Fourses and Fyrall (NOT IN PRODUCTION!)

Philosophical Paperz:Main
Philosophical Paperz: Fyrall
Philosophical Paperz: Fourses Not Available!!!!!
Pictures of Instruments Made

The Fyrall is available as a kit which you can put together yourself. You will receive an unfinished case, circuit board, components, wires and fittings to fully build the instruments. The kit has a builtin speaker and can run on battery power as well as wall power. Within is a bubbling spasming analog brain (nabra), with idiomatic digital circuitry combined to make a logical paradox, a pragmatic little creature. To interact, twist nobs, look at the lights, touch or wire or spit on the brass pegs. The brass pegs are sandrodes, connected to multi-dimensional androgynous nodes within the circuit. Sandrodes are neither inputs nor outputs, they are both and none; connecting two together with copper makes a new node with characteristics from both. The nob dials don't just control one feature, they interact on many different planes with the beast within.

the Fyrall has a forest of sandrode pegs. You can connect these with wires, worms, fingers, or any other sort of material. the more you connect, the more you bend, disrupt, redirect the flows that are natural to the machine. played by hands the Fyrall becomes a surface for expression, rolling and pressing and tickling all the pretty farts out. played with wires, the Fyrall is intuitive composition, listening to what happens at every move, you find that these hard connections reveal new dimensions in the pallettt.

the Fyralls have nobs and light windows. The nobs are not really "frequency controls" or "filter cutoff range controls", but more like strange dialers, with an infinite gradation of zones, twisting becomes experimentation, feels like a fractal, like traveling through dimensions, expanding on features invisible.

The fyrall has two outputs, and one input to modulate the whole instrument.  It can be run on batteries or transformer.

Ascion: recordings made with the FOURSES and FYRALL (mono MP3s)
ONE : the tube through which you squeeze your jelly-ass (fourses)
TWO : multo jungo world dialer (fyrall)
THREE : descion in Mont Alishon (fyrall)
FOUR : that was an emergency spider-color (fourses)
FIVE : monkey visitors at Tarantula Hill (fyrall)
SIX : Tansas City Station (fourses)
SEVEN : collision course to Crastong (fyrall)

These tracks are live recordings I made in my basement, a fieldstone chamber. From each instrument, I miked the built-in speaker and took two electronic direct outputs. Later I added vocal commentary.

Due to continuing evolvement of the product line, Fyrall and Fourses production is now inactive. 

A shadow of the cypress, Farnel is dead. Lower and thicker, Green is the colour, The sound of water.

Question: I am quite intrigued by your fourses and fyrall devices and I have two questions. First, what exactly is an analog brain? I've found a reference to Louis Baron building analog brains and recording them to make the 1956 Forbidden Planet soundtrack (which I love) and am wondering if there is any similarities to what you've designed and the devices he used?

Analog Brain means any kind of analog synthesizer or computer set up with crazy feedback and self-stimulation that it pulses and spasms irrationally like the mood swings of a truly conscious human. I like workin with them cuz it's like workin with a life form from another dimensions entirely, the quantum electronic chaotic dimesnes. Set them up with a lot of multilevels of feedback and they will deliver inspiration from these other dimensions into our sound and light world. Or, bloopy random talk, fart bass neverending story, continuous infinite drool of cat spit with ultraviolet hairballs. I think that to get to the chaos at the heart of the nabra analog brain, the soft and sensitive androgynous nodes which are the innards of its machinery should be revealed for bending and splicing. True the nabra is built up of easily describeable cells, but when they are connected in "paradoxical meaningless" ways, the nabra becomes a doorway to the unknown.

Louis and Bebe Barron, inspired by cybernetic theories that complex chaotic and irrational behaviors can be found in animal dimensions and also in the electron dimensions, scored Forbidden Planet inductively: instead of deducing music from the completed film scenes, they interpreted the characters' moods and situations into electronic circuits to complement the characters' human nervous system- serenity, anger, and love. The kittennettiks are continuing the tradition of the emotional nabra, while also attempting to transcend interpretation of human emotions for exploration of mysterious and subtle electron chaos emotions.

