To some it is the eardrum-shredding conclusion of the demise of real music that began with Bob Dylan’s 1966 “Judas” moment when he put down his acoustic guitar. For others it is a musical tool that in the hands of someone like Jimi Hendrix created some of the most intense musical experiences of the 20th century.

But now labour-saving software for sound engineers promises to make feedback a thing of the past.

Researchers have created a device that turns down the volume to prevent feedback before it happens, meaning Mogwai’s gigs would finish 20 minutes earlier, while the Jesus and Mary Chain are transformed into the sort of music parents might tap a toe to.

Successful accoustics

“I have some doubts that a pop concert without any acoustic feedback at all would be regarded by the audience, the promoters or even the musicians as entirely successful,” said a spokesperson for the Audio Engineering Society, an international professional association.

Cleaning up music is not the idea, said Dr Joshua Reiss at the Centre for Digital Music at Queen Mary, University of London. “It can always be turned off,” he said.

“The control is left up to the mixing engineer and the goal of the mixing engineer is to produce the best sound that replicates what the musician wants.”

He says the software on the market now tends to distort the sound mix by turning down frequencies that look like they are about to cause feedback.

Inaccurate notes

Professional sound engineer Andy Squibb, who has worked recently with Björk and Shayne Ward, said, “(Software) is a bit dangerous...the problem is they are not always that accurate. They can sometimes start going mad and taking out lots of frequencies.”

Reiss told New Scientist magazine that his software works differently.

During the sound check, the engineer identifies levels of various frequencies that will trigger feedback. During the gig if these frequencies approach their maximum levels, then the software tweaks the master volume so that feedback never happens.

But Squibb is sceptical.  “That’s wonderful until the pub starts filling up. Because sweaty bodies absorb certain frequencies and not others; the software will not be able to react.”

“It has its uses, but they are fairly limited...in terms of trying to achieve professional results, it is certainly not a professional tool.”

Sound effects

Robert Ashley: The Wolfman, 1964:
Ashley was a multimedia composer. and a pioneer of the effect
The Who: Anyway, Anyhow, Anywhere, 1965:
This was not as drenched in distortion as some of the later tracks listed.
But Pete Townshend’s guitar solo helped pave the way for future musicians
Velvet Underground: I Heard Her Call My Name, 1968:
The discordant guitar overload of this track reflected a new intensity to the Velvet Underground’s sound, which continues to influence bands today
Jesus and Mary Chain: Never Understand, 1985:
Well, the sound effect happened more by accident than by design.
The band did not intend to play drenched in feedback but at their first London gig, they were too incompetent to stop it — the Jesus and Mary Chain, left, and brought feedback to a new generation of music fans.

SOUND CHECK

New software aims to take the buzz ad screech out of live music.
*Audio engineers doubt the value of latest device.
*Some fans and musicians regard sound as part of act.