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As stated above, the latency prevents this software from use in actual interactive situations, but allows for meaningful (if limited) control of transmitted feedback loops. These controls, along with the simple parameters of mic placement, type and volume and speaker placement, type and volume allowed for an interesting sound space. While decidedly bright and noisy, larger musical forms and aims could be followed with some experience. | As stated above, the latency prevents this software from use in actual interactive situations, but allows for meaningful (if limited) control of transmitted feedback loops. These controls, along with the simple parameters of mic placement, type and volume and speaker placement, type and volume allowed for an interesting sound space. While decidedly bright and noisy, larger musical forms and aims could be followed with some experience. | ||
=== | ===Examples=== | ||
Here is an example of the sound quality during the feedback experiments, as directly recorded without any processing or filtering in San Diego: | Here is an example of the sound quality during the feedback experiments, as directly recorded without any processing or filtering in San Diego: | ||
Transmission recorded in San Diego | Transmission recorded in San Diego | ||
<flashmp3 id="exampleSD">exampleSD.mp3</flashmp3> | <flashmp3 id="exampleSD">exampleSD.mp3</flashmp3> | ||
And here an example of the sound quality of Brendan normally speaking, recorded in Weimar: | |||
<flashmp3 id="TeamViewerSpeech.mp3">TeamViewerSpeech.mp3</flashmp3> | |||
===Composed Piece=== | ===Composed Piece=== |
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