I have some playing questions. Is the fyrall playable in a recreatable sense? All I mean by that is: all connections the same, does the instrument react the same to various playing techniques each time you turn it on ?
Well, some people have labeled each node that comes up so they can actually write down patches. Another way is to just leave it patched, turn it off, carry it around patched, then turn it on again, play in the other place the same patch. But the arrangement of the wires is only one part, the knobs can change it around so much too. I have marked several places on my fyrall that make cool sounds, so I can get to something spontaneously, but then I found that I can patch it spontaneously without guidlines and then find something that I like, pressing with the hand is the ultimate temporary bender smoosher changer. Bending it with a clump of iron or a bronze statue is an alternative. You can send external stuff into the spesal cuck. It has its own builtin speaker so you can play it with a battery at the beach. I can make a case for you that looks like a mini-surfboard for $60 extra.

Damn, I'm looking for something a bit out of my window, but 'd like to be able to get some feel for the instrument over time.. I want to be able to play it, but I'm not sure if that is even possible or the point in the first place.

What, if any more generic terms can you give me to describe its workings...Is there any way to "process"
audio conventional audio signal through either of the instruments?
You can send external stuff into the spesal cuck. It has its own builtin speaker so you can play it with a battery at the beach. I can make a special case for you that looks like a mini-surfboard for $60 extra.

here is a FAZQ:

have you noticed a galvanic skin response effect on any of your instruments when you play them with your hands? if it worked then meditating or doing deep breathing would effect the sounds methinks.
well, i meditate often with the fourses fyrall and din datin dudero. they all put out patterns and timbres that keep me interested, that's the key- I'm not thinking about concrete real world things like money or my house or my car, etc.., but just this drippy pattern that keeps on depatterning itself.. it's meditation definitely, but my unassisted meditation is more like I concentrate on a triangle shape and then have that dissolve into nothingness nothought. with the kits I can turn off all my thoughts from the befinning because I'm served this abstract thought pattern, very useful. Also yes, when I'm playin shows with them, I set it up however with wires and clip leads, then I just use my hand to bend out whatever sound I want. it really works, you can shove it and caress out anything with hand-ear-machine feedback loops. so you can do a rolling-hand-sound-abstraction-with-nothoughts.

Can we have a forum?
yes, join this yahoo group backwoodselectronics. for philosophical and light discussion of mystical intuitive dechnical stuff.

Can you sell your kits without the cases?
I can sell them without a case, I just don't recommend it cuz I put a lot of work into designing cases that would fit the kits like a glove, and you would have to reduplicate that work. Also, if you want to use pegs, you will have to make the case out of some sort of non-conductive material. One more thing- the price for the kit is based on the cost of electrical components and the time I spent (more than four months) designing them. I am making the cases out of wood ripped from my walls in my house in baltimore, so their money value is basically free- consider them a handmade gift from me to you. Thus, I can't discount the kit by leaving out a case.

What is the total current and voltage?
The kits' each can run on any voltage between 3 and 9 volts, so a decaying 9 volt battery will always do something. They require about 500ma of current. If you are in a 220V country, look for a wallwart that outputs 12V at 500ma to 18 volts at 300ma. Make sure it does DC. (although you could try an AC output adapter, it may work because the kits have rectification built in). You will know if a wallwart is too small if the sounds from the ktnk have a 60Hz buzz riding on top of them. Don't ever give it anything greater than 18 Volts.

How long will it take to make one?
It takes me one solid day of work to finish a kit. I think that if you are careful and follow the manual, you should have it done in a week of casual work.

Is there any recommended reading?
You don't need to read anything if you just wanna play weird sounds. If you wanna get the absolute full experience out of it, and understand some of the mechanics within, there are two books that will help with understandin transistors. opamps, current voltage etc. The handwritten Electronic Experimenter Workbook by Forrest Mims the Third is available at radio shacks everywhere. The classical tome The Art of Electronics by Horowitz and Hill should be in the reference shelf at your library.

Also, In the [fyrall's] parasite section P (the one with 3 hairy capacitors) I installed a 1 uf capacitor in the 3rd hairy capacitor location....I see the schematic advises audio capacitors (.001 - .1 uf) for this...Should I remove the 1 uf? Will it limit my fyrall in any way? I want this thing to have the widest range of crazy noise possible. Have I made a mistake? Or am I ok with that one?
yeah in the parasite section you can put any kind of capacitor. I'm glad everyone's checking out different sizes, I've found that the randomest must unplanned values make the wildest range. A 1uf capacitor there will make it play some nice bass tones, thats all. Remember also that once you have the ktnk assembled, you can change out capacitors pretty easily, just clip the leads and solder a new one on to the pads. I changed a few of the capacitors on my fourses this way- one wiggler was running too ultrasound for me, so I switched it from .001uf to .1uf, and it became more bassy. This is a good process, randomly put 'em in, then as you play it switch some out if you want a different sound.

