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deepwater
New member
The Audix mics are great feedback rejects far better than the Shure. You need to Eq the trouble freg with a EQ as stated above or get a Feedback distroyer. Behringer makes one that works well for around 100.00
EddieRay
#?
The only way our band got rid of feedback problems was by eliminating the feedback eliminator. That thing caused more feedback problems than it solved. Sorry, I don't recall the make. Try to EQ it out first, a better mic second (super-cardioid), feedback eliminator as a very last resort.
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boingoman
New member
I like parametrics for the room and graphics for the monitors. The frequencies get too far apart on a graphic in the high end for me. Of course I never noticed it until I could tell the difference and worked with someone who used that approach. I used graphics at FOH for years as parametrics were too expensive. I still use good graphics on monitors, cause like treeline said they are really easy to use in those "panic" situations, and if you have an inexperienced guy helping on monitors it's so easy to say "pull a little 4k out please" without explaning how a parametric works. I like light's idea of marking the problem frequencies. Gonna have to try that.
Light
New member
I should also admit here, that when I am doing small corporate gigs, where there is just one or two mics, that I have been known to use a little Behringer Shark (the DSP-110) for its feedback eliminator. I don't use it for music gigs or for any bigger gigs, but for those little corporate gigs, they rock. Particularly when you are tying into a house sound system with speakers in the ceiling and the “talent” are using wireless lav's.
Light
"Cowards can never be moral."
M.K. Gandhi
Light
"Cowards can never be moral."
M.K. Gandhi
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boingoman
New member
Wow, those things actually work, huh? I've always wondered. "Talent". Hee hee. I love it when you are fighting for any gain at all and they all of a sudden hold their lapel up to their mouth and shout "Is this thing on?" . Corporate gigs. Good money, but *shudder*. I've been contemplating a dbx or bss driverack lately. The dbx driverack PA got horrible reviews. The guy said it sounded like strapping a cheap graphic on his system- killed the sound. But the same guy said he loves the higher end ones.
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darnold
New member
I think the main thing you need to make sure you can do is roll off lows. Its very difficult to get feedback when you roll off lows at 200Hz. Maybe not recommended but if you dont have time to fine tune thats always a good place to start. I also find that a hi cut at around 16KHz keeps the sound tight and easier for listening. Ive always felt for monitoring, its just more important for the person to here their pitch and hear the rythm. I guess tone helps too.
But with my EQ like that, i rarely have feedback problems and its still low enough that its not too cold of a sound.
Danny
But with my EQ like that, i rarely have feedback problems and its still low enough that its not too cold of a sound.
Danny
Light
New member
boingoman said:
I have not used the lower end Drive Rack, but the high end units rock. I am very fond of them, though the parametrics suck for doing monitors, as it takes too much time to get to each page. Though it has the ability to do a six band plus filters parametric, each band has its own page. It takes too much time to call up the one you need. Too bad, though, as the unit is killer otherwise.
Light
"Cowards can never be moral."
M.K. Gandhi
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boingoman
New member
Thanks for the info on the driverack, Light. I just also read the post about phasing and polarity. Very nicely worded.
