Speaker Dress by Pauchi Sasaki

speaker dress Pauchi Sasaki
Pauchi Sasaki wears her Speaker Dress (2014), containing 96 loudspeakers. Photo by Juan Pablo Aragon. © Pauchi Sasaki

Our clothes can be seen as a form of communication between ourselves and the outside world. They give a visual impression of who we are and how we would like to be seen by others. Pauchi Sasaki designs dresses which are not only visible, but transmit sonic xterial as well. These dresses consists of around 100 loudspeakers, and are able to process sound live.

Pauchi got the idea for developing sonic costumes, when she performed in a temple in Lima. As she remembers: “But of course, it’s an ancient temple, so there was no electricity or outlets; I could perform only acoustic sounds, even though that’s not what I had planned. That’s when I got the idea of a self-contained system, but one that could be integrated into my body, that was the idea” (interview by Michael Barron).

The result was developed in 2014 and is simply called Speaker Dress. It is a self designed wearable sound sculpture. Two dresses exist nowadays, a black and a white one. The black one contains 96 loudspeakers, the white one even 125. Several loudspeakers are connected to the same amplifier channel. The black dress for example contains six channels of amplification, resulting in 16 loudspeakers per channel, and in six different sonic zones on the dress (a zone is formed by the loudspeakers diffusing the same sound).

Pauchi Sasaki Speaker Dress
Pauchi Sasaki in performance with her Speaker Dress. Photo by Janice Smith-Palliser. © Pauchi Sasaki

The performer can choose from different input possibilities: a contact microphone, a lavalier microphone and an mp3 player are connected. These signals are sent wireless to a computer, which processes the sound in the music software Max. The sound is sent back to the dress again and is diffused by the loudspeakers.

This is a short video made during a sound check for the Ojai Music Festival made by sound engineer Nick Tipp. Pauchi is testing the dress and walks through the auditorium:

All kind of live sounds made by the performers can be processed live during the concert and the transformed version is sounding through the dresses. Flutist Claire Chase and Pauchi herself, who is a violinist as well, use their breath, their voices and their instruments in the first composition Pauchi composed for  two dresses: Gama XV (2016). The performers are dressed in their own sounds, transformed by live electronics:

Speaker Feedback Instruments by Lesley Flanigan

Lesley Flanigan Speaker Feedback Instruments
Lesley Flanigan performing with her speaker feedback instruments at La Sala. © Lesley Flanigan

A beautiful example of combining acoustic feedback and musical instruments are the speaker feedback instruments by Lesley Flanigan.  What makes the technology of these instruments exceptional, is their use of so-called contact microphones (simple piezo-ceramic elements) instead of a microphone designed for picking up air pressure waves. These microphones  can easily amplify the mechanical vibrations of objects such as the sound board of a piano, an apple box, or a coffee cooker, without picking up the sonic vibrations of the air surrounding these objects. Or, simply speaking, when a contact microphone is connected to a table, and you are hitting the table and singing at the same time, the contact microphone will only amplify your voice.

In Lesley’s instruments though, these piezo-ceramic contact microphones are placed above the loudspeaker cone, without touching it. Surprisingly, they are in this case used for picking up air pressure vibrations. And indeed, feedback happens with this set-up because the air pressure waves emitted by the loudspeaker are strong enough to be picked up by the piezo-ceramic element and send back to the loudspeaker.  Due to their materiality the frequency response of these piezo-ceramic microphones will filter the sound quite heavily, and it is possible to create a very variable feedback sounds in just changing the distance between microphone and loudspeaker slightly. She discovered this set-up when trying out an amplifier:

I had built a small amplifying circuit, and to test it, I grabbed a couple items that happened to be on my table: a raw speaker cone for the output and a piezo element (basically, a microphone) for the input. The speaker and piezo were touching each other, and a very complex, tonal noise of feedback occurred (Lesley Flanagan in an interview by Tyler Miller).

contact microphone piezo ceramic speaker feedback
A piezo-ceramic element (often called contact microphone) is placed above the loudspeaker cone. © Lesley Flanigan

Since 2007 she has developed several of these speaker feedback instruments, and a speaker synth, which contains of five small different loudspeakers. Lesley told me, that she changes the set ups depending on what she feel works best for the show she is doing (or how far she needs to travel!), but definitely she has her favorites and tend to prefer playing with four at a time.

