0119_15_compl 1

central to the ensemble is a tapeloop of a nightingale's song my father recorded in the early 90ies near the ratzeburger lake in northern germany. it is incorporated in an object that concists of different layers of material, stacked over each other. alternating layers of foam (from an old mattress), felt (from moving-blankets), camenbert and the tapeloop are separated with a piece of wood (non-transparent) or acrylic glass (transparent).
on top of the stack lies a traveler alarm clock. it's electromagnetic pulse is send to a eurorack modular system as a trigger-input via a guitar-pickup (passive electromagnetic coil). the recorded sounds of the birds song is send to a granular sampler. it chops and mangles the original recording based on impulses it receives from the analogue synthesis- and logic-operators that by themselve are based on the trigger-input by the traveler alarm clock.

the nightingale________________
the little bird is famous for it's very varying, rich sounding song. singing at night (nightin-gale, derived from night and galan, singing) the bird's singing influenced poetry, art and music not only because of it's highly sofisticated soundscape, but also because of the often clandestine situation of the encounter with it. during the darkness of the night the song fills up a seemingly empty space. the thick of the night gets intercepted by the song, one could say.
metaphorically it is often connected to a sorrowful lament of a transfigured/ metamorphosed. in ovid's depiction of the antique myth of philomela, the raped and muted princess gets transformed into a nightingale by the gods to flee from her agitator tereus. here the song appears both as a metaphor of a lost voice and a (godly) restitution of it. the singing in the night thus accounts for a reflection of loss, tragedy and unjustice as it also incorporates a signal of hope as an unexpected recognition (restitution) - an account of someone or something thought to be lost. the combination of the depiction of exile in the darkness (as doubled in the darkness of the forest) and the signaling voice of the song recreate a basic-metaphor for artistic exile, it's crisis and transformation into a poetic production.

on another page the combination of almost rhythmical repetition and seemingly endless variance of the nightingale's song resembles sounds created by generative synthesis. in this regard using the recorded material of the nightingale in the context of generative modular synthesis could be understood as a joke about the opposing camps in electronic music between recording, sampling, collaging-techniques and generative, algorithmic and stochastic approaches.

the stack (-object) (and stack overflow)_________________
in a stack the material preserved in it can have a condensating or filtering relation. as a sedimantation of different layers it is a simple archival gathering, but also an occlusion of covered layers. seen from the side one can see the different layers, but not it's surface. the trace of the vertical progression, the constructive force of the stack, the verbal stacking, collects and condensates the gathered material, while the process of covering and layering secludes the collected from direct access - any potentiality of the material layered below gets filtered through the overlay of the next one. the height of the stack is a measure for it's potential, but also one for it's gravitational dispair in relation to the compressed and covered material it exists from.
the stack is a metaphor for a temporal ambiguity between a construcitve progression and an enthropic disintegration (forgetting).
transparent (acrylic) and opaque (cross bonded plywood) barrier-layers, as well as the different properties of the material in the layers (dampening foam of the matress with traces of use; isolating felt; the fossilized camenbert, as an inverted metaphorical agent for the energetic potential of fat...) reflect on this ambiguity.

in a stack overflow of a memory system (in a computer) a malfunction is caused by data overflowing the buffer (the stack, the designated memory space) to a foreign not designated buffer. the dislocated memory can cause a part of a system or even the system in its whole to fail, but it can also cause aliasing, ghosting effects in the subsequent system. in this case the song of the nightingale overflows the stack into a granular sampler that streches and compresses the cycling recording. while it is also recording itself it creats artefacts of the manipulation of the recording causing another, this time audible stackoverflow.

the time-metaphor of the stack gets represented by the clock lying on its upmost layer. its continous ticking though gives also a "clock" to the soundmanipulation of the overflow of the stack.

sound art________________
in a more general attempt or initially this work tried to deal with a prejudice against art that incorporates sound: often soundart just proliferates technical inovativeness. the "immersive" experience it is providing, while impressing with a mathematical sublime uncomprehensivness of technological complexity, often is as beautiful as it is significantly shallow (and thus weak and unconcsious towards powerstructures it is itself embedded in). in opposition to that understanding i wanted to incorporate sound as one form of a material complexity that is linked to a subtle personal narration. the reflection on temporality, history and memory not only concerns the theory and method of soundmanipulation, not only the metaphorical reflection of the stack as a form, but more concrete the material of the recording my father did in the 90ies.
photos by tommaso revelant