Can I drill the node pegs myself, please?
You sure can, although it is a lot of work, I understand that some may want to design their own pattern. Use a 3/32" bit, and note to me that you want the node pegs undrilled. The reason why I do it is because first the case is a gift from my workshop and second because random pegs discourage planned layouts, which discourage intuitive random guess composition and performance. But I don't want to be a strucuralist about intuitivists!! If you don't want to be one, that's fine by me..

Also, I realize that one of the beauties of your design is that there are no clear inputs/outputs. However, in a general sense are there fairly clear sets that are "generally" inputs and outputs? Is there a schematic somewhere on your site for this unit? Thanks!
the ktnk have 6 total nodes that are especially gendered. These are:
- the "spesal cuck input", which is high impedance, "listens hard" and modulates the whole instrument based on what it hears.
- the "ar diperso input", which is the preamp for the builtin speaker
- the "crystal transfer stations in the F formation" are the inputs and outputs of 2 FET preamps (4 total pins), which also output to 1/4" studio output jacks on the instrument's side. Each station has a pin for input and a pin for super amplified and inverted output, "ice stab", which can be sent back into the instrument to create sharp feedback patterns.
- You can also use the crystal transfer stations in the F formation to pre-amplify piezo-electric discs, which are, contact mikes. You can send their signal into the instrument from there.

Would it make sense to connect some potentiometers/diodes between some of the pegs? i thought maybe this could be fun. as well as some 555 based astable timers one could attach to somewhere. basically i'm thinking of such an add-on box sitting next to the main box. this add-on box could also accomodate some of the variable/switchable hairy capacitors.
All of these will work. it's all about experimentation. The nodes of the ktnk are all safe, because they bend like a reed if you get something stabby near them. A 555 timer is especially stabby, strong pulls up and down. Since all the sandrodes deal with current directly, the only thing that can hurt them is over-voltages (something less than 0 volts or greater than 9 volts). The only thing to remember when adding circuitry is to:
- connect the grounds
- power it with the same positive 9 Volts that the ktnk is getting.
- if you are using something that needs more than 0 and 9 volts, you can use a 9V zener diode (included in kit) in the connecting cord to protect the ktnk.
- the ktnks, though, will probably handle over voltages safely enough. I just have not experimented with this enough, so the ultimate safety is achieved with thes conditions.

btw - how does one safely discharge a big capacitor without destroying it? :) and is it safe to connect a big one to your circuitry? can't it destroy it with too high currents?
big capacitores are scary cuz they are sometimes used to stor very high voltages, kinda like a battery but that it all comes out in one big spark if you arc it. Again, since all the sandrodes deal with current, they can only be hurt by over voltages. Once you have a 1 Farad capacitor in the circuit, it will be safe. It's all about discharging it ahead of time. A 1 Farad capacitor will make its area really really really really slow.

There is the U-strip for the feedback-connections. I thought of using a patchbay here. Do all contacts have to be connected? Can I leave some open? Can I make double connections?
You can do all of the above. The nodes in this U-strip are safe to be patched like that. I designed the U-strip so you can make your own random customization without having to put together a patch bay for the 24 nodes that it controls.

i have a question regarding the kits: there are some green capacitors of the size of the 102 types. however the labeling says "2A472K T". can i use them as the 102s?
As for the capacitors, I threw some in-between values in randomly with the other capacitors. If they are green round edged boxes (or maybe sea blue or earth red), they are polyester film, they have a code:
102 = .0010 microfarads
222 = .0022 microfarads
472 = .0047 microfarads
103 = .010 microfarads
153 = .015 microfarads
223 = .022 microfarads
473 = .047 microfarads
104 = .10 microfarads
224 = .22 microfarads
get the pattern? the first two numbers are d'value and the last is a symbol of the place. These in combination with electrolytic capacitors (which have their values marked, between 1uF and 4700uF) give you a really wide range. I think one of the best mods to do to it is to put a rotary switch there for each hairy capacitor, put the switch on the side of the box, or use a little switch mounted on the top, to switch capacitors. the smaller the capacitor the faster the movement at that wiggelation. imagine flipping a switch and the speed goes from really slow mountains that last a day to ultrasound beyound hearing range chaos!!! or even switching two close values .333 to .353 to make just a slight pitch shift in the normal musical range!! two capacitors in parallel add values .1+.01=.11.

