LSDream and CloZee aren’t afraid to experiment as LSZEE: “I don’t know how to classify what we’re doing”Here’s one piece of advice LSDream has for collaborating: don’t hold in your farts.
“That gas can go to your brain and that’s where bad ideas come from. Get the toxins out,” LSDream, real name Sami Diament, says before his friend, fellow producer, and collaborator, CloZee chimes in:
“I’ve probably had a lot of bad ideas then,” CloZee, real name Chloé Herry, adds as they both break out into laughter.

READ MORE: Why Justin Jay quit releasing tracks and started tutoring other music producers

The two alternative electronic producers are sharing the same computer screen to speak with MusicTech from Diament’s studio in Los Angeles (Herry flew in from Denver to be in the room as Diament). Their collaborative album, titled LSZEE after the name of the joint project, is out today on Odyzey Music & Heartwave, and their philosophy on working together is more profound than embracing flatulence.
They say that, for them, creating music is a spiritual practice. It’s not that music-making is about sharing a meditation schedule or decorating their studio with crystals (although Damient does host sound bath events under his Lightcode project). Instead, the heady pair attest that music production is about channelling and cherishing the fundamental act of creativity.
“We align with [spirituality] in the most simple forms. We’re creating art, which mirrors all creation.” Diament says. “We’re not here chatting about spirituality literally.”
“We’re living it,” Herry continues.
Image: Press
“One of the foundational energies we bring to this project is mutual respect; respecting the fact that we’re spending time together. When I show up to the studio, out of respect for myself and for Chloé, I’m going to show up with a good headspace. Ready to be positive, grateful, and ready to work,” Diament says.
Another part of their mutual respect is bringing their authentic sound and style to the project — not filtering it into what the other may want to hear. But they also understand that they have to extend their attitude of respect to their fans and listeners. They see music as an act of service as much as a means of individual expression.
But there’s a balancing act, for them, between being an artist and being an entertainer. As artists, they make the music they want to hear without concern for external opinions. As entertainers, they use their music to welcome other people into a space where they can be themselves and feel safe.
“So at what point do we have to extricate ourselves from the entertainer to be the artist? Saying like, ‘This is who I am. I don’t know how you’re going to feel about it. I don’t know if you’re going to like it. I don’t know if it’s good. But I know that it came from me, and I want to share it with you.’ That’s the energy of this project,” Diament says.

