Feedback

Visceral guitar feedback, hums, and buzzes recorded from multiple perspectives.

52 files · 790.49 MB · Metadata

$27$39

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Featured sounds

Electric Guitar, Chord Strum, Sustain to Feedback, Medium Distant, Whistle, Squeal, Wail, Whine, Distorted Buzz, Amplifier Hum, Crackle

Musical · Instrument

Electric Guitar Feedback, Long Burst, Delay Effect, Distant, Haunting Wail, Whine, Doubled Tone, Slow Pitch Change, Tonal Breakup, Distorted Buzz, Amplifier Hum, Crackle

Musical · Instrument

Electric Guitar Feedback, Short Bursts, CU, Whistle, Squeal, Wail, Whine, Distorted Buzz, Amplifier Hum, Crackle, Some Handling, Many Versions

Musical · Instrument

Electric Guitar Feedback, Various Bursts, Some Short, Medium Distant, Whistle, Squeal, Wail, Whine, Vibrato, Modulation, Distorted Buzz, Amplifier Hum, Crackle

Musical · Instrument

Electric Guitar, Handling Clunks, Distant, Buzzy Click, Switch Crackle, Pop, Some Feedback, Amplifier Hum, Signal Break, Many Versions

Musical · Instrument

Overview

Audio feedback is a tricky sound to get right, but multiple Oscar®-winner Richard King (Oppenheimer, Inception) went to great lengths to create this go-to library of electro-acoustic screams, growls, squeals, and more. Whether you’re looking for authentic, worldized guitar feedback for concert scenes, close-up material for sound design, or miscellaneous microphone handling noises, Feedback has the sounds you need – including multiple stereo perspectives.

The complex interplay between the amplifier, speaker, strings, pickups, and even the room itself results in a chaotic interaction that never sounds the same twice, making it notoriously hard to control and even trickier to record usable results. Rising to the challenge, King set up the ideal conditions for intense yet controllable feedback and recorded every take in stereo from multiple perspectives - accompanied by expert recordist Eric Potter performing the guitar.

The close perspectives capture maximum power and detail without being fatiguing to listen to, while the medium perspectives provide a bit more space for a more realistic “in-the-room” sound, and the distant perspectives offer a more reverberant sound with excellent spatialization. In addition to short and long bursts of feedback, you’ll get a variety of bumps, hits, handling noise, and other assorted elements useful for everything from cutting microphone sounds to designing hard-hitting impacts. You can even load Feedback’s sounds into a granular synthesizer to create your own instruments and sound design patches.