<?xml version="1.0" encoding="UTF-8"?><?xml-stylesheet type="text/xsl" href="static/style.xsl"?><OAI-PMH xmlns="http://www.openarchives.org/OAI/2.0/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/ http://www.openarchives.org/OAI/2.0/OAI-PMH.xsd"><responseDate>2026-09-19T12:30:45Z</responseDate><request verb="GetRecord" identifier="oai:dspace.mit.edu:1721.1/62360" metadataPrefix="dim">https://dspace.mit.edu/server/oai/request</request><GetRecord><record><header><identifier>oai:dspace.mit.edu:1721.1/62360</identifier><datestamp>2022-01-13T07:55:04Z</datestamp><setSpec>com_1721.1_7582</setSpec><setSpec>com_1721.1_7581</setSpec><setSpec>col_1721.1_131023</setSpec></header><metadata><dim:dim xmlns:dim="http://www.dspace.org/xmlns/dspace/dim" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:doc="http://www.lyncode.com/xoai" xsi:schemaLocation="http://www.dspace.org/xmlns/dspace/dim http://www.dspace.org/schema/dim.xsd">
   <dim:field mdschema="dc" element="contributor" qualifier="advisor" lang="en_US">Michael Hawley and Andrew Lippman.</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="author" lang="en_US">Smith, Adam Douglas, 1975-</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="other" lang="en_US">Massachusetts Institute of Technology. Dept. of Architecture. Program In Media Arts and Sciences.</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="department">Program in Media Arts and Sciences (Massachusetts Institute of Technology)</dim:field>
   <dim:field mdschema="dc" element="date" qualifier="accessioned">2011-04-25T15:46:47Z</dim:field>
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   <dim:field mdschema="dc" element="date" qualifier="copyright" lang="en_US">2001</dim:field>
   <dim:field mdschema="dc" element="date" qualifier="issued" lang="en_US">2001</dim:field>
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   <dim:field mdschema="dc" element="description" lang="en_US">Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.</dim:field>
   <dim:field mdschema="dc" element="description" lang="en_US">Includes bibliographical references (leaves 44-45).</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="abstract" lang="en_US">The Sound Transformer is a new type of musical instrument. It looks a little like a saxophone, but when you sing or "kazoo" into it, astonishing transforms and mutations come out. What actually happens is that the input sound is sent via 802.11 wireless link to a net server that transforms the sound and sends it back to the instrument's speaker. In other words, instead of a resonant acoustic body, or a local computer synthesizer, this architecture allows sound to be sourced or transformed by an infinite array of online services, and channeled through a gesturally expressive handheld. Emerging infrastructures (802.11, Bluetooth, 3G and 4G, etc) seem to aim at this new class of instrument. But can such an architecture really work? In particular, given the delays incurred by decoupling the sound transformation from the instrument over a wireless network, are interactive music applications feasible? My thesis is that they are. To prove this, I built a platform called WAI-KNOT (for Wireless Audio Interactive Knot) in order to examine the latency issues as well as other design elements, and test their viability and impact on real music making. The Sound Transformer is a WAI-KNOT application.</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="statementofresponsibility" lang="en_US">Adam Douglas Smith.</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="degree" lang="en_US">S.M.</dim:field>
   <dim:field mdschema="dc" element="format" qualifier="extent" lang="en_US">45 leaves</dim:field>
   <dim:field mdschema="dc" element="language" qualifier="iso" lang="en_US">eng</dim:field>
   <dim:field mdschema="dc" element="publisher" lang="en_US">Massachusetts Institute of Technology</dim:field>
   <dim:field mdschema="dc" element="rights" lang="en_US">M.I.T. theses are protected by &#xd;
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   <dim:field mdschema="dc" element="rights" qualifier="uri" lang="en_US">http://dspace.mit.edu/handle/1721.1/7582</dim:field>
   <dim:field mdschema="dc" element="subject" lang="en_US">Architecture. Program In Media Arts and Sciences.</dim:field>
   <dim:field mdschema="dc" element="title" lang="en_US">WAI-KNOT (Wireless Audio Interactive Knot)</dim:field>
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   	&lt;Title>WAI-KNOT (Wireless Audio Interactive Knot)&lt;/Title>
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   	&lt;Subtitle>Wireless Audio Interactive Knot&lt;/Subtitle>
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   	&lt;Abstract>The Sound Transformer is a new type of musical instrument. It looks a little like a saxophone, but when you sing or &amp;quot;kazoo&amp;quot; into it, astonishing transforms and mutations come out. What actually happens is that the input sound is sent via 802.11 wireless link to a net server that transforms the sound and sends it back to the instrument&amp;apos;s speaker. In other words, instead of a resonant acoustic body, or a local computer synthesizer, this architecture allows sound to be sourced or transformed by an infinite array of online services, and channeled through a gesturally expressive handheld. Emerging infrastructures (802.11, Bluetooth, 3G and 4G, etc) seem to aim at this new class of instrument. But can such an architecture really work? In particular, given the delays incurred by decoupling the sound transformation from the instrument over a wireless network, are interactive music applications feasible? My thesis is that they are. To prove this, I built a platform called WAI-KNOT (for Wireless Audio Interactive Knot) in order to examine the latency issues as well as other design elements, and test their viability and impact on real music making. The Sound Transformer is a WAI-KNOT application.&lt;/Abstract>
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