Fixed it! WIll show up in next version of the manual. Thanks again!
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Yes, that is missing there indeed. Will fix! Thanks for the find! 
I have already done this change in both the Digitone and the Digitone Keys manuals. However, I have not published any new Digi-manuals for a while. So, you will not see the change until the new one is out. But thanks for reminding me and keeping an eye on me. It is needed sometimes 
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In Digitone, an operator with feedback with a parameter value around 35 results in a sawtooth waveform.
IMO this explanation could be made more precise by stating that an algorithm with 2 operators, both carrier and modulator on ratio 1, modulator level around 50 and with a 35 value feedback results in a saw.
And add that with a modulator ratio of 2, you get a square wave.
Small screenshots of DN screens with above parameters would make it totally clear I guess.
Might be worth mentioning that such Presets can be found as “B-001 BASIC SQUARE” and “B-002 BASIC SAW”.
By the way…
Feedback is only applied to modulators.
…is not entirely correct : in algo 8 operator B1 is a carrier, as its output is directed to the mixer.
But it is also modulating itself, which is called feedback 
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Octatrack.
PURGE SAMPLES doesn’t work for slots below 9, as slots 1-8 are assigned by default (same for FLEX or STATIC slots).
It should be written in the manual, otherwise people may think this function doesn’t work.
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Yes, the manual is a bit simplified when it comes to explaining how to get approximations of the classic waveforms. I will have a look at it and see if I can improve that without going too much into details. Thanks!
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I must admit that I am not proud of my own phrasing 
Thank you anyway to take my remark!
I warn you that I might actually remove the info of how to create the basic waveforms from there. When looking at it, the details needed really to describe it properly goes to deep and also, feedback is only one of the elements of how to make it work… Hmm well I will think of something
Edit:
Ok this is how it will read now:
“Feedback is used to increase the sharpness of a sound. Feedback is usually only applied to modulators. The output of the operator is fed back into itself, resulting in added harmonics. For example, have a look at the Sounds B001 and B002 in the Digitone to see how feedback is used to create the basic square and saw waveforms. If feedback is pushed to higher values, the feedback soon results in noise.”
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Perfectly put!
I do believe it’s important to know how to make basic waveforms, as it’s basics for people coming from the subtractive synthesis. It offers a good point to start from, IMO, for FM beginners.
@eangman on a conversation on saving Kits, I figured the documentation for Analog series was describing what buttons do instead of describing a workflow: it is absolutely not goal-oriented.
This makes sense for someone that reads the documentation from A to Z.
But when you’re cherry picking, you can find places that don’t make much sense…
Let’s take an example:
This is perfectly understandable in the context of the description of the KIT menu.
But taken out of context, here when trying to figuring out how to save a Kit, it’s hard to understand what the manual means (or use the excerpt to explain how this works).
What I would suggest, is to make a “workflow description” part, similar to the Quick start, where you take it from the point of the user:
situation ⇒ goal ⇒ actions to realize (pointer to the detailed explanation)
As an illustration, here is how I tried to explain to @ZOZOboy how to save kits on AR:
I think this “user point of view” list could clarify some points and demystify the machines…
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In the diagram at p. 37 in Overbridge 2 manual, is it really correct that the Analog Four takes its OB input BEFORE the amp?
I have not yet tried AF with Overbridge but I don’t understand how taking the sound before the amp would bring in the correct sound in the DAW.
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@eangman, on p.17 of the OT MKI manual (not sure about the MKII manual), it says:
4.8 SCENES
Scenes are assigned to the scene A and scene B slots. They decide which parameters the crossfader will affect. For more information, please see “4.8 SCENES” on page 17.
But that text is already on p.17 and the link goes back to itself 
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“For more information please reread”
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“Tip: This is what a feedback loop looks like.”
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The A4 MK2 manual explains the LFOs on page 88. The right column has a mistake when discussing the first DST parameter; it says “DST (LFO1 Destination A)” where it wants to be “DST (LFO2 Destination A)”.
And just to be sure: are the two LFOs identical? If so, a better, more high level solution might be to have ONE explanation, with an introductory sentence saying that it applies to both LFOs.
Seeing the two columns immediately made me think that there must be some sort of difference between the two, which I couldn’t find. It seems redundant and misleading.
Hope I didn’t misunderstanding anything
the green INPUT box says INTPUT too
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Thanks for bringing this up and I totally undertstand your reasoning. I will put this on my “have a deeper look into this” pile. Meaning dont expect this to make it in to the manual in the near future unfortunately, since there is a lot on my desk at the moment. But you are right and in a bigger sense this is a “problem” in other places in our documentation that it is not user-centric enough,
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A suggestion : maybe you could open source the documentation and make it possible for users to participate with merge requests?
Or start a new kind of “quick answer”/“workflow” documentation with examples? Maybe also with some users participation…
As helpful and welcoming this place can be, managing to centralize and homogenize the user knowledge would be a strong asset, IMO.
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As someone who does technical writing as part of their job, and who appreciates the quality of Elektron documentation (even as I feel there should be more redundancy for the benefit of newcomers), I disagree with this suggestion. I think a single author taking corrections and suggestions is important to maintain consistency of style and structure. @eangman is clearly listening, thinking, and reacting quickly where possible. I find it hard enough to write a technical paper with a few co-authors (I had eleven once, for something done at a workshop, that was a nightmare). If someone wants to mock up some possible paragraphs, that might help (or it might not).
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