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282:, the amount of sound energy that is fed back to the microphones must be reduced as much as is practical. As sound pressure falls off with 1/r with respect to the distance r in free space, or up to a distance known as reverberation distance in closed spaces (and the energy density with 1/r²), it is important to keep the microphones at a large enough distance from the speaker systems. As well, microphones should not be positioned in front of speakers and individuals using mics should be asked to avoid pointing the microphone at speaker enclosures.
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whereas a 'G' would feed back maybe three and a half feet from it. He had a strip that they would place on the floor, and when he was playing the note 'F' sharp he would stand on the strip's 'F' sharp point and 'F' sharp would feed back better. He really worked this out to a fine science, and we were playing this at a terrific level in the studio, too.
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Fripp in the right place with his volume up at the right level and getting feedback...Fripp had a technique in those days where he measured the distance between the guitar and the speaker where each note would feed back. For instance, an 'A' would feed back maybe at about four feet from the speaker,
122:
of the resulting howl is determined by resonance frequencies in the microphone, amplifier, and loudspeaker, the acoustics of the room, the directional pick-up and emission patterns of the microphone and loudspeaker, and the distance between them. The principles of audio feedback were first discovered
351:
a sound system prior to a performance. The sound engineer can increase the level of a microphone until feedback occurs. The engineer can then attenuate the relevant frequency on an equalizer preventing feedback at that frequency but allowing sufficient volume at other frequencies. Many professional
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at that frequency is equal to 1. If the small-signal gain is greater than 1 for some frequency then the system will start to oscillate at that frequency because noise at that frequency will be amplified. Sound will be produced without anyone actually playing. The sound level will increase until the
254:. Boner was responsible for establishing basic theories of acoustic feedback, room-ring modes, and room-sound system equalizing techniques. Boner reasoned that when feedback happened, it did so at one precise frequency. He also reasoned that it could be stopped by inserting a very narrow
185:
effects have intentionally created guitar feedback to create different sounds including long sustained tones that cannot be produced using standard playing techniques. The sound of guitar feedback is considered to be a desirable musical effect in
886:. The feedback can be controlled by using the fader to determine a volume level. The Boss DF-2 Super Feedbacker and Distortion pedal is an electronic effect unit that helps electric guitarists create feedback effects. The
363:-sound instead of a howling sound of unaddressed feedback. Other devices use sharp notch filters to filter out offending frequencies. Adaptive algorithms are often used to automatically tune these notch filters.
323:
which are common in sound reinforcement applications. This configuration reduces the opportunities for feedback and allows independent control of the sound pressure levels for the audience and the performers.
854:. The use of the "no-input-mixer" method for sound generation by feeding a mixing console back into itself has been adopted in experimental electronic and noise music by practitioners such as
878:, built-in guitar pickups that increase the instrument's sonic sustain, and sonic transducers mounted on the head of a guitar. Intended closed-circuit feedback can also be created by an
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and passed out of the loudspeaker. The sound from the loudspeaker can then be received by the microphone again, amplified further, and then passed out through the loudspeaker again. The
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with very high gain (amplification) or the guitar brought near the speaker. The guitarist then allows the strings to vibrate freely and brings the guitar close to the
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Pitched melodies may be created entirely from feedback by changing the angle between a guitar and amplifier after establishing a feedback loop. Examples include
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music," on audio systems incorporating feedback. More recent examples can be found in the work of, for example, Lara Stanic, Paul
Craenen, Anne Wellmer,
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are based; in that case, although the feedback loop is purely electronic, the principle is the same. If the gain is large but slightly less than 1, then
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pointing back at each band member, but in the opposite direction to that in which the microphones are pointing taking advantage of microphones with a
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Professional setups circumvent feedback by placing the main speakers away from the band or artist, and then having several smaller speakers known as
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melded the rock-feedback tradition with a compositional and classical approach (notably covering Reich's "Pendulum Music"), and guitarist/producer
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Feedback is almost always considered undesirable when it occurs with a singer's or public speaker's microphone at an event using a
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sound engineers can identify feedback frequencies by ear but others use a real-time analyzer to identify the ringing frequency.
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509:, a several-minute long feedback-driven improvisation. Feedback has since become a striking characteristic of rock music, as
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The Boss DF-2 Super
Feedbacker and Distortion pedal (on the left) helps electric guitarists to create feedback effects.
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was one of the earliest jazz musicians to use controlled feedback in his music, which is prominent on his live album
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is not ideally flat as this leads to acoustical feedback at the frequency with the highest loop gain, which may be a
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684:'s remix of Nine Inch Nail's "The Great Destroyer"; and the Jesus and Mary Chain's "Teenage Lust", "Tumbledown", "
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leaning a semi-acoustic guitar against an amplifier was the first chart-topper to showcase feedback distortion.
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compositions, intentional acoustic feedback as sound material gained more prominence with compositions such as
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The principle of feedback is used in many guitar sustain devices. Examples include handheld devices like the
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637:'s "Prayer For Rain". Examples of feedback combined with a quick volume swell used as a transition include
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with much higher than the average gain over all frequencies. It is therefore helpful to apply some form of
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730:(1968) by swinging a series of microphones back and forth in front of their corresponding amplifiers.
