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On Mon, Apr 25, 2011 at 1:42 PM, Gareth Whittock <buddhamachine@live.co.uk> wrote: > I remember reading about Carlos Santana walking round stage during the > soundcheck and marking the stage with some gaffa tape where he could get > sustained feedback. > Don't know if this is apocryphal though. Probably authentic, cause this is the best way you can prepare for playing with acoustic feedback on stage. And in the studio... well, actually it works even better in the studio because acoustics won't change with an entering audience. The acoustic feedback hotspots you mark up in the room will stay the same during recording. Measuring feedback spots on stage and mark them out with tape on the floor is the safe and scientific method.If you forget to do this preparation at the sound check you can always try "Plan B", the more powerful but less reliable method successfully practiced by Hendrix and Townshend: seeking a close encounter with the speaker cones. This can turn out expensive though. The best guitars I have owned for acoustic feedback have all been old and built of rather light wood. Like the late fifties SG junior model (mahogany). If using a hollowbody guitar the feedback process evolves too fast (for my taste) for musical application. And if using a modern "long sustain" type of guitar you may have difficulties playing musically with the acoustic feedback because it evolves too slowly, or might not occur at all. That's quite funny; the guitars that are less good for "the never ending Santana tone" is marketed as "having more sustain". A typical hoax based on measuring guitar tone from materia and meeters rather than musicianship. Acoustic feedback is a very organic process. The Sustainiac C clamp on vibrator gadget is close to the real thing and I think you can learn playing acu feedback quite well from using it when practicing (a bit more neighbor friendly). Greetings from Sweden Per Boysen www.boysen.se www.perboysen.com www.looproom.com internet music hub