#61

Does it sound as good dry?

#62

Does which part sound as good dry? I have a lot of FX in there :slight_smile:

#63

Have been following this thread with interest. This piece in particular has a chilled out or smoothed out feeling which dissolves into my room. Nice one.

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#64

without end of chain, i mean

#65

Plate-140 added a subtle bit of modulation and stereo imaging, just to sweeten it up a little. (More of the modulation is coming from Tensor, where I’ve got the tape speed and pitch shift knobs almost counterbalanced to create a little chorusing.)

I used Cassette to smooth away a bit of harshness in upper mid frequency ranges (probably introduced partially by Rings, partially from letting the feedback get a little too carried away). I find some ranges of settings are really good at reducing and masking the uglier side of some distortion with more pleasant saturation and some high-end rolloff and tape wear, and it works better for me than just using EQ.

Without either of those it’d still sound pretty similar though :slight_smile:

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#66

thanks! aside from finding some interesting feedback paths in the synth, I’ve also found I really like elements-as-preamp and rip-as-saturator.

For me I’m finding it’s kind of like the feedback itself is maybe not the most important part of the art creation process. A lot of times I feel like the feedback will be doing something really interesting (especially in it’s “shape”), but sound terrible. So I think as much as finding those spots, I’m learning it’s about finding what I can do to make it not sound terrible…find I’m ending up using these sort of effects more aggressively/creatively too. I feel like I’ve got to super strange places in these patching sessions that I would not get to without this sort of initial prompt or guideline.

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#67

I feel like feedback is sort of like randomness (…or maybe like everything? whoa :milky_way:), in that constraints are key.

I’m currently reading Daphne Oram’s An Individual Note, which uses a lot of electronic music metaphors to speculate about human nature in sort of an esoteric way. One of the bits that resonated (heh) with me was the idea of memory as tape delay feedback, subject to degradation and noise over time, but also subject to being amplified all out of proportion and becoming distorted or dominating the “mix” as it were.

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#68

Wow, that’s a really interesting concept, I’ll have to check out that book!

#69

This one is intense noise-y feedback (this time cross feedback between mangrove, three sisters and warps). I really loved what I was seeing on the oscilloscope…sort of a field of noise, that would make way for these long square-wavey lines and then more standard morphing waveforms.

I’ve always been a fan of cyclic, slow modulation, like LFOs. I’ve noticed I’ve recently started to more freely branch that out into larger cyclic networks…where I’ll have looping modulation from stages, tides and just friends patched between each other, dispersing the leftover outs around the system. If you make the cross patches easy to attenuate, it can make it so it’s easy to go back and forth between chaotic and more ordered.

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#70

Learning my Plumbutter and experimenting with subtle feedback FM between the ultrasound generators and the gongues:

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#71

Just wanted to check in on the comp part of this. Is that something y’all (as in, anyone who has been posting, as well as anyone who might be following along) are interested in? If so, would more specific parameters or structure be helpful?

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#72

I’m interested, but I haven’t been posting here because I don’t think I really have anything worth sharing, so I’m also not terribly confident I’ll have anything “”“ready”"" by the end of the month!

Incidentally, I am still wondering how poetic feedback would work.

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#73

Feel free to share (though cool if not too), even if it’s a very short clip with some experiment you tried.

I was thinking about some things I’ve seen such as a generator that would run text through google translate between languages several times when that came to mind.

#74

I’m up for the compilation (and uploaded a track, though I figure if I create something I like more, I might sneakily switch it out… I have a few projects going on at the moment so I’m not sure that will happen though).

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#75

o sweet, didn’t realize anything was in there yet, cool!

#76

I’ve been experimenting with some dakim style destructive looping using w/. The feedback part is I was sending a copy of the envelope follower (from my cold mac compressor) to JF and generating related envelopes, then sending those envelopes to the mangrove’s air input. Sound sources are mangrove and grandpa’s samples through three sisters, so the grandpa’s signal might open the mangrove (or I’d do it by hand) but then the envelopes generated from the mangrove’s signal itself would open it again. Most interesting stuff happened when I used the air attenuator to invert it because then I got those trilly things.

down to participate in a compilation thing :slight_smile: lots of potential for feedback poetry too, might try something got some ideas percolating…

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#77

I’m down for the compilation. I wasn’t sure if I wanted to at first but my certainty has been growing.

