The Echo: Feedback 139%?

[MrFigg]

I just noticed that the feedback on The Echo goes up to 139%. Is that right??

[Adabler]

A weird Spinal Tap reference?

[MrFigg]

Nope:

[Adabler]

I know, but still: "This goes to 139%!"

[MrFigg]

I know, but still: "This goes to 139%!"

I'm more of a Best in Show man myself
Is that right though? 139%? Never noticed that... how can you get more than 100%?

[Adabler]

Just guessing, but maybe it is not an either or knob like dry/wet but deals with the increase or decrease in feedback relative to the source signal? No idea why it would be 139 rather than any other number.

[MrFigg]

Just guessing, but maybe it is not an either or knob like dry/wet but deals with the increase or decrease in feedback relative to the source signal? No idea why it would be 139 rather than any other number.

Ach well. Wrote and asked them. Be good for support to have something to do

[veezay]

Is that right though? 139%? Never noticed that... how can you get more than 100%?

139% is a peculiar choice for sure, but of course you can get more than 100%. It just means the signal that is being fed back into the delay is louder than how it came out. I've sometimes automated the feedback control to that maximum value to make the delay appear again after it's almost faded out. It's especially great with the color saturation, a bit of filtering and the rest of it. In the end the delay gets really crunchy, which is great for some rhythmic background atmosphere in a track, for example. It's also fun to automate the filter frequency when the feedback is cranked up.

[Loque]

Guess it increases in loudness. Might be usefull to get a feedbackloop or freeze, that builds up.

Manual says:

Unity gain is achieved at 100%. If you increase the feedback beyond this it will increase the gain so a distorted signal is produced.

[selig]

139% is a peculiar choice for sure, but of course you can get more than 100%. It just means the signal that is being fed back into the delay is louder than how it came out. I've sometimes automated the feedback control to that maximum value to make the delay appear again after it's almost faded out. It's especially great with the color saturation, a bit of filtering and the rest of it. In the end the delay gets really crunchy, which is great for some rhythmic background atmosphere in a track, for example. It's also fun to automate the filter frequency when the feedback is cranked up.

^^THIS^^
In fact, I find that you must have feedback over 100% when using the filter and especially when modulating it.

I also like to slam Feedback to the max until the sound builds up to my liking, then reduce back to 100% to "lock it in".

In short, it's quite useful.

[MrFigg]

139% is a peculiar choice for sure, but of course you can get more than 100%. It just means the signal that is being fed back into the delay is louder than how it came out. I've sometimes automated the feedback control to that maximum value to make the delay appear again after it's almost faded out. It's especially great with the color saturation, a bit of filtering and the rest of it. In the end the delay gets really crunchy, which is great for some rhythmic background atmosphere in a track, for example. It's also fun to automate the filter frequency when the feedback is cranked up.

^^THIS^^
In fact, I find that you must have feedback over 100% when using the filter and especially when modulating it.

I also like to slam Feedback to the max until the sound builds up to my liking, then reduce back to 100% to "lock it in".

In short, it's quite useful.

I have one of these. Crunchy. This machine destroys speakers.