▁use ▁of ▁aud itory ▁feedback ▁which ▁he ▁creates ▁using ▁a ▁micro phone ▁( to ▁pick ▁up ▁the ▁noise ▁in ▁the ▁room ▁of ▁performance ), ▁a ▁small ▁mixing ▁console ▁( used ▁to ▁carry ▁the ▁signal ▁and ▁to ▁record ▁performances ), ▁an ▁equal izer ▁( to ▁adjust ▁the ▁frequencies ▁sent ▁to ▁the ▁output ▁- ▁the ▁equal iser ▁is ▁set ▁up ▁prior ▁to , ▁and ▁is ▁left ▁un touch ed ▁throughout , ▁the ▁performance ) ▁and ▁a ▁set ▁of ▁head ph ones ▁( which ▁project ▁the ▁sound ▁back ▁into ▁the ▁room ▁ ▁- ▁no ▁other ▁ampl ification ▁is ▁used ). ▁▁ ▁This ▁process ▁of ▁sound ▁creation ▁is ▁somewhat ▁similar ▁to ▁that ▁of ▁T osh im aru ▁Nak am ura ▁who ▁uses ▁a ▁mixing ▁console ▁with ▁its ▁output ▁connected ▁to ▁its ▁input ▁to ▁create ▁" no ▁input " ▁feedback . ▁The ▁techniques ▁are ▁not ▁ind ist ingu ish able ▁however ; ▁Y osh im ura ' s ▁music , ▁unlike ▁Nak am ura ' s , ▁can ▁be ▁alter ed ▁by ▁the ▁no ises ▁which ▁occur ▁in ▁the ▁room ▁in ▁which ▁it ▁is ▁performed ▁( such ▁an ▁audience ▁members ▁moving ▁or ▁other ▁mus icians ▁playing ▁instruments ▁etc .) ▁because ▁these ▁sounds ▁will ▁be ▁picked ▁up ▁by ▁the ▁micro phone ▁and ▁alter ▁the ▁tim bre ▁or ▁pitch ▁of ▁the ▁feedback . ▁▁ ▁As ▁a ▁result ▁of ▁this , ▁Y osh im ura ▁has ▁the ▁ability ▁to ▁leave ▁the ▁music , ▁if ▁he ▁wishes , ▁to ▁effectively ▁play ▁itself . ▁By ▁dist ancing ▁himself ▁from ▁the ▁musical ▁process ▁in