#41

Beautiful tones, somewhere in between whale calls, strings, and bowed metal resonators.

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#42

Love love love all the things y’all have shared so far! Really excited about the participation, it’s been motivating and I think has helped me get into a good artistic headspace during my feedback sessions.

On #2 I am feeding back in plaits aux out inverted and attenuated to counteract the wavey FM modulation I’m doing. It gives it a more plucked feel (like an old trem on an amp) I think. It’s ran into 3 sisters, which is feeding back into it self…creates a range of tonal differences, from a resonant bass pulse to hair fuzz.

I had never really thought about using the other outs of 3 sisters (aside from all) as ways to control feedback, but now that I’m sitting down to specifically explore, it’s been quite effective I think at giving a certain level of control to things as well as choices (I’ll try high, medium and low and see what feels best). I also think it helps that it resonates and overdrives really nicely, so when feedback “overcomes” things, it doesn’t sound awful.

Extremely happy with what came out of it (also think this helped illuminate the concept for the next record…starting to put the pieces together with a few things I’ve recently recorded)

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#43

Here’s my first Feedback February experiment.

There are a couple paths going on in this. The droning tones are generated by a droning oscillator fed into a loop using Instruo Tanh3, a Mungo d0, a lowpass filter and Tallin in asymmetric overdrive mode. This is also fed into a disting reverb algo, and fed back from there too.

The loop is tapped and sent to a comparator that triggers an envelope whenever it hits a certain amplitude, and the envelope excites a loop created with the second channel of the d0, 3 sisters, and the disting reverb. The trigger also sets off a sample & hold which is being fed the output of the droning loop, controlling the pitch of the bell strikes.

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#44

Might as well post no. 2 now as well.

For this one I wanted to play with something other than an audible feedback loop, so I put together a phase locked loop system. The master oscillator is a Pittsburgh Lifeforms Primary Osc. The square output is sent to one input of a Joranalogue Compare 2 while the wavefolded output goes through a filter and VCA to be audible in the right channel. The PLL oscillator is a mungo D0 and 3 Sisters feedback loop, audible mostly in the left channel and multed to the second Compare 2 input. The Compare 2’s XOR is sent to a slew, which is sent to the V/8 input of 3 Sisters and the CV input of the D0, locking their pitch more or less in step with the LPO. Then on top of that, the output of the comparator channel processing the LPO is sent to the D0 clock input, while the D0/3s comparator channel is sent to the LPO’s sync input, creating more strange feedback behavior between the two. The result, once I found a spot that wasn’t just noise, is oddly string like and interesting.

The sequence controlling the LPO is generated by a feedback patch set up between multiple channels of Batumi and Cold Mac, though I couldn’t really tell you what exactly was going on there.

5 Likes
#45


This one I’m pretty disappointed with. The idea was to create a feedback loop of modulation, where Stages’ CV delays would be patched into themselves along with a source envelope in order to create interesting modulation patterns. Along with that I ran it through Filter 8 to create extra wobbles as the delays keep feeding back.

I didn’t have a good idea as to what to modulate and so it feels like the type of overly busy patch people think about as “modular bleeps and bloops”. Not much interesting to hear and I feel like the modulation feedback loop still doesn’t sound more impressive than what two LFO’s together could accomplish.

I think it’s still worth publishing this failure, perhaps to sway other people from wasting their time or convince someone to do it better.

3 Likes
#46

I can empathize with the feeling. Had a similar feeling with my 1st one…I did use the take away from my experiments (and more extravagant patch) and applied again in a much simpler form to kinda nail home the idea of running back into the air input on mangrove. Still wasn’t super satisfied with the musical outcome of that specific patch, but I definitely think that is a useful technique I can come back to in the future.

1 Like
#47

I think the exploration of feedback ideas is probably equally important as making something musically interesting

3 Likes
#48

3: i started this one with warps doing lots of self patching. There’s a lot of interesting wavefolding (and other forms of self-modulation) to be had with the internal oscillator fed back from the aux output into the second channel.

Went farther into more intense aggressive territory until I happened upon the bouncing ball stuff you can hear in this… it’s a bit magical, I don’t understand why it happened. I fed that into elements which also had some feedback patched into itself which gives some of the weird resonating airyness. An lfo from plaits in a noise mode gives the two note sequence and wandering phaser kinda stuff.

3 Likes
#49

Playing with convolution this time.

First I ran a 4 second clip of a drum beat through a convolver that had a 4 second sample of a synth melody loaded into it. Then I ran the result back through the convolver, and again, and again, and again. It turned into mud, so I tried again from the beginning but this time with a frequency shifter placed before the convolver so I could keep the feedback from becoming too strong at any one frequency. This made for much more interesting results than I was expecting, and slowly sweeping the frequency shifter’s rate during each pass produced wide tonal shifts without destroying the source too much.

The end result reminds me of Paulstretched audio. The sound gets stretched out more and more each time it passes through the convolver, but in a very smooth, smeared way.

8 Likes
#50


I didn’t have much time today so this one was very quickly set up. I also kind of wanted to do something less complex than yesterday’s experiment.
The feedback loop is 4ms SMR set to a custom scale based on the harmonic series, into a Doepfer A188-1 BBD, into a wavefolder and back into the SMR. The BBD is clocked by the PLL section of Synchrodyne, which is sharing a v/o sequence with the SMR. The output is a crossfade between SMR and the wavefolded signal, into Erbe Verb.

