#81


This one is fairly similar to the first one I did, only I’m using a cajon snare attachment lying on top of the pedal steel’s strings. I recorded two different mic setups: one of the acoustic sound of the snares resonating, one of the guitar strings vibrating to the snare going into an amplifier.

Then in post I played the acoustic sound quite a bit later to the string sound and added a take of an MS20 drone going along with it, as well as some heavy EQ, delay and distortion.

5 Likes
#82

Thank y’all for keeping It going had some family stuff come up and will be back to sharing in a few days.

1 Like
#83

is this…dubstep? no

Details

Same setup/recording/post-processing as last time. I realized it’s a waste of computing power to feed the Space’s channels basically the same stuff, so today I set the Klein Bottle’s filters to strongly lowpass one channel and highpass the other. Today I was messing with the Tensor and Space separately, and also trying to make gestures with parameters I had previously tried to set & forget. In this recording the Tensor is in dual-buffer mode with extremely short buffer, time-stretching 4:1 (slowest possible), chorus-type (Speed down & Pitch up approximately canceling each other out). Space is still using “Shimmer” but the pitch-shifting was I think +700 cents and -700 cents this time. I’m rapidly changing the Tensor’s mix level, while making small adjustments to the master volume and the Space’s mix level.

2 Likes
#84

I uploaded my track (F.M. - Umpan Balik) for the compilation from the idea of no-input mixer feedback noise in live looping with only looper and reverb pedal.

Mixed and mastered :
image

Live recording (no overdub) / process :

4 Likes
#85

Dtroy sequencing rings, into chronoblob. About 30 seconds in the one of the chrono outputs is fed back into the external input on Rings, there is some modulation from Tides on Rings, which is also being triggered by dTroy. Cool way to mix a little feedback in.

2 Likes
#86

Been busy the past few days but I got a chance to record this yesterday.

The patch is built on a recipe for a chaotic loop I found on MW, where a through-zero FM oscillator is run at LFO rates and sent through a state variable filter and back in to its own linear FM input. I sent the bandpass output to the FM input, and the lowpass to a comparator that was used to trigger note envelopes and a quantizer. A sine out from the TZ LFO was sent to the quantizer input. So different versions of the chaotic loop are controlling the rhythm and pitch of the patch, with lots of other things happening downstream that I won’t get into since they aren’t feedback related. I slowed the recording down quite a bit afterwards, too.

6 Likes
#87

This one was a ton of fun. Kind of jarring and messy in structure but the sounds really remind of the power noise I used to listen to growing up.

The patch is basically the stock FL Studio drum sounds being mixed into a feedback-patched DJ mixer. One feedback loop went through an octave fuzz, the other through a wah controlled by a step sequencer MIDI-synced to FL Studio and then into Digitech Freqout which is a feedback emulator pedal.

I will probably do this one again a bunch of times as I think the patch can be iterated upon many times and I mostly fooled around rather than “performing it” in any serious manner.

5 Likes
#88

I love around 1:25 when that rhythmic noise kicks in. Followed by the smashed drums. Fun.

1 Like
#89


This is another attempt at feedback modulation like in my third experiment, although I decided to go a lot simpler this time.
We have three drones, one with a wavefolder modulated by the “dry” envelope, the other two have filters modulated by feedback loops of that original envelope and Stages’ delay mode.
Both delays are patched into both mixes but they both have a main one that is tapped for the most part. I also have a delayed envelope going to the mix of the voices, this one 100% wet with no feedback.

As performance I mostly just changed the delay times around and tried to find various rhythms. At the end I brought in both delays into both mixes and flipped one on either side. I really liked the result of that. Really interesting to scan through delay times and find really cool undulations. I consider this one a success.

All into Erbe-Verb, no post-processing.

2 Likes
#90

LOUDNOISES


Feeling Like a Ridiculous Dilettante status: no change

Variations on the same theme. No amp this time, just Klein Bottle into itself (hence this is mono). Tensor with close to its maximum buffer length for dual-buffer mode, trying to get something interesting out of very unstable patterns. Space is on “DynaVerb” (compressor in reverb path) with negative ratio, doesn’t seem to be the most fruitful algorithm for this, or at least I haven’t found the right parameter combinations. (I wanted to try it because I’ve also been playing with Compandered feedback in SuperCollider.) It also occurred to me that setting the Space’s input level to “guitar” and output to “line” might provide some additional gain but I’m not sure whether that was helpful. I’m…not actually that into harsh noise :face_with_hand_over_mouth:

Next: back to SuperCollider. I’m still working towards generating MIDI messages to automate the Tensor and Space based on analysis of the audio.

2 Likes
#91

This is more like it. Internal feedback in Live. (Some) details on the SoundCloud page, more available upon request.

