montessori activity board Alastair Roberts received earlier. The board had switches, knobs, and lights, and this reminded the software engineer of the layout of electronic musical instruments. He, then, decided to try building a version that produced sound and allowed creative play, but since he had no hardware experience, making the synth was also a chance for him to learn microcontrollers, PCB design, and 3D printing. 

The designer then learned computer-aided design to create the synthesizer for toddlers and turn it into a child-friendly device for producing electronic music. His friend had helped print the parts before he fully assembled them and used hand-wired parts on a printed circuit board. He also added an OLED screen with a dancing panda to project the information about the notes, and in the final version, the fully functional electronic music synthesizer for toddlers features a 3D printed body powered by AA batteries. Aside from gifting it to his daughter, the engineer has plans to produce a small batch of the device units, as well as upgrade them with a more powerful microcontroller.

the shell of the device is 3D printed

there’s a small OLED screen with a dancing panda to show the information about the notes played

the child-friendly musical toy comes with four colorful sliders

the device is powered by three AA batteries

view of the custom printed circuit board inside

project info:

name: Alma

engineer: Alastair Roberts 

The post 3D printed synthesizer for toddlers lets them produce child-friendly electronic music appeared first on designboom | architecture & design magazine.

Love Hultén introduces WORKS II, his second anthology documenting his works including a guitar with ferrofluid, a pink noise machine, and a biodata synthesizer. Through 152 pages, the hardcover book named WORKS II show the custom machines he has done between 2022 and 2025. It reports 66 individual projects, each combining sound, electronics, and woodworking, and the publication is self-released, printed in a limited edition of 600 copies, and bound in rayon cloth with gold foil details. For the second book, the Swedish designer also publishes the ferrofluid visualizer he presented with designboom during Sónar+D as well as his synthesizer with crab.

Alongside these, the sound sculpture with bonsai tree on the side also appears, gracing the pages as photographs near many of the designer’s musical instruments made of wood and metal combined. WORKS II provides a meeting point between digital systems and handmade materials such as guitar with ferrofluid or a biodata synthesizer, and Love Hultén even adds his personal notes on the design sketches and finished builds, a rare opportunity for the readers to see what occurred within the three years of his studio practice. So far, the designer says that there will only be 600 copies available for WORKS II and he has no plans yet to add more after the book’s run.

synthesizer with JU06A, V256, Oceans 11 and a mechanical MIDI crab | all images courtesy of Love Hultén

Biodata synthesizer and guitar with ferrofluid in the book

Other than the guitar and machines with ferrofluid, the next project included in WORKS II is the biodata synthesizer Hymns from the Sun, which was built from Hinoki Cypress wood and translates plant data into sounds. The Singer, commissioned by artist Sean Mahan, is also present, composed of three toy sewing machines from the 1970s that produce sounds using sequencers or a pull-out keyboard. Then, there’s a pink noise lab machine made from wood and acrylic, built for musician Pantone Vu. It comes with a custom disc sequencer with a stylus that moves horizontally, allowing for synced or offset timing.

Throughout the book, the designer highlights each of his works graciously, dedicating shared and divided sections for them with imagery and notes. Here, the mahogany-made biodata synthesizer Granular Beast and MEMTEC, a personal project that includes a looper, capacitive pins for touch control, and a custom-built tape delay, find their homes. Love Hultén also features a modular unit with 17 stepper motors and a modified keyboard, with a capacitive touch system replacing the traditional keys, as well as an upright synthesizer made of oak wood with custom casters, functioning as a self-contained vertical synthesizer system. These, the guitars with ferrofluid, and many more, form part of Love Hultén’s recent publication named WORKS II.

polyphonic electroacoustic synthesizer

custom Moog Minitaur

EMTEC! with Pianophonic module

extraterrestrial guitar with ferrofluid

the ferrofluid visualizer the designer presented with designboom during Sónar+D | read more here

custom setup Mellotron m400d

the SINGER with toy sewing machines from 1970s

biodata synthesizer Hymns from the Sun

pink noise lab with Taiga, 2xLPG and Microcosm

view of WORKS II, documenting the designer’s projects between 2022 and 2025

project info:

name: WORKS II
designer: Love Hultén | @lovehulten

book: here

The post guitar with ferrofluid, pink noise machine & biodata synth make up love hultén’s second book appeared first on designboom | architecture & design magazine.

Homemade synthesizer made with cardboard produces sounds through the series of handmade wooden keys shaped from walnut and oak. Designed by Gabriel Mejia-Estrella, the electronic device is a DIY project with two main electronic systems inside: a Teensy microcontroller and a Raspberry Pi 5. The body of the cardboard synthesizer with wooden keys comes from a mix of walnut wood, oak, and fiberglass. The walnut is used for the edges and black keys, while the oak is used for the white keys. The cardboard forms the top and bottom panels, while the fiberglass is used to reinforce these parts. The walnut pieces are steam-bent to shape the curved edges. To make the walnut flexible, thin cuts called kerfs are made before bending.

