This description of the Stilton and Evin modules from the Harvestman list reads like a feedbackers primer, thought some of you might enjoy/find it useful:

http://www.analoguehaven.com/theharvestman/evin209/
http://www.analoguehaven.com/theharvestman/stiltonadaptor/


"Firstly, it's important to understand the flexibility that a matrix mixer brings, as that is a key part of the combo. The matrix allows you to send any part of one signal to x number of outputs, in additon to the typical x number of inputs to a single output. And, most importantly, it does both of these things simultaneously. This makes it perfect for making complicated feedback loops. Alone, the Evin can really expand modular patches by incorporating these kinds of feedback loops, particulaly with modulation signals (both audio rate and low freq).

The Stilton basically substitues VCO and other modules with guitar pedals, or other processors, which themselves can make very interesting and complex timbres on their own by way of a simple feedback loop. A delay pedal and distrotion pedal alone make a very interesting VCO when used in a feedback loop; the delay time controls the frequency and the distortion controls the timbre.

Now, a simple feedback loop can be created with the Stilton alone; simply take the 2nd output of section 4 and patch it into the input of section 1 and voilà! Playing with the mix controls and gain gives you additonal control over the system, beyond whatever controls are on your pedals/processors. Taking this simple idea and expanding on it with the Evin is where it really gets special.

Once you hook up the Evin, it's almost as if you have 4 separate feedback loops, each with a different amount of signal from each section of the Stilton. I say it's *almost* like 4 separate loops, because they do still in fact effect one a other. For example, let's say you have some of section 3 and 4 of the Stilton (C and D on the Evin) turned up on output W of the Evin. Now, let's say you turn up section 3 on output Y of the Evin, feeding back the ouput of section 3 back on itself. Not only would you hear this change at output Y, but you would also hear some kind of change at output W. This seems odd at first, but remember that we don't have 4 copies of each pedal plugged into the Stilton, so it's processing any signals coming to it's input, which is potentially from 4 different "mix" sources, some of which cab include it's own output (feedback).

This leads to some huge ranges in sound, anything from hissing and clicking, to crazy howling and ringing or deep pulsing and buzzing. And the type of sounds and range changes completely depending on what types of pedals/processors that you hook up to the Stilton. Delays are a must, as is some kind of distortion (I tend to like transistor-based fuzz pedals). Pitch shifters, phasers, spring reverbs and other time-domain stuff is also great. And remember, you don't have to have a single pedal plugged into each section, you can have a chain of x number of pedals.

If you have a collection of guitar pedals, you owe it to yourself to try it out. "







*cries because he's broke and can't buy either*