Feedback is a process that is common in both acoustic and electronic musical instruments,
but rare in digital musical tools or creative digital tools more generally. This paper examines …

The idea of No-Input Mixing may appear at first difficult to understand, after all there is no
input, yet artists, performers and sound designers have used a variety of approaches using …

This paper discusses findings from a survey on interfaces for making electronic music. We
invited electronic music makers of varying experience to reflect on their practice and setup …

Improvisational group music-making, informally known as 'jamming', has its own cultures
and conventions of musical interaction. One characteristic of this interaction is the primacy of …

Advances in digital audio technologies have led to a situation where computers play a role
in most music production and performance. Digital technologies offer unprecedented …

This paper maps my initial research as I explore re-engineering music performance as a
collaborative improvisatory space involving the audience who will engage with …

Interaction design research typically differentiates processes involving hardware and
software tools as being led by tinkering and play, versus engineering and conceptualisation …

Percussionists are unique among western classical instrumentalists in that their artistic
practice is defined by an approach to interaction rather than their instruments. While …

In this paper we consider the general goal of supporting physical manipulation of digital
audio in a specific context: the performance disk jockey (DJ) seeking to migrate from vinyl to …

Improving audio production tools provides a great opportunity for meaningful enhancement
of creative activities due to the disconnect between existing tools and the conceptual …