Also since im really just a beginner, some of my solders arent too pretty looking, if you know what I mean... Is there any danger of getting shorts if two solder blobs are real close together, not touching of course, but close nonetheless? With the hairy capacitors, obviously I had to bend the leads just so, any short dangers there, due the wierd way I had to bend them, i mean some lead is obviously gonna be showing depending on what you use? Also some of bigger capacitors, especially by the Spesal Cuck on the Fyrall, I had to put that 104 capacitor in all cockeyed, its touching that diode right there, and those 102 capacitors, .right next to it. also at its caddy corner, where you gots that grouping of 3 104 capacitors, they are snuggly pressed together...
as long as two solder blobs aren't touching, they won't short out. they can be shaped like mickey mouse and stars but they have to connect in order to short. bendin leads on capacitors is fine, they still won't short unless they actually touch something. this is all low voltage stuff: things can be within 1/100th of an inch of each other and still not short at all. check out several projects this stuff can be very messy and still work. i'm glad your checkin your work though. capacitors squeezing against each other is fine too, as long as their leads don't cross.

1) I don't think there's going to be room to mount ten switches (for all ten Hairies), can you suggest which Hairies you'd pick, or think are most interesting for this mod? 2) Can you give me a specific recommendation (part # for Mouser or Good ol' Rat Shack) for a small rotary switch that'd work for this application? 3) Lastly, will I need to drill out the rotary switch holes like the Pot holes you did, i.e. with the larger countersunk holes underneath?
i don't have any specific advice on this for you, other than just do it. you can find all kinds of weird rotary swicthes at radio schack or try takin apart radios too. even a simple 2 way toggle between two really different speeds will do a lot musically, and toggle switches come in many many forms. salvaging is an art, then mounting it in a box you can do it any way you want, caveman drilled hole with goopy epoxy and sculpey or precision dentist style. and you can use any kinds of capacitors you want, the widest range will give you the widest frequency choices, then the smallest range will give you a more closer pallet. it's all up to you. oh,
.001 uF is high ultrasound
.01 uF is mid range sound
.1 uF is bass sound
1 uF is wavy slow
10 uF is really wavy slow
100 uF is mountainous slow

I've been interacting with the Fourses and I have been developing a good relationship with it now. Though it does it moody and hard to tame from time to time. I find the human relationship with the fourses is very symbiotic and reminds me of a writers relationship with language. Language is not docile (like the fourses)and creates with the writer. I guess a typical modular synthesizer would be the opposite relationship where the modular would be a slave to the synthesis/writer. Anywhoo on your site i saw that the fourses is in a "Raga Mode" tuning and the resistor values listed:
.015uF .015uF .1uF 10uF
.01uF .01uF .47uF 10uF
I was curious to how the uF values determined the sound.

Hi There, well, the capacitance really makes the instrument unique, but in such a non-linear way- it doesn't really directly line up to eight specifically tuned notes as you have noticed, and that is how the appelation "raga mode" is misleading, because a mode in the traditional sense usually applies to a single dimension such as pitch or rhythm. the thing about the hairy capacitors that I have noticed- if you have set values, you can always get some representation of high or low pitches no matter what the values. the entire frequency spectrum is all there no matter what. I have noticed that similar capacitance values placed adjacent to each other often react more with each other than widely different values; this can be ascribed to the idea of difference tones - textures from similar worlds have more surface for friction, resonance, bounciness. But throwing a big value in somewhere is a tradition that I usually keep; the 10uF on the end of each row is a relatively alien world to the faster .015uF worlds. Of course, in circuit bending nodes, you totally redirect the energies and the capacitance takes on less and less of a role in comparison with the rewovenness. One of the most effective mods you can do to this type of tuning is switches that add capacitance to the smaller values. For example, with six extra switches with an extra 10uF capacitor for each one, you convert this:
.015uF .015uF .1uF 10uF
.01uF .01uF .47uF 10uF
into this:
10.015uF 10.015uF 10.1uF 10uF
10.01uF 10.01uF 10.47uF 10uF
so while you are playing the instrument you instantaneously switch parts of it into the world of the 10uF value, which should realign it to react more with the endcap 10uF texture. for an instrument such as yours I would use the type of switches I use on the VDogs, (mouser part number 540-rra22h3bbbnn), installed on the front panel. All you need is a 13/16" drill bit and then gently cut six holes in the side. This will give you more ultimate control over the instrument, being able to switch its dimensions instantaneously.