Diament and Herry’s chosen style of music gives them both immense freedom to walk the line between artist and entertainer. It’s commonly referred to as ‘bass music,’ but their sound is formless.
The word “bass” has become a common describer because their music — and that of their peers such as Of The Trees, Eprom, and G Jones — generally borrows from low-end forward genres like dubstep and trap. But in general, this section of electronic music has developed a scene by existing between traditional stylistic lines.
The 13 tracks on LSZEE fluctuate between hip-hop, dubstep, trap, melodic, and soul among others, while also implementing sonic aesthetics from world music. NIGHTHAWK balances a minimalist 808-driven beat with vocal samples derived from traditional African songs. French Dream applies glistening French Touch melodies and arpeggios (Herry is French) alongside boom-bap drums and funky horns.
With so much diversity engrained into the album, they don’t have to pick and choose between making music they love and making music their fans will enjoy.
Image: Press
“I don’t really think of genres at all. It’s not part of my thought process. I think about energy, groove, feel, motion,” says Diament.
“I wouldn’t even know how to classify what we’re doing,” Herry continues.
They both agree, however, that there is also value in working within certain lines. That could be purposefully curating a live set to include a UK garage section so they can work with that historic energy. Or it could mean producing an original track within a currently popular genre to contribute to a larger cultural movement.
But regardless of whatever intention, they are grateful to be in it together:
“It gives us confidence. We build each other up,” Herry says.
“As an artist, it’s very common to be like, ‘What if this isn’t good enough?’ There’s a certain amount of vulnerability,” Diament says. “It’s easier to do that when you’re with someone because we can support each other.”
The LSZEE project began from a similar place of vulnerability and support. Diament and Herry were both well-established artists before LSZEE. Being in the same scene, they knew of each other, were fans of one another, and had played on a handful of the same lineups. But the first time they truly created together was when they played a back-to-back DJ set at Illinois’ Summer Camp Festival in 2021.
Image: Press
It was the first time Herry had ever used CDJs to perform — in the past, she always used Traktor and Ableton Live.
“It was more than like, ‘Hey, come on stage. We’re just gonna play,’” Herry says.
“Luckily, if you already know music production and use Ableton, [DJing] is a much easier learning curve,” Diament continues.
Herry immediately adapted, and the set went so well that they began making music together. Very organically, they went from producing a few tracks together, to producing a few more, to renting an Airbnb in Joshua Tree, California, for a week to make music. There, they realised they had an album’s worth of material and then agreed their partnership was worthy of a full-fledged project.
“I’m very picky in who I’m collaborating with”, Herry says. “It’s very rare to find someone where it flows so well. A lot of collaborations fell through because we didn’t really agree. With [Diament], [we’re on] the same page.”
As well as they flow when they’re working, their process is decidedly separate. At each of their studios, they’ve set up two different stations, each with its own computer, for them to work individually while they’re in the same room.
They’ll take time to create at their pace, then once they have a fleshed-out idea they’ll begin passing it back and forth so each of them can apply their own preferences while ensuring that their ideas can still ring out freely.
“When someone brings an idea to the table, it wouldn’t be necessarily something that I would write. But we can see this going somewhere because we like each other’s music,” Herry says.
Image: Press
This process with Diament has helped her learn songwriting, arranging, and other building blocks of music-making by consistently analyzing Diament’s sound and style. “Sometimes I’m trying to make something LSDream-y.”
“That’s fun, too. Stepping into the mind of your partner,” Diament says. “Part of the DNA of our project is exploring new places together. What haven’t you made? What haven’t I made? Let’s go try to make something like that.”
When they explore these new places together, they use a massive array of tech. So much so that Diament asks me, “How much time do we have?” before going to his station in the studio (we’ve been chatting on Herry’s computer) to get his laptop and find his top plugins in their arsenal.
“What’s the special sauce?” Diament asks Herry.
The main synth they use for sound design is Serum, but they also use Omnisphere and Diva. They use clippers like KClip and StandardCLIP, Wavesfactory’s Spectre for enhancing, Slate Digital’s Fresh Air for the high-end, and Devious Machines’ Duck for sidechaining. Minimal Audio also has a strong presence in their album via Current and Swarm Reverb.
But that’s just a snapshot of everything they used on the album. They have plenty of new stuff they’re excited about like Musio, which Herry downloaded three days before we chat. They both describe it as a “game-changer” because you can download from a massive library of sounds that remain in the cloud instead of taking space on your hard drive.

They also give shouts to all the artists who are making Max4Live packs they use: Virtual Riot, DANKSAUS, jabeau, Elephant Tribe…
“You got us on one,” Herry says. “We can go into this vortex.”
LSZEE exists within this vortex. It’s filled with different technical applications, configurations and workflows, but the source is a spiritual connection between LSDream and CloZee. Together, they honour that connection by making music for themselves and for the people.
LSZEE is out now
The post LSDream and CloZee aren’t afraid to experiment as LSZEE: “I don’t know how to classify what we’re doing” appeared first on MusicTech.

