Acoustics are rife with linearity. A system is considered linear if the equations that govern it follow the simple rule that the sum of the inputs to the system yields the sum of the outputs. When a signal is pushed to high amplitudes, distortion may be encountered, resulting in an altered waveform and added harmonics. The sound-transmission process in the ear itself is characterized by nonlinear distortion at high sound intensities, as hair cells within the inner ear have a tendency to process sound nonlinearly, even when the original sound wave is “clean”.

The combination of both the mid-range and low-range frequencies vibrating from both sides of the pipe produces a difference tone in the room. The signals of the contact microphones are being pushed to the point of feedback — a sonic form that is distorted and dysfunctional in nature, where perceived loudness doesn’t increase proportionally with the sound intensity. This nature proposes an alternative approach to exploiting of a mixer that is highly reliant on composing through active listening and anticipation. With two contact microphones in play, the two feedback drones are of unique resonant registers due to their differences in frequency and amplitude. This characteristic dynamic between the mid-range and low-range signal outputs facilitates a phasing in the room, akin to a humming drone, where both tones are hopping in and out of aural perception and beginning to sustain.

Due to the triangulated movement of air within the pipe structure, the breaching point between the feedback from one side to the other exists in the center tension point. Although the structure houses two unilateral feedback outputs, these two signals will eventually meet, becoming a ceaseless, conglomerate drone. Once the frequencies of one side of the pipe trespass the elbow joint, leaking into the other side, a vibrational equilibrium settles. This coalescence can most clearly be heard when the mixing levels are being actively adjusted, as the output range of both signals is constantly shifting in a state of “tuning”.

[Writing from the Circuit exhibition catalog, printed in collaboration with Misplaced Press]

Julia Kim

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