A-I (Peak-Hold) aI.1 (Impulse) - 8.2 aI.2 (Release) - 3.2 aI.3 (Env 1) aI.4 (Env 2) >>>>>> aII.11 (Input 3) [60cm] aI.5 (Env 3) >>>>>> bIII.7 (CV Input 2) [70cm (2x 20cm small jack to big+2 fem jack)] aI.6 (P+H) aI.7 (P+Hb) aI.8 (P+H log) aI.9 (Audio) aI.10 (Envelope) aI.11 (Trigger) >>>>>> aIV.2 (clock trigger in) [30cm] aI.12 (In 2) aI.13 (Filter) - 7.9 aI.14 (Input Level) - 8 aI.15 (Trigger Level) - 5.1 aI.16 (Drum In) <<<<<< Single Coil Pick Up (clock objekt)

A-II (A-138m 4x4 Matrix Mixer) aII.1 (Input 1) <<<<< cI.6-back (Sidechain Send) [120cm] aII.2 (Input 1 Level A) - 0 aII.3 (Input 1 Level B) - 7.5 aII.4 (Input 1 Level C) - 9.8 aII.5 (Input 1 Level D) - 10 aII.6 (Input 2) <<<<< bI.24 (output l) [80cm] aII.7 (Input 2 Level A) - 0 aII.8 (Input 2 Level B) - 9.5 aII.9 (Input 2 Level C) - 1.8 aII.10 (Input 2 Level D) - 6.2 aII.11 (Input 3) <<<<<< aI.4 (Env 2) [60cm] aII.12 (Input 3 Level A) - 6.7 aII.13 (Input 3 Level B) - 7.2 aII.14 (Input 3 Level C) - 7 aII.15 (Input 3 Level D) - 8 aII.16 (Input 4) <<<<<< bIII.5 (Output 1) [60cm] aII.17 (Input 4 Level A) - 0 aII.18 (Input 4 Level B) - 8.9 aII.19 (Input 4 Level C) - 4.8 aII.20 (Input 4 Level D) - 3 aII.21 (Output A Pol-Switch) - up (unipolar) aII.22 (Output A) >>>>>> cIII.7-back (Sidechain Return) [120cm] aII.23 (Output B Pol-Switch) - up (unipolar) aII.24 (Output B) >>>>>> aVII.2 (Sample In A) [60cm] aII.25 (Output C Pol-Switch) - up (unipolar) aII.26 (Output C) >>>>>> aIX.7 (ER-Input to Output 2) [80cm] aII.27 (Output D Pol-Switch) - up (unipolar) aII.28 (Output D) >>>>>> aIX.5 (ER-Input to Output 1) [80cm]

A-III (A-143-4 QuadVCLFO/VCO) aIII.1 (CV Input A 1) aIII.2 (CV Input A 2) aIII.3 (CV In 2 Level A) - 9 aIII.4 (Freq Level A) - 5.5 aIII.5 (Output Sq A) aIII.6 (Output Tr A) >>>>>> aVII.5 (S&H Sample In B) [30cm banana] aIII.7 (Reset A) aIII.8 (VCO/VCLFO Switch) - vclfo aIII.9 (CV Input B 1) aIII.10 (CV Input B 2) aIII.11 (CV In 2 Level B) - 8 aIII.12 (Freq Level B) - 1.1 aIII.13 (Output Sq B) >>>>>> bIII.1 (CV Input 1) [200cm] aIII.14 (Output Tr B) >>>>>> bII.1 (Input 1) [80cm] aIII.15 (Reset B) aIII.16 (VCO/VCLFO Switch) - vclfo aIII.17 (CV Input C 1) aIII.18 (CV Input C 2) aIII.19 (CV In 2 Level C) - 9.3 aIII.20 (Freq Level C) - 1.8 aIII.21 (Output Sq C) >>>>>> bI.19 (record) [80cm] aIII.22 (Output Tr C) >>>>>> bII.4 (Input 3) [60cm] aIII.23 (Reset C) aIII.24 (VCO/VCLFO Switch) - vclfo aIII.25 (CV Input D 1) aIII.26 (CV Input D 2) aIII.27 (CV In 2 Level D) - 9.3 aIII.28 (Freq Level D) - 3.2 aIII.29 (Output Sq D) aIII.30 (Output Tr D) >>>>>>> bII.6 (Input 4) [80cm] aIII.31 (Reset D) aIII.32 (VCO/VCLFO Switch) - vclfo aIII.33 (CV Input Common 1) aIII.34 (Cv Input Common 2) aIII.35 (CV In 2 Level Common) - 7.3 aIII.36 (Freq. Level Common) - 6.8 aIII.37 (Sum Out Sq) aIII.38 (Sum Out Tr) aIII.39 (Direction D) aIII.40 (Direction Switch) - down

