TEST: Digitech Freqout

 It's not easy as a pedal manufacturer these days. On the one hand, the pool of ground effects is maxed out, and on the other hand, it makes little sense to release the two hundredth TS-9 clone, be it as a deluxe-made-in-the-one-and-one-at-a-full-moon-lace. only-deepest-heart-of-USA boutique pedal or as an even cheaper pressed cardboard version for €19.99.

I don't want to know how many engineers around the world are tearing their hair out in the hope of getting inspiration so that a really new, but above all useful, pedal might see the light of day. Apparently Digitech has one of these enlightened people somewhere in the development department who comes up with a real innovation, if not a sensation, every few years. Who doesn't remember the big bang with which the whammy pedal made the music scene sit up and take notice of its time. Not one electric guitarist in the world who asked themselves during the group's debut “Rage Against The Machine” how Tom Morello implemented the crazy solo on the song “Killing In The Name”.

And now the Digitech Frequout Pedal. And? What's so innovative about it? Wait!

History lesson

“Oh no,” I can already hear the first ones groaning, “not again the Axel department talking about the eighties / Grandpa talking about the war.” Sorry, we have to turn back the clock a little, otherwise at least the younger ones among our readers may suffer from the problem of late birth.

Anyone who wants to really rip open their new amp alone in the rehearsal room will know the effect. Feedback fills the room. But in addition to the annoying effect of microphonics (the disgusting high-pitched whistling, which also occurs very quickly with awkwardly positioned microphones), the ambitious guitarist also notices a very pleasant side effect when he turns his body accordingly and chooses the right volume and level of distortion.

Depending on the note played, the side turns into an overtone wave and delivers a theoretically infinite sustain. High-quality wood and the best workmanship of instruments in the higher price ranges are very conducive to this behavior, so that the effect described used to be a sign of a very good instrument. Prerequisite: at least crunch distortion, better high gain and above all, a very high volume. Must listen: Gary Moore - “Parisienne Walkways” from the album “Blues Alive” at 2:24!

We're back in 2017. Inear systems dominate live stages, making high stage volumes obsolete. 50% of all guitarists play Kemper amps or comparable systems and no longer have any sound pressure at all on stage. What makes the hearts of most FOHs beat faster also ensures that there is no longer any interaction between guitar and speaker using moving air. Types of play like the above-mentioned controlled feedback are therefore impossible.

construction

Or should I say, were impossible? This is exactly where the Digitech Freqout comes in. It generates 7 different feedback frequencies (1st, 2nd, 3rd, 5th, Nat Low, Nat High and Sub) into which a vibrating string can tip. The double potentiometer Gain / Onset controls the intensity of the effect and the time period from which the effect should begin. When the effect is switched on, 2 mini switches also allow the activation of continuous operation or “momentary” operation and the mix of the original sound and effect or the effect can be listened to solo. Normally you will mix the two sounds, but in solo mode you can really hear how the effect works and when it starts.

Last but not least, a 9-way LED chain on the left side also visually shows how the effect works. The pedal, built in China, is very solid and should have a long life ahead of it. Unfortunately, the pots and mini switches have no protection against carelessly used footwear, so a little caution is required on stage.

Practice

It's always nice when a product triggers an AHA effect. This is the case with the Digitech Freqout. When activated for the first time, the product does what it is supposed to do, but everyone has to find their own personal setting in the areas of gain and onset. If you want the effect to sound natural, experience from the rehearsal room or on stage can help. The effect shouldn't start too quickly, as the string needs a moment to build up the interaction. But too late doesn't make sense either, as natural feedback rarely only occurs after 3 seconds or later.

In terms of sound, the original sound is slightly changed when activated, but like the Whammy, it is within acceptable limits. Attention, the Digitech Freqout does not replace volume on stage! It is completely unsuitable for rhythm and chord playing; its intended use is solo playing, where only a single note is played. But he can do it like no other.


Conclusion

With the Digitech Freqout, the pedal manufacturer from Utah has once again achieved a very innovative feat. The previously unique effect generates the feedback effect even at the lowest volumes, which previously could only be achieved with the use of high volumes. A brilliant effect for small club gigs that revive the feel of a hall concert, but also another piece of the puzzle of the disenchantment of time-honored rock'n'roll.
 
For the innovation alone: top marks

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Additional Informations:

Feedback, that characteristic howl or wail produced when the sound from an electric guitar's amplifier is picked up by its own pickups and re-amplified, is an integral aspect of electric guitar playing. While often perceived as an unwanted nuisance, feedback can be harnessed as a powerful tool for artistic expression and sonic experimentation. In this comprehensive guide, we will explore the nuances of feedback, its underlying principles, and techniques for harnessing its potential to elevate your electric guitar performance.

I. Understanding Feedback:
Feedback occurs when the sound produced by an electric guitar's amplifier is captured by the guitar's pickups and re-amplified, creating a loop of sound that sustains and grows in volume. This phenomenon is primarily influenced by the interaction between the guitar, amplifier, and environment, including factors such as volume, proximity to the amplifier, room acoustics, and guitar setup.

II. The Physics of Feedback:
At its core, feedback is governed by the principles of acoustics and signal processing. When sound waves emitted by the amplifier reach the guitar's pickups, they induce a voltage in the pickup coils, which is then amplified and sent back through the amplifier. This continuous loop of sound reinforcement leads to the sustained oscillation characteristic of feedback.

