"FM9 Can't Do Natural Feedback Like an Amp"

I get amazing feedback standing next to a cranked FRFR or PA with my FM9, I don’t understand the modelers can’t do it scenario, maybe they’re playing at bedroom level?
 
I get feedback easier on my modelers as my wedge faces directly into my pickups, and I don't really play very loud... FM9, AX3 and Atomic AAF12.
 
Some months ago I created a workaround feedback function with a control switch, per-preset override, and an optical sustainer set up with a momentary modifier. It works great on boosted mid gain, or high gain amps.

Here's how it works:

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Note the Optical Sustainer Compressor. See that the sustain knob has a modifier attached to it.

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Note the Optical Sustainer Modifier screen. See that source is Control Switch 1, and that attack is 200ms and release is 800 ms.

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Note the FC Per-Prst screen. See that Per Preset #5 is selected as a control switch /momentary / CS1. Also see that scribble screen displays a custom label: FEEDBACK. Using a custom label allows the per preset value to transcribe the custom label value to FC-Edit.

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Note the FC-Edit screen. See that Per Preset override has been selected for PP#5.

Try this, folks, and see if it works or not. It took a little while trying to ensure the correct control switch was being utilized, some persuasion on my part, and that the workaround delivered as promised.

A key feature is that the CS1 switch be engaged and the guitar aimed back towards your FRFRs. IIRC, there will be folks who might suggest there are nodes of frequency harmonics (locations where 1st, 3rd, 5th, 7th and octave harmonics were concentrated into a narrow point on stage) where feedback is loudest.

Ritchie Blackmore was a master of feedback and would typically map out on stage where various harmonic feedback nodes would occur. I recall watching an old video of DP as Blackmore would slide across the stage gingerly with guitar held aloft with guitar volume dimed. If memory serves me, it was from Strange Kinda Woman.

In my case, my practice room is going to be unlike our open-mic stage, but it may be possible to exact peak feedback if one can determine a node close enough to your FM9's environment to be of value.

The CS1 switch can easily be tested by tap/holding the switch until full feedback engages. Holding the CS1 switch down once full feedback engages will allow sustain to continue until the switch is released. That attack and release can be adjusted to taste depending on how quickly you need the feedback to ramp up and decay.

If for some reason the FEEDBACK CS1 switch doesn't deliver, there may be a CS switch screen I've forgotten to include that positions the CS1 switch on switch 5. It's late now, but remind me tomorrow if the FEEDBACK CS1 switch doesn't work with the above instructions.
 
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A really low-Q filter in front of everything and set up with a momentary switch or a pedal controlling how much gain it adds in the filter band works quite nicely.

Feedback Assist Filter_20240709_234235.blk uses a momentary External 9 to ramp up the gain. The attack and decay on the switch action are set to 1440ms, which makes it swell in a fairly natural-sounding way, and bump the loop gain between amp speaker and guitar over 1.... :)
 
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I don't want to discount any of the detailed workarounds here but put simply, natural feedback is your guitar responding to volume from your speaker cab; a full-range powered cab or speaker cab/amp combination.
Ritchie Blackmore, Jeff Beck, Andy Scott, Jimi Hendrix, Martin Barre, Peter Frampton, these are dudes who could crank their amp on stage and had to work stopping the guitar from feeding back.
The answer is volume and drive. Have the right amount of crank and the right amount of volume on stage and your guitar will feedback (like my vid above). The Fractal gear can handle it unlike every other system I've used.
Like Palpatine said "DO IT"
 
squealie said:
The original Sustainiac was a compression driver glued to the headstock.

Amazon a 'speaker exciter' and sticky it to your peghead with a class D amp.

Let me know, because I ain't done it yet. :)
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I have tried this and it works like a charm. Pro recording engineers like Silvia Massey have been doing this for years.
 
squealie said:
The original Sustainiac was a compression driver glued to the headstock.

Amazon a 'speaker exciter' and sticky it to your peghead with a class D amp.

Let me know, because I ain't done it yet. :)
Click to expand...
I knew about the original Sustainiac, but I didn't know "speaker exciter" was a thing now.

Have you found any specific ones that are a good size for this application? Any right-sized amps?
 
DigiTech's FreQout is a great pedal for this. But it adds more latency (another 5-7ms whether it's bypassed or not). So you pretty much have to run it inside a send/return loop... which of course adds even moooore latency.

But now I want to try the compression driver.
 
GMGM said:
DigiTech's FreQout is a great pedal for this. But it adds more latency (another 5-7ms whether it's bypassed or not). So you pretty much have to run it inside a send/return loop... which of course adds even moooore latency.
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No added latency if loop is running side chain into a mixer block that injects a little all wet Freqout signal into mainline. Info / sample here.
 
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Yeah, that’s what most of us do, i think. I just wish there wasn’ta latency tax for every little thing we do 😉
 
If I turn up the gain on presets using my RS Elis 8's and the guitar is close to the speakers I will get noisy feedback. Happens in my Metallica preset.
 
Yesterday I played Lynyrd Skynyrd "Call me The Breeze" incl. Manual Thru-Zero Flanger in front of Freqout (In/Out) and AXEIII Plexi, what a fun. Feedback on low volume is no issue anymore!
 
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