cjwho: Radiohead on a WOOD Record by amandaghassaei In order to explore the current limits of 3D printing technology, I’ve created a technique for converting digital audio files into 3D-printable, 33rpm records and printed a few prototypes that play on ordinary turntables. Though the audio quality is low -the records have a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6 bit resolution (less than one thousandth of typical 16 bit resolution)- the audio output is still easily recognizable. These records were printed on an Objet Connex500 resin printer to a precision of 600dpi with 16 micron z axis resolution. The 3D modeling in this project was far too complex for traditional drafting-style CAD techniques, so I wrote an program to do this conversion automatically. It works by importing raw audio data, performing some calculations to generate the geometry of a 12” record, and eventually exporting this geometry straight to a 3D printable file format. Most of the heavy lifting is done by Processing Have you ever wanted to hear Radiohead on a $3.99 AM only clock radio speaker? well maybe wait around and just buy the wood cut version or just download the vector of it for your 3D printer.
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cjwho: Radiohead on a WOOD Record by amandaghassaei In order to explore the current limits of 3D printing technology, I’ve created a technique for converting digital audio files into 3D-printable, 33rpm records and printed a few prototypes that play on ordinary turntables. Though the audio quality is low -the records have a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6 bit resolution (less than one thousandth of typical 16 bit resolution)- the audio output is still easily recognizable. These records were printed on an Objet Connex500 resin printer to a precision of 600dpi with 16 micron z axis resolution. The 3D modeling in this project was far too complex for traditional drafting-style CAD techniques, so I wrote an program to do this conversion automatically. It works by importing raw audio data, performing some calculations to generate the geometry of a 12” record, and eventually exporting this geometry straight to a 3D printable file format. Most of the heavy lifting is done by Processing Have you ever wanted to hear Radiohead on a $3.99 AM only clock radio speaker? well maybe wait around and just buy the wood cut version or just download the vector of it for your 3D printer.
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cjwho: Radiohead on a WOOD Record by amandaghassaei In order to explore the current limits of 3D printing technology, I’ve created a technique for converting digital audio files into 3D-printable, 33rpm records and printed a few prototypes that play on ordinary turntables. Though the audio quality is low -the records have a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6 bit resolution (less than one thousandth of typical 16 bit resolution)- the audio output is still easily recognizable. These records were printed on an Objet Connex500 resin printer to a precision of 600dpi with 16 micron z axis resolution. The 3D modeling in this project was far too complex for traditional drafting-style CAD techniques, so I wrote an program to do this conversion automatically. It works by importing raw audio data, performing some calculations to generate the geometry of a 12” record, and eventually exporting this geometry straight to a 3D printable file format. Most of the heavy lifting is done by Processing Have you ever wanted to hear Radiohead on a $3.99 AM only clock radio speaker? well maybe wait around and just buy the wood cut version or just download the vector of it for your 3D printer.
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cjwho: Radiohead on a WOOD Record by amandaghassaei In order to explore the current limits of 3D printing technology, I’ve created a technique for converting digital audio files into 3D-printable, 33rpm records and printed a few prototypes that play on ordinary turntables. Though the audio quality is low -the records have a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6 bit resolution (less than one thousandth of typical 16 bit resolution)- the audio output is still easily recognizable. These records were printed on an Objet Connex500 resin printer to a precision of 600dpi with 16 micron z axis resolution. The 3D modeling in this project was far too complex for traditional drafting-style CAD techniques, so I wrote an program to do this conversion automatically. It works by importing raw audio data, performing some calculations to generate the geometry of a 12” record, and eventually exporting this geometry straight to a 3D printable file format. Most of the heavy lifting is done by Processing Have you ever wanted to hear Radiohead on a $3.99 AM only clock radio speaker? well maybe wait around and just buy the wood cut version or just download the vector of it for your 3D printer.
Zoom Info
cjwho: Radiohead on a WOOD Record by amandaghassaei In order to explore the current limits of 3D printing technology, I’ve created a technique for converting digital audio files into 3D-printable, 33rpm records and printed a few prototypes that play on ordinary turntables. Though the audio quality is low -the records have a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6 bit resolution (less than one thousandth of typical 16 bit resolution)- the audio output is still easily recognizable. These records were printed on an Objet Connex500 resin printer to a precision of 600dpi with 16 micron z axis resolution. The 3D modeling in this project was far too complex for traditional drafting-style CAD techniques, so I wrote an program to do this conversion automatically. It works by importing raw audio data, performing some calculations to generate the geometry of a 12” record, and eventually exporting this geometry straight to a 3D printable file format. Most of the heavy lifting is done by Processing Have you ever wanted to hear Radiohead on a $3.99 AM only clock radio speaker? well maybe wait around and just buy the wood cut version or just download the vector of it for your 3D printer.
Zoom Info
cjwho: Radiohead on a WOOD Record by amandaghassaei In order to explore the current limits of 3D printing technology, I’ve created a technique for converting digital audio files into 3D-printable, 33rpm records and printed a few prototypes that play on ordinary turntables. Though the audio quality is low -the records have a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6 bit resolution (less than one thousandth of typical 16 bit resolution)- the audio output is still easily recognizable. These records were printed on an Objet Connex500 resin printer to a precision of 600dpi with 16 micron z axis resolution. The 3D modeling in this project was far too complex for traditional drafting-style CAD techniques, so I wrote an program to do this conversion automatically. It works by importing raw audio data, performing some calculations to generate the geometry of a 12” record, and eventually exporting this geometry straight to a 3D printable file format. Most of the heavy lifting is done by Processing Have you ever wanted to hear Radiohead on a $3.99 AM only clock radio speaker? well maybe wait around and just buy the wood cut version or just download the vector of it for your 3D printer.
Zoom Info
cjwho: Radiohead on a WOOD Record by amandaghassaei In order to explore the current limits of 3D printing technology, I’ve created a technique for converting digital audio files into 3D-printable, 33rpm records and printed a few prototypes that play on ordinary turntables. Though the audio quality is low -the records have a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6 bit resolution (less than one thousandth of typical 16 bit resolution)- the audio output is still easily recognizable. These records were printed on an Objet Connex500 resin printer to a precision of 600dpi with 16 micron z axis resolution. The 3D modeling in this project was far too complex for traditional drafting-style CAD techniques, so I wrote an program to do this conversion automatically. It works by importing raw audio data, performing some calculations to generate the geometry of a 12” record, and eventually exporting this geometry straight to a 3D printable file format. Most of the heavy lifting is done by Processing Have you ever wanted to hear Radiohead on a $3.99 AM only clock radio speaker? well maybe wait around and just buy the wood cut version or just download the vector of it for your 3D printer.
Zoom Info
cjwho: Radiohead on a WOOD Record by amandaghassaei In order to explore the current limits of 3D printing technology, I’ve created a technique for converting digital audio files into 3D-printable, 33rpm records and printed a few prototypes that play on ordinary turntables. Though the audio quality is low -the records have a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6 bit resolution (less than one thousandth of typical 16 bit resolution)- the audio output is still easily recognizable. These records were printed on an Objet Connex500 resin printer to a precision of 600dpi with 16 micron z axis resolution. The 3D modeling in this project was far too complex for traditional drafting-style CAD techniques, so I wrote an program to do this conversion automatically. It works by importing raw audio data, performing some calculations to generate the geometry of a 12” record, and eventually exporting this geometry straight to a 3D printable file format. Most of the heavy lifting is done by Processing Have you ever wanted to hear Radiohead on a $3.99 AM only clock radio speaker? well maybe wait around and just buy the wood cut version or just download the vector of it for your 3D printer.
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cjwho:

