I ran across the following comment by Muffwiggler member autopoiesis.

I suspected that a self-oscillating Mimeophon would take especially well to stacking another feedback path into it with a frequency shifter inserted in the middle, and I was pretty impressed by how well this works with Mimeophon.

Starting in the first Zone and with no clock patched into Mimeophon, max out Repeats so that it self-oscillators and starts compressing itself (as I gather it is doing under the hood when Repeats is fully CW). Patch a Mimeophon output into a frequency shifter, patch a frequency shifter output back into Mimeophon (either directly in, or through a mixer where you can add an external signal if you want to play with heterodyning), and also try patching the frequency shifter output into Mimeophon’s Rate control (with the attenuverter at 12 o’clock). Adjust the frequency shifter’s parameters until the patch starts to spit out barber pole magic, and use a 1v/oct CV on µRate if you like. lightly pulling back the Rate attenuverter to 11:30-11:00 allows the feedback path to lightly FM the Mimeophon, which works surprisingly well in this scenario and combines with the shifter to prevent uninteresting runaway oscillations from taking over.

Once it’s self-oscillating in this writhingly ascending or descending movement, you can shift to higher Zones and it’ll keep doing its thing but with more space between each oscillation. unsurprisingly I found it gets exponentially more interesting when adding a R*S resonant EQ + spring reverb into the feedback path. playing with Halo, Color, and Skew also opens things up further.

This worked amazingly well with the FX Aid as my frequency shifter. it could be even better if the shifter is analog, I don’t know. I’ve long been a fan of patching frequency shifters in the feedback path of delays, but with Mimeophon it is something special.

I did this experiment using the Clouds Parasites pitch shifter mode of the Grayscale Microcell. My patch is in stereo. Outputs of the Mimeophon are monitored and also patched into the Microcell. Microcell outputs go through a stereo level control and back into the Mimeophon. The entire patch is shown in the photo. Inputs and outputs of the Microcell are monitored on the DATA ‘scope. It was fun to twiddle knobs and discover some of the sounds it can make. Here’s one take.