crochambeau wrote: ↑Wed Jul 08, 2020 10:16 am
Unless I am mistaken, your mixer is a Pladask Matrise, correct?
Correct.
crochambeau wrote: ↑Wed Jul 08, 2020 10:16 am
With enough cable on hand, you can set up multiple loops/paths that *do not* interconnect, so long as the linking volume control is turned all the way down.
Through attentive use of that volume control (or vertical output channel, however you like to set things up) you can balance the two/three "structures" of sound in a way that one does not over blow another.
I think I've been doing this, something like output 1 input 1 is a loop, output 2 input 2 is a different loop, mix their signals out of output 4 (which itself has no feedback)? I think it needs a bit more level control as I've found the Matrise isn't able to go 100% silent on some loops (particularly the ones with the Death Metal, goddamn that thing has too much volume).
crochambeau wrote: ↑Wed Jul 08, 2020 10:16 am
For root feedback/"no input" control, I will reiterate the use of compression is incredible if you want subtractive control. Fiddling with attack, release, threshold, and ratio points can be powerful. Avoid one knob tone jobs unless you like what it does, some super knobby low end compressor that "audio guys" like to shit on is perfect. I adopted the Alesis 3630 as tool of choice (when they were almost universally available for something like $25 used - DO NOT PAY UP FOR ONE). Of course, there are others, they are usually racks, which opens up another can of worms..
(apologies)
Definitely good stuff, I know Behringer makes a compressor/limiter pedal. That might be especially helpful for mixing very loud feedback loops with significantly quieter instrument signals. Most of my struggles with feedback looping seem to come back to extreme volume and a lack of good EQing to stop them from becoming muddy blobs. More filters and more level controls, that seems like the objective.
Even if you took a few years and learned all the chords you'd still have a limited number of options. If you ignore the chords your options are infinite and you can master guitar playing in one day. - David Fair
crochambeau wrote: ↑Wed Jul 08, 2020 10:16 am
For root feedback/"no input" control, I will reiterate the use of compression is incredible if you want subtractive control. Fiddling with attack, release, threshold, and ratio points can be powerful. Avoid one knob tone jobs unless you like what it does, some super knobby low end compressor that "audio guys" like to shit on is perfect. I adopted the Alesis 3630 as tool of choice (when they were almost universally available for something like $25 used - DO NOT PAY UP FOR ONE). Of course, there are others, they are usually racks, which opens up another can of worms..
I know its a bit off topic but totally agree with this. I bought a Caline Pressure Tank which is their xc2xa325 compressor pedal, and it helps tame some of my very loud pedals a treat. skull
But maybe record some noise so you have the sounds you want and use that in the mix...record a bunch of feedback harshness and just play it back.
Maybe
Triggered Pre recorded samples with delay and or whatever effects...
Gate on a pre recorded sounds that stops or starts according to your drumming...again use of delay for effect.
Anyhow.
Ideally it seems like you would have a second person using the pedals and mixer as you drummed.
I would prefer this way...
Its the most realist noise way in my opinion. rotshock
