For Plugged-in Cellists, It's All About Controlling Feedback
Use your amplification gear to squelch wolf tones
It was in high school that I first put a microphone on my cello, and the only sound I managed to produce was howling feedback. It took years of trial and error before I got a consistently warm amplified tone that was free of feedback. Now I make my living playing amplified cello in countless bars, clubs, halls, and outdoor festivals.
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This article, "For Plugged-in Cellists, It's All About Controlling Feedback," is part of the Strings Archive, which you can access with a paid site subscription.
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