MIT launches new Music Technology and Computation Graduate ProgramA new, multidisciplinary MIT graduate program in music technology and computation will feature faculty, labs, and curricula from across the Institute.The program is a collaboration between the Music and Theater Arts Section in the School of Humanities, Arts, and Social Sciences (SHASS); Department of Electrical Engineering and Computer Science (EECS) in the School of Engineering; and the MIT Schwarzman College of Computing.“The launch of a new graduate program in music technology strikes me as both a necessary and a provocative gesture — an important leap in an era being rapidly redefined by exponential growth in computation, artificial intelligence, and human-computer interactions of every conceivable kind,” says Jay Scheib,​​ head of the MIT Music and Theater Arts Section and the Class of 1949 Professor.“Music plays an elegant role at the fore of a remarkable convergence of art and technology,” adds Scheib. “It’s the right time to launch this program and if not at MIT, then where?”MIT’s practitioners define music technology as the field of scientific inquiry where they study, discover, and develop new computational approaches to music that include music information retrieval; artificial intelligence; machine learning; generative algorithms; interaction and performance systems; digital instrument design; conceptual and perceptual modeling of music; acoustics; audio signal processing; and software development for creative expression and music applications.Eran Egozy, professor of the practice in music technology and one of the program leads, says MIT’s focus is technical research in music technology that always centers the humanistic and artistic aspects of making music.“There are so many MIT students who are fabulous musicians,” says Egozy. “We'll approach music technology as computer scientists, mathematicians, and musicians.”With the launch of this new program — an offering alongside those available in MIT’s Media Lab and elsewhere — Egozy sees MIT becoming the obvious destination for students interested in music and computation study, preparing high-impact graduates for roles in academia and industry, while also helping mold creative, big-picture thinkers who can tackle large challenges.Investigating big ideasThe program will encompass two master’s degrees and a PhD:The Master of Science (MS) is a two-semester, thesis-based program available only to MIT undergraduates. One semester of fellowship is automatically awarded to all admitted students. The first class will enroll in fall 2025.The Master of Applied Science (MAS) is a two-semester, coursework-based program available to all students. One semester of fellowship funding is automatically awarded to all admitted students. Applications for this program will open in fall 2025.The PhD program is available to all students, who would apply to MIT’s School of Engineering.Anna Huang, a new MIT assistant professor who holds a shared faculty position between the MIT Music and Theater Arts Section and the MIT Schwarzman College of Computing, is collaborating with Egozy to develop and launch the program. Huang arrived at MIT this fall after spending eight years with Magenta at Google Brain and DeepMind, spearheading efforts in generative modeling, reinforcement learning, and human-computer interaction to support human-AI partnerships in music-making.“As a composer turned AI researcher who specializes in generative music technology, my long-term goal is to develop AI systems that can shed new light on how we understand, learn, and create music, and to learn from interactions between musicians in order to transform how we approach human-AI collaboration,” says Huang. “This new program will let us further investigate how musical applications can illuminate problems in understanding neural networks, for example.”MIT’s new Edward and Joyce Linde Music Building, featuring enhanced music technology spaces, will also help transform music education with versatile performance venues and optimized rehearsal facilities.A natural home for music technologyMIT’s world-class, top-ranked engineering program, combined with its focus on computation and its conservatory-level music education offerings, makes the Institute a natural home for the continued expansion of music technology education.The collaborative nature of the new program is the latest example of interdisciplinary work happening across the Institute.“I am thrilled that the School of Engineering is partnering with the MIT Music and Theater Arts Section on this important initiative, which represents the convergence of various engineering areas — such as AI and design — with music,” says Anantha Chandrakasan, dean of the School of Engineering, chief innovation and strategy officer, and the Vannevar Bush Professor of EECS. “I can’t wait to see the innovative projects the students will create and how they will drive this new field forward.”“Everyone on campus knows that MIT is a great place to do music. But I want people to come to MIT because of what we do in music,” says Agustin Rayo, the Kenan Sahin Dean of SHASS. “This outstanding collaboration with the Schwarzman College of Computing and the School of Engineering will make that dream a reality, by bringing together the world’s best engineers with our extraordinary musicians to create the next generation of music technologies.”“The new master’s program offers students an unparalleled opportunity to explore the intersection of music and technology,” says Daniel Huttenlocher, dean of the MIT Schwarzman College of Computing and the Henry Ellis Warren Professor of EECS. “It equips them with a deep understanding of this confluence, preparing them to advance new approaches to computational models of music and be at the forefront of an evolving area.” 

