Ableton Feedbacker ver.2.0 | Expanding the No-Input Mixer Concept

Max for Live Device (.amxd file)

Most effects finish a sound. Feedbacker 2.0 lets it keep becoming.

A drum hit can return as a mechanical pulse. A metallic sound can erode into damaged communication. A synth stab can lose its original shape and grow into metal, an empty cavity, or a self sustaining drone.

Feedbacker 2.0 is built around a simple idea: every return changes what happens next. Delay, filtering, degradation, reverb, noise, and saturation are placed inside one recursive instrument, so the sound develops through use rather than arriving as a fixed effect.

Two Clocks Create the Movement

DelayTimeL and DelayTimeR set the two main periods of the loop. Match them and the sound can lock into a strong central rhythm. Separate them slightly and the left and right sides begin to beat, drift, and move against each other.

This makes the device useful even before heavy feedback begins. A short percussion sound can become a repeating machine pattern. A small timing difference can create slow stereo motion. Longer values can turn a single event into a field that keeps reorganizing itself.

DLevel, RLevel, and Gain decide whether that field fades, holds, or grows. They are not three versions of the same volume control. DLevel returns the processed delay. RLevel injects the spatial structure back into the loop. Gain changes the energy of the complete recursive mixture.

Move DLevel or RLevel below zero and the return changes polarity. Instead of simple accumulation, some periods reinforce while others cancel. The result can feel hollow, inward, unstable, or briefly suspended before the next resonance takes over.

Metal, Hybrid, or Cloud

Feedbacker 2.0 contains three spatial behaviors, each designed to change the character of the recursion.

Metal keeps the reflections tight and hard. Short settings can resemble pipe resonance, thin plates, narrow machinery, or a small chamber that refuses to settle.

Cloud spreads the energy across several different delay periods. The loop becomes denser and less attached to a single obvious echo, moving from dark blur into a large sustained field.

Hybrid connects the two behaviors. A metallic core excites the diffuse Cloud structure, so a sharp attack can open into a long unstable tail. It is useful when you want the sound to retain an edge while the space continues to grow around it.

Decide What the Loop Remembers

HPF and LPF determine which frequencies survive the next cycle. Raise HPF and the loop becomes thinner, sharper, and less dominated by low frequency buildup. Lower LPF and each return loses more brightness, pulling the sound toward a darker drone.

SR and Bit damage the memory in different directions. SR reduces temporal detail. Bit reduces amplitude detail. Lower them together and a clean repetition can break into stepped movement, brittle edges, and missing information.

Drive hardens the audible wet signal without directly acting as the main feedback control. This lets you add density and aggression while keeping the recursive balance in the hands of DLevel, RLevel, and Gain.

Noise can seed the system even when no external sound is playing. At restrained values it adds movement between repetitions. With enough feedback, it can slowly reveal the frequencies the loop wants to sustain and grow into an autonomous texture.

See the Next Repetition Forming

The compact spectrogram does not simply decorate the final output. It shows the signal being written into the next repetition.

A repeating vertical pattern suggests that a short attack is returning at a regular period. A horizontal band shows that a resonance is holding. When one band continues to brighten, the loop may be approaching self oscillation.

This makes the display part of the instrument. You are not only watching what has already happened. You are reading what the feedback system is about to preserve.

Built for Recording the Transformation

Use Feedbacker 2.0 on isolated drum hits, percussion, synth stabs, metallic sounds, noise bursts, and transition material. Place it directly on a sound when the source and the recursion should remain connected.

Some of the strongest results come from brief input. Trigger one sound, stop playing, and record the way the circuit changes on its own. A mechanical rhythm may appear, collapse into noise, find a resonant pitch, then settle into a drone. Resample the section that matters and it becomes new material for the track.

Feedback can rise quickly. Start with Level low, keep Gain near a restrained position, and increase the return gradually. Internal saturation limits numerical growth, but it is not a mastering limiter. A limiter after the device is sensible when exploring sustained self oscillation.

Availability and Licensing

Feedbacker 2.0 is available as an Ableton Max for Live audio effect through Sellfy.

Existing license holders can access the latest version at no additional cost by logging into the Sellfy account used for the original purchase.

New users can purchase Feedbacker 2.0 directly from this product page.

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ver.2.0 ... Rebuilt the feedback engine with stereo delay, Metal, Hybrid, and Cloud reverb modes, signed feedback, SR and Bit degradation, noise excitation, Drive, and a feedback spectrogram. (8/4/2026)

ver.1.1 ... Push3 support. (4/30/2024)

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