III. Types of Feedback:
Feedback can manifest in various forms, each with its own sonic characteristics and implications for performance. Common types of feedback include harmonic feedback, in which specific frequencies are accentuated, and chaotic feedback, characterized by unpredictable and uncontrollable oscillations. Understanding these distinctions is essential for harnessing feedback creatively.

IV. Harnessing Feedback Creatively:
While feedback is often viewed as a nuisance to be avoided, skilled guitarists have learned to embrace it as a creative tool. By manipulating factors such as guitar position, amplifier settings, and proximity to the amplifier, guitarists can control and shape the feedback to create unique textures, drones, and harmonic overtones. Experimentation is key to unlocking the full potential of feedback as a creative resource.

V. Feedback Techniques:
Numerous techniques can be employed to manipulate feedback and incorporate it into your playing. These include:
1. Controlled Feedback: Deliberately inducing feedback at specific moments to enhance dynamics and add intensity to your performance.
2. Feedback Loops: Creating complex feedback loops by routing the guitar signal through effects pedals or signal processors to generate evolving and unpredictable sonic textures.
3. Feedback Melodies: Using feedback to generate melodic lines and harmonic sequences by carefully controlling the guitar's position and proximity to the amplifier.
4. Feedback Swells: Gradually increasing the volume and intensity of feedback to create dramatic swells and crescendos in your playing.

VI. Practical Considerations:
While harnessing feedback can yield exhilarating results, it's essential to approach it with caution and mindfulness. Excessive feedback can overpower other instruments and disrupt the balance of a mix, so it's crucial to exercise restraint and use feedback judiciously. Additionally, be mindful of your ears and equipment, as prolonged exposure to high volumes of feedback can cause hearing damage and potentially harm your gear.

VII. Incorporating Feedback into Performance:
Integrating feedback into your live performances requires careful planning and rehearsal to ensure optimal results. Experiment with different setups, techniques, and amplification systems to find the approach that best suits your artistic vision and musical style. Remember that feedback is just one tool in your sonic arsenal, and its effective use requires creativity, skill, and experimentation.

VIII. Pushing the Boundaries:
As with any aspect of music, pushing the boundaries of feedback experimentation can lead to new and exciting sonic territories. Don't be afraid to think outside the box and explore unconventional techniques and approaches to feedback utilization. Embrace the unexpected and allow yourself to be guided by the serendipitous discoveries that arise from fearless experimentation.

IX. Historical Significance:
The utilization of feedback in electric guitar playing has a rich historical significance, dating back to the earliest days of amplified music. Pioneering guitarists like Jimi Hendrix, Pete Townshend, and Jeff Beck were among the first to explore the sonic possibilities of feedback, incorporating it into their groundbreaking performances and recordings. Their innovative use of feedback paved the way for generations of guitarists to come, inspiring countless musicians to experiment with this unique sonic phenomenon.

X. Cultural Impact:
Beyond its technical and artistic significance, feedback holds a profound cultural impact within the realm of music. Its raw, visceral sound has become synonymous with the rebellious spirit of rock 'n' roll, symbolizing the untamed energy and creative freedom of the electric guitar. From the blistering solos of heavy metal to the avant-garde experimentation of experimental music, feedback remains a potent symbol of artistic expression and defiance against convention.

XI. Feedback in Recording:
In the studio environment, feedback can be manipulated and sculpted with even greater precision, thanks to the availability of advanced recording techniques and signal processing tools. Engineers and producers often employ feedback as a creative effect, using it to add depth, texture, and atmosphere to recordings. Techniques such as microphone placement, amplifier isolation, and signal routing enable precise control over feedback, allowing artists to achieve the desired sonic result with precision and finesse.

XII. Feedback in Live Performance:
Live performance presents a unique set of challenges and opportunities for utilizing feedback effectively. In a concert setting, factors such as venue acoustics, stage layout, and audience interaction can all influence the behavior of feedback, requiring performers to adapt and improvise in real-time. Skilled guitarists develop an intuitive understanding of their instrument and amplification system, allowing them to harness feedback spontaneously and incorporate it seamlessly into their performances.

XIII. Feedback as a Collaborative Tool:
Feedback is not limited to solo guitar performances but can also serve as a collaborative tool for musical exploration and improvisation. Bands and ensembles often use feedback as a means of collective expression, building upon each other's ideas to create immersive sonic landscapes and dynamic interactions. By listening and responding to the nuances of feedback, musicians can engage in a dialogue of sound that transcends individual performance and fosters a deeper sense of connection and cohesion within the ensemble.

XIV. The Future of Feedback:
As technology continues to evolve, so too will the possibilities for utilizing feedback in electric guitar performance. Advancements in amplifier design, signal processing, and digital modeling offer new avenues for exploring the sonic potential of feedback, pushing the boundaries of what is possible in terms of tone, texture, and expression. Additionally, emerging technologies such as virtual reality and augmented reality present exciting opportunities for immersive feedback experiences, allowing performers to interact with feedback in entirely new ways.

XV. Conclusion:
In conclusion, feedback is not merely a byproduct of amplified sound but a dynamic and versatile tool for artistic expression and sonic exploration. Whether used subtly to add depth and dimension to a recording or unleashed in a torrent of raw energy during a live performance, feedback has the power to captivate audiences and inspire musicians to push the boundaries of their creativity. Embrace feedback as a source of inspiration and discovery, and let its unpredictable beauty guide you on a journey of sonic exploration and musical discovery.