PlanetZ forums - scopeusers.com

Is there anyway to damage Pulsar cards by letting the levels get too high?
(input levels, output levels, distortion levels, delay feedback levels, etc)

Sometimes I let feedback build and delay feedback levels build for effect but I was told this could damage Pulsar.
Is this true?

I use extreme amounts of feedback and alter their pitches also. I've done this for ages and never saw a problem. But feedback from Guitar Pick Ups? I would love to hear some of that. I had a squabble w/ our Guitarist about using a stage mopnitor and lost because of his ability to get great guitar feedback sounds through his Mesa Boogie Rack and cabinet. Scope using Amp Modellers, etc. was unable to get feedback through my Barbetta cabinets.

I use lots of delays for feedback and found this one to be my favorite. It's as close as you can get to a Looper w/o loosing the aspects of the delay tails IMHO. The feedback filters have controls for Gain, Frequency, and Modulation are incredible, as whenever I get the feedback loop I like on other delays, they tend to get out of control. The 3 controls of the AUX Delay's Feedback Filter allow me to get the sweet spot every time. My Bro's always ask me if it's a Looper / Delay combo.

This might be a great device to have if you already have great Guitar Feedback, I can see it capping off the loop before it gets too out of control. One could also insert a Looper in the insert slot that really adds more options for the Delay.

You can fry everything with too much voltage. Some overs here and there shouldn't be a problem.

Jimmy, I've not tried it, but I think Tom once said something about Python Pro being able to do some feedback like stuff.

careful with that axe Eugene...
the manual of Python explicitely warns about it's feedback abilities
which can be brutal - to use a mild description
Jimmy, if you'd be able to tame Python, you'd truely deserve the degree of the highest synth ubermeister excellence
I swear it will give you something to chew on...

cheers, Tom

You know you were the first guy to give me guidance, and every suggestion you made has been used at my live gigs, from amp models to Bowen synths.

If you say buy Python, that's all I need to hear.

Thanks.

well, if you want to see the jaws of your guitarist drop... go for it
Jan Hammer certainly would have loved to have it, too
btw Python was the synth that convinced me one doesn't need Rhodes samples at all
a real Rhodes is a different cup of tea, but this kind of modelling is more than vivid enough to get along for me - it's got that extra bite - which is resonance and feedback

cheers, Tom

Thanks

Thanks For Starting The Topic.
And Thanks Brotha' Man Astro.
And Thank You John Bowen.

Ankyuvarymush.

Mary Mungo,

Feedback returning on analog input, would be captured by a mic? Then there's surely a pre-amp between the mic and the analog input? If so, check if the pre-amp has a compressor or limiter, or at least some volume control. Set it up so it doesn't clip on the convertors -that sounds ugly for most practical use anyway. Then you cannot damage the card, retaining the feedback option...

Internal clipping like can be produced by feedback on Python or the Flexosaurus patch can produce, are harmless - that's just numbers on the calculators maxing out eh.

at0m.

XITE-1/4LIVE wrote:Thanks For Starting The Topic.
And Thanks Brotha' Man Astro.
And Thank You John Bowen.

not to forget Paul van der Valk, who built the Modular 'Python' patch on which the Zarg synth is based.
see it on the bottom of this page
btw it's just 99 bucks, a bargain for a totally unique synth...

thanks for the focussed explanation, at0m

cheers, Tom

That does clear things up - cheers, the screen shots help a lot

you won't damage your pulsar, but maybe your amp/speakers won't be so happy

Hhmmm... this thread is making me think of getting Python Pro. Have to say i'd forgotten it - and so it seems has John Bowen! Go to the site - no picture, no description. Go to the shop - it's not there.

Probably need to demo this, but why isn't it more widely known?

well, that's pretty simple:
it's the only synth you have to read the manual before you can tweak anything reasonable beyond the presets from it
Trial and error to get behind it's mode of operation is almost a waste of time.
The architecture is very unusual - and a lot of sounds integrate the fx part, from which they inherit heavily - similiar to the Wavestation.
When the basics are clear, it's not difficult to handle at all, but often quite surprising...
It's equally capable of stunning Rhodes and strings, both plucked and bowed and also does very unusual (sometimes violent) soundscapes.

cheers, Tom