cue outs -> input B/C using patch-cords, CUE T1 and T5
1st and 5th tracks -> THRU
T1: fx1 -> filer, fx2 -> equalizer
T5: fx1 -> lo-fi, fx2 -> dark rever
on both used tracks set zero hold and short release (AMP page)
on filter, set Q to maximum for it to self-oscilate and hence some sound source
put some trigs and PLAY
here’s soo much to mangle with and this turns OT to a veeery interesting standalone sound generator (synth if you want) with no samples at all + of course you may sample whatever comes from it afterwards. and i didn’t mention lfo’s yet
i’m soo fond of feedback loops and i just realized OT gives me that in one box. how about you guys?
No you’re not alone…
Headphones out is a good idea, but I prefer internal resampling with feedback (tracks, CUE, MAIN), and I usually use my headphones!
Here with nothing plugged, no samples, internal CUE feedback.
I use CUE feedback with pitch + 12 (timestretch off), filter and delay quite often.
With MAIN feeback you have a kind of Neighbor track for master track, very efficient as delay…
Don’t worry, @sezare56 is a Teenage Mutant Ninja OTist… Just because he’s done it doesn’t mean it won’t be new to others and blow their mindz… These kinda tricks are good to be brought up now and again otherwise they’re lost in the forum abyss and can only be found by hunting…
Good on ya!
thanks)
so far i’m trying to use crossfader 01 - 09 as a feedback introduction, i. e. scene B set to src vol, filter Q, eq boost, reverb mix/time, whatever increase to bring the sound in (thus immediate hands-on control on the signal level) and then develop it further by the help of parts.
p-locks serve as a melodic stuff (eq freqs, resonant filter pitch etc)
T8 as master track turned to be a must due to compressor so i can flatten sound a bit and keep it under control.
so cool to make use of polyrhythmic pattern settings with short amp release and p-locks!
i like how it develops into rhythmic stuff, i gotta try use rec trigs, kinda afraid of 'em yet
and this one is in combo with op-1. ot headphones out -> op1 input and vice versa. digital synth engine on op-1 playing the tone. the rest is feedback and ot’s processing (including lfos)
I was actually the first (I think) to post a track to that challenge!
Maybe I’ll try again now I’ve had the OT a bit longer, but the input jacks are reduntant…
This is 3 minutes out of 2+ hours of letting my OT do the internal feedback thing. Thanks for the prompt to explore this, it can go to some pretty weird places.
Are their any delay+reverb+distortion feedback loop tricks you can do on the OT? Like when you self feedback a delay+reverb in the send and return on a mixer? I need to know…
, let’s talk about feedback! 
