Compensation Filter for Live Venues
Working prototypeCan a compensation filter make one venue sound like another?
Built a six-channel correction system. At one position, mean spectral error fell from 2.69 to 2.24 dB.
Why was I born?Who am I?What will I have to do?
Music Technology & Sound EngineerView CV ↗
Taebin Yoo
Music Technology & Sound Engineer
Hello, I’m Taebin Yoo. I research music technology that adapts to spaces and people and work as a live sound engineer. Through spatial audio, electronic instruments, and audio software, I build tools that help people experience and express music in their own ways.
Questions shaped by more than 200 live performances.About me
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Selected Projects
Built systems, measured outcomes, and the questions their limits left open.
Performer-Tailored Electronic Drum Module
Working prototypeCan electronic drums adapt to each player’s touch?
Built a Max/MSP drum module with manually adjusted velocity ranges for one player.
Trackform — Audio-to-MIDI & ML Evaluation
Working prototypeCan AI ease live preparation while preserving the artist’s musical expression?
ADTOF fine-tuning improved rendered validation F1 (0.695 → 0.786) but reduced real-recording F1 (0.859 → 0.816). The pretrained model was retained.
CI Interactive Ensemble Room
Working prototypeCan listeners discover their own musical cues—and find them again in a song?
Built sound setup, an interactive ensemble room, cue comparisons, and listening reports. Pink-noise prototype; CI user evaluation is still planned.
- 01
How we hear
Immersive Audio
How can sound reshape space?
The same music changes from one venue to another. I measure those differences and build systems to shape the sound around them.
- 02
How we express
Musical Expression
How can music reflect individuality?
Working with performers shifted my attention from the room to the person. I build instruments and editing tools that leave room for individual touch and musical decisions.
- 03
How we join in
Musical Participation
How can we be different, yet together?
Adjusting sound for a venue and drum response for one player led me to ask what listeners should be able to choose. I built CI Interactive Ensemble Room to explore that question through sound setup, mixing, and cue comparisons. It currently uses pink-noise placeholders; real recordings and CI user evaluation are next.
Unity without Uniformity.
Different ways of experiencing and expressing music.One shared musical experience.
That's why I was born.To experience whatever I can imagine—slowly, but steadily.
I grew up close to music and technology. Singing, playing drums in The Swan, and working behind the mixing console have shaped how I listen. Writing helps me reflect on those experiences, understand myself, and find the next question.
More of my storyA question, an idea, or a piece of music?
I’d love to talk about research, live sound, and ways to make music together.