>>the loop is, itself, the instrument.....<<
it'll work best, this non-acoustic feedback, if there are a few places in the closed circuit where group delay (the timing of certain frequencies w/ respect to others), amplitude, frequency response, delay &c can be interfered with. that said, I'd like to get one of those behringer feedback destroyers looking up it's own fundament for a laugh.
david, what did you do to y'r guitar to achieve this? or is it all external to the guitar?
I did something similar once- we had the desk-out going to a dat and, for want of somewhere to hear the dat machine back (it was only visiting the studio- I hate the things myself) I put it on another pair of channels on the same desk. naturally, trying to break something (I suppose- a bit of beavis and butthead in us all), I pushed the faders up while the thing was in record. due to some cabling snafu, the channels were reversed and so nothing was really apparent until I swept them both through the mid position on the pans. there was a funny whoop and something peculiar happened to the stereo image. I did it quite a few times before I got bored. pushing the faders up a bit more provoked the whoop without having to mono the returns, but the noise was preceded by more of the phasey weirdness. top notch, and while I hope never to see that particular splat machine again, I will be continuing to "break stuff" in the name of broadening the sonic palette.
hendrix was once greeted by a bbc engineer at maida vale who wanted to know where all the hiss/hum/squealing was coming from and how the band proposed to stop it "ruining" the recording. isn't acoustic feedback really just a form of looping- using the delay twixt amp and pickup to sustain a note?
duncan/r.m.i.
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