I’d give the model samples a blast but making that samplers that can’t sample is a crime against humanity. Could probably pick one up for 100 one day but for now I’m headed to DT and 404. I do like the idea of all the knobs
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Sorry, my joke radar’s off today.
The OP is joking, right?
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Feedback is known to cause potential oscillation (loud possibly unpleasant noise) because physics.
But to remove the potential for creative uses by taming it down (nerfing) simply because a user might not understand what can happen (because perhaps they did not read the manual) is a bit like knife manufacturers dulling blades so that people don’t cut themselves.(or anything else)
Lots of analog synths have filters that can go into oscillation when resonance (another name for feedback) is high, and lots of other fx units and types have potentially “seriously dangerous” settings too, but the key is to know how to use them, so that if oscillation is not the desired outcome it can be avoided quite simply by not turning feedback so high.
So with all due respect @LunarSatellite as mentioned by @dee we don’t want these kind of possibilities removed as has been done in the past, as it invariably spoils a lot of creative potential for users who understand what feedback can do and that some settings can cause unintended or undesired sounds.
Also feedback at different settings will have different outcomes depending on frequency, and what seems a simple solution like putting a limiter on it won’t be a good solution.
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It’s a bit like serving alcohol in thimbles in case someone tried to down a full bottle of jack daniels. A warning in the manual should suffice. Any audio gear is capable of causing deafness if you use it right (well, wrong). Best to keep your speakers lower OP or if you want to experiment you could just put a limiter on your own master channel
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Maybe it’s finally an opportunity to use the “nice ear” icon..
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laughing at that made me feel like a true nerd
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most of the time it feels more dangerous then it actually is, the sound building up…
in any case. stop+stop(a double click) should stop all sounds.
I don’t really have a problem with the extreme feedback settings, i just learned not to go there. :). But i also don’t know why it goes that high up. Wouldn’t 150% be enough? Is there actually a situation where you would need 200%? Maybe there is but i haven’t found it yet.
Though i have to say going over 100% is pretty handy for me. I have the Novation Launch control set up so that i hold a specific button and the feedback goes up to 107% and when i let go of the button it goes back to 90 or something. If i hold it for a while the delay starts building up and if it gets too much i just let go for a bit. Very easy and fun way to play with delay feedback. For that situation 100% would also be ok but it takes a bit longer to build up and when i play livesets 107% feeels better to me.
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Thats where the fun is brother… embrace the chaos!
Think away from annoying and spoiling my ears and my music.
Get in. Try and blow the fucker up.
Elektronik Musik not folk rock.
You know the way out…
turn the feedback down and carry on.
If you find the groovebox delay feedback dangerous then congratulations: you have lead a sheltered life 
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I’m not afraid of going there but do you really use the feedback up to 200% in your music? I haven’t found a use for it yet. But as i said, maybe i’m sleeping on some tasty stuff. 
I’m seriously wondering if anybody found a use for feedback over 150.
Only in the initial product launch video 
edit: for Model:Cycles at least.. same delay engine though
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Sherman does a nice job of addressing the issue of hearing damage by turning it into a sort of adventure that you need to plan around.
http://www.sherman.be/index.php/support/downloads/item/sherman-filterbank-v2-manual-english
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Sometimes yes.
It’s good to sample.
make pads out of it. or percussion.
mush it in granular way.
It’s a good sound source.
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isn’t turning up delay feedback, forgetting about it and having the living shite scared out of you when a signal starts building up out of nowhere as you panic to pull down the master fader, a rite of passage for every musician working with a delay?
after this you (hopefully) learn, and (try to) ensure it doesn’t unintentionally happen again.
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I have a dream that one day, all the nightclubs will be full of people listening to delay feedback at 200% until their faces melt off like that ginger geezer at the end of RoboCop.
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…truly dangerous it’s in combo with a4’s analog circuits, that run their own self resonant feedbacks for dedicated sound purposes…if THAT runs into such a self feeding delay feedback loop, u can really destroy ur hearing and ur speakers…
on all others it can “only” grow and built up waaaay to loud and becomes really annoying and spooky as fuk…
but hey…the delay is also a music instrument of it’s own…
I smoked a delay once…still waiting for it to kick in.
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On my Digitakt, I occasionally flick the feedback up to full 200%, then back it down immediately to sub 100% territory. That quickly gives me that feedback scream type of sound without having to cautiously wait for it to build up. Easier to time things with the music.
Also, it kind of sounds different, because the echoes haven‘t gone through the base-/width-filters so many times already.
I don‘t know… more than 100% feedback has its use, but I guess a limiter somewhere in the delay path also wouldn‘t hurt to keep things a little in check sometimes. I doubt it‘s gonna happen in any updates though
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I mainly play with headphones and learned it the hard way too, playing a DT with control all and delay feedback I almost blew up my ears 
never happened again so far…. And yes it is awesome and tricky at the same time.
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