Patchable 0006

For this Patchable you are challenged to create an extended feedback patch.  In its simplest form one could accomplish feedback by plugging a module output back into one of its inputs.  This creates a circular system in which there is no beginning or end. You can choose to do audio feedback or CV but you are encouraged to try both.  You are not limited to a singular feedback patch and could create an entire feedback network.

To get you inspired, one of the more popular feedback patches is the Krell patch.  This diagram illustrates the Krell patch in a very basic form.  The EOC from a looping AD triggers a random module, random voltages are sent back to both the attack and decay time of the AD.  This creates your main feedback loop.

The Challenge

Create a feedback patch using no less than 3 modules.  Feel free to extend this using several more modules or multiple feedback patches. You are not restricted from using other gear, but modular synths must be used.  



  1. Create an original piece of music following the above challenge.
  2. Include the suffix PATCHABLE-0006 in the track title.  A completed track title would look like this: Spiral Vortex PATCHABLE-0006.
  3. Upload your track to soundcloud by end of day, Friday November 22nd.
  4. Include a link to your track and patch notes in the comments below.

7 thoughts on “Patchable 0006”

  1. Track for Patchable – 0006 for NYMS — Feedback.

    Patch notes:

    I don’t even know how I can explain this without writing a book. Everything in this patch, with the exception of the JOVE is feedbacked (is this even a word?)into something else.

    For instance: EON 1 is fed from EON 2. JOVE is fed into the feedback in on DubJR delay, and feedback out is put into the JOVE input.

    The EON envelopes are multed 5 times apiece, to control various cv inupts.

    The Pittsburgh Envelope is multed 3 times, and is also the main clock source for the patch.

    Most sound changes in this track are controlled by O/A/x2, and tweaking the frequency, resonance, and CV inputs on the JOVE.

    Hope you enjoy it!


    Here are the actual patch notes. Only documenting the I/O stuff.

    envelope as clock
    envelope trigger out to pamela’s workout
    pamela’s workout out 1 x 12 out to arpitecht step
    arpitecht note out to 1v/oct on spectrum
    arpitecht gate out to adsrvca
    spectrum pulse out to adsrvca in
    adsrvca out to warps input 1
    spectrum triangle out to warps input 2
    spectrum sine out to sara vcf frequence cv
    sara vcf high pass out to sara vcf secondary input
    sara vcf secondary high pass out to sara vcf initial input
    sara low pass out to dual vca in
    envelope out to dual vca cv
    dual vca out to fm modulation on spectrum
    eon 2 out to oa/x2 top input
    eon 2 out to envelope rise cv
    eon 2 out to warps level 1
    eon 2 out to dub jr 2 feedback cv
    oa/x2 top output to eon 1 cv
    eon 1 out to oa/x2 bottom input
    oa/x2 bottom output to eon 2 cv
    oa/x2 bottom output to jove cv 2
    oa/x2 bottom output to dubjr 2 time cv
    oa/x2 bottom output to warps level 2
    oa/x2 bottom output to envelope fall cv
    warps output to dubjr 2 input
    jove output to dubjr 2 feedback input
    dubjr 2 feedback output jove input 1
    dubjr 2 output to audio output


    Morphagene -> QPAS -> Mimeophon -> Morphagene

    This patch uses a single splice from a Morphagene reel I created by sampling an antique xylophone I have. The Morphagene is patched both to the QPAS with the LP filter from the QPAS to the Mimeophone and then one stereo out back to the morphagene with the other out to the recording. The Mimeophone is toggled off and on of hold mode by the Morphagene end of slice and is set to a longer zone. These two things prevent the feedback from creating a tone. The attenuation is changed throughout the piece to let the straight feedback through.

    During the recording the Morphagene is changed to TLA mode with the varispeed pitched so that it is recording the feedback higher and higher on top of itself.

  3. OSC
    – STO -> tri modulating MATHS rise (ch. 2), sin sync with OSC 2 (INSTRUO TS-L)
    – INSTRUO TS-L -> pulse and sub tri -> OPTOMIX ch. 1
    – OPTOMIX -> ch. 1 -> ECHOPHON, “all” -> 4ms DLD
    – ch. 1 -> unity -> OPTOMIX ch. 2 ctrl & QPAS q cv, “1” -> fall ch. 2
    – ch. 2 -> unity -> ECHOPHON mix & OPTOMIX ch. 1 ctrl, “3” neg attn -> STO exo
    WOGGLEBUG (main clock to speed)
    – stepped -> QPAS Freq 1 cv
    – smooth -> INSTRUO pulse cv & MATHS rise ch. 1
    – woggle -> MATHS ch. 1 fall
    – int clock -> RENE xclk
    – out -> OPTOMIX ch. 2
    – ch. 1 -> sin -> ECHOPHON echo
    – ch. 2 -> saw -> QPAS ch. 1 !!
    – ch. 3 -> QPAS radiate-l cv, square -> BATUMI ch. 2 freq
    – ch. 4 -> sin -> OPTOMIX ch.1 damp, saw -> ECHOPHON fbdck cv
    – lp l/r -> 4ms DLD return A/B
    – clock out loop B -> ECHOPHON tempo & clock out loop A -> QPAS radiate-r cv
    – send A/B -> QPAS LP r/l
    – out A/B -> mixer
    – qcv -> INSTRUO TS-L 1v/oct
    – g-x -> QPAS ch. 2 !!