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during his solo to create a highly amplified distorted boogie style of feedback. In 1963, the teenage
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will be introduced, but only when at least some input sound is already being sent through the system.
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can be used. Some of these work by shifting the frequency slightly, with this upshift resulting in a
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movement of the 1990s, feedback again saw a surge in popular usage by suddenly mainstream acts like
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Audio feedback became a signature feature of many underground rock bands during the 1980s. American
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can (and usually will) occur in a feedback loop whose frequency is such that the phase delay is an
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Behavior of Sound System
Response Immediately Below Feedback, CP Boner, J. Audio Eng. Soc, 1966
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is an electro-acoustic string instrument specifically made to work with string based feedback.
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547:(1967). SzabĂł's method included the use of a flat-top acoustic guitar with a magnetic pickup.
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438:, the very first use of feedback on a commercial rock record is the introduction of the song "
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situation that may occur when an acoustic path exists between an audio output (for example, a
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533:. An example of feedback can be heard on Hendrix's performance of "Can You See Me?" at the
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In addition to "I Feel Fine", feedback was used on the introduction to songs including
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Though closed circuit feedback was a prominent feature in many early experimental
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Between Air and
Electricity - Microphones and Loudspeakers as Musical Instruments
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ending a song are most often used to generate rather than relieve tension, often
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to hand craft notch filters for specific feedback frequencies in specific rooms.
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537:. The entire guitar solo was created using amplifier feedback. Jazz guitarist
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adds additional gain and facilitates the creation of intentional feedback.
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The halldorophone: The ongoing innovation of a cello-like drone instrument
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speakers often achieve directivity in the mid and treble region (and good
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also worked controlled feedback into the makeup of their songs. With the
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Additionally, the loudspeakers and microphones should have non-uniform
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deliberately induced feedback by holding their guitars close to the
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was an innovator in the intentional use of guitar feedback in his
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557:(1975) entirely from loops of feedback played at various speeds.
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1347:"The Wire 300: Keith Moliné on the rise of Noise - the Wire"
1330:
Buskin, Richard (October 2004). "Classic Tracks: 'Heroes'",
83:
Block diagram of the signal-flow for a common feedback loop.
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too after a thematic and musical release. Examples include
505:, who included in many of their live shows a segment named
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Early academic work on acoustical feedback was done by Dr.
114:). In this example, a signal received by the microphone is
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based much of his compositional oeuvre, which he termed "
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pickup patterns and various electronic devices, such as
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A deliberate use of acoustic feedback was pioneered by
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of each other, ideally in a direction of cancellation.
218:, namely that, with sufficiently high gain, a stable
750:, Lesley Flanigan, Ronald Boersen and Erfan Abdi.
27:
Howling caused by a circular path in an audio system
1398:"Understanding Acoustic Feedback & Suppressors"
1168:
332:Almost always, the natural frequency response of a
882:, such as a delay pedal or effect fed back into a
724:makes extensive use of audio feedback in his work
1255:"Speaker Feedback Instruments by Lesley Flanigan"
482:and his father custom-built his signature guitar
306:) via horn systems. Sometimes the woofers have a
1063:The Music Biz (1992). Retrieved August 17, 2011
799:
1361:"Boss DF-2 SUPER Feedbacker & Distortion"
1005:"Operator Adjustable Equalizers: An Overview"
486:, which was purposely designed to feed back.
8:
1195:"The Time of Roland Kayn's Cybernetic Music"
489:Feedback was used extensively after 1965 by
474:" also featured guitar feedback produced by
146:typically use directional microphones with
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561:Introductions, transitions, and fade-outs
1046:Hey, what's that sound: Homemade guitars
1076:. Reno: Carson Street Publishing, 1995.
1074:Black Monk Time: A Book About the Monks
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258:at that frequency in the loudspeaker's
214:The conditions for feedback follow the
1072:Shaw, Thomas Edward and Anita Klemke.
344:to reduce the gain at this frequency.
106:) and its audio input (for example, a
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383:To intentionally create feedback, an
7:
797:Regarding Fripp's work on "Heroes":
462:" featured feedback manipulation by
347:Feedback can be reduced manually by
1112:"GABOR SZABO'S EQUIPMENT (GUITARS)"
294:and should stay out of the maximum
1305:van Eck, Cathy (10 October 2017).
1281:"Sound in a Jar by Ronald Boersen"
738:both use feedback in their works.
692:Examples in modern classical music
605:'s "Radio Friendly Unit Shifter",
25:
1307:"Points of Contact by Erfan Abdi"
1229:"Small Movements by Adam Basanta"
910:Echo suppression and cancellation
665:"; as well as numerous tracks by
206:to create unique musical sounds.
1087:"can you see me by jimi hendrix"
154:and, since the 1990s, automatic
127:, hence it is also known as the
70:Problems playing this file? See
55:
786:" and his live performance of "
688:", "Sundown", and "Frequency".
406:Early examples in popular music
1279:van Eck, Cathy (9 June 2017).
