Hey to everyone,
I’m looking for no imput mixing resources, and “regular” feedback techniques. Can someone point me in the right directions. How do you play with feedback? The only thing that i do is feeding the aux channel (where it can sit a delay or a reverb or an effect, or just an audio track your sending) to itself.
This kind of approach interest me quite a lot, share your knowledge! and music too
Hey to everyone,
Interested in this topic! There was a discussion here not too long about about using feedback and noise safely, some good information in there, including an always useful discussion about the differences and similarities between limiters and compressors. GOLDMINE.
Might be worth starting some discussions with folks that submitted tracks for this Junto:
Here’s a nice one with some good basic info:
TTNM has at least two videos/quick tutorials on no input feedback techniques:
Other than that, have you looked into building or getting a matrix mixer for these kind of excursions? Should be good clean fun
Here’s a good video on the subject, from minijack (who also builds custom active matrix mixers)
Great Nakamura-track, btw!
@glia posted an exceptionnaly virtuoso nimb perf.
Forgot to add, the Jomox T-Resonator is a great tool in itself for playing around with noise as it can achieve violently screaming feedback (especially through the flanger setting) with a pretty unique characteristic, when you get the settings just right. Also with no input! I think it can be treated as an instrument on it’s own when used this way.
They can be found used pretty cheap too, pick one up if you have the chance
Funny this comes up today - I spent some time yesterday playing with feedback between 3 Sisters - Echophon, with the FB out/in of Echophon going back through 3 Sisters and a Circuit Abbey Impluse Drive.
Loads of fun!
This is a 5min excerpt:
I use feedback a lot in my own work, and am always concerned about blowing out equipment with sudden high signals/sub frequencies. I use the ctrl and main mix pots on my Behringer mixer to act as a kind of gain reduction before it goes to the speakers.
What are people’s thoughts on this? Do I need some kind of limiter or gain reduction that’s external to my mixer? I mostly don’t want to blow out amps belonging to friends of mine.
I use a lot of feedback / no input mixing in my work…
Usually in combination with programs I wrote in SuperCollider
A lot of the mixers I used are hacked to give me different sonic possibilities
and this one (hard to tell what’s happening hahaha)
(about the fear of blowing up gear… I use DC offset killer and limiter before I send stuff to speakers)
Been looking for a reason to record versions of your composition ever since I first heard about it. Might have to make one as a welcome gift
Thanks for joining the discussion and sharing your work.
The Elektron Analog Four has a feedback mode in OSC1. It can be AM’d at audio rate by OSC2. It then goes through the Drive and Filter. It can sound extremely gnarly
everything Philip White is doing is extremely cool. Here are the first of a series he’s been doing on some of the homebrew stuff he’s been putting together:
A friend of mine(Richard Knight) did a no-input mixer workshop for an organization I co-run(The Noise Upstairs) a few years ago, and he put together a pdf that might be of interest. Maybe not as detailed as vids and stuff, but some cool how-to bits in there:
Yes! I have the same one. It’s a wonderful device, sometimes I wonder how two of them would sound together, heheh
Nice @Cocker, never heard the A4 with those kind of expressions before
Oh yes I need to get a matrix mixer, I guess it’s the right moment to finally build one.
I’m keeping an eye on the t-resonator since a started to play with machines, I always think to it .
I know this is an old thread but can you tell me more about DC offset killers?
I’m playing with feedback techniques quite a lot lately (currently modding a stereo graphic EQ that sounds amazing), and have access to a nice studio but don’t want to harm the monitors…
It’s just a sub-audio high-pass filter that removes DC offset. SuperCollider has
LeakDC for this. I think any HPF that goes low enough can do this, though, as long as it’s in the right place (I’d assume the end of the chain).
Is there any reason why I shouldn’t be able to set up a feedback circuit with some old hifi equipment I was given? I have :
A Realistic 4 channel stereo microphone mixer
A Realistic equaliser
I’ve used a signal splitter cable to feed the mixer out put back into the eq and into the mixer and as an output as I would with a modular patch. I’m listening to the output through the aux return on the beacon mixer as this can accept line levels. I’ve tried pinging with a drum beat. But no joy. Any reasons why it might not be playing ball?
Phase inversion tends to nullify any tendency towards runaway feedback, so if you can flip the phase back that has a reasonable chance of getting things going