Anaheim, CA (January 19, 2017) -- Harman Professional Solutions today announced the DigiTech FreqOut guitar and bass pedal, a unique stompbox that gives players the ability to create full, natural feedback even in situations where volume must be controlled. FreqOut uses advanced pitch-detection technology to automatically identify the harmonic content of single notes and chords, then enables those certain frequencies to feed back in a musical way. Players can customize their feedback tones by setting the feedback harmonic, onset speed and level.
“Roaring feedback from an amp can add intensity and musicality to a live performance when used correctly,” said Tom Cram, Marketing Manager, DigiTech, Harman Professional Solutions. “FreqOut gives guitarists and bassists a way to create and utilize feedback in an incredibly musical way. Whether creating atmospheric washes of sound or adding infinite sustain to scorching lead sections, FreqOut lets players transform the raw intensity of feedback into a musical secret weapon.”
FreqOut’s controls include the momentary switch, which sets the operation of the footswitch. When set to on, feedback will only be enabled as long as the footswitch is held down. When set to off, feedback will toggle between enabled and bypassed modes each time the footswitch is pressed. The type knob lets players select which of seven harmonic types they want to feedback (1st, 2nd, 3rd, 5th, nat low, nat hi, and sub). A row of feedback LEDs light from the center out to show when the feedback signal is increasing. The dry switch turns the dry (unaffected) guitar signal on or off when the effect is enabled, while the gain knob controls the amount of feedback signal that gets mixed with the dry signal. And the onset knob controls the time it takes for the feedback to begin after a note is played.
FreqOut also features a 1/4” instrument input/output and 9V DC power supply for seamless integration with pedalboards of any size. Rugged metal construction ensures that the pedal will stand up to the most rigorous live performances. True-bypass electronics keep the signal path pure while the pedal is disengaged.
The FreqOut effect pedal will be available in March 2017 at $224.94 MSRP ($179.95 MAP).
For more information:
HARMAN Professional Solutions
Oklahoma City sludge rockers Chat Pile have had a busy few years. Their 2022 LP, God’s Country, broke them internationally, and their critically acclaimed 2024 follow-up, Cool World, solidified them as one of the most exciting heavy bands of the moment. We spoke with bassist Stin and guitarist Luther Manhole about the record for our November 2024 issue.
Now, we bring you the band’s first official Rig Rundown, filmed ahead of their show at The End in Nashville last fall. Tune in to see how Stin and Luther conjure the band’s brutal soundstorms on the road.
Brought to you by D’Addario.
Bari Blast
Manhole’s main machine is this baritone 6-string, an Ernie Ball Music Man BFR Axis Super Sport, finished in “starry night.” Luther took a tip from tourmate and Agriculture guitarist Richard Chowenhill and slapped some tape over his neck pickup near the first string to prevent it from catching on the edge of the humbucker. It’s tuned to drop A, with Ernie Ball Mammoth Slinky strings.
Quite the Quilter
Back at home, Luther and Stin lean on big vintage amps, but on the road, Luther brings out this Quilter Tone Block 202, which is plugged into an Ampeg VT-40 combo amp that’s been gutted to run just as a 4x10 cabinet. Luther digs the icier, cutting tone from the 10″ speakers.
Luther Manhole's Board
Manhole’s board is minimalist: All he needs is a TC Electronic PolyTune, a Suhr Riot for dirt, an Electro-Harmonix Memory Boy (which is set for a wobbly chorus effect), and a TC Electronic Hall of Fame for reverb—pedals he’s used for over a decade. An Acoustic PBIS08 supplies the quartet with power.
Peavey Power
Around 2007, Stin went on a hunt around Oklahoma music shops for a Peavey T-40. He finally found one—in a total “Wayne’s World moment”—that belonged to a country singer who had passed away. Since the band’s formation, this “hot and clangy” white T-40 has been Stin’s tool for crafting Chat Pile’s elephantine, bottom-heavy sound. He uses the 5-string Ernie Ball Slinky Cobalts (.060–.125), omitting the .040 string, and plucks with orange Ernie Ball Everlast .73 mm picks for strong, percussive attack.
Building Blocks
Stin’s signal runs to this Quilter Bass Block 802, which blasts through a Trace Elliot 4x10 redline cab with horns—the cab that’s been used on every Chat Pile recording to date.
Stin's Board
Stin probably thinks Manhole’s board is excessive. He packs just his Boss TU-3 and a Tronographic Rusty Box, each with their own individual power supply plugged into a power bar that’s fixed to the board.
