Circuit-Bending: Build Your Own Alien Instruments (review)

Circuit-Bending: Build Your Own Alien Instruments is an insightful book on the subject of circuitbending, an art based on the modification of existing electronic circuits in order to unveil hidden features within them, specifically related to sonic output. The writer, Qubais Reed Ghazala, is often referred to as the father of circuit-bending, since he accidentally pioneered this art in 1967, when a solid-state amplifier’s circuit was shorted due to contact with a metallic drawer. He witnessed the transformation of the amplifier into a synthesizer, emitting sound effects comparable to those produced by expensive commercial synthesizers. Thus, circuit-bending was born.

The layout of the book is exceptional, starting from the cover, designed by Anthony Bunyan, depicting Mr. Reed Ghazala’s “Harmonic Window,” a modified sampling instrument built in an “AnsaPhone” case, to the illustrations and sketches within, often vital to ensure the clear understanding of the text. The book begins with a short biography of the author, outlining his transformation from a young school boy into a pioneer of electronic arts. Reading the biography, one gets the impression that circuit-bending is one of the least bizarre aspects of Mr. Reed Ghazala’s life, since his hobbies include “woodland art,” aimed at forest creatures, and “things that fly,” with no further explanation given.

The introduction is a brief explanation of what one will encounter in the following pages, encouraging the reader to become involved with the art, without considering prior knowledge of electronics to be necessary. The author feels the need to clarify that he has nothing against traditional electronics theory, because his name is often associated with the most unorthodox applications of electronics. He endorses theory in his work, yet insists that it is often necessary to deviate from it to acquire satisfactory results. The book is divided into four parts, each of them subsequently divided into several chapters.

The first part takes an almost philosophical approach to circuitbending, expanding on the concepts of an alternative approach to electronic design, new musical instruments, new music, and the business prospects of circuit-bending.Mr. Reed Ghazala goes through his past, sharing stories and explaining how he believes science has progressed in such a way as to allow arts like circuit-bending to develop. He talks about the 1960s, for the younger to imagine and the older to remember. He talks about the introduction of simple, low-power—hence low-risk—electronic circuits, in parallel with the widespread use of transistors. Indeed, as vacuum tubes started being replaced by transistors, simple electronic circuits immediately became more accessible to the inexperienced electronics enthusiast. A battery-powered circuit would certainly forgive a mistake that a mains-powered one would not. In earlier times, high voltages were present inside most circuits to power vacuum tubes, which were also highly sensitive and prone to cause serious damage or injury in case of implosion. The mid 1960s are highlighted as an important time for the development of electronics-related arts by non-experts and non-academics. It is presented as the period when basic practical knowledge of electronics became widespread.

The second part is more practical, describing the ideal workspace of a circuit-bender. We learn about the tools one will need to become involved, the electronic parts, and how to set up a workbench. The soldering iron is presented as the most important part of a workspace, since the author considers soldering to be the only obstacle between a person and circuit-bending. Once past that, having mastered the technique of soldering, the road is open ahead for miles, the only limits being posed by one’s imagination. Several hardware store items are also discussed in great detail, comparing and contrasting different variations of the same tools to...