Radiohead on a WOOD Record by amandaghassaei

In order to explore the current limits of 3D printing technology, I’ve created a technique for converting digital audio files into 3D-printable, 33rpm records and printed a few prototypes that play on ordinary turntables. Though the audio quality is low -the records have a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6 bit resolution (less than one thousandth of typical 16 bit resolution)- the audio output is still easily recognizable. These records were printed on an Objet Connex500 resin printer to a precision of 600dpi with 16 micron z axis resolution. The 3D modeling in this project was far too complex for traditional drafting-style CAD techniques, so I wrote an program to do this conversion automatically. It works by importing raw audio data, performing some calculations to generate the geometry of a 12” record, and eventually exporting this geometry straight to a 3D printable file format. Most of the heavy lifting is done by Processing
Have you ever wanted to hear Radiohead on a $3.99 AM only clock radio speaker? well maybe wait around and just buy the wood cut version or just download the vector of it for your 3D printer.
Alvaro Sanchez-Montanes - Indoor Desert (2010) “By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”
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Alvaro Sanchez-Montanes - Indoor Desert (2010) “By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”
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Alvaro Sanchez-Montanes - Indoor Desert (2010) “By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”
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Alvaro Sanchez-Montanes - Indoor Desert (2010) “By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”
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Alvaro Sanchez-Montanes - Indoor Desert (2010) “By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”
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Alvaro Sanchez-Montanes - Indoor Desert (2010) “By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”
Zoom Info
Alvaro Sanchez-Montanes - Indoor Desert (2010) “By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”
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Alvaro Sanchez-Montanes - Indoor Desert (2010) “By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”
Zoom Info
Alvaro Sanchez-Montanes - Indoor Desert (2010) “By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”
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Alvaro Sanchez-Montanes - Indoor Desert (2010)

“By the end of World War I, diamond mines in Kolmanskuppe, a site in the Namib Desert, ceased to be exploited. For over two decades it had been one of the wealthiest settlements in Southern Africa. During that time of splendour, German colonists who run the site had built their peculiar residences there evoking the architecture and décor of those in their homeland Bavaria. After it was closed down and its inhabitants left, Kolmanskuppe became a ghost town engulfed by desert sands. With his series Indoor Desert, Sanchez-Montanes enters these houses abandoned to the desert to unveil the serene enchantment that dwells in their chambers.”

(via conflictingheart)

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