Feedback Systems: An Analytical Framework

Sanfilippo, Dario; Valle, Andrea

doi:10.1162/comj_a_00176

Cited by 45 publications

(35 citation statements)

References 21 publications

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“…Sanfilippo presented a common structure for feedback-based audio/music systems ( Figure 2) [2]. While only a single connection exists between a microphone and a loudspeaker (via signal processing components) in the basic audio feedback model, a subsystem is added for sonic control based on signal analysis of the real-time microphone input; this can be used to trigger the Larsen tone and to control internal signal-processing states.…”

Section: Audio Feedback In Computer Musicmentioning

confidence: 99%

“…The structure is similar to that of the Audible Ecosystems (and also the "Control" Information Rate in [2]): features extracted from the received sound are used as parameters for sound synthesis. In our system, however, the selected feature is explicitly designed to be sensitive to information regarding the acoustic environment, in order to augment the specific effects of any particular physical space.…”

Section: Context-based Control Of Audio Feedbackmentioning

confidence: 99%

“…This enables evaluation of this mapping by observing changes in the approximations of resonant frequencies. However, the resonant frequency does not always behave in proportion to cutoff frequency change: timbre (brightness) may show abrupt changes by only a slight change in cutoff frequency (the nonlinearity explained in [2]). Thus, we designed the cutoff frequency to adaptively change depending on variation of the frequency approximation.…”

Section: Acoustic Resonance With Timbrementioning

confidence: 99%

“…A modern approach to audio feedback in experimental improvisation and compositional works utilizes computer-based control over sound generation and organization: Sanfilippo introduced various examples [2]. Di Scipio's Audio Ecosystems [3] is a prominent example in which a self-feeding feedback loop interconnects a digital system with its acoustic environment.…”

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

Augmenting Environmental Interaction in Audio Feedback Systems

Kim¹,

Wakefield

Nam³

2016

Applied Sciences

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Audio feedback is defined as a positive feedback of acoustic signals where an audio input and output form a loop, and may be utilized artistically. This article presents new context-based controls over audio feedback, leading to the generation of desired sonic behaviors by enriching the influence of existing acoustic information such as room response and ambient noise. This ecological approach to audio feedback emphasizes mutual sonic interaction between signal processing and the acoustic environment. Mappings from analyses of the received signal to signal-processing parameters are designed to emphasize this specificity as an aesthetic goal. Our feedback system presents four types of mappings: approximate analyses of room reverberation to tempo-scale characteristics, ambient noise to amplitude and two different approximations of resonances to timbre. These mappings are validated computationally and evaluated experimentally in different acoustic conditions.

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Section: Audio Feedback In Computer Musicmentioning

confidence: 99%

Section: Context-based Control Of Audio Feedbackmentioning

confidence: 99%

Section: Acoustic Resonance With Timbrementioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Augmenting Environmental Interaction in Audio Feedback Systems

Kim¹,

Wakefield

Nam³

2016

Applied Sciences

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“…There is of course a large body of "feedback music" (for an overview, see Sanfilippo and Valle 2013). Of particular relevance to Pea Stew are works such as David Tudor's Rainforest IV, which makes use of a series of objects that serve as resonators for electronic signals (in some versions with signals circulating in "networks" of objects, cf.…”

Section: Precedentsmentioning

confidence: 99%

Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems

Wilson

Lorway

Coull

et al. 2014

Computer Music Journal

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Much improvised music that has developed since the advent of free jazz has been concerned with the imposition of structure, often through systems of directed improvisation, or through the use of rule-based approaches (e.g., game pieces). In this article, we explore the possibility of a networked live-coding system as a structural intervention mechanism par excellence, through the discussion of two pieces from the repertoire of the Birmingham Ensemble for Electroacoustic Research.The relationship between live coding and improvisation is generally understood in terms of the latter being an implicit aspect of the former, or as the former being a specific case of the latter (see, for example, the discussion in McLean and Wiggins 2010). Live coding provides one fertile solution to the problem of interface design for musical performance, with rich implications for improvisational practice. Unlike most computer music performance systems, which tend to consist of relatively fixed configurations of graphical user interface (GUI) widgets and/or gestural controllers, "code as interface" allows radical intervention and reconfiguration of musical systems while they are running. On the one hand, it becomes possible to do many previously unimaginable things; on the other, it is often not possible to do them very quickly.In terms of this flexibility at least, live coding might be seen as an improvisational interface par excellence, albeit one often lacking in agility and deftness. Like much post-free-jazz improvisation, however, the practice of live coding can present problems in terms of creating formal articulation. Moreover, as in free improvisation, a substantial

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Making Acoustic Computer Music: The Rumentarium project

Valle¹

2013

Org. Sound

Self Cite

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The article describes the design, production and usage of the ‘Rumentarium’, a computer-based sound generating system involving physical objects as sound sources. The Rumentarium is a set of handmade resonators, acoustically excited by DC motors, interfaced to the computer by means of various microcontrollers. Following an ecological/anthropological approach, in the Rumentarium discarded materials are used as sound sources. Every instrument is ‘produced while designed’ in an improvisation-like manner, starting from available materials. In this way, hardware is ‘softened’: that is, it can be continuously modified as in software development. Analogously, the onsite setup is very light, so that components can be added or removed on the fly, even while the Rumentarium is at work. Differently from typical computer music, the Rumentarium, while entirely computationally controlled, is an acoustic sound generator. On one hand, the Rumentarium can be played like an instrument in conjunction with a MIDI controller, for use in live musical performance. On the other side, it can be driven by algorithmic strategies. In this way, the Rumentarium can be configured also as a sound installation, in a standalone mode. Some artistic works are discussed while introducing the various control modalities that have been specifically developed for the Rumentarium.

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Feedback Systems: An Analytical Framework

Cited by 45 publications

References 21 publications

Augmenting Environmental Interaction in Audio Feedback Systems

Augmenting Environmental Interaction in Audio Feedback Systems

Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems

Making Acoustic Computer Music: The Rumentarium project

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