1. Putting a compressor or limiter before your ears and the PA. 2. Try to put a compressor or limiter in each feedback path. 3. DEMO two isolated channels, using EQs / filters to tune the feedback paths. 4. Bleed the two channel drones slightly until you can get a beat signal. 5. Long terms beats -> LFO without adding a LFO. 6. Clean oscillation, saturation, regenerative & degenerative feedback. 7. Compressors add non-linearity. Find non-linear control regions on pots, 8. The minimalist mystique of being a purist. Pure analog filtered Xstr noise. 9. The pragmatic approach of using whatever works in the feedback paths (me). 9a. I am absolutely not averse to digital FX, software, whatever, but … 9b. I usually save anything with additional oscillator(s) or non-mixer feedback path(s) until later in the piece. 9c. The conceptual point is regenerative and degenerative feedback processing of quantum tunneling. OK, but . . . 9d. The composition & performance are the thing. ADDITIONAL TOPICS: Delays in feedback paths. Chorus, flanger, phaser, grain FX, ring modulators, all the usual culprits. Mixing them up as modular building blocks. How doe all this relate to Sunday's ZIM Orchestra performance?