16 Facts About Audio feedback


The principles of audio feedback were first discovered by Danish scientist Søren Absalon Larsen, hence it is known as the Larsen effect.

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Since the 1960s, electric guitar players in rock music bands using loud guitar amplifiers, speaker cabinets and distortion effects have intentionally created guitar Audio feedback to create different sounds including long sustained tones that cannot be produced using standard playing techniques.

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The sound of guitar Audio feedback is considered to be a desirable musical effect in heavy metal music, hardcore punk and grunge.

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Conditions for Audio feedback follow the Barkhausen stability criterion, namely that, with sufficiently high gain, a stable oscillation can occur in a Audio feedback loop whose frequency is such that the phase delay is an integer multiple of 360 degrees and the gain at that frequency is equal to 1.

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Audio feedback reasoned that it could be stopped by inserting a very narrow notch filter at that frequency in the loudspeaker's signal chain.

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Audio feedback worked with Gifford White, founder of White Instruments to hand craft notch filters for specific feedback frequencies in specific rooms.

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Professional setups circumvent Audio feedback by placing the main speakers a far distance from the band or artist, and then having several smaller speakers known as monitors pointing back at each band member, but in the opposite direction to that in which the microphones are pointing.

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Deliberate use of acoustic Audio feedback was pioneered by blues and rock 'n' roll guitarists such as Willie Johnson, Johnny Watson and Link Wray.

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Jay Hodgson agrees that it was the first chart-topper to showcase Audio feedback distortion, created by John Lennon leaning a semi-acoustic guitar against an amplifier.

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Canned Heat's "Fried Hockey Boogie" featured guitar Audio feedback produced by Henry Vestine during his solo to create a highly amplified distorted boogie style of Audio feedback.

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Feedback has since become a striking characteristic of rock music, as electric guitar players such as Jeff Beck, Pete Townshend, Dave Davies, Steve Marriott and Jimi Hendrix deliberately induced Audio feedback by holding their guitars close to the amplifier's speaker.

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Cacophonous Audio feedback fade-outs ending a song are most often used to generate rather than relieve tension, often cross-faded too after a thematic and musical release.

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Audio feedback 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.

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Audio feedback 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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Audio feedback became a signature feature of many underground rock bands during the 1980s.

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The Audio feedback can be controlled by using the fader to determine a volume level.

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