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Page 1 of 5. Im looking for advise on what feed back destroyer to go for. Quite offten my band has to mix our selfs and im thinking this could help. We have eqs for every out put and an allen and health mix wiz desk or sometimes a makie dl We also usually have 4 foldback outputs going as well as LR foh. Foh always a little infront of the vocal mics. Fold backs on the floor directly in front of the mic. By in front I mean in front of the back of the mics from the performance perspective.
I suppose the normal way?? I probably shoulg mention its not a huge problem for us some rooms are obviously alot better than others and I thought it might take care of any issues that might come up mid set. Sabine offered a device years ago called "Power Q" that had an "auto ring out" and proprietary feed back suppression. As I remember it was a 20 bit digital OS and also had parametric filters that could replace the graphic adjustments resulting from the "auto ring out".
The manufacturer of the mother circuit board ceased production consequently Sabine terminated it's flag-ship quick set up device. You may be able to pick up one on Ebay but unfortunately they are not available very often. My Studio. They do a decent job of quickly identifying and notching with very narrow filters There are several available on eBay.
Graphi-Q2 seems to have a computer interface, though I've never used one. Are you looking to insert a feedback destroyer on one input, such as the lead vocal mic, or to put it across the entire mix? If the problem is primarily one input then it may make more sense to address just that one input and thus not have any filtering the unit applies affecting the other sources.
Do you have any equalization in the current system? Not only might any EQ being applied affect feedback but if you have a parametric equalizer that might allow you to dial in a narrow filter at a specific frequency that would then allow you to do the same basic thing a feedback 'destroyer' does.
Before adding a feedback destroyer you might want to try to figure out what is causing the feedback and if you can address it in some other way, be that the microphone used or its aiming, the monitor locations and aiming relative to the mics, the mic location relative to walls and the ceiling or whatever.
Not only may you be able to avoid the feedback rather than trying to address it after it happens, but you might learn something along the way. Sabine still offers several FBX 'Feedback Exterminator' models and a number of system processors include some form of automatic feedback elimination.
I use the Sabine GraphiQ's, one channel for each mix. Use them as "automatic parametric EQ's. The GraphiQ will quickly set a few critical filters for you. You can then lock them down so you don't get the "program devouring" that is a consequence of "feedback destroyers".
Leave a couple of filters in dynamic mode to ride herd on any transients and you're good to go. The above is a simplified look at APEQ. There are further tweaks which can easily be done but to go through them now would just be TMI for one post. They all add noise, reduce system gain and jack with your tone.
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Klark Teknik DF Thomann Logo Sticker. Rate now. A little large but does what I want it to do. Obviously, one of the best ways to reduce feedback is to try and position the speakers and mics in an appropriate way, but I found that this isn't always possible. An example is when there is no room or urge for monitors and the lead singer turns a PA speaker inwards slightly so he can hear himself sing. With that in mind, I decided to give the FBQ a go in order to try and get a bit more volume.
I've used it about 5 times now and this has resulted in increased volume and reduced feedback. Perhaps coincidentally, the response from the audience has also improved over this period.
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