Electric Guitar Feedback – What You Need To Know [Small Amp, Big Amp, Love It!]

Main ideas / lessons conveyed (Electric Guitar Feedback)

• Feedback definition (what kind is discussed)

  • The video focuses on harmonic (musical) guitar feedback: a sustained vibration where the system feeds itself.
  • It’s compared to how a microphone howls when placed in front of a speaker.
  • It explicitly distinguishes this from “microphonic feedback,” which is a squeal caused by pickup resonance (e.g., loose coils, or not properly wax-potted).

• Core mechanism: feedback requires a secondary energy source

  • The note you play is the primary source of vibration.
  • For feedback to happen, you need secondary energy that re-injects energy into the string/system.
  • The amplifier/speaker provides this secondary source by producing sound pressure that excites the guitar and its resonant frequencies.
  • This creates a feedback loop:
    • amplifier → speaker output → string/guitar resonance → increased vibration
    • which then further sustains the amp/speaker output.

• Volume isn’t the whole story, but you generally need “enough” energy

  • At lower volume, the pickup/string may not receive sufficient secondary energy to sustain classic harmonic feedback.
  • Smaller amps can work, but you typically need tools like EQ and position, or specialized devices.

• Overdrive/distortion make feedback more controllable by increasing harmonics

  • Distortion adds harmonics above the fundamental, increasing harmonic content.
  • With more harmonics, the amp/speaker is more likely to excite resonant parts of the guitar/speaker system, helping feedback “lock in” musically.
  • Feedback tends to become easier when you have:
    • sustain / gain
    • sufficient energy transfer from the speaker
    • resonant frequencies emphasized

• Harmonic “order” / harmonic series matters

  • When you play a note, the guitar naturally produces a harmonic series (multiples/fractions of the fundamental).
  • Distortion helps “lift” those harmonics so feedback can reinforce them.
  • The pitch heard as feedback may not match the note you fretted, because feedback responds to the guitar/amp resonance being excited.

• Why hollow/semihollow guitars feedback more than solid bodies

  • Hollow bodies need less energy to vibrate because they’re not one rigid block.
  • The top/body resonates more easily, helping the system sustain feedback at practical volumes.
  • The video emphasizes physical shaking of the guitar and air movement when feedback occurs.

• EQ is used to target the “mid-range” resonant band

  • Feedback tends to occur strongly in the guitar’s mid-range frequency area.
  • The commonly referenced target region is roughly 400 Hz to 1 kHz.
  • Practical EQ guidance:
    • Mid boost → more harmonic feedback
    • Mid cut → less / reduces feedback
  • Example: a Tube Screamer mid emphasis around ~800 Hz can encourage feedback by aligning with resonant reinforcement zones.

• Extreme gain/EQ can make feedback uncontrollable (unwanted)

  • Pushing gain and EQ too far can cause:
    • harsh, piercing feedback
    • microphonic effects (especially if pickups/bridge pickup squeal in a high pitch)
    • feedback that can’t be used musically
  • The practical lesson: find the point where feedback is musical, not just maximum.

• Position on the guitar/room matters

  • Your stance changes which resonant frequencies are excited and how easily feedback starts.
  • The video demonstrates that moving into a “sweet spot” can trigger feedback.

• Key takeaway for musicians: guitar + speaker must resonate in sympathy

  • The headline concept is that feedback is an interaction between:
    • the guitar’s resonance (including body construction)
    • the speaker/amp’s output (secondary energy)
  • This resonance-based interaction is presented as a core part of what “good guitar tone” includes—not just pickups or gain.

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Method / “how to get (or reduce) feedback” presented in the video (instructional bullets)

A) To encourage harmonic guitar feedback (musical feedback)

• Use enough amplifier energy
  • Increase volume/gain until the amp/speaker provides sufficient secondary energy for string/guitar resonance.
• Add sustain / distortion (if needed)
  • Turn on overdrive/distortion to raise and emphasize harmonics beyond the fundamental.
  • Goal: make harmonics easier for the system to reinforce into stable feedback.
• Target EQ to the guitar feedback-prone mid-range
  • Boost/emphasize roughly ~400 Hz to ~1 kHz.
  • Example shown: Tube Screamer mid hump around ~800 Hz can help feedback emerge.
• Reduce mid frequencies if feedback is undesirable
  • Use mid cuts to suppress the resonant loop.
• Use the guitar type construction
  • Prefer semi-hollow/hollow guitars for easier feedback due to lower energy needed for body resonance.
• Adjust your physical position
  • Move around and find the spot where feedback starts reliably (stance changes what resonance you hit).
• For clean tone feedback
  • Even with less obvious distortion, still prioritize the fundamental interaction: amp output + guitar/speaker resonance.
  • Clean demonstrations used a small amount of boost and/or delay reverb to make the interaction easier to notice.

B) To stop or prevent uncontrollable feedback

• Lower gain/volume
  • Reduce secondary energy being fed back into the guitar.
• Use EQ mid-cut
  • Cut the mid range feeding the resonant loop.
• Change position
  • Step away from the feedback “sweet spot.”
• Reduce resonance of the guitar body (physical damping)
  • Suggested technique: stuff/block the f-holes or otherwise damp the body to inhibit vibration.
• Turn off distortion that lifts problematic harmonics
  • Too much clipping/distortion can push harmonic reinforcement into uncontrollable territory.

C) Getting feedback at low volume (without relying on loud amps)

• Use a specialized feedback device
  • The video demonstrates the Digitech Freak Fout (Freakout):
    • it can create feedback artificially
    • it lets users select:
      • the harmonic produced
      • the volume level at which it occurs
      • the onset behavior (kept controllable)
• Use a boost to trigger interaction
  • In the demo, a boost can also initiate harmonic resonance via the device.

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Speakers / sources featured (identified)

• Dan (speaker/host)
• Mick (speaker/host)
• Seymour Duncan (source quoted for the feedback definition)
• Johan Segebor (source credited for a harmonics chart used in the explanation)
• YouTube / “the pedal show” channel and hosts (implied by the show context; no separate individuals named beyond Dan and Mick)