What inspired her, was that “The sounds of feedback they generated were so “real”—it was electronic sound that I could see and touch.” (Interview by Tyler Miller). It is especially this tactile element which becomes important in playing her instruments and developing her sounds. As can be seen from the video of the speaker synth both contact microphones and the membranes of the loudspeakers are touched to modify the feedback sounds. Each feedback circuit can be turned on and off, and a potentiometer next to the switch can be used for changing the feedback gain:

loudspeaker cones contact microphones
Several speaker feedback instruments made from very different loudspeaker cones taken out of old devices. © Lesley Flanigan

Her instruments are made from old loudspeakers. She is taking them out of devices, because she is interested in not finding a “perfect” loudspeaker but in the specific voice every loudspeaker has. When she heard these speaker feedback instruments “singing”, it felt just very natural for her to add her voice to them. In her performance set-up she literally shares her microphone with them, moving it from her mouth, to the speaker feedback instrument she wants to amplify through the PA system.

For me, it is a special process to collect their raw sounds with a microphone, and amplify them on a large scale. I love the moment when what was once a crusty little noise becomes a booming, warm bass swell of dense tonality. The sound itself never changed, but when amplified, its barely audible details are magnified, so we have the opportunity to hear it differently. By amplifying feedback tones, I’m trying to dig deeper and more introspectively into their sound (Lesley Flanagan in an interview by Rena Minegishi).

In these short fragments of her performances, you can recognise well how the sound of a speaker feedback instrument is amplified as soon as the microphone is approaching it:

As Lesley told me, also this bigger amplification system becomes a part of her instrumental set-up:  “I use a PA for amplification, but often like moving back and forth between the large PA amplified sound and the ‘acoustic’ sound of the feedback instruments without any amplification.” During her performances, she develops different layers of feedback and voice, using a looping pedal for sampling sounds. Whereas they are carefully prepared and rehearsed, and she clearly knows her instruments very well, she is always also reacting on what happens at each specific moment: “I knew which speakers to work with and how to play each one to bring out elements of tonality, noise and rhythm I wanted to hear. The sampling and layering of their sounds were intentionally obvious, methodical and dense. But with all that said, I could have never predicted the exact sounds that would come out of the process. Many variables effect the feedback I work with, so no matter how much control I have planned, improvisation is always at the forefront” (Lesley Flanigan in an interview by Marc Weidenbaum).

 

 

InPutOut by Ute Wassermann

Loudspeaker dress by Ute Wassermann with two microphones
Ute Wassermann performing with her loudspeaker dress in 1989.

Working with a similar principle as in Windy Gong Ute Wassermann developed a kind of loudspeaker dress , through which her voice was sounding (see both pictures above from 1989).

In 2015 she composed a new piece called InPutOut using these loudspeaker dresses for Les Femmes Savantes (Andrea Neumann, Sabine Ercklentz, Ana Marie Rodriguez and Ute Wassermann are performing). The performers wear a loudspeaker connected to a metal plate.

Loudspeakers prepared with metal plates for Ute Wassermann's InPutOut
Microphones and loudspeakers used in InPutOut (2015) by Ute Wassermann.

Each performer also holds two microphones: one to send the sound of the voice to the metal plate loudspeaker, the other one to amplify either the voice directly or the metal plate, which is excited by the voice. The signal of the second microphone is amplified through a small PA system. Holding both microphones in front of the metal plate, a feedback between microphone and metal plate loudspeaker occurs, amplified by the second microphone, which is connected to the PA system. A clear example of this feedback through the metal plate can be heard at 5’00” in the video documenting the piece. The microphone movements in this piece reveal fantastic possibilities of voice colouring, sometimes reminding me of  ventriloquism.