When designing the interactive physical feedback system the original core concept was that I would use multiple springs attached a speaker at one end and individual contact mics at the other. When the contact mic is fed and amplified back through the speaker it would cause pitched feedback based on tension, length and density. By having multiple springs attached to the same speaker I was hoping to cause some sympathetic resonances in either spring that I could then either mix back in to the speaker for more feedback or send to a separate feed just for playback.
Later on this idea developed into using multiple versions of the set up pictured above hooked up through a more complex routing setup. The concept here was that I would then be able to route a feedback ‘path’ through multiple speakers and springs that would add to the sonic complexity of the system and also mean that all parts of the system were intrinsically linked and would react to changes in each other states and changes in the environment. In this scenario I envisioned having 3 separate speakers each mounted on separate platforms in the performance space.
The image above depicts this set up with just one of the many possible feedback ‘paths’ that could be followed when in use. As can be seen there is a lot of scope for very complex signal flows through this system and I was sure that there would be a lot of potential for the system. Other possibilities here were that as well as being able to function as a completely stand alone no performer required installation once DSP had been sorted. A performer would be able to interact with the system and any change at any point in the feedback path would result in system wide variation.
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