DigiTech: FreqOut Natural Feedback Creator Pedal

Fun trivia: The Audio Engineering Society’s (AES) Pro Audio Reference Guide provides three definitions of the word feedback, one being “the longest word in the English language that uses all the letters 'A' through 'F.'” On a more practical point, the AES Guide also defines feedback as “the phenomenon where the sound from a loudspeaker is picked up… and re-amplified out the same loudspeaker... forming an acoustic loop. Each time the signal becomes larger until the system runs away and rings or feeds back on itself. These buildups occur at particular frequencies called feedback frequencies.”

We’ve all experienced the unwanted and sometimes painful feedback that can emerge from a guitar amplifier or PA system. On the other hand, there are instances where guitar players intentionally create feedback to use as a pleasing musical element. This usually requires a loud amplifier. To solve the problem of achieving feedback at low volume levels, DigiTech has developed the FreqOut Natural Feedback Creator pedal. By simply adding the FreqOut to the very beginning of one's signal chain, the user can create feedback with or without an amplifier. Essentially, the FreqOut allows guitar players to create feedback in any situation, and it opens the door for using feedback in new and interesting ways. In some studio scenarios guitars are recorded with the performer in the control room and the amp in the live room. This pedal is really helpful in those situations and would be an excellent addition to any studio’s stompbox locker or guitar player’s pedalboard.

The FreqOut features seven feedback types to choose via the Type knob. The settings are based on a specific feedback harmonic relative to the note being played; choose from 1st, 2nd, 3rd, 5th, Sub, or Nat Hi or Low. Clarification on "feedback harmonic:" The FreqOut owner’s manual explains that the “harmonic is defined as a multiple of your note’s frequency. For example, the 5th harmonic is 5x your note’s frequency (which is actually 2 octaves above a major third interval of the original note).” The Sub setting produces a harmonic frequency an octave below the note being played. When engaging Sub, I suggest users try experimenting with different positions on the neck of the guitar. Playing an open low E string produces a very low frequency that may not be audible but can easily be heard by playing that same note at a higher octave elsewhere on the neck. I really liked the Sub setting for creating drone-like sounds.

Nat Low and Nat Hi settings produce feedback in wider harmonic ranges. When I first started using the FreqOut, I stayed with the Nat Hi frequency setting for quite a while. The manual says this setting will “act more like natural feedback.” The Range knobs control the Onset and Gain features. Users can set how fast the feedback engages via the Onset knob, and Gain will adjust the level of the feedback and sustain. The Off position on the Dry switch soloes the feedback. Adjusting the Onset and Gain in Dry mode determines the length and strength of the feedback crescendo. To achieve an EBow-ish sound, the Dry switch is set to the Off position while boosting the Onset and Gain. The FreqOut works well for creating swells, too. Simply play the desired note or chord with the Dry switch in the Off position and the Onset turned down. Swell sounds can be achieved without having to muck with guitar or volume pedal levels. The setting I used the most after first purchasing the FreqOut a couple of years ago was the following: Momentary set to On, Dry set to On, Gain at about 11 o’clock, Onset around 1 o’clock, and Type set to Nat Hi. I documented this setting after some deep experimentation with the FreqOut. I encourage users to do the same so discovered sounds can be easily recalled.

The pedal also features a footswitch that can be set to latching or non-latching. LED lights provide a useful visual that indicates how fast the feedback builds. The FreqOut has no battery option, so a 9V power supply (sold separately) is required for operation. It is important to note that the FreqOut must be the first pedal in the signal chain after the guitar.

The FreqOut manual is quite useful and also provides tips. For instance, there's an explanation of how “to steer the feedback to what you want when using the Natural Feedback types.” I appreciate that the engineers at DigiTech were thinking musically when creating the FreqOut. For example, the manual explains how the Nat Low setting helps to avoid “feedback that sounds major" on minor chords.” It’s only six pages, but the information is useful, so I recommend reading it to get the most out of this pedal.