A-IV (A-160-2 Clock Divider) aIV.1 (Gate Trigger Switch) - gate aIV.2 (Clock Input) <<<<<< aI.11 (P&H trigger output) [30cm] aIV.3 (Clock Division Switch) - 2-128 (up) aIV.4 (Clock Reset) aIV.5 (2/2/2 Clock Output) >>>>>> (y!) aVII.1 (trig in) + aVII.5 (Smp In B) [60cm to y@aVii.5] aIV.6 (4/3/3 Clock Output) >>>>>> aVII.4 (S&H Trigger In B) [60cm] aIV.7 (8/5/4 Clock Output) >>>>>> bI.21 (source) [80cm] aIV.8 (16/7/5 Clock Output) >>>>>> bII.5 (Trigger In 4) [100cm] aIV.9 (32/11/6 Clock Output) aIV.10 (64/13/7 Clock Output) aIV.11 (128/17/8 Clock Output)

A-V (A-150 Dual VCS) aV.1 (CV) av.2 (I/O 1) aV.3 (I/O 2) aV.4 (0/I) aV.5 (CV B) aV.6 (I/O 1 B) aV.7 (I/O 2 B) aV.8 (O/I B)

A-VI (A-151 Sequential Switch) aVI.1 (Trigger Input) aVI.2 (Reset) aVI.3 (0/I) aVI.4 (I/O 1) aVI.5 (I/O 2) aVI.6 (I/0 3) aVI.7 (I/0 4) aVI.8 (Step Switch)

A-VII (A-148 Dual S&H) aVII.1 (Trigger In A) <<<<<< aIV.5 (clock out 2/2/2) [60cm into y@ aIV.5] aVII.2 (Sample In A) <<<<<< aII.24 (Output B) [60cm] aVII.3 (S&H Out A) >>>>>> bII.9 (CV Rise 4) [80cm] aVII.4 (Trigger In B) <<<<<< aIV.6 (clock out 4/3/3) [60cm] aVII.5 (Sample In B) <<<<<< (y!) aIV.5 (clock out 2/2/2) + aIII.6 (Quad VCO Output Tr A) [30cm banana] aVII.6 (S&H Out B) >>>>>> bII.3 (maths input 2) [150cm]

A-VIII (A-180-2 Multiplier) aVIII.1 (Mltp 1 A) aVIII.2 (Mltp 2 A) aVIII.3 (Mltp 3 A) aVIII.4 (Mltp 4 A) aVIII.5 (Mltp 1 B) aVIII.6 (Mltp 2 B) aVIII.7 (Mltp 3 B) aVIII.8 (Mltp 4 B)

A-IX (TAI-4 AUDIO I/O) aIX.1 (ER-Output from Input 1) aIX.2 (XLR Input 1) aIX.3 (ER-Output from Input 2) >>>>>> bIII.9 (input 2 vca) [150cm] aIX.4 (XLR Input 2) <<<<<< cV.3-back (Jack Output) [120cm] aIX.5 (ER-Input to Output 1) <<<<<< aII.28 (matrix mixer output D) [80cm] aIX.6 (XLR Output 1) >>>>>> main out to pa 1 [xlr fm to foh] aIX.7 (ER-Input to Output 2) <<<<<< aII.26 (matrix mixer output C) [80cm] aIX.8 (XLR Output 2) >>>>>> main out to pa 2 [xlr fm to foh] aIX.9 (Input Level Switch) - +12db aIX.10 (Output Level Switch) - +6db

