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Mascis's use of feedback, distortion and a controlled sense of being out of control caught the attention of others in the alt-music scene.
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Noise, an underground music made through an amalgam of feedback, distortion, and electronic effects, first emerged in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe and North America.
The Woodstock headliner and Rock and Roll Hall of Famer performed in a number of bands, including the Jimi Hendrix Experience, and pioneered the use of feedback and distortion.
Guitar distortion is often accomplished through use of feedback, overdrive, fuzz, and distortion pedals.
Hendrix's performance featured a rendition of the US national anthem, "The Star-Spangled Banner", during which he used copious amounts of amplifier feedback, distortion, and sustain to replicate the sounds made by rockets and bombs.
"I am still grateful to be included". Chicago musician Guy, 76, has influenced many musicians over the past 50 years after pioneering the use of distortion and feedback with his electric guitar.
Grunge fused elements of hardcore punk and heavy metal into a single sound, and made heavy use of guitar distortion, fuzz and feedback.
Using the videos as a data source, she next applied feedback, distortion, and blur with some of the parameters driven by the BPM using the EMIT Quartz Composer library by Rybotron.
This was particularly obvious after the success of Nirvana's Nevermind (1991), which combined elements of hardcore punk and heavy metal into a dirty sound that made use of heavy guitar distortion, fuzz and feedback, along with darker lyrical themes, a stripped-down aesthetic and a complete rejection of the glam metal visual style and performance.
This was particularly evident after the success of Nirvana's Nevermind (1991), which combined elements of hardcore punk and heavy metal into a "dirty" sound that made use of heavy guitar distortion, fuzz and feedback, along with darker lyrical themes than their "hair band" predecessors.
Feedback, distortion, avalanches of percussion and stray sound effects might appear in a song at any moment; the reassurance of familiar sounds and structures was joyfully undermined.
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