4ms Company Dual Looping Delay Manuale d'uso - Pagina 13
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Next, prepare to play a different sound. If this is your first time doing this patch, try to make this sound
distinct from the first so you'll recognize it easily. When you're ready to play the second sound, turn off
Inf. Hold and play the sound. When you're done, turn Inf. Hold back on, either by pressing the button
or using any of the techniques mentioned above.
Repeat this process to add more and more layers: turn Inf. Hold off, play the sound, turn Inf. Hold on.
You can control the level of each layer by adjusting the Delay Feed knob. Turning it down will make the
new layer more quiet. If your sound is a constant tone or drone, consider turning Delay Feed to 0
before turning Inf. Hold off. Then fade Delay Feed up. When you're done, turn Delay Feed back down
to 0. This will make the new layer fade in and out.
You also can control the level of the previous layers by adjusting Feedback. Turning Feedback down
will make older layers fade out each time they're played.
Peeling off Layers
After you've built up several layers, you can experiment with "peeling" them off. Make sure Inf. Hold is
on. Turn Feedback all the way up (110%). Press and hold Inf. Hold and turn Feedback down to 0.
Release Inf. Hold. You should hear the last 8 seconds of audio removed from the loop. If you recorded
exactly 8 seconds each time, then the last layer will be gone. What happens is that Inf. Hold +
Feedback adjusts the loop start and end times. By turning Feedback counter-clockwise while holding
Inf. Hold, an earlier portion of memory is played, before you recorded the latest layer.
To peel off another layer, turn Feedback back to 110%, then hold Inf. Hold while you turn it back to 0%.
If you want to restore the layer, do the opposite motion: turn Feedback to 0%, hold Inf. Hold while you
turn it to 110%.
You also can pull out parts of a loop by turning Feedback less than a full turn. For example, if you turn
Feedback from fully up to center, only the previous four seconds will be removed.
Another technique is to turn the Time knob. The amount Inf. Hold + Feedback shifts the loop is relative
to the Time parameter. If you turn the Time knob down to 1, then a full turn of Feedback will only shift
the loop by 1 bar.
Sound on Sound Looping #2: External Control
This is a great patch for long loops. Set a long gentle clock speed. Turn the Time knob to 16 (or
something slow). Turn Feedback to 100%, Delay Feed to 0%, and turn Mix to 50% (or to taste). Now
run audio into the In jack. Try running a melody, a percussive sequence or an evolving drone,
perhaps.
Patch a manual CV source into the Delay Feed CV jack. It can be anything that generates CV when
you activate it: a keyboard with velocity or pressure output, a manual CV knob (from the 4ms SISM),
or perhaps an envelope output that's triggered manually (by quickly tapping the Cycle button twice on
the 4ms MiniPEG or EnvVCA). When you apply CV, you will bring up the Delay Feed parameter
which causes audio to be recorded onto the loop.
Since Feedback is at 100%, the loop is infinite and everything you lay down will remain (but take care
to keep your levels not too hot or else you will eventually get clipping). A variation is to use the Send
jack for the loop output. Then set the Mix knob to center and use the Audio Out jack to monitor the
incoming audio.
Sound on Sound Looping #3: More External Control
In this variation, you can use one CV signal to bring in sound, and another to clear the loop or fade it
down. This requires a module that can invert and offset a CV signal, such as the 4ms SISM, the
Makenoise MATHS, or any number of CV utility modules.
Patch the previous patch, then turn Feedback down to 0%. Patch a second manual CV source into the
4ms SISM (or other utility module). Turn the SISM's Scale knob all the way down to – (invert), and turn
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