Then, a mold made of scrap wood holds the pieces in place while they cool and dry. Fiberglass cloth and epoxy resin are applied to the cardboard panels to make them robust for playing. Several layers of fiberglass are added, each one brushed with epoxy and left to harden before the next layer is applied. The result is a solid panel that supports the structure of the cardboard synthesizer with wooden keys. Metal plates are added to support the internal electronics, and these plates are aluminum, cut by a metal service and finished with anodizing for protection.

all images courtesy of Gabriel Mejia-Estrella

Homemade device painted in turquoise and matte black

Each of the keys is handmade, with the designer Gabriel Mejia-Estrella cutting, gluing, sanding, and drilling them one by one. A steel rod runs through all the keys to hold them in place, and springs under the keys allow them to return to their original position after being pressed. Each key has washers to space them evenly and a stop made from metal channels to limit their movement. Inside the cardboard synthesizer with wooden keys, the Teensy microcontroller detects when a key is pressed and sends a signal as a MIDI message to the Raspberry Pi. The latter runs an open-source music system called Zynthian, software that allows the synth to play sounds and use different effects. The Raspberry Pi connects to a touchscreen that acts as the main control panel. 

Then, the software is downloaded and installed on a microSD card before being inserted into the board. Once powered, the system can load different virtual instruments and play them using the handmade keyboard. A sound card connects the instrument to speakers or headphones through a standard audio jack. The case of the cardboard synthesizer with wooden keys is finished with paint, with the top bearing the shade of turquoise and the bottom in matte black. The metal plates are screwed in place, and the panels are glued with epoxy. Rubber feet are added to keep the synth stable on a flat surface. So far, the designer has documented the making of his cardboard synthesizer with wooden keys, inviting viewers who are interested in making it to get started.

homemade synthesizer made with cardboard produces sounds through the handmade wooden keys

designed by Gabriel Mejia-Estrella, the electronic device is a DIY project

the body of the cardboard synthesizer with wooden keys comes from a mix of walnut wood, oak, and fiberglass

detailed view of the wooden body

the cardboard forms the top and bottom panels

the walnut is used for the edges and black keys, while the oak is used for the white keys

the walnut pieces are steam-bent to shape the curved edges

project info:

name: Synth with handmade wooden keys

design: Gabriel Mejia-Estrella | @gabriel.mejia.estrella

instructions: here

The post cardboard synthesizer plays sounds using handmade wooden keys cut from walnut and oak appeared first on designboom | architecture & design magazine.

Tuno, conceived by Chaewon Lee, is a compact DJ controller designed to integrate music mixing into everyday life. Shaped as a ring-like device, it condenses the essential gestures of DJing, beat matching, EQ adjustment, and effects control into a single, tactile interface that fits in the palm of the hand.

The circular form allows users to spin the circular wheel to match beats, scroll, and click to adjust EQ or FX, simulating the intuitive gestures of professional DJ equipment in a simplified, portable format. Its interaction system was developed through research on DJs’ hand movements, translating the dynamic actions of mixing into a 360-degree control experience.

Tuno fits right in your hand, turning DJing into an intuitive, portable experience | all images by normal.scape

tuno Reframes Music Making Through Compact, Wearable Design

Built-in earbuds enable on-the-go track preview and mixing, allowing users to create and blend sounds anywhere. Supported by the Samsung Design Membership program, the project included the development of a physical prototype used to refine ergonomics, balance, and usability.

Through Tuno, designer Chaewon Lee explores how performance-oriented tools can evolve into accessible, personal devices. By miniaturizing traditional DJ hardware into a ring-shaped form, the project reimagines the relationship between music, technology, and everyday interaction.

familiar to CDJ users, Tuno is instantly intuitive, offering FX, EQ, and beat matching in a compact form

Tuno ring-shaped DJ controller is lightweight and comes with a strap for easy carrying anywhere

various textures combine with haptics to create a rich tactile experience

Tuno simplifies six CDJ knobs into one tactile interface

the device uses a click wheel and scroll for intuitive control of sound frequencies

Tuno’s compact layout fits naturally in both hands for smooth control, with lighting feedback and gestures

Tuno’s spring-loaded top button spins for beat matching, offering a tactile, jog wheel–like feel

built-in wireless earbuds connect to your music app and instantly activate the device when worn

the earbuds’ motion sensor detects head tilts, letting you monitor either deck’s sound in real time

the analysis found symmetrical decks and circular motions, inspiring a ring-shaped design

by tracing their movement paths, the designer observed how DJs interacted with equipment

project info:

name: tuno
designer: Chaewon Lee

photographer: normal.scape

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Teenage Engineering releases handheld microphone EP–2350 Ting that gives singers a robotic or fairy voice. Built-in with sound effects, the compact device allows performers to modify their voices in four ways. The first is echo, which repeats their sounds. Then, there’s echo + spring, or a combination of the echo effect with a spring-like tone. The next is the pixie, which adds a high-pitched modulation to the users’ voice as if they were fairies, and lastly, the robot to give them a mechanical sound while performing live.

