
Corrective IR Spatial Reconstruction
How closely can electroacoustic correction bring a live venue toward another hall’s early response and reverberant character?
I work at the intersection of live sound, music technology, and human experience. My work explores how musical systems can adapt to spaces, performers, and different ways of experiencing and expressing music. Starting from live sound engineering, I have gradually moved toward immersive audio, interactive systems, and accessible music technology—always asking how technology can adapt to the people who use it, rather than asking people to adapt to the system.
I work at the intersection of live sound, music technology, and human experience. My work explores how musical systems can adapt to spaces, performers, and different ways of experiencing and expressing music. Starting from live sound engineering, I have gradually moved toward immersive audio, interactive systems, and accessible music technology—always asking how technology can adapt to the people who use it, rather than asking people to adapt to the system.
MORE ABOUT ME →
How closely can electroacoustic correction bring a live venue toward another hall’s early response and reverberant character?

How can an electronic drum’s velocity response be reshaped around an individual performer?

How can AI reduce the repetitive work of preparing a live session while leaving musical decisions with the artist?

What happens when musical systems are designed around different ways of hearing?