I was wondering how hard it is to, I guess in a sense, "play".
I'll tell you a few ways I play the ktnks. At home, I like to cover the instruments with patches with wire worms and metal objects. I don't think anyone can ever exhaust all the sound possibilities this way; there are hundreds of connections for each of the hundreds of sandrodes. On tour, I learned to massage any sound out of the ktnks with my hands. Since we were playin at live shows, I didn't want to get as experimental with wire patching as I do at home. I had drawn a few symbols near my favorite sandrodes of the moment (or rather sandrodes that I knew a little bit about how they might act), and I could easily set up a few simple connections to make it go a little bit more crazy than normal. Sometimes I didn't connect anything at all with wires. I use hand pressure to tune the chaos and sculpt it to whatever frequencies timbres or patterns I wanted. It seems right now that people are playing the fyrall harder, using metal objects to switch between sounds. And it also seems that people are playing the fourses more with their hands. I have done both, as well as using the old spoon in the mouth style. Every gesture you do on this instrument can be an experiment; there are no wasted moves like you would have on a tr-303 for example, where setting up a preset patch is a non musical movement. When every gesture can be musical, I think this is the definition of playability.

On THREE : descion in Mont Alishon (fyrall), there is a part where its got this analog synth sound and it keeps changing notes/pitches. How are you doing that?
with my hands, pushing the instrument until it made the bassline that I wanted.

Can the ktnks output control voltages?
Technically, every sandrode on the surface is active at a multitude of different frequencies: ultrasonic, sound, phat bass, and "down below haptic". These "down below" frequencies are the slowly revolving CVs that you may be looking for. Since the chaos within the kits is sometimes at a high impedance, it is best to make a preamp for the signals. There are two preamps builtin along with the speaker preamp, but these are all optimized for audio frequencies. In the kit manual, I include a very simple schematic (only one opamp chip in voltage follower mode) for a CV buffer that would be handy for outputting firm CVs to your modular.

What is the size of the board?
The circuit board measures 4" x 10", with about 2" extra on one end for the power regulators and their heatsinks.

What is the size of the case?
The whole thing is 8"x18". It's about 2 1/2" high.

I have no real soldering type experience. Are they hard to assemble or what? Its not like Im an invalid, Id like to think I could do it, I have reasonably good hand-eye coordination (17 years of video game playing) , but Im asking you about your opinion of the difficulty for a prebeginner DIYer like myself.
As for soldering itself, I feel that anyone can get the hang of it, if you have the right tools (at least 25 watt iron with fine tip), keep the tip clean with a wet sponge, and pay attention to detail. I worked really hard on the manual, and I feel that it covers every detail in assembly. I think the hardest part about assembling is just sitting there soldering instead of going trickertreating! But just relax, get some slow jams going and turn on a good bright light. I hope that pre-beginner DIYers do this kit, because I feel that it introduces a bunch of easy and definitely DIYable techniques.

I would be making a custom panel to accommodate your creation. Since the front panel is metal, there would be a connection problem with the pegs. I'm contemplating mini banana jacks or regular banana jacks. How many pin wires are there on these units?
There are 152 pegs on the fourses surface, and 92 total pegs on the fyrall, very many. You could maybe experiment and cull the best nodes? One other idea out of many would be a "metal "picture fram" around a wooden surface. All the sandrodes could push through the wooden surface, as pegs. You could use a banana-plug-to-alligator-clip-cord to send signals from the modular into the sandrode collection. To take signals from all the sandrodes, you might want a preamp, because the chaos within the sandrodes is sensitive, high-impedance, and to capture it you need a high-impedance observation bubble. This is the CV buffer. You could put pegs around the rim of the wooden surface, as entrances to CV buffers. The wooden surface is surrounded by a "metal picture" fram" which holds the CV buffer output banana plugs. Just one idea, shows only my thought about the ktnk- I am glad that you will find your own way to do this- send me a pic!

which influence do the connections on the U strip (of the fyrall) have regarding the feedback patterns (what is a "feedback pattern" after all?)?
i mean can they substantially change something or are that just minor changes?
Every ktnk will end up a different beast genetically from the rest:
- each person will wire up the pegs differently, putting different ones closer and farther from each other.
- each person will choose different capacitors for all the "hairy capacitors", places where any value can be used to affect the frequency characteristics of their area.
- The U strip is one more way to customize your fyrall. I don't know how much influence the connections have- this whole project is not only my experiment, but your experiment. I can describe what they are connecting. The fyrall has three wheels of paradoxical systems. Each is a cell in a larger wheel, and the U strip sits right before a giant digital multiplexer in this wheel. A multiplexer is sort of a rewirer, sending different signals to different places based on its controlling codes. So the U strip controls how the initial inputs to this multiplexer are placed.
- I call them feedback patterns because they are just feedback but woven in a complex and paradoxical braid that always is teetering on chaos.

i'm thinking of a 24x24 matrix board where i could change the configuration by patching/inserting some pins. i just don't know if it would be worth the effort.
sounds interesting and probably worth the effort. I mean everything is worth the effort. with a matrix board you could even map out the strategies.

