Right, we've got a nice wee female singer who sings wonderfully but not very loudly.
Feedback restricts the volume of the vocals, so can anyone recommend a good, cheap feedback destroyer/remover.
Behringer do a couple but has anyone used these things? Edited by: VelvetHaze John at: 1/21/02 2:59:13 pm
I've used them, but not the Behringer one. The other make (Iforget it) was a damn sight more expensive, but worked brilliantly...although was a bit awkward to "tune in" right...and you've gotta actually produce the feedback first...during the soundcheck. They're better than feedback, but can affect the sound.
Can she not sing louder?
Anna's singing is getting louder all the time but it always sounds better I think when there's no obvious strain to make it louder.
I've used the eq on the desk to cut out some of the feedback but after a certain volume (not enough) more occurs.
I might just buy the shark and spend a while figuring it out during a practice.
Are you talking about EQ on the auxiliary supplying the monitor, John?
I'd recommend that's the only place it's done, as changing the EQ on the main channels to avoid feedback won't help your sound.
Avoiding feedback's a merry dance, consisting of several movements.
1, Physical placement of speakers, monitors and microphones is a huge factor...perhaps the biggest.
2. Volume of the monitors
3. Correct EQ on vocals, without accentuating contributory frequencies.
4. Characteristics of the venue.
If ewe're really gonna spend several hundred quid on a "feedback eliminator" (which will affect the sound, and not be 100% reliable at curing the feeback),
ewe might also want to consider buying in-ear monitors instead?
Replacing on-stage wedge monitors with in-ear ones would eliminate acoustic feedback from the vocal mic, wouldn't affect the out-front sound, and would also let y'all hear eweselves brilliantly (which would be a great aid to performing).....
....I think Shure's in ear monitor system starts at about a £600 price tag?
Not cheap, but probably a better solution with more benefits.
Yes, but five sets might be out of the question, and that's what'd be required. It's a great idea, but for that price a feedback eliminator each'd also be a possibility..with enough for several nights on the piss left over.
The eliminators work really well when they're tuned in..I used them at the Rosetta umpteen times, at extremely high levels, and as anyone who was there qround then can tell you, if I got a single feedback squeal during a gig I took it as a personal affront.
Auch aye, in-ear monitors would definately be pricey -
although I think ewe pay once for the transmitter thing,
then ewe get several headset receivers on top more cheaply...
it's not like ewe'd have to pay 5 x £600!
Still probably out of their budget though...
Yes, but with a Destroyer he wouldn't even pay 1 X£600
And there's all those mixes and stuff.
Yes, I doubt we'll have to wait a while for the in-ear monitors.
The way i usually set up the PA is:
1. Place speakers well in front of mic.
2. Keep vocal monitor off.
3. Turn main vocal volume up until feedback cuts in.
4. Try to eq feedback out.
Once max vocal volume is set, i then switch on the vocal monitor and experiment with its placement to try and get the volume high enough without causing any more feedback.
If I followed this procedure before a gig would the feedback thingy not just find the frequencies of feedback and cut them out?
The shark is only about 60pounds and works on the one vocal channel.
it sounds more like your using a weak PA at full whack, rather than a big one at lower, which is always a better idea.
That's the way a Feeback exterminator works, John.
I'll be able to give yer PA a judgement on Tuesday week.