I’m pretty happy with this. It’s not necessarily mind-opening but it sounds good and I feel like I’ll use some variation on this patch in the future.

4 Likes
#51

It must be SMR day. Here is another variation of my patch using Elements as feedback, fed into the Prism Rainbow (the VCV emulation of the 4MS SMR). The Rainbow is being sequenced by Marbles.

5 Likes
#52


This one was fun to make. I’ve been wanting to try making a feedback loop going through a vowel formant for a very long time, however I’ve never felt it worth the price to just go out and buy a talkbox (or the effort to build one) just for the purpose of this experiment.

So this time, casually, I figured that using earbuds would do the trick. I took a pair of new earbuds I had laying around but never used before (they came with some device), amplified them with multiple EQ’s and brick wall limiters in FL Studio against my main microphone. I also applied a convolver using a recording of me frying something that I edited slightly.

The performance entailed doing various mouthings as well as fading the convolution in and out. The earbuds kept clacking against eachother, which wasn’t intentional but in the end I do appreciate that artifact. It was pretty hard to make precise formants ( I was hoping to apply some overtone singing skills to this) but I feel like I got some interesting crossfades between different textures.

5 Likes
#53

This sounds awesome but I’m confused about the setup–did you have the earbuds in your mouth, monitoring the audio incoming from a mic you’re singing into?

#54

Earbuds in my mouth, headphones to monitor. All of the sound is feedback, no actual vocalization.

I mentioned overtone singing because it’s a technique to create a highly resonant peak using your mouth shape, giving the effect of a second tone.

2 Likes
#55

Feedback loop with Mosky Spring Reverb, Red Panda Tensor, Bitwig pitch shifter, Hornet Thirty-One and Bitwig Peak Limiter.

Injected into that is Hertz Donut mk2 through Ripples bandpass, with pitch controlled by 16n Faderbank quantized to 4ths and slewed by Teletype.

Sometimes it goes through 2x Rings (with different settings on each and negative frequency offsets for lo-fi reverb/delayish effects), crossfading dry vs wet and Rings 1 vs Rings 2.

All processed through Arturia Reverb Plate-140 and Wavesfactory Cassette.

8 Likes
#56

This one is plaits’ chord mode, fedback into it’s morph and timbre inputs (running through 3sisters). Interesting fuzzy textures emerged from this, as well as melodic ideas. I distorted RIP (by passing it a voltage offset), which I think helped dull the harsh digital edges that come up frequently when doing feedback with digital sources.

this one is probably the most out there I’ve gotten with a patch for this. I had just friends (in looping sound mode)and mangrove in a feedback loop via just friends FM input. At certain locations beating would emerge that seemed to sway due to the feedback to create a sort of shifting rhythmic aspect.

Unfortunately, there was a very big drone that greatly overpowered the beating, but I was able to fix that by misusing my acon dehum plugin at it’s most agressive setting to remove the drone and all it’s harmonic. I also pushed the signal into elements (clocking tides, then going into warps) to add some space around the drone. I added some panning and agressive compression to help fill out the space.

4 Likes
#57

Wanted to see what I could get out of the Reflex Liveloop on its own. The outputs each run through channels of a Tanh3 to keep things under control, then into a matrix mixer. Left runs into Right, Right runs into Left, with a little bit of each channel fed into itself as well. I set the module to a pitch-shifting delay of a second or so and put it into stutter mode, with different stutter depths for each path. Depending on the settings, different patterns emerge in the sound that seem almost like sequenced notes.

4 Likes
#58


For this one I used two spectral processors running in parallel with slightly different but very slow delay and sample time. I set them to relatively high contrast, with pitch shifting to different intervals in different parts of the frequency spectrum. I put a frequency shifter before each of them.

To get different tones I would change the EQ and mix of the pitch shifters. I also sang along to it in parts and near the end I played a bit of steel guitar, which ended up being my favorite part.

I think in general it turned out a bit more repetitive than I intended, adjusting the EQ’s didn’t do as much as I expected. I still think there is a lot to explore here. I used fairly wide regions of the frequency spectrum to pitch shift, whereas it might be more interesting to do slow filter sweeps through many small regions that shift to many places. Also combining different delays time so that it would pulse more in and out of various effects could be really nice…

2 Likes
#59

this one is not so much creating with feedback as it was created through the process of experimenting with feedback.

I was trying to explore feedback paths with a mic, preamped then processed through my synth. I had tried a number of things, but could not find anything that was interesting to me with the patch I had going, so I took the feedback out and was left with a really interesting patch that revolved around resonating the mic, which was picking up my tape deck played very quietly and pitched down.

I also took this as an opportunity to listen to a tape I had picked up recently but hadn’t gotten around to listening to yet… DIN by Endo Kame listen here. A collection of field recordings taken around New York. The resulting track is an excerpt of DIN, pitched down and ran through my resonator patch.

This week has been busy and stressful, and I feel like it was nice to just take a second to relax and listen. I hope this is the same for you, and if you enjoy, please check out Endo Kame’s music, it’s great!

5 Likes
#60

This one is a similar patch to what I used for Laboratory Ambience. An FM’d oscillator feeds a complex feedback path that goes through Tallin, Tanh3, and the Mungo D0, all routed in various amounts through a matrix mixer. The modulation oscillator is also used to clock the D0. Slow LFO’s are varying the FM amount, modulator frequency, and D0.

4 Likes