Musicianship with Feedback Instruments

Friday, Saturday, Sunday | 11, 12 & 13 of March
Info / Ticket Reservations:
limited seats/reservations required: & ☏ 213 00 40 496

The Feedback Musicianship Network presents at KET for three days it’s research and artistic work on feedback instruments.

Feedback instruments offer entirely new ways of engaging with sound, music, instrument design and musicianship. This presents complex new research challenges: “we do not yet have the right language to describe the behaviour of these radical new instruments, or a clear scientific understanding of how best to shape their behaviour. There are large gaps in knowledge of luthiery of these hybrid acoustic/electromechanical/digital instruments, which also demand new composition, notation and performance techniques,and new understandings of virtuosity.”

Full schedule:

Friday, March 11th | live sets | 19:30 | 7€ | limited seats/reservations required: & 213 00 40 496

9 live sets, total duration around 130 minutes.


Paul Stapleton: Paul Stapleton will perform a short set of feedback-driven improvisations with the current iteration of VOLA, my volatile assemblage of resonating metal, strings, transducers, actuators, chaotic tactile oscillators, upcycled hardware and embedded computing.

Dario Sanfilippo: His project “Order from Noise” explores deterministic chaos and complexity resulting from a DSP network of adaptive and interacting units. A closed and self-oscillating system is triggered using one millisecond of background noise from the performance environment. The system is then left unsupervised to develop its aesthetics for a few minutes; once a satisfying long-term musical development is achieved, the system is reset and, again, triggered with a new background noise fragment.

Stelios Manousakis: His project “Palpebla Resonoj #2” is a live set/open composition for feedback-augmented acoustic guitar and real-time processing. A discarded vintage f-hole acoustic guitar is the central component of a compound sound generation system that involves acoustic, electric, and digital sound paths, all interfering and interacting with one another. The guitar is hybridized by the addition of a contact microphone, a vibrational speaker, and self-designed software (in SuperCollider).

Brain Dead Ensemble + friends: Braindead Ensemble are a feedback-drone-noise band. In Athens, they play additionally with Dan Overholt (Overtone Fiddle) and Adam Pulz-Melbye (Feedback Double Bass).

Henrik von Coler: His instrument “Macro [Feedback]” is an instrument for magnifying the sound and image of small objects and events. To achieve this, extreme amplification is needed, which – paired with the in-evitable loudspeakers – leads to an acoustic feedback. This feedback is used for increasing the acoustic magnification and creating complex oscillations.

Adam Pulz-Melbye: His “FAAB” (feedback-actuated augmented bass) was conceived on the 28th of April, 2019 in Athens. This concert is a retrospective of its greatest feedback hits, from psychoacoustically induced beat frequencies to waveset-synthesized time-stretch.

Dimitra Kousteridou: Her project “6.8 KOhm” takes its name from a part of the synthesizer, the basic feedback instrument : a handmade electric circuit that is used to produce sound during the performance. The 6.8 KOhm produces a low noise through a metal oxide film, which can then be modified by the conductive materials and drawing gestures on paper as they are becoming part of the circuit during the performance. The drawing on paper is creating a movement while leaving traces, allowing the electricity to flow through the paper and translating it into sound.

Spyros Polychronopoulos: In his project “Spring feedback”, he will be using a spring reverb as a source, feeding the output to various filters and then the signal will return back to spring reverb’s input.

Orestis Karamanlis: In his project “HeartBit”, a human heartbeat is amplified and sent to a computer running a programming language named SuperCollider. In this little piece the electronic sounds originate from a human heart; this delicate “instrument” is responsible for triggering the audio processes in real-time and for controlling the musical flow. The performer becomes a listener to his own internal rhythm and attempts to adjust the unfolding of the music psychosomatically, thus engaging in a constant loop between his own sounding body and mental state.

Saturday, March 12th | Instrumental Practice Sharing | 11:00-17:00 | free entrance | only 10 spots available/reservations required: 213 00 40 496

Musicians will be demoing instruments, discussing their musical practice and taking questions from the public.

Sunday, March 13th | talk by Kristina Andersen | 10:00 | free entrance | limited seats/reservations required: 213 00 40 496

Keynote talk by the academian Kristina Andersen.

Bio: Kristina Andersen is assistant professor at the Future Everyday cluster of the Department of Industrial Design at TU/e. Her work is focussed on how we may collaborate with each other, but also systems, things, and machines. This work is often conducted in the context of material practices, but the outcomes can also be texts, sounds and experiences. At the center lies the challenge of how we can conduct Research through Design in times of complex change and upheaval. How can we re-frame our methodologies to include the complicated and difficult aspects of everyday life? Can embodied engagements through making assist us to actively construct visions of the unknown? Andersen initiated and led the EU-funded Giantsteps project for STEIM, she was part of the Making Things Public research program at the Gerrit Rietveld Academie and designed and lead the Instruments and Interfaces master’s degree program at the Royal Conservatoire in The Hague. She is a longstanding advisor of the Stimuleringsfonds Creatieve Industrie, and acts as expert for Horizon Europe. She is part of the Product Design jury for Dutch Design Awards. She has chaired the CHI Design subcommittee from 2018-2021, in addition to DIS2019/Pictorials, IXDA2019/EducationSummit, and she chaired DIS2020 with Ron Wakkary. She is initiator, coordinator and work package leader of the EU-funded H2020 project, TRIPS and the CLICKNL-funded Fabric4Masks. More info: