Throughout history engineers all over the world have put endless effort into creating noise-free recording consoles in order to capture the true nature of the sound source. But what if these recording consoles were the sound source? Could the recording studio ever be seen as an instrument? Artists like Brian Eno, Robert Fripp, and Conny Plank, amongst others, used technological limitations and noise as key tools in their creative process. Throughout this project I will analyse a particular noise, the Larsen Effect, best known as Feedback.

The idea is to organise and understand a behaviour as unpredictable as a Feedback and make it predictable, usable. Any instrument played for the first time might seem intimidating and unpredictable, yet as we spend time with it and start to understand its patterns we are able to control these sounds. In order to deliver a usable product I have decided to organise this instrument by and adhere to the common western musical scale.