From TikTok Music’s shutdown to Atlantic Music Group’s new leadership team… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
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Festivals caught in Lyte collapse deny ticket profiteeringTwo festivals caught in Lyte collapse deny ticket profiteering and paint a more nuanced picture of why they used the defunct ticket resale platform to move their own tickets. Festivals. Continue reading
The post Festivals caught in Lyte collapse deny ticket profiteering appeared first on Hypebot.

Meet Polyvera, Suonobuono’s new hybrid polyphonic wavetable synthesizer and samplerBoutique manufacturer Suonobuono has launched the Polyvera, a hybrid polyphonic wavetable synthesizer and sampler that blends the gritty charm of vintage digital technology with the warmth of modern analogue sound.

READ MORE: Elektron Tonverk leaked – Is an Octatrack successor on the horizon?

Polyvera features six voices of vintage-inspired digital oscillators paired with modern analogue filters and digital effects. With 36 potentiometers and encoders, along with two OLED displays, the device invites users to dive deep into sound design. A versatile modulation matrix and dual effects, which also retain a certain ‘80s vibe, complete its sound palette.
Polyvera’s oscillators recreate digital artefacts reminiscent of iconic wavetable synthesizers and samplers from the early ‘80s. By reverse-engineering vintage devices from brands like Akai, PPG, Ensoniq, Roland, and E-MU, developers create oscillators that not only deliver high-quality modern sounds but also evoke the gritty character of early digital instruments.
Image: Suonobuono
At the heart of Polyvera there are 2 oscillators (wavetable or sampler) with modern and vintage digital styles. Oscillator 1 hosts wavetables with a sub-oscillator, while Oscillator 2 can function as either a wavetable oscillator or a sampler. The latter can be routed to the VCF, to the same VCA as Osc1, or to its own VCA and envelope. Each oscillator can be assigned a specific style, allowing even basic waveforms like sine waves to acquire a unique flair.
You can also load user wavetables and samples directly into the device, or sample audio from external sources through its external inputs.
The oscillators are then routed through a resonant analogue filter with eight filter types, including self-oscillation and a low-pass filter with analogue post-filter distortion. According to Sunonobuno, the filter’s design is based on a classic analogue filter chip.
After four years in development, the Polyvera is set to make its debut at the Roma Modulare fair on 27th-28th September, where attendees will have the chance to experience a pre-production unit firsthand.
Learn more at Suonobuono.
The post Meet Polyvera, Suonobuono’s new hybrid polyphonic wavetable synthesizer and sampler appeared first on MusicTech.

Audeze announce CRBN2 headphones Featuring Audeze's new SLAM technology, an innovation promising enhanced bass response and transparency.

Elektron Tonverk leaked – Is an Octatrack successor on the horizon?Excitement is swirling in the synth community after leaked images of a new Elektron device, dubbed the Tonverk, surfaced online.
The first glimpses of the Tonverk emerged on Elektron’s own forum, Elektronauts, before being swiftly deleted and subsequently shared on Reddit. Those who’ve been keeping up with Elektron will know that the company registered the name Tonverk as a trademark this February, though there’s been pretty much zero mention of the device from official sources since.

READ MORE: Future Music magazine is closing after 32 years: “Sadly, things change…”

As we await confirmation from Elektron (fingers crossed we actually get one) — here’s everything we know about the Tonverk so far.
The leaked photos reveal a tabletop instrument that appears larger than the Digitakt, with a design somewhat reminiscent of the Octatrack. There’s a 13-key keyboard, a 16-step sequencer and ten rotary encoders for starters. The presence of a display that reads “Engine inactive” also hints at the inclusion of multiple sound engines.
One user on Reddit noted: “The MOD/Matrix button and the three Send FX trigs are very interesting. That suggests more programmable effects routing than just the fixed Reverb/Delay/Chorus sends the other small boxes have, more like the Octatrack.”
In addition, the device seems equipped with eight audio tracks and 12 MIDI tracks — quite the versatile setup for live performances. Connectivity options are also noteworthy. The Tonverk boasts two USB-C ports and an SD card slot, four audio outputs as well as full MIDI I/O.
The anticipation surrounding the Tonverk is partly fueled by its potential to fill the void left by the original Octatrack, which has been a staple in many techno producers’ live sets since its release. Given that the Octatrack MKII launched in 2017, many feel that a new iteration is long overdue.
As it stands though, the Elektron Tonverk remains shrouded in mystery. Whether it will emerge as a successor to the Octatrack or take on an entirely new role in Elektron’s lineup is yet to be seen.
The post Elektron Tonverk leaked – Is an Octatrack successor on the horizon? appeared first on MusicTech.

Artcore adds Physical Media and Merchandise Sales Artcore has rolled out a new feature allowing UK and EU artists and labels to sell physical media and merchandise directly on the platform.

Release details
Release title:
Teri Yaadein (3rd Year of Music Victory)
Main artist name:
H TV Productions
Release date:
14th Apr, 2021
https://publme.lnk.to/TeriYaadein3rdYearofMusicVictory
#newmusic #Release #Music #indepedent #artist #pop #world

Release details
Release title:
Never change v2
Main artist name:
Plexine
Release date:
31st Oct, 2024
https://publme.lnk.to/Neverchangev2
#newmusic #Release #Music #indepedent #artist #experimental #hiphop

Bitcoin rallied above $65K, but will BTC price hold this level?Bitcoin price is back above a key resistance level, but are there sufficient bullish catalysts to sustain the current rally?

OpenAI’s VP of global affairs claims o1 is ‘virtually perfect’ at correcting bias, but the data doesn’t quite back that upDepartures might be dominating the week’s OpenAI-related headlines. But comments on AI bias from Anna Makanju, the company’s VP of global affairs, also grabbed our attention. Makanju, speaking on a panel at the UN’s Summit of the Future event on Tuesday, suggested that emerging “reasoning” models such as OpenAI’s o1 have the potential to make […]
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Reverse Time Back to the Days of RPNWhile Texas Instruments maintains dominance in the calculator market (especially graphing calculators), there was a time when this wasn’t the case. HP famously built the first portable scientific calculator, the HP-35, although its reverse-Polish notation (RPN) might be a bit of a head-scratcher to those of us who came up in the TI world of the last three or four decades. Part of the reason TI is so dominant now is because they were the first to popularize infix notation, making the math on the calculator look much more like the math written on the page, especially when compared to the RPN used by HP calculators. But if you want to step into a time machine and see what that world was like without having to find a working HP-35, take a look at [Jeroen]’s DIY RPN calculator.
Since the calculator is going to be RPN-based, it needs to have a classic feel. For that, mechanical keyboard keys are used for the calculator buttons with a custom case to hold it all together. It uses two rows of seven-segment displays to show the current operation and the results. Programming the Arduino Nano to work as an RPN calculator involved a few tricks, though. [Jeroen] wanted a backspace button, but this disrupts the way that the Arduino handles the input and shows it on the display but it turns out there’s an Arudino library which solves some of these common problems with RPN builds like this.
One of the main reasons that RPN exists at all is that it is much easier for the processor in the calculator to understand the operations, even if it makes it a little bit harder for the human. This is because early calculators made much more overt use of a stack for performing operations in a similar way to Assembly language. Rather than learning Assembly, an RPN build like this can be a great introduction to this concept. If you want to get into the weeds of Assembly programming this is a great place to go to get started.

