Feedback simulation - is it possible to fade in pitch block mix with a control switch?

bulgmaf

bulgmaf

Inspired
I've got a song that I've set up feedback simulation (using Mark Day's method of a COMP and a PITCH block). But instead of assigning it to an external pedal to fade in the feedback, I would like to use the hold feature of a FC-12 switch. I've set the hold feature to be momentary, so that when I release the switch the feedback stops and I can quickly execute another tap to get back to another scene. Everything works great except when I execute the hold to kick on the feedback simulation, it doesn't ramp in and build like what would occur naturally with an amp. Is there a way to get the pitch and comp mix parameter to gradually ramp up to 100% (perhaps over the course of 1-2 seconds) without the use of an external pedal?
 
Instead of using a pitch block, I get better results with a synth block with pitch tracking. That's basically how a Freqout pedal works. Turn on the synth block, shifted up 12 or 19 half steps, with whatever modifier attack time feels right to you. Personally, I use a Freqout, but Simeon has a preset that uses a synth block for feedback.

Here's a simple example of my take on that technique. I'm controlling the synth block mix parameter (I'm using an external 4 switch, but you can use any source you want) to bring in the feedback with a slow one second attack.
 

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GlennO said:
Instead of using a pitch block, I get better results with a synth block with pitch tracking. Turn on the synth block, shifted up 12 or 19 half steps, with whatever modifier attack time feels right to you. Personally, I use a Freqout, but Simeon has a preset that uses a synth block for feedback.

Here's a simple example. I'm controlling the synth block mix parameter (I'm using an external 4 switch, but you can use any source you want) to bring in the feedback with a slow one second attack.
Click to expand...
I’ll play around with that for sure. When you say better results, what do you like better about it?
 
GlennO said:
It sounds and reacts better IMHO. However, it's not as good as a Freqout pedal, which isn't as good as a Sustainiac, which isn't as good as the real thing :).
Click to expand...
I remember those the sustainiac was pretty good but it was a transducer if I recall and it was physically vibrating the strings
It was close to Loud natural sustain

I will check out your preset closest I have seen in the digital really realm would be the Freqout for sure but as you mentioned it’s not perfect
 
bulgmaf said:
I've got a song that I've set up feedback simulation (using Mark Day's method of a COMP and a PITCH block). But instead of assigning it to an external pedal to fade in the feedback, I would like to use the hold feature of a FC-12 switch. I've set the hold feature to be momentary, so that when I release the switch the feedback stops and I can quickly execute another tap to get back to another scene. Everything works great except when I execute the hold to kick on the feedback simulation, it doesn't ramp in and build like what would occur naturally with an amp. Is there a way to get the pitch and comp mix parameter to gradually ramp up to 100% (perhaps over the course of 1-2 seconds) without the use of an external pedal?
Click to expand...
Can you share that block I would love to be able to have a feedbacker on lead stuff
 
GlennO said:
Instead of using a pitch block, I get better results with a synth block with pitch tracking. Turn on the synth block, shifted up 12 or 19 half steps, with whatever modifier attack time feels right to you. Personally, I use a Freqout, but Simeon has a preset that uses a synth block for feedback.

Here's a simple example of my take on that technique. I'm controlling the synth block mix parameter (I'm using an external 4 switch, but you can use any source you want) to bring in the feedback with a slow one second attack.
Click to expand...
This is very cool so I could just assign to an exp pedal toe down
I have a mission spring pedal wondering if I could use it as a combo wah W feedback on toe down ?
 
Nah. FRFR doesn’t respond the same way, and the magnetic field is different. Magnetic coupling with single coil pickups causes fixed frequency whistling, rather than acoustic coupling which enhances harmonic frequencies of the notes being played.
 
Roland said:
Nah. FRFR doesn’t respond the same way, and the magnetic field is different. Magnetic coupling with single coil pickups causes fixed frequency whistling, rather than acoustic coupling which enhances harmonic frequencies of the notes being played.
Click to expand...
There is magnet in FRFR too..
 
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