B-I (Nebulae V2) bI.1 (start level) - 0 bI.2 (speed level) x bI.3 (size level) - 60% bI.4 (density level) - 40% bI.5 (pitch level) x bI.6 (overlap level) - 100% bI.7 (CV-Input start) <<<<<< bII.25 (Output 1) [60cm] bI.8 (blend level) - 30% bI.9 (window level) - 60% bI.10 (CV-Input size) <<<<<< bII.28 (Output 4) [80cm] bI.11 (CV-Input density) bI.12 (CV-Input blend) <<<<<< bII.34 (Unity Output 4) [60cm] bI.13 (CV-Input speed) <<<<<< bII.26 bI.14 (USB-Input) - USB DEVICE bI.15 (v/oct) <<<<<< bII.27 (Output 3) [60cm] bI.16 (CV-Input window) bI.17 (CV-Input overlap) bI.18 (input l) <<<<<< bIII.10 (Output 2) [200cm] bI.19 (record) <<<<<< aIII.21 (Output Sq C) [80cm] bI.20 (file) bI.21 (source) <<<<<< aIV.7 (8/5/4 Clock Output) [80cm] bI.22 (reset) <<<<<< bII.30 (Unity Output 1) [60cm] bI.23 (freeze) bI.24 (output l) >>>>>> aII.6 (Input 2) [80cm] bI.25 (input r) bI.26 (output r) >>>>>> cIII.5-back (Jack Input) [100cm]

B-II (Maths) bII.1 (Input 1) <<<<<< aIII.14 (Output Tr B) [80cm] bII.2 (Trigger In 1) bII.3 (Input 2) <<<<<< aVII.6 (S&H Out B) [150cm] bII.4 (Input 3) <<<<<< aIII.22 (Output Tr C) [60cm] bII.5 (Trigger In 4) <<<<<< aIV.8 (16/7/5 Clock Output) [100cm] bII.6 (Input 4) <<<<<< aIII.30 (Output Tr D) [80cm] bII.7 (CV Rise 1) bII.8 (Level Input 1) - 40% bII.9 (CV Rise 4) <<<<<<< aVII.3 (S&H Out A) [80cm] bII.10 (CV Rise&Fall 1) bII.11 (Rise Level 1) - 60% bII.12 (Rise Level 4) - 40% bII.13 (CV Rise&Fall 4) bII.14 (CV Fall 1) bII.15 (Fall Level 1) - 65% bII.16 (Input Level 2) - 60% bII.17 (Fall Level 2) - 38% bII.18 (CV Fall 4) bII.19 (CV Cycle 1) bII.20 (Log/Exp Level 1) - 10% bII.21 (Input Level 3) - 49% bII.22 (Log/Exp Level 2) - 60% bII.23 (CV Cycle 4) bII.24 (Input Level 4) - 55% bII.25 (Output 1) >>>>>>> bI.7 (CV-Input start) [60cm] bII.26 (Output 2) >>>>>>> bI.13 (CV-Input speed) [80cm] bII.27 (Output 3) >>>>>>> bI.15 (v/oct) [60cm] bII.28 (Output 4) >>>>>> bI.10 (CV-Input size) [80cm] bII.29 (EOR Out 1) bII.30 (Unity Output 1) >>>>>>> bI.22 (reset) [60cm] bII.31 (Or Output) bII.32 (Sum Output) bII.33 (Inverted Output) bII.34 (Unity Output 4) >>>>>> bI.12 (CV-Input blend) [60cm] bII.35 (EOR Out 4)

B-III (A-132-3 DVCA) bIII.1 (CV Input 1) <<<<<< aIII.13 (Output Sq B) [200cm] bIII.2 (CV Level 1) - 9 bIII.3 (Input 1) <<<<<< cIV.4-back (Jack Output) [120cm] bIII.4 (Gain 1) - 8.5 bIII.5 (Output 1) >>>>>> aII.16 (Input 4) [60cm] bIII.6 (log/exp Switch) - linear (left) bIII.7 (CV Input 2) <<<<<< aI.5 (Env 3) [70cm (2x 20cm small jack to big+2 fem)] bIII.8 (CV Level 2) bIII.9 (Input 2) bIII.10 (Output 2) >>>>>>> bI.18 (input l) [200cm] bIII.11 (Gain 2) bIII.12 (log/exp Switch)

B-IV (Empty/Cable Path C)