Focusrite announces three new Scarlett interfaces for project studiosToday, Focusrite announces a much anticipated expansion to the world ’s best-selling range of audio interfaces, Scarlett, completing the line’s fourth generation. The three new additions, Scarlett 16i16, 18i16, and 18i20, complement the existing range with greater connectivity to meet the demands of the modern project studio. 

Scarlett ’s fourth generation introduced several major advances that build on Focusrite ’s legacy in professional audio: best-in-class audio specifications, enhanced creative capability, powerful workflow tools and more. The three new interfaces add more analogue inputs and outputs, front-panel monitor switching and mute control, S/PDIF and ADAT connectivity, additional headphone outputs, and a built-in talkback mic on Scarlett 18i20.

Focusrite Scarlett 4th Gen 16i16, 18i16, and 18i20 now feature:

Huge 122dB dynamic range, using the flagship RedNet range converters – found in the world’s best studios.

All-new, remote-controlled preamps with 69dB of gain for studio sound from any mic.

Pair Focusrite Control 2 for desktop with Focusrite’s new mobile app; enjoy full wireless control over inputs and monitoring mixes, allowing the adjustment of settings without being tethered by cables.

Re-engineered Air mode with Presence, and all-new Harmonic Drive, adding rich harmonics to recordings by emulating the characteristics of vintage preamps.

New Auto Gain and Clip Safe modes can handle up to eight microphones at a time, making session setup simple, and ensuring every take is a keeper.

Brand-new Custom-designed headphone amps for the best playback ever heard from Scarlett.

Redesigned Dynamic Gain Halos now with output as well as input metering.

Professional studio features included: A/B speaker switching, built-in talkback mic on 18i20 and more. 

MIDI in /out plus S/PDIF, and ADAT in/out.

Refreshed Easy Start tool, making it easier than ever to get set up and recording in minutes. 

Includes Ableton Live Lite, Pro Tools Artist 3 months, and FL Studio Producer Edition 6 months. 

Huge bundle of plug-in instruments and effects; including Antares Auto Tune, Marshall Amp Modelling, synths, keys, drums, EQ, compression, reverb, and more...

Three new Scarlett interfaces

Scarlett 18i20 4th Gen, an update to the flagship 3rd Gen model, is a rack-mountable USB audio interface featuring 18 inputs, including eight advanced fourth-generation Scarlett preamps, and 20 outputs. 18i20 not only has an impressive amount of analogue and digital I/O, but also features additional workflow enhancements that make it a perfect fit for even the most complex project studios: a built-in talkback mic; A/B speaker switching for instant referencing on different monitors; and eight channels of LED bar metering, assignable to inputs or outputs as well as master output metering.

Scarlett 18i16 is a desktop-format USB audio interface with 18 inputs, including four 4th Gen Scarlett preamps and 16 outputs. Ideal for multitrack recording and designed for producers, 18i16 is the industry-leading interface for project studios. It makes an ideal hub to integrate hardware with a DAW, providing enough analogue and digital I/O to connect a huge number of external instruments, processors, and effects. Plus, manage complex routing with ease via the included Focusrite Control 2 software for desktop and mobile devices. 

Scarlett 16i16 is a desktop-format USB audio interface which shares the same feature set as 18i16 but is slightly more compact, with 16 inputs, including two 4th Gen Scarlett preamps, and 16 outputs. 

Scarlett 4th GenA giant leap for the world ’s most popular audio interface range, Scarlett ’s fourth generation debuted in 2023 with the Solo, 2i2, 4i4, Solo Studio, and 2i2 Studio. 

All Scarlett 4th Gen interfaces feature re-engineered audio circuitry and professional-grade converters (taken directly from Focusrite's flagship RedNet interfaces), which deliver up to 122dB dynamic range. With up to 69dB of mic preamp gain on tap, they are designed to get the very best sound from any microphone. Custom-designed headphone amps with independent volume controls drive high-impedance headphones louder and with more clarity than any previous Scarlett.

