Editing Audio feedback (section)

===Early examples in popular music===
A deliberate use of acoustic feedback was pioneered by [[blues]] and [[rock and roll]] guitarists such as [[Willie Johnson (guitarist)|Willie Johnson]], [[Johnny Watson]] and [[Link Wray]]. According to [[AllMusic]]'s [[Richie Unterberger]], the very first use of feedback on a commercial rock record is the introduction of the song "[[I Feel Fine]]" by [[the Beatles]], recorded in 1964.<ref>[[Richie Unterberger]]. "[http://www.allmusic.com/song/i-feel-fine-t4282118 'I Feel Fine' song review]", ''AllMusic.com''.</ref> Jay Hodgson agrees that this feedback created by [[John Lennon]] leaning a semi-acoustic guitar against an amplifier was the first chart-topper to showcase feedback distortion.<ref name="Hodgson" />{{rp|120–121}} [[The Who]]'s 1965 hits "[[Anyway, Anyhow, Anywhere]]" and "[[My Generation]]" featured feedback manipulation by [[Pete Townshend]], with an extended solo in the former and the shaking of his guitar in front of the amplifier to create a throbbing noise in the latter. [[Canned Heat]]'s "[[Fried Hockey Boogie]]" also featured guitar feedback produced by [[Henry Vestine]] during his solo to create a highly amplified distorted boogie style of feedback. In 1963, the teenage [[Brian May]] and his father custom-built his signature guitar [[Red Special]], which was purposely designed to feed back.<ref>[https://www.theguardian.com/music/2010/aug/09/hey-sound-homemade-guitars Hey, what's that sound: Homemade guitars] ''The Guardian''. Retrieved August 17, 2011</ref><ref>[https://www.youtube.com/watch?v=cPD7_hQk7hk Brian May Interview] The Music Biz (1992). Retrieved August 17, 2011</ref>

Feedback was used extensively after 1965 by [[the Monks]],<ref>Shaw, Thomas Edward and Anita Klemke. ''Black Monk Time: A Book About the Monks''. Reno: Carson Street Publishing, 1995.</ref> [[Jefferson Airplane]], [[the Velvet Underground]] and the [[Grateful Dead]], who included in many of their live shows a segment named ''Feedback'', a several-minute long feedback-driven improvisation. Feedback has since become a striking characteristic of rock music, as [[electric guitar]] players such as [[Jeff Beck]], Pete Townshend, [[Dave Davies]], [[Steve Marriott]] and [[Jimi Hendrix]] deliberately induced feedback by holding their guitars close to the [[Guitar amplifier|amplifier's speaker]]. An example of feedback can be heard on Hendrix's performance of "Can You See Me?" at the [[Monterey Pop Festival]]. The entire guitar solo was created using amplifier feedback.<ref>{{cite web|url=https://www.youtube.com/watch?v=bS8NcNnwl9U |archive-url=https://web.archive.org/web/20130226112355/http://www.youtube.com/watch?v=bS8NcNnwl9U |archive-date=2013-02-26 |url-status=dead|title=can you see me by jimi hendrix |publisher=YouTube |access-date=2014-06-12}}</ref> Jazz guitarist [[Gábor Szabó]] was one of the earliest jazz musicians to use controlled feedback in his music, which is prominent on his live album ''[[The Sorcerer (album)|The Sorcerer]]'' (1967). Szabó's method included the use of a flat-top acoustic guitar with a magnetic pickup.<ref>{{cite web|url=http://www.dougpayne.com/equip2.htm|title=GABOR SZABO'S EQUIPMENT (GUITARS)|publisher=Doug Payne|access-date=2020-01-21}}</ref> [[Lou Reed]] created his album ''[[Metal Machine Music]]'' (1975) entirely from loops of feedback played at various speeds.