Will there be a place for pictures of customized kits?
of course!

Hey, I got a couple of questions about the fyrall. I read the manual and listened to the mp3s. Is it possible to feed external signals (like from a send of a mixer) through the fyrall and process them somehow, or can external feed "control" the fyrall?
Totally possible. You can do this a few ways. The philosophical article included with the kit describes how to make a phono-to-banana-and-alligator cord, which you can send to the spesal cuck and have the signal crowbar the whole instrument, or you can send the external signal to any random sandrode and have it rough it up only locally. In any case, the signal out from a mixer or any other electronic device is much stronger than those chaotic ones floating around inside the kits, so it will control them by force. A guitar or piezo-disc will need a high impedance preamp; the 2 crystal transfer stations on each kit can do this for you.

hello peter, could i use e.g. such a capacitor? 1F, 20-24V DC
Sure, u can use any capacitor that's rated at at least 10 Volts DC. A 1 Farad capacitor will make the element that it is part of as slow as a mountain.

Ok so I started soldering some resistors, actually 3. Its ok to solder everything from the other side right? Cuz i know you said that for the chips, in the manual. Should it matter what side as long as I get a good contact going?? Im tripping out on whether im pushing enuff in, and if the solder was good. Also what happens if one were to touch the hot iron to the green plastic part, where there's no circuitry going on, just blank green? Cuz I might have done a teensy bit of that. But im sure its bad, right?
yeah all these are totally fine. you can solder from any side as long as there's some solder truly melted between resistor and pad- there needs to be a shiny pool somewhere engulfing the resistor lead and pad. the pool doesn't need to seep through to the opposite side; the holes are lined already so they conduct from side to side. If you touch the iron to the green plastic nothin will happen- it's designed to resist solder and heat, that's what its there for, in case you get any solder on it it won't stick.

Not shiny solder is bad right? Im thinking the best plan of attack for the U-strip would be strip the wires, stick em in up to the insulation & soldering from the underside, that or heat up the pad stick some solder in then stick the wire in, without getting the plastic in there, im leaning toward that 1st idea.
as for meltin the insulation, feel free to solder anythin from the other side, this will totally prevent meltin the plastic, and you can push the leads in all the way. remember it doesn't have to be perfect as long as metal parts that aren't sposed to be connected are not connected. if a solder joint looks dull, and you think it isn't makin contact, you don't need to unsolder it; just heat it up again and push some more solder in. if you want to unsolder a wire or a resistor, try grabbin it with needlenose pliers from the top, then flip the board over and heat up the joint, until you can gently pull that side of the component out of its hole. you don't actually need desoldering brain, cuz if some solder stays in the joint it actually lubricates the joint in a way- if there is enough solder in there that it all stays connected then the heat from the solderin iron will be able to conduct to the whole jiont. this is all the physics of solder that you will begin to understand by feel. you're right the easiest way to put a new wire or resistor in a filled hole is to: position the lead with needlenose pliers right on top of the hole, then heat from the other side and push it in. then add some new solder from the other side.

how to wire a capacitor switch

Shewed the fourses to a friend yesterday and remebered the idea of having a display for audience viewing. Basically, just a breakout box with twins of the eight LEDs but facing the audience. I'm looking at the schematic...since this is a transistor driven LED, could I just tap into the board and make a second transistor circuit for each new LED? That is: 47k resistor, transistor, 470 resistor and LED. 10 wires: pos,neg and 8 signal wires. If you could advise me as to whether this is good idea or not, I'd appreciate it. Might save me some time if I'm barking up the wrong tree.
you don't even really need to take from the LEDs, you can just use any sandrode into that transistor circuit you just described, maybe a little bit modified-
sandrode - 470k - transistor base - 4.7k - ground
transistor emitter - ground
transistor collector - 470 ohm - LED cathode
LED anode - positive

if you get my drift- the dashes mean connections, so the transistor base is connected through 470k to a sandrode as well as through 4.7k to ground. somehin like that. it has high enough impedance to not really mess up the sandrode, but it also is high gain. try different resistor values too. yeah it might be nice if you had a few of these, that you can connect to any sandrode you want to.