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I will present brand new Sculpture/Sonics: Aero Dynamisms
April 11- May 31 at the Packer Schopf Gallery  in Chicago.

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One system will present music through a choreographed duet of spinning horns
(creating an acoustic phase shifting/Doppler effect ) and two rafts of static horn
speakers connected to 10 channels of single-ended tube amplified audio from
iPod Nanos via my nano-sync apparatus.

Nano Sync Apparatus by Ian Schneller

Another system, is comprised of 8 beautiful,
never before seen individual horn shapes powered by
a single ended 8 channel triode powered electron tube Octoblock amplifier.

 Specimen Octoblock Tube Amplifier
The music is mixed to 8 channels – and emanates from the
8 horn shapes, each representing different members
of a chamber orchestra. This system presents a new type of
compositional tool via a Mac Book Air.

Sound content for both systems will be new compositions by Glenn Kotche
with performances by eighth blackbird and Kronos Quartet - pre-recorded
as digital data on iPod Nanos and separate compositions on the laptop system.

Kotche

 

This installation will create a spatial sonic atmosphere imbued
with a phantom chamber orchestra playing music through sculpture.

Specimen Aerosel horns on tour with Andrew Bird at Chicago's Auditorium Theater
The digital technology feeds directly into 1940′s eratube technology/topology,
marrying the past to the present.

Specimen Custom Line Pre-Amp
The stunning contrast between the two technologies represents
time travel and creates quite a beautiful sensation through a brand new
type of aural presentation that can only be experienced on location.

 

Specimen Aerosel horns on tour with Andrew Bird at Chicago's Auditorium Theater
The show runs through May 31 and I dare say, that a visit apart from
the opening for a more private experience should provide
an astonishing and playfully surreal experience.

Sonic Vignettes – Sculpture / Ian Schneller – Sound / Andrew Bird from Specimen Products on Vimeo.

 

Ian

 

Aero Dynamisms opens Friday  April 11  5-8 pm.

Packer Schopf Gallery
942 W. Lake St. Chicago IL 60607
312.226.8984

Featuring eighth blackbird and Kronos Quartet.

Packer Schopf Gallery April 11  – May 31, 2014

Artist’s Reception: Friday, April 11, 5 – 8 PM

We are so excited to premier new music by Glenn Kotche at this solo exhibition in Chicago at Packer Schopf Gallery this spring.  Kotche’s dynamic music will showcase the sonic capabilities of Schneller’s Horn Speakers and Tube Amplifiers and give lift to the movement and beauty of Ian Schneller’s pirouetting Aerosel sculptures.

Ian Schneller will present his Aerosel sculptures with his unique sound installation of sculptural horn speakers and handmade tube amplifiers  – integrating early electronic  technology with modern digital components to create an aural and visual atmosphere that can only be experienced on site.

AEROSELS

Mark your calendar for Friday April 11  5-8 pm.   Come to celebrate the opening with us – or check out the show by May 31 to experience Aero Dynamisms and talk with gallerist Aron Packer about this unique exhibit.

Packer Schopf Gallery
942 W. Lake Street
Chicago, IL 60607
312.226.8984

http://www.packergallery.com

Sonic Vignettes at the University of Wisconsin at Whitewater on Vimeo.

Please join us for the opening reception of Ian Schneller’s newest sound installation:

SONIC VIGNETTES
SCULPTURES BY IAN SCHNELLER
WITH MUSIC BY ANDREW BIRD FROM THE SONIC ARBORETUM

Elgin Arts Center
September 24, 2013
5:00 – 7:30 pm

This exhibit will include a unique sound installation of horn speakers, tube amplifiers, and spinning Aerosel sculptures. The horn speakers are powered by tube amplifiers that are connected to ten Apple iPod Nanos containing the entire musical score Andrew Bird composed exclusively for the Sonic Arboretum. This co-mingling of 1940s tube technology with modern digital components creates an aural and visual installation that can only be experienced on location. The exhibit will be controlled by Ian’s newest creation, the Nano-Sync Apparatus, which when activated will simultaneously start all 10 iPod Nanos. Ian and his team will be demonstrating the Nano-Sync Apparatus at the opening reception.