B-V (Zeus Power) bV.1 (Power Switch) - on bV.2 (Power Connector) +

C-I (Behringer Composer Pro MDX 2200 left channel) cI.1-front (External Sidechain Switch) - off cI.2-front (Interactive Switch) - off cI.3-front (I/0 Meter Switch) - off cI.4-front (Exp/Gate Threshold) - -37 cI.5-front (Exp/Gate Ratio) - 1 cI.6-front (Comp/Limiter Threshold) - -40 cI.7-front (Comp/Limiter Ratio) - 1 cI.8-front (Comp/Limiter Attack) - 10 cI.9-front (Comp/Limiter Release) - 4 cI.10-front (Comp/Limiter Output Level) - 15 cI.11-front (Peak Limiter Threshold Level) - 20 cI.12-front (Exp/Gate Release Speed Switch) - fast (off) cI.13-front (Comp/Limiter SC Monitor Switch) - off cI.14-front (Comp/Limiter SC Filter Switch) - off cI.15-front (Comp/Limiter Attack Release Auto Switch) - manual (off) cI.16-front (In/Out Switch) - on cI.17-front (Dual Mono/Ch.1 Master Switch) - dual mode (off) cI.1-back (XLR Output) cI.2-back (XLR Input) <<<<<< tapeloop output [300cm] cI.3-back (Jack Output) >>>>>> cII.6.back (Jack Input) [30cm] cI.4-back (Operating Level Switch) - +4dBu cI.5-back (Jack Input) cI.6-back (Sidechain Send) >>>>>> aII.1 (Input 1) [120cm] cI.7-back (Sidechain Return) [attention back numbering is left/right inverted! cI-front is top left cI-back is top right]

C-II (Behringer Composer Pro MDX 2200 right channel) cII.1-front (External Sidechain Switch) - off cII.2-front (Interactive Switch) - off cII.3-front (I/0 Meter Switch) - off cII.4-front (Exp/Gate Threshold) - -25 cII.5-front (Exp/Gate Ratio) - 2.1 cII.6-front (Comp/Limiter Threshold) - 10 cII.7-front (Comp/Limiter Ratio) - 4 cII.8-front (Comp/Limiter Attack) - 5 cII.9-front (Comp/Limiter Release) - 0.25 cII.10-front (Comp/Limiter Output Level) - 10 cII.11-front (Peak Limiter Threshold Level) - 18 cII.12-front (Exp/Gate Release Speed Switch) - off (slow) cII.13-front (Comp/Limiter SC Monitor Switch) - off cII.14-front (Comp/Limiter SC Filter Switch) - off cII.15-front (Comp/Limiter Attack Releas Auto Switch) - off (auto) cII.16-front (In/Out Switch) - on cII.1-back (XLR Output) cII.2-back (XLR Input) cII.3-back (Power Socket) + [>150cm] cII.4-back (Jack Output) >>>>>>> cV.5-back (Jack Input) [60cm] cII.5-back (Operating Level Switch) - +4dBu cII.6-back (Jack Input) <<<<<<< cI.3-back (Jack Output) [30cm] cII.7-back (Sidechain Send) cII.8-back (Sidechain Return) [attention back numbering is left/right inverted! cI-front is top left cI-back is top right]

C-III (Behringer Autocom Pro MDX 1400 1 Left Channel) cIII.1-front (External Sidechain Switch) - on cIII.2-front (Interactive Switch) - off cIII.3-front (I/0 Meter Switch) - off cIII.4-front (Exp/Gate Threshold) - 35 cIII.5-front (Comp/Limiter Threshold) - -27 cIII.6-front (Comp/Limiter Ratio) - infinite cIII.7-front (Comp/Limiter Attack) - 0.5 cIII.8-front (Comp/Limiter Release) - 1.2 cIII.9-front (Comp/Limiter Output Level) - 0 cIII.10-front (Enhancer Process Level) - 4.1 cIII.11-front (Exp/Gate Release Speed Switch) - off (fast) cIII.12-front (Comp/Limiter SC Monitor Switch) - off cIII.13-front (Comp/Limiter SC Filter Switch) - off cIII.14-front (Comp/Limiter Attack Release Auto Switch) - off (manual) cIII.15-front (In/Out Switch) - on cIII.16-front (Dual Mono/Ch.1 Master Switch) - off (mono) cIII.1-back (XLR Output) cIII.2-back (XLR Input) cIII.3-back (Jack Output) >>>>> cIV.6-back (Jack Input) [30cm] cIII.4-back (Operating Level Switch) - -10dBu cIII.5-back (Jack Input) <<<<< bI.26 (output r) cIII.6-back (Sidechain Send) cIII.7-back (Sidechain Return) <<<<< aII.22 (Output A) [120cm] [attention back numbering is left/right inverted! cI-front is top left cI-back is top right]