The body of the handheld microphone by Teenage Engineering includes a lever and motion sensor that control how the effects change in real time, meaning users can tilt or move the mic to adjust the intensity of the effect. On the side, there are four buttons that trigger preloaded sound samples such as air horns and lasers, which are commonly used in reggae and dancehall sound systems. Ting works as both a vocal mic and a simple sampler for live shows and can connect directly to a sampler through a line input or to any sound system.

all images courtesy of Teenage Engineering

Sampler ‘riddim’ makes reggae, dub, and dancehall tracks

Speaking of samplers, the handheld microphone isn’t the only recent release from Teenage Engineering. In fact, the team reveals its sibling in the name of EP–40 Riddim, which is based on earlier Teenage Engineering models, such as the EP–133 K.O. II and the EP–1320 Medieval. This time, the sampler, as well as the mic, is designed to make reggae, dub, and dancehall tracks. Riddim introduces a new play mode called LOP, which lets users control loops and create live remixes. The interface includes pads that can mute or unmute sounds during playback, allowing the DJs and producers to build and rearrange rhythms quickly during performance. Inside, the sampler includes a built-in synth engine called Supertone, the mastermind behind the bass and lead sounds with adjustable parameters. It also has three pressure-controlled dub siren tones, and the soundbank includes more than 300 samples. 

These consist of drums, percussion, bass, keys, melodica, guitars, and vocal shouts, samples made specifically for reggae, dub, and dancehall. Riddim also includes music and samples made by reggae and dub artists, who provided sound files such as bass lines, melodies, drum parts, and effects. The list includes King Jammy, Mad Professor, Mafia & Fluxy, Dre Skull, MPC, Rigo Fuego, Mighty Crown, and Baby G. Both the sampler and handheld microphone by Teenage Engineering are designed to connect and work together, with the Riddim handling the loops, samples, and rhythms, while the Ting adds vocals and live sound effects. The two units can be linked with cables for synchronized use. Riddim has ports for line input, line output, power, and MIDI control. Ting connects through a standard audio jack and draws power directly from the device it connects to.

there are four buttons that trigger preloaded sound samples

the compact device allows performers to modify their voices in four ways

Teenage Engineering also releases the sampler EP–40 Riddim for reggae and dancehall tracks

rear view of the sampler

the handheld microphone can be connected to the sampler

Riddim lets users control loops and create live remixes

the mic includes a lever and motion sensor that control how the effects change in real time

the sampler interface includes pads that can mute or unmute sounds during playback

the sampler includes a built-in synth engine for the bass and lead sounds

project info:

name: EP–2350 Ting, EP–40 Riddim

company: Teenage Engineering | @teenageengineering

The post sound effect microphone by teenage engineering gives users fairy and robotic voices appeared first on designboom | architecture & design magazine.

Everglow is a compact music interface that integrates generative AI technology with tactile hardware design to facilitate immediate sound creation and composition. Developed by designer Woojin Jang, the project rethinks how musicians capture and develop ideas by merging intuitive performance controls with algorithmic sound generation.

The device features a triangular key layout designed to replicate elements of both keyboard and guitar playing. Each key is pressure-sensitive, capable of detecting taps and upward sliding motions to enable expressive techniques such as pitch bends and vibrato. This layout allows for fluid transitions between melodic and rhythmic gestures, accommodating a wide range of musical styles and levels of technical familiarity.

all images courtesy of Woojin Jang

like a music sketchbook, Everglow Reimagines Musical Expression

Beyond individual note input, the system interprets multiple soft touches as a strumming motion, producing guitar-like sounds generated by a built-in neural engine. This capability expands the range of interaction between performer and instrument, offering a level of responsiveness typically associated with acoustic playing. Designed for handheld use, Everglow places essential controls, including scale switching and volume adjustment, on the back of the device, allowing performers to access them without interrupting play. This configuration supports mobility and improvisation, removing the constraints of fixed, tabletop-based setups.

By combining tactile precision with adaptive digital synthesis, Everglow, developed by designer Woojin Jang, establishes a bridge between analog performance and AI-assisted creativity. It serves as both an expressive tool and a prototyping instrument, enabling musicians to translate spontaneous ideas into sound in real time.

Everglow integrates generative AI with tactile hardware for real-time music creation

the triangular key layout merges aspects of keyboard and guitar performance

pressure-sensitive keys detect both tapping and sliding motions

designed by Woojin Jang, the device redefines how musicians capture ideas

multiple soft touches are interpreted as a strumming motion by the system

a built-in neural engine generates guitar-like sounds in response to gestures

Everglow’s ergonomic design encourages expressive, intuitive performance

designed for handheld use, the device supports mobility during play

scale and volume controls are positioned on the back for uninterrupted access

the configuration allows performance without reliance on a tabletop setup

Everglow’s compact form enables composition anywhere, from studio to street.

project info:

name: Everglow
designer: Woojin Jang | @woojinjid

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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