My first experience of that was with a 4x12” cab and valve amp. Now that was loud! But you quickly learn to respect that feedback control. Dub reggae of my youth relied on that feedback effect a lot and it almost became an instrument in its own right. Mind you those guys used their desks and FX as instruments in a way that really inspired me Back then and still does now.
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is there any way to maybe in a future update put a lock on the delay feedback before 100 so if I’m playing on Funktions&Hennys I don’t kill everyone? People will definitely remember that shit! wow that would be a nightmare, come to hear some chunes and you leave not being able to hear 5k anymore. We got spiked pretty bad this weekend at a practice 
I use the delay for beat slicing a lot so it’s kinda easy to go overboard…
& before anyone goes “oh just don’t let it go over 100”… wow I hadn’t thought of that!!
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Don’t let it go over 100.
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Maybe I’m biased because I once owned a 130 watt guitar amplifier, but I personally prefer not to be treated with kid gloves as an adult. My Model:Cycles has a warning in the instruction manual, that seems good enough in my opinion.
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It’s a bit like saying that guitar amps can be ear-splittingly loud so there should be an in-built setting to stop them reaching dangerous volumes. You just have to be careful with it and appreciate it’s a professional piece of kit, not a toy. Or just stick a limiter after it.
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Spend an hour or more in your room on low volume playing with the delay until you get a feel for how it responds. The key here is the feedback HPF and LPF. Open up the filters and feedback will be way more sensitive because the feedbacked signal doesn’t get filtered away on each pass. This is why having an option to limit it to 100 is pointless because 100+ doesn’t mean self oscillation in every case.
With a closed HPF and LPF you can bring it up to 140 in some cases without self oscillation. This depends on the frequency you put the HPF at. And then of course there’s the time. The shorter the time the quicker the oscillation rises in volume. So keep a claw at the delay volume or feedback when changing the delay time to anything short than 1/8th. and Practise on double tapping stop like a ninja.
It’s important to get a good feel of how the feedback and feedback HPF and LPF work together and how to ‘ride’ the feedback.
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I must say that after a few accidents with feedback from an acoustic violin, everything goes through a limiter before my speakers now. Keeps things safe
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I once drove a car and I was appalled to find out it would go above the speed limit. That stuff is dangerous!
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Actually, you need it to go over 100 if you want the delay to go louder and louder.
It’s rather easy to tame it, if you know what you are doing.
If not, then practice until you get a good control of it.
A good tip is to set the delay time to max, so that it sync on the loop, set your feedback so it’s stable, then play on the delay time and come back to max to create a loop of noise. You can get insane loops out of this!
A good way to practice and know your feedback.
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Thanks guys I appreciate the positive feedback (ha) and I do know that it’s really cool to turn the lpf all the way up and get that nice cool dubby feedback that way, and yes I spend a LOT of time using this particular elektron delay as a creative tool, but all I’m saying is that accidents do happen and it would be cool for it to be an option to lock it at 100 for those of us who plan to use it a lot in a performance situation!
If you’re playing at a venue it should be expected that they have a limiter in their signal chain.
yea all of those systems have to have a safeguard for crazy unexpected levels but it would still be pretty whack to do that to people
But setting the feedback max to 100 takes away most of its creative potential. And as I’ve mentioned it will limp the delay when using the jpg and lpf because 100 can mean a very short delay feedback when lpf is set low.
Not that I’m against an option like that, but a better option would be the possibility to turn off self oscillation in general.
Still don’t see the point really though. The dangerous part is having a very short delay time and when you set the feedback high in those cases you should have one of many options available in hand to keep it under control. Accidents shouldn’t happen when you have the delay under control. No other drivers on the road to create the accident for you. The control is 100% in your hands.
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that’s kinda what I mean, like accidents shouldn’t happen but they do! ha and I mean yeah it does kinda take away the creative potential but hey sometimes you need to make sacrifices in order to achieve different goals, like when I’m doing the delay for beat slicing I don’t really need to use it for anything else other than that! Idk this is probably a pretty tall order anyway to get something like that implemented at some point but it is a pretty dope instrument for tha! minus the one problem that may be exclusive to me! def other really good beat slicing delays too that don’t do that, too. but man I love my DN for it!
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One can hope :). Can always try and mail a feature request to Elektron. Personalization options like this suggestion are not unthinkable. Though like you said, highly unlikely to be implemented
much love Dave, love your stuff!
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Have you checked the Zen Delay? I think it could do this safe delay thing you need…
Uhm, for me, whenever I‘m in the upper 100s for the feedback parameter, I usually never do any gradual knob movements like in the sub 100s.
It‘s always a quick flick (?) to get some nastiness going and then quickly dial it down to 90 or something to keep it repeating without getting oit of hand.
I‘m kinda happy about the feedback going SO high up, it‘s nice with midi control too. You can very quickly reach that nasty buildup soundwash without having to wait for 9 bars to get to that point.
Makes things easier to time – but harder to tame I guess.
edit: pun not intended, but kinda fits haha 
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The way the OP started this, never to participate again, reminds of a delay with feedback over 100.
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This thread has actually prompted me to explore the Analog Four delay in the >100 danger zone. Lots of amazing sounds to be discovered. So, thanks!