Custom - Made Solid Wood Banjos with Inlaid Mother - of - Pearl for Bluegrass PlayersTipTop Audio Mariana Trench Feedback-Delay-Network Effects Cartridge for Z-DSP Eurorack Module

• Classical reverberation, using long delays (low pitch) and setting the decay with the Feedback parameter and the color with the Damping control, you can get incredibly long and huge reverberation that way 
• Delay, using long delays (low pitch) and low Feedback, getting complex delays that you can, for example, use to animate drums or sequences
• Feedback: A very interesting way of using Mariana Trench algorithms is to take advantage of the Feedback capability of the Z-DSP: set the FEEDBACK 1 or FEEDBACK 2 knob of you Z-DSP to 75% to 100% and tweak the VC-DSP knobs (you don't even need any input): you will get amazing evolving texture. This usage is especially effective with "FDN Modulated" programs (5 and 6)
• Input set a very short delay (high pitch) and very high feedback, input very short sound burst or impulses and let the FDN ring, and possibly use CV inputs (or Knobs) to tweak and make the sound alive. A variant is, of course, to use drum sounds as input. Very interesting results can also be obtained using sequences. For drums and sequences, the damping needs to be lowered to fit the BPM

• Traditional Feedback Delay Network with damping and feedback control. Great for huge reverberations.

FDN High Pitch

• Feedback Delay Network tuned to be used as a waveguide (best used with burst inputs or drum inputs, but works with any input)

FDN Unstable 1

• Feedback Delay Network (same as program 1 > FDN FeedBack) with unstable delay lines (fixed depth random changes) resulting in some pitch instability.

FDN Unstable 2

• Similar to program FDN Unstable 1 but with a fixed feedback (always 100%) and with controllable instability depth.

FDN Modulated 1

• Feedback Delay Network with controllable Damping and fixed Feedback (100%) with a modulated picking point in the delay lines: instead of getting the audio output from the end of the delay line, it is picked up from a point within delay line (so the delay line used for the FDN itself remains constant), and the pickup point position is modulated.

FDN Modulated 2

• Feedback Delay Network with controllable Damping and Feedback linked together, and with a modulated picking point in the delay lines: instead of getting the audio output from the end of the delay line, it is picked up from a point within delay line (so the delay line used for the FDN itself remains constant), and the pick-up point position is modulated.

FDN Spread 1

• Feedback Delay Network with controllable Feedback and fixed Damping, and with an adjustable spreading of the delay lines (the relative length of the 4 delay lines can be modified). When playing with the Spread control, the longest delay line remains unchanged, but the length of all the other delay lines is affected proportionally to the control.

FDN Spread 2

• Similar to FDN Spread 1, but with different proportions between delays.