Feedback

Feedback is implemented via two identical tuned delay lines, one for each channel — see the diagram on page 13. Since the delay is tuned, it can be played by modulating the feedback frequency from the sequencer or other sources.

Note — Feedback can also be used to implement plucked string physical models — use Envelope 3 with Noise as a destination (all oscillators off). Assign a sequence to Feedback Frequency, play around with different Feedback Levels, and adjust the filter cutoff frequency.

Frequency [5] [1] 0…48 — Sets the base frequency of the main feedback loop. It steps in semitones from C0 to C4 (0-48) for a four octave range. The exact frequency is influenced by other factors, such as the filter frequency and number of poles, which can drive it slightly sharp or flat.

Level [5] [2] 0…100 — Level of feedback. As the level goes up the feedback will eventually oscillate at the set Frequency. Medium levels of feedback add depth and movement to the sound.

Grunge [5] [3] OFF…On — When on, it enables nasty feedback at higher levels — it will not have any effect at lower levels of feedback.

Delay

The delay takes a mix of both channels as input, and provides up to three independent taps, each which can be separately time or level modulated. The output of the three taps is mixed and summed with the Left and Right channels. The delay output also can be mixed back to the input of the delay for more ambience, repeating delays, or tuned feedback if the feedback level is set high.

A second feedback path takes the delay output and routes it back to the input of the analog filter; this path can be used for more extreme feedback effects.

Дата добавления: 2015-08-20