For those of you who missed the 2011 Sonic Arboretum exhibition at the Museum of Contemporary Art in Chicago, this is a rare opportunity to see Ian’s special sonic installation and to hear compositions by Andrew Bird that are unavailable anywhere else.

The exhibit runs September 24 – October 29, 2013 at Elgin Community College Art Center in Elgin, Illinois.

This new combo amp in the works is for amplifying stringed instruments. The cabinet follows the construction details of both the Specimen Tube Amps and Horn Speaker bases. It also uses the engine turned sub-plates for convection cooling found on Specimen’s Octoblock and the slotted side panels that were first used on Specimen’s Fifty-watt Tube Amp. You could say it’s a clever combination of several Specimen innovations all rolled into one beautiful package.

This project stemmed from a request to revisit the original Horn Amp Combo I made about fifteen years ago. This model will use the splendid Eminence 8-inch guitar speaker rear-loaded with a vertical horn. The obvious follow up to this project will be a symmetrical pair of hi-fi mono blocks with a 6 1/2″ Fostex speaker.

All that’s left to do is apply the finish to the amp and horn, wire up the amp and machine the back panel. More pics soon!

Since the Gimbal Horns are going to be hanging from the ceiling, utmost care is required for the design of the support mechanisms. Its mounting hardware is machined from aluminum rod stock. Simple details like this contribute to the structural fortitude of the final product.

In order for the mounting hardware to be flush fit to the cylinder, I created a special fixture that cuts the matching radius of the cylindrical compression chamber, ensuring a perfect fit. An indexing plate is attached to one side of the cylinder so that a hardened steel pin can fit through a press-fit bushing in the yoke and determine the horizontal orientation of the horn. Holes are transferred from a template and drilled into their respective parts.

Below is a slideshow of photos taken during the building process. Check our my other Blog posts for more information and photos about this newest Specimen.
Gimbal Audio Horn Speakers taking shape, part 2
Gimbal Audio Horn Speakers taking shape, part 1

The Gimbal Horns are so named because they are adjustable on two axes. They are ceiling mounted and this exploits a part of interior architecture that is often overlooked.

These horns are being made in our usual fashion – bending recycled newsprint over a steaming iron using a mandrel. The panels are then glued together and reinforced with dryer lint. Special alignment fixtures assure correct orientation of the mounting flanges. The cylindrical compression chambers are laminated together using birch wood wrapped inside a jig using an inflatable ball as a clamp. This forms an extremely rigid platform for the driver and horn.

Here is a slideshow of photos taken during the building process. More info and photos about this project can be found in my other Blog posts:
Gimbal Audio Horn Speakers taking shape, part 3
Gimbal Audio Horn Speakers taking shape, part 1

My newest guitar is for Alex Kapranos, guitarist for the Scottish band Franz Ferdinand. When Alex and I met to discuss the project, he told me of his life-long fascination with the beetle, especially certain blue-green beetles with their iridescent wings. We decided this guitar would have an entomological theme.

I designed the pickguard using 600 beetle wings, layed up like roofing tiles and embedded in epoxy resin. I posted an earlier Blog post about the making of this pickguard including pictures taken during its creation.

Below is a slide show of pictures documenting several other building processes including: shaping the neck, inlaying custom beetles made from abalone in the fretboard, routing out the body for the pickguard, carving the comfort contour on the back of the body, etc.

You can learn more about this guitar, see photos of the finished instrument, and videos of the band here.

The Luddite Bass is an obvious next step for this growing family of Specimens. It enjoys all of the same attributes as our other Luddites: non adjustable steel truss rod; slotted headstock; 12th fret body join; no cutaway; simple control circuitry. It has a 32″ scale length and Gibson EB-style bass pickups with an additive Jazz bass-style circuit with no tone control.

Lately I have gotten away from plastic binding and begun to use wood. Believe it or not it is actually easier and less stressful to steam bend the wood and glue it to the body than it is to race the solvent-based cement as it melts the plastic binding. Aesthetically it is beautiful as well.

Click on our slideshow below for some ‘under construction’ photos taken of this newest Specimen. By the way, I am looking for a band to equip with all Luddite instruments. I think it would make an excellent stage presence.