Scarlett ’s 4th Gen mic preamps feature a re-engineered Air mode, based on the sound of legendary Focusrite consoles. Each one now includes a selectable all-analogue Presence mode, and a new DSP-based Harmonic Drive mode for added richness. 

The range also introduced two new features designed to ensure artists and producers never miss a perfect take: Auto Gain analyses ten seconds of incoming audio before setting set the perfect level, while Clip Safe automatically readjusts it to prevent clipping. These tools help artists record themselves easily and let experienced engineers quickly set multiple gains in high-pressure environments.

The included Focusrite Control 2 software takes care of setting up routing, levels, monitoring mixes, independent outputs, and routing options. In addition to the desktop application, the iOS and Android Focusrite Control 2 apps enables engineers and performers to adjust monitor mixes and mic preamp gains while away from the computer.

To help users get up and running with Scarlett in record time, Focusrite has developed an Easy Start tool that quickly guides from initial connection to their first recordings. 

All Scarletts come with Ableton Live Lite, three months of Pro Tools Artist recording software, and six months of FL Studio Producer Edition. Also included is a curated selection of essential production software from Focusrite, Softube, Native Instruments, Antares, and many more. In addition, there are five free masters from Landr that can be used at any time, plus a two-month subscription to Landr Studio, offering unlimited music distribution on streaming platforms such as Spotify, Apple Music, YouTube Music and TikTok.

These interfaces will be available beginning mid-October 2024 with U.S. pricing as follows:USD (excluding tax)                                                              Scarlett 18i20: $649.99                                   Scarlett 18i16: $499.99                                   Scarlett 16i16: $369.99                                  The post Focusrite announces three new Scarlett interfaces for project studios first appeared on Music Connection Magazine.

Making A Split-Anode MagnetronYouTuber The Science Furry has been attempting to make a split-anode magnetron and, after earlier failures, is having another crack at it. This also failed, but they’ve learned where to focus their efforts for the future, and it sure is fun to follow along.
The magnetron theory is simple enough, and we’ve covered this many times, but the split anode arrangement differs slightly from the microwave in your kitchen. The idea is to make a heated filament the cathode, so electrons are ejected from the hot surface by thermionic emission. These are forced into a spiral path using a perpendicular magnetic field. This is a result of the Lorentz force. A simple pair of magnets external to the tube is all that is needed for that. Depending on the diameter of the cavity and the gap width, a standing wave will be emitted. The anodes must be supplied with an alternating potential for this arrangement to work. This causes the electrons to ‘bunch up’ as they cross the gaps, producing the required RF oscillation. The split electrodes also allow an inductor to be added to tune the frequency of this standing wave. That is what makes this special.
Fizz, pop, ah well.
The construction starts with pre-made end seals with the tungsten wire electrode wire passing through. In the first video, they attempted to coat the cathode with barium nitrate, but this flaked off, ruining the tube. The second attempt replaces the coiled filament with a straight wire and uses a coating paste made from Barium Carbonate mixed with nitrocellulose in a bit of acetone. When heated, the nitrocellulose and the carbonate will decompose, hopefully leaving the barium coating intact. After inserting the electrode assembly into a section of a test tube and welding on the ends, the vacuum could be pulled and sealed off. After preheating the cathode, some gasses will be emitted into the vacuum, which is then adsorbed into a nearby titanium wire getter. At least, that’s the theory.
Upon testing, this second version burned out early on for an unknown reason, so they tried again, this time with an uncoated cathode. Measuring the emission current showed only 50 uA, which is nowhere near enough, and making the filament this hot caused it to boil off and coat the tube! They decide that perhaps this is one step too many and need to experiment with the barium coating by making simpler diode tubes to get the hang of the process!
If this stuff is over your head, you need a quick history lesson about the magnetron. Next check out this teardown. Finally, we have covered DIY magnetrons before, like this excellent DIY magnetron-powered plasma sputtering device. Yes, you read that correctly.

Thanks to [Kelvin Ly] for the tip!