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PAR T III
11. TIPPS AND IDEAS FOR ADVANCED USE
In the final section of the manual, we would like to introduce some more advanced functions, especial-
ly in regard of the modular stucture of 'ebbe und flut' .
11.1 Feedback
It makes sense to use audio sources with low impedances. If an electric guitar is directly connected to
'ebbe une flut' , internal feedback between its "INPUT"- and "OUTPUT" socket might appear because of
the high impedance of guitar pickups. In worst case, 'ebbe und flut' might cause extreme amplification.
An example for a serial connection of all audio modules:
+20 db (input stage) + 35 db (compressor, fully clockwise position & no input signal)
+ 40 db (distortion) + 40 db (VCF 1, high resonance) + 40 db (VCF 2, high resonance) =
175 db!! This means an amplification of approx. 562.000.000
(fivehundertsixtytwo millions).
There is hardly no useful way to savely avoid feedback between these two sockets.
If unexpected feedback might occur, the VCA should be muted and the separate outputs of filters and
the other modules should be used. Of course this will only work, as long as the VCA is not necessary.
The VCA can be muted by moving the [threshold]-knob (38) of the noisegate to fully clockwise positi-
on while the [vca-mod]-switch (39) is set to position "noisegate" or by using the BYPASS function.
The impedance of the audio source should be under 1000 Ohms!
11.2 Filtermix
When mixing together both VCAs – no matter if an external mixing desk or the [balance]-knob is used)
– interesting sonic results may occur, depending on the selected filter characteristics. Even the mix of
two lowpasses provides sonic details which would not occur, if only one single filter would be in use.
This happens because of the different phase characteristics of both filters (see also chapter 8.4.). It is
difficult to explain sonic results in detailed examples, but i would like to attract your attention in this
direction.
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