There’s many potential ways but right now my thoughts jump to something likening a linear feedback shift register.

Diagram:

Rather than ones and zeroes you could rotate a pool of words. Obviously you can’t XOR two different words but you could do any nomber of creative operations on how the last few words determine what gets added into the pool, including grammatical function, which letters they contain, etc.
Depending on whether you would want it to “make sense” or not you could either just use the words as is or write a kind of reverse madlib around them.

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#78

Alright. I recorded this today. It’s not very short and it’s kind of basic. But I want to keep playing with this arrangement so hopefully this can serve as a baseline for more interesting posts later.

Details

A no-input feedback experiment. Tensor and both channels of Space as the fx loops of a Klein Bottle (KB), Tensor detuned-octave-upping in dual-buffer mode and Space detuned-octaves-downing, Tensor<->Space paths high (~3 o’clock) and Space L<->R paths moderate (~12 o’clock). KB output to bass amp (via DI box for direct recording, bass amp also miked), then bass amp “direct out” back through DI box into KB input.

Performance: KB input Tensor loop’s phase offset initially 180º; short gestures twist it down to ~135º and back. First part: slow adjustments of Master volume and Dry volume. Toward the end: reduced pregain to Space’s fx loops (becomes less noisy, more tonal). Finally, abruptly cut Space’s mix to 0 (drykill on, so essentially muting it).

Post-processing: Cut off the first minute. High-passed at 30 Hz. Reduced stereo width to 40% to blend the miked and direct signals. Boosted the volume a bit.

Post-mortem: Bass amp input gain is very very low because that feedback path easily dominates (well, duh, it’s an amp). I left its EQ flat but there is probably potential to be explored there, and weaving between stronger amp feedback and stronger KB-localized feedback regimes. I need some practice with keeping each on the edge of blowing up without crossing it. Also need to develop compound gestures like swapping the Tensor between looping and ‘live’ mode while adjusting the KB master volume to compensate.

This is intriguing. It reminds me of one of Samuel Beckett’s short stories, “Lessness”. I don’t know the exact process but he uses a limited pool of words sort of combinatorically.

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#79


This one is a pretty complicated patch to explain but I’ll try:

The core feedback loop is the Doepfer BBD, which is clocked by the high speed oscillator of Synchrodyne (not the PLL). That is going into Filter 8 but with an offset so it clips asymmetrically. The high pass output of Filter 8 is going into the Doepfer SEM filter which is set to mix the low pass/high pass output to about 50%, with resonance also to about 50%, this is then routed back into the BBD.

At the same time, the Filter 8’s bandpass output is going into a comparator and then into the A113 subharmonic generator, with one output frequency modulating Filter 8, the other is modulating the SEM filter.

I then played this patch through controlling Filter 8 and Synchrodyne via ribbon controller and running all of this through a VCA controlled by Touché. Another axis of Touché is affecting Filter 8 separately, providing those trumpet-like harmonic series. I also punched in different subdivisions into the A113 throughout the performance.

The reverb is Erbe-Verb live, I then limited everything, widened it and notched out a particularly harsh frequency.

All in all this was pretty fun to perform. I’ve done fairly similar patches before but I think this is the most successfully I’ve used subharmonics to FM the source being divided (which is its own form of feedback, I suppose). My playing was mostly random notes because of how unpredictable the over(/under)tones were to a western-scaled mind as myself and I don’t think it comes off as more than that but I am still pretty happy with the result.

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#80

outside the sound of wind. inside…

Recently recorded two tracks on my euroserge.
The drone is both sides of a DUSG filtered by VCFQ. The “horn” is a feedback patch from ResEq -> spring reverb -> Wave Multiplier (bottom and mid section) and back to ResEq.
A bit of noise and quad lfo modulation…

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