  4. Not sure if this is what you had in mind for a feedback patch but here it is anyway lol

    My patch notes:
    What you’re hearing is the outputs of the oscillator 1 and 4 of the Dreadbox Antiphon. Using stackable cables i split the outputs. Oscillator 1 into oscillator 2 cv FMing oscillator 2 which is FMing oscillator 3 which is FMing oscillator 4. The split off audio signals from oscillators 1 and 4 are going to a Doepfer quad VCA/mixer. The output of that is also being split with a stackable cable. One is going back into the CV of the Antiphon oscillator 1 to FM it and there’s the feedback… oscillator 1 to 2 to 3 to 4, 1 and 4 mixed back into 1.

    The other split signal from the Doepfer VCA/mixer is going back into the Antiphon for use of its filters and reverb.

    Its a pretty standard patch from here Pressure Points sequenced from Brains. CV signals from pressure points changing global pitch CV on the Antiphon as well as as the CV of the LFOs that was affecting the Doepfer VCA, Other CV destinations from Pressure Points was going to the Aniphon’s LP filter. Pressure out on the Pressure points was modulation the rate on the Mimeophon.


    I began with the Krell patch, and things went kind of crazy from there. I wanted to make an alien horror soundscape that would be useable in a film.
    Patch Notes:
    Stream 1: Make Noise Erbeverb feeding back. Depth getting S&H values from Frap Tools Sapèl. Tilt receiving N+1 (1 V/oct) voltage random. Absorb receiving 1/12 V random.
    Stream 2: Echophone with Feedback Output plugged into input. Feedback CV receiving inverted LFO from channel 3 of Intellijel Quadrax, which is receiving random 1 V/oct assigned to rise, shape, and 50% fall. Depth CV of Echophon receiving channel 1 of Quadrax set to burst mode being trigger by EOC of Maths 2 (controlling rhythm of Stream 3). Channel 1 is receiving random 1/12 V assigned to rise and fall. Pitch1 CV on Echophon receiving 1/12 V random.
    Stream 3:
    Instruo CS-L with multiply output plugged into the 1 V/oct of oscillator 1. Triangle Wave output of channel 1 to Optomix. Frap Tools Sapèl sending 1/12 V output to 1 V/oct of oscillator 2. 
    One Maths with channel 1 controlling rise of channel 4. Channel 1’s rise and fall are subject to random fluctuating voltages from Sapèl. Channel 4’s fall is also getting random voltage from N+1. Channel 4 cycle output to FM of CS-L channel 2.
    Maths 2 is controlling the rhythm of Stream 3. Channel 1 cycle output to #/b input of channel 4. Channel 1’s Rise receiving random S&H voltage, Fall is receiving fluctuating random. Channel 4 Rise is receiving same S&H as channel 1.
    Stream 4:
    Serge VQVCF with Bandpass output plugged into input, receiving random S&H from Sapel into 1 V/oct. Lowpass output to QPAS filter. QPAS receiving random voltage to L and R Radiate from Wogglebug “woggle” and “smooth” outputs. Level input on QPAS controlled from Quadrax channel 2 set to burst mode, being triggered by EOC of Maths 1. Channel 2 of Quadrax receiving random voltages from 1 V/oct of Sapèl assigned to Rise (50%), Fall (25%), and Shape (50%). Lowpass output from QPAS going to Eventide H9 pedal for reverb and delay. 

    Lots of stuff going on there. Enjoy!


    I started by realizing I don’t think I can do a Krell with what I have, and then I ended up with this convoluted three-feedback-loop thing. Kinda in three sections but they’re all plugged into each other too. Patch note attempt:

    1. Sequence/Envelope
    – pam’s clock clep diaz and multed to eg trigger in
    – pam’s random clock into mimetic digitalis
    – clep diaz set to random, bipolar into VC EG attack
    – Entropy infra into decay
    – bipolar envelope into Primary Oscillator Blade wave CV-In
    – Blade into SEM filter
    – Unipolar from Clep into CV2, Band Pass filter back into CV1
    – Aforementioned nuts envelope into VCA with filtered Blade Wave
    – Fragments into Timbre, into VCA with a more regular envelope

    2. Grandmother
    – s+h out multed to attenuverter and LFO rate-in
    – LFO set to pwm, pitch, cutoff, and ramp wave
    – 1 and 2 wave out into mult and back into osc 1
    – osc 1 square, osc 2 pulse
    – linear fm in from Primary Oscillator Sine
    – filter output to noise in
    – env amount in from eg attack
    – enveloped pink noise to reverb in
    – Spring reverb out to osc 2

    3. Monsoon
    – Grandmother Eurorack Out into high pass filter, then into Monsoon
    – Monsoon right output into Mutes (mult) to mixer and back into right input of Monsoon
    – Clep Diaz BOC out into Monsoon Freeze
    – Nuts envelope into Reverb
    – Inverted envelope into Position and Texture
    – Grandmother s+h is going into… something. Who knows at this point?

Leave a Comment

Join the NYMS Discord

Connect with other artists, explore modular synthesis, and build skills in a welcoming community.

Accept Invitation

Join Our Email List

Subscribe to get notifications about upcoming events, new music and modular synth news.