Editing Audio feedback (section)

===Introductions, transitions, and fade-outs===
In addition to "I Feel Fine", feedback was used on the introduction to songs including [[Jimi Hendrix]]'s "[[Foxy Lady]]", the Beatles' "[[It's All Too Much]]", Hendrix's "[[Crosstown Traffic (song)|Crosstown Traffic]]", [[David Bowie]]'s "[[Little Wonder (David Bowie song)|Little Wonder]]", [[the Strokes]]'s "New York City Cops", [[Ben Folds Five]]'s "Fair", [[Midnight Juggernauts]]'s "Road to Recovery", [[Nirvana (band)|Nirvana]]'s "Radio Friendly Unit Shifter", [[the Jesus and Mary Chain]]'s "Tumbledown" and "[[Catchfire]]", [[the Stone Roses]]'s "[[Waterfall (The Stone Roses song)|Waterfall]]", [[Porno for Pyros]]'s "Tahitian Moon", [[Tool (band)|Tool]]'s "[[Stinkfist]]", and [[the Cure]]'s "Prayer For Rain".<ref name="Hodgson" />{{rp|121–122}} Examples of feedback combined with a quick volume swell used as a transition include [[Weezer]]'s "[[My Name Is Jonas]]" and "[[Say It Ain't So]]"; The Strokes' "[[Reptilia (song)|Reptilia]]", "New York City Cops", and "[[Juicebox (song)|Juicebox]]"; [[Dream Theater]]'s "[[Train of Thought (Dream Theater album)|As I Am]]"; as well as numerous tracks by [[Meshuggah]] and Tool.<ref name="Hodgson" />{{rp|122–123}}

Cacophonous feedback [[fade-out]]s ending a song are most often used to generate rather than relieve tension, often [[Crossfade (audio engineering)|cross-faded]] too after a thematic and musical release. Examples include [[Modwheelmood]]'s remix of Nine Inch Nail's "The Great Destroyer"; and the Jesus and Mary Chain's "Teenage Lust", "Tumbledown", "[[Catchfire]]", "Sundown", and "Frequency".<ref name="Hodgson" />{{rp|123}}