The Gimbal Horn is Specimen’s newest horn speaker. This speaker will be mounted on the ceiling and suspended using a yoke so that it can ‘gimbal’ (or rotate up and down and side to side). It seemed to me that the space near the ceiling is underutilized real estate in many architectural interiors. The Specimen Gimbal horn will bring beauty and utility to a part of the room that is often overlooked.

This horn speaker is front loaded and therefore will project in a more direct way than the more spacial sound stage of our Specimen rear-loaded horns like the Little Horn Speakers and Liederhorns. This makes these Gimbal Horn Speakers aptly suited to front of house or PA applications.

The horn will be mounted to an aluminum yoke that suspends the cylindrical compression chamber from the ceiling. The horn can be positioned at any angle or rotated to suit the application of the room. We decided to utilize the wonderful and recently rejuvenated foundry facility at the Memphis Metals Museum. Located right on the Mississippi river bluff, it is the perfect setting for creating something using the age old technology of sand casting.

After making a wooden pattern to mount on either side of a backing board, runners and gates are added to allow the metal to flow and shrink. Sand is then packed into both sides of a two-part flask to prepare the mold for casting. Metal is then melted in a crucible inside a furnace and poured into the mold. Voila! Beautiful aluminum yokes for the newest Specimen Horns.

Below are some photos taken while I was at the Foundry casting the first yokes. Thanks to Doug Barton and Holly Fisher and everyone at the Metals Museum for all their help taking on this special project.

Below is a slideshow of photos taken during the building process. Check our my other Blog posts for more information and photos about this newest Specimen.

Gimbal Audio Horn Speakers taking shape, part 2
Gimbal Audio Horn Speakers taking shape, part 3

At the beginning of April, I spent a week at the Penland School of Crafts, where I was invited to be a visiting artist. I have hung out in many foundries and ‘smithees’ in my time, but I have never been a teacher in an iron-working class before. The class was an 8-week concentration, and when I arrived the students were at the mid-way point in an assignment involving gears and a lever—this is why I was brought in.

Even though I am not an iron worker, many of the geometries and design processes of iron work overlap with the discipline of luthiery and kinetic sculpture. Much of the time I spent with the students involved a good deal of mechanical problem-solving and the bringing of wild concepts into the physical world. For example, we logged a few hours pouring over McMaster Carr’s web site shopping for collars and shafts, springs, gears, and other raw materials. And throughout each day, we dove rather deeply into topics such as axles, rotation, spring action, turns ratios, transfer of power, and the animation of sculpted objects. We conjured up shapes and mechanisms together and it was quite gratifying to see the student’s projects begin to take flight. We also found time to make Hornlets which allowed for demonstrations of my processes and work methods.

Immediately upon my arrival, I presented a slide show of my work to an attentive audience, trying to connect the dots between my past and present. In preparation for this, I scanned 38 sketch journals and 800 slides from the last 30 years of my work. This was cathartic, to say the least. As I looked into the past, it seemed so easy to identify the recurrence of themes and shapes that I am still using today. My fascination with the octagon, for instance, began 30 years ago when I was an undergrad at the Memphis Art Academy.

The campus at Penland is like an oasis of so many different mediums: books and paper, clay, drawing and painting, glass, iron, metals, photography, printmaking, textiles, wood, and other media. The collective efforts of the entire community at Penland creates an amazing energy. This was especially evident during mealtimes when everyone stops working and gathers to eat splendid dishes prepared by the students. In the evenings after diner, we would all convene again for a slide presentation of work from various departments and teachers.

Penland is truly a magical place, and on a mountain top to boot! I think I will need to visit again.

This gorgeous instrument is an early one (1940s). It needed a neck reset and a re-fret. There was enough break angle over the bridge and the neck pitch was fine. The problem was that the stock pickup was too tall and non-adjustable. I tried to remove it to sneak a little material off the bottom, but this pickup is a juxtaposition of separate parts sandwiched together by the cover. Age has shrunken some parts together while others are still loose. This created a scenario that severely endangered the bobbin. Because I did not want to destroy this great sounding pickup, I slowly retraced my steps and reassembled the unit. The only solution was a neck reset.

The dovetail was very close fitting and there was hardly room for my steam needle in the joint. It came out well enough after a bit of persistence. I changed the neck angle by re-carving the cheeks and dovetail and re-glued the neck. A complete re-fret was then carried out. The instrument gained even more volume from the enhanced pitch and played beautifully