4 Likes
#92


This one is like my earlier beats into mixer feedback, only more advanced. I had two different drum tracks that I turned off and on and I also had a third channel in FL studio running dblue Glitch, which I then sent back into the mixer with various stutters and time stretches synced to the beat.

I think it’s harsher and more industrial than the earlier one and I like some of the sounds in here but I think I would like to make stuff like this faster and bouncier in the future.

3 Likes
#93

fun feedback patch that is very simple yet highly expressive. it involves a koma elektronik field kit, linear softpot sensor excessory, and mutable instruments warps. two oscillators are fed into warps and the softpot controls the algorithm. the carrier is warps’ built-in sawtooth and the modulator is the field kit’s square at audio rate. different feedback-like timbres can be explored by adjusting pitch, timbre and sliding the algorithm.

2 Likes
#94


I decided to expand upon my first experiment using electromagnetic feedback in strings. This time rather than moving around an external pickup I simply doubled the output of my pedal steel guitar into both the amp and string resonator.

As performance I didn’t do much to change the feedback other than move the resonator around and move the tonebar around. Mostly what I did instead was comping it by plucking other notes along with it. I also split the signal after the volume pedal, although I feel like this didn’t affect much.

For post-production I added limiting, compression and reverb. I already had reverb on the amp so the reverb in post was more for width.

3 Likes
#95

Several types of feedback involved in the process for this attempt to make something like the kind of thing I might call “my music”. I treated another Klein Bottle recording as one of two layers also subjected to feedback routing within Live, applying some of what I’ve learned in that domain. (Haven’t gotten to the poetry yet…)

If I end up submitting something to the compilation, it’ll probably be something like this, but probably shorter! I just like setting something up and letting it roll however long it happens to roll…

Details

No-input mixer feedback with Klein Bottle, Tensor, and Space, recorded at 192kHz and slowed by 4. Low rumble produced by having the Tensor’s “Speed” knob just a hair above zero is split into a separate effects chain, and brought forward by drastic EQing and saturation.
Layered with a recording of my cat purring (and bumping the mic) that has had noise reduction creatively misused, compressed, and drastically time-stretched.
Both are fed into Replika XT. The return track also feeds itself and the plugin’s internal feedback is modulated by an envelope follower that’s delayed by almost half a second.
Each of these tracks lightly and slowly sidechains one of the others. The balance between the Replika XT’s self-feedback and the other channels is further complicated by a pair of slow LFOs, one random and one binary-noise. The former modulates the latter’s rate; the latter cuts the send from the recordings into the Replika XT on and off, but also regulates the former’s rate, so that the send-on state is a bit more stable than the send-off state.

3 Likes
#96


This… I don’t know what this is. My intent was to record some feedback guitar parts for the compilation song (and I am considering re-using some of the parts in this in that song) but it mostly turned into a goofy shoegaze spoof.

The patch is exactly the same as my last one but with reverb and distortion, I just built a song around it. A very, very silly song.

1 Like
#97

back (though I’m honestly not in a super creative headspace right now…trying the fake it til I make it approach).

both of these are warps and plaits in a complicated feedback loop. the first, the feedback adjusts the rhythms, and the 2nd, it makes it kind of woozy seasick.

2 Likes
#98

Clouds (Supercell) feeding back directly into its inputs, and driving an envelope follower in Maths which modulates the input VCA (negatively) and V/OCT input (positively). Manual playing of Density, Space, Size and Pitch knobs. EQ, noise reduction and dynamics processing in the DAW.

The EQ had some deep narrow notches at the frequency it was resonating at naturally, to let the rest shine through without being too irritating of a drone :slight_smile:

2 Likes
#99

Featured on Disquiet, write by Marc Weidenbaum :

https://disquiet.com/2020/02/18/perpetual-energy/

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image919×662 312 KB

6 Likes
#100

great writeup @disquiet!

Things have settled down a bit with family, I feel like I’ve pulled myself up from being behind at work, and tonight was a very fun, good vibes creative session.

I started this was less focused on the feedback, and more focused on utilizing out some new max for live devices I’ve been messing around with recently @pATCHES survey (which I used as a pitch sequencer) @dr.katz strokes (for the trigger patterns) and some of @dan_derks crow (dual ^^duals for converting the ableton stuff to cv/gate.

The voices are mostly just simple, blippy mangrove and plaits, but I’m doing some feedback modulation by multing out of them, into warps, and then taking the processed signal and FM’ing each. I’m sweeping (in time to the rhyhthm) warps’ algorithm…some of them hardly do anything, others are quite aggressive, but only cause things to break for a brief second before everything chills back out.

Some light tweaking of things over time to make some compositional movement but that’s all pretty rough.

Also, bonus vid of what’s going on with survey and they pitch sequencing, coz I just realized this eve the # of stages could be modulated which is pretty awesome for generative things.

6 Likes