1253:van Eck, Cathy (16 May 2017).
1227:van Eck, Cathy (6 July 2017).
983:In Memorium Charles Paul Boner
653:", "New York City Cops", and "
395:of the guitar amp. The use of
216:Barkhausen stability criterion
1:
1438:Guitar performance techniques
1396:Troxel, Dana (October 2005).
355:To avoid feedback, automatic
1311:Between Air and Electricity
1285:Between Air and Electricity
1259:Between Air and Electricity
1233:Between Air and Electricity
1051:. Retrieved August 17, 2011
334:sound reinforcement systems
1459:
136:sound reinforcement system
29:
1193:Patteson, Thomas (2012).
1089:. YouTube. Archived from
1030:'I Feel Fine' song review
593:'s "New York City Cops",
848:Rage Against the Machine
784:Third Stone from the Sun
607:the Jesus and Mary Chain
456:Anyway, Anyhow, Anywhere
30:Not to be confused with
1147:. Bloomsbury Academic.
1143:van Eck, Cathy (2017).
778:" (album version), and
601:'s "Road to Recovery",
321:cardioid pickup pattern
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499:the Velvet Underground
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241:electronic oscillators
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949:Understanding Records
947:Hodgson, Jay (2010).
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852:the Smashing Pumpkins
844:Red Hot Chili Peppers
792:Monterey Pop Festival
672:Cacophonous feedback
609:'s "Tumbledown" and "
535:Monterey Pop Festival
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1003:Dennis Bohn (1990).
708:(1961) performed by
625:'s "Tahitian Moon",
599:Midnight Juggernauts
280:gain before feedback
156:feedback suppressors
125:Søren Absalon Larsen
123:by Danish scientist
1061:Brian May Interview
972:C. Paul Boner, PhD.
554:Metal Machine Music
531:amplifier's speaker
472:Fried Hockey Boogie
418:guitarists such as
375:Electric guitarist
357:feedback suppressor
1169:"Cybernetic Music"
1026:Richie Unterberger
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856:Toshimaru Nakamura
551:created his album
517:, Pete Townshend,
495:Jefferson Airplane
436:Richie Unterberger
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328:Frequency response
210:History and theory
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1428:Audio electronics
1154:978-1-5013-2760-5
958:978-1-4411-5607-5
815:Contemporary uses
649:"; The Strokes' "
579:Crosstown Traffic
575:It's All Too Much
573:", the Beatles' "
268:White Instruments
262:. He worked with
188:heavy metal music
175:guitar amplifiers
173:bands using loud
165:Since the 1960s,
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1114:. Doug Payne
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1091:the original
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1049:The Guardian
1048:
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1034:AllMusic.com
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1013:the original
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768:Robert Fripp
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748:Adam Basanta
736:Alvin Lucier
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544:The Sorcerer
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377:Jimi Hendrix
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342:equalization
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278:To maximize
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260:signal chain
256:notch filter
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204:guitar solos
200:Jimi Hendrix
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1316:22 December
1290:22 December
1264:22 December
1238:22 December
905:Comb filter
824:Sonic Youth
772:David Bowie
740:Roland Kayn
732:Hugh Davies
722:Steve Reich
718:The Wolfman
710:David Tudor
678:cross-faded
597:'s "Fair",
591:the Strokes
583:David Bowie
539:Gábor Szabó
519:Dave Davies
484:Red Special
468:Canned Heat
448:John Lennon
444:the Beatles
440:I Feel Fine
393:loudspeaker
349:ringing out
296:sensitivity
292:directivity
286:Directivity
220:oscillation
169:players in
104:loudspeaker
1433:Rock music
1417:Categories
1367:2021-10-13
1202:Sonic Acts
1118:2020-01-21
1097:2014-06-12
921:References
788:Wild Thing
744:cybernetic
669:and Tool.
397:distortion
304:efficiency
183:distortion
171:rock music
152:equalizers
108:microphone
72:media help
832:Big Black
830:'s group
790:" at the
702:John Cage
686:Catchfire
674:fade-outs
667:Meshuggah
631:Stinkfist
619:Waterfall
611:Catchfire
571:Foxy Lady
515:Jeff Beck
491:the Monks
480:Brian May
428:Link Wray
338:resonance
140:PA system
120:frequency
116:amplified
1443:Feedback
1402:RaneNote
1212:28 April
1178:28 April
894:See also
805:—
720:(1964).
655:Juicebox
651:Reptilia
635:the Cure
549:Lou Reed
507:Feedback
501:and the
432:AllMusic
316:monitors
308:cardioid
274:Distance
237:clipping
230:and the
148:cardioid
96:feedback
1208:: 47–67
1173:kayn.nl
862:Devices
840:Nirvana
663:As I Am
645:" and "
633:", and
603:Nirvana
458:" and "
452:The Who
245:ringing
228:degrees
224:integer
160:hearing
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776:Heroes
639:Weezer
196:grunge
1198:(PDF)
764:Jambi
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412:blues
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1318:2017
1292:2017
1266:2017
1240:2017
1214:2024
1180:2024
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953:ISBN
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