C-IV (Behringer Autocom Pro MDX 1400 1 Right Channel) cIV.1-front (External Sidechain Switch) - off (def) cIV.2-front (Interactive Switch) - off cIV.3-front (I/0 Meter Switch) - off cIV.4-front (Exp/Gate Threshold) - 37 cIV.5-front (Comp/Limiter Threshold) - 15 cIV.6-front (Comp/Limiter Ratio) - 2.4 cIV.7-front (Comp/Limiter Attack) - 0.1 cIV.8-front (Comp/Limiter Release) - 0.7 cIV.9-front (Comp/Limiter Output Level) - -8 cIV.10-front (Enhancer Process Level) - 6 cIV.11-front (Exp/Gate Release Speed Switch) - off (fast) cIV.12-front (Comp/Limiter SC Monitor Switch) - off cIV.13-front (Comp/Limiter SC Filter Switch) - on cIV.14-front (Comp/Limiter Attack Release Auto Switch) - off (manual) cIV.15-front (In/Out Switch) - on cIV.1-back (XLR Output) cIV.2-back (XLR Input) cIV.3-back (Power Socket) + [>150cm] cIV.4-back (Jack Output) >>>>>>> bIII.3 (Input 1) [120cm] cIV.5-back (Operating Level Switch) - +4dBu cIV.6-back (Jack Input) <<<<<<< cIII.3-back (Jack Output) [30cm] cIV.7-back (Sidechain Send) cIV.8-back (Sidechain Return) [attention back numbering is left/right inverted! cI-front is top left cI-back is top right]

C-V (Behringer Autocom Pro MDX 1400 2 Left Channel) cV.1-front (External Sidechain Switch) - on cV.2-front (Interactive Switch) - off cV.3-front (I/0 Meter Switch) - off cV.4-front (Exp/Gate Threshold) - -19 cV.5-front (Comp/Limiter Threshold) - -10 cV.6-front (Comp/Limiter Ratio) - 2.1 cV.7-front (Comp/Limiter Attack) - 1 cV.8-front (Comp/Limiter Release) - 0.2 cV.9-front (Comp/Limiter Output Level) - -7 cV.10-front (Enhancer Process Level) - 6 cV.11-front (Exp/Gate Release Speed Switch) - off (fast) cV.12-front (Comp/Limiter SC Monitor Switch) - off cV.13-front (Comp/Limiter SC Filter Switch) - off cV.14-front (Comp/Limiter Attack Release Auto Switch) - off (manual) cV.15-front (In/Out Switch) - on cV.16-front (Dual Mono/Ch.1 Master Switch) - off (mono) cV.1-back (XLR Output) cV.2-back (XLR Input) cV.3-back (Jack Output) >>>>>> aIX.4 (XLR Input 2) [200cm] cV.4-back (Operating Level Switch) - -10dBu cV.5-back (Jack Input) <<<<<< cII.4-back (Jack Output) [60cm] cV.6-back (Sidechain Send) cV.7-back (Sidechain Return) [attention back numbering is left/right inverted! cI-front is top left cI-back is top right]

C-VI (Behringer Autocom Pro MDX 1400 2 Right Channel) cVI.1-front (External Sidechain Switch) - on cVI.2-front (Interactive Switch) - off cVI.3-front (I/0 Meter Switch) - off cVI.4-front (Exp/Gate Threshold) - -21 cVI.5-front (Comp/Limiter Threshold) - -40 cVI.6-front (Comp/Limiter Ratio) - infinite cVI.7-front (Comp/Limiter Attack) - 0.9 cVI.8-front (Comp/Limiter Release) - 0.2 cVI.9-front (Comp/Limiter Output Level) - -20 cVI.10-front (Enhancer Process Level) - 3 cVI.11-front (Exp/Gate Release Speed Switch) - off (fast) cVI.12-front (Comp/Limiter SC Monitor Switch) - off cVI.13-front (Comp/Limiter SC Filter Switch) - off cVI.14-front (Comp/Limiter Attack Release Auto Switch) - off (manual) cVI.15-front (In/Out Switch) - off cVI.1-back (XLR Output) cVI.2-back (XLR Input) cVI.3-back (Power Socket) + [>150cm] cVI.4-back (Jack Output) cVI.5-back (Operating Level Switch) - -10dBu cVI.6-back (Jack Input) cVI.7-back (Sidechain Send) cVI.8-back (Sidechain Return) [attention back numbering is left/right inverted! cI-front is top left cI-back is top right]