Mic Feedback
- Thread starter MADNESS
- Start date
Hmm... you can ask 10 DJs to recommend a wireless mic rig and you'll likely get 10 different answers, lol.
To be honest, I'd respectfully suggest contacting Ben at NLFX for the best advice on your current situation. Ben is very knowlegable about sound systems and can offer advice on mics that will work well for you.
I dunno if NFLX offers a payment plan or layaway type of payment but it never hurts to ask.
Easiest way to do it is through the feedback wizard. You can choose for it to find and block out frequecies in a "fixed" scenario or assign it to "Live"
F or L. up to 12. In live mode, you can have the filter lift after a given time.
I do about half F and half of them L.
This gets rid of 6 problem frequencies I already have in my system, and allows me to block out the other 6 from venue to venue.
Then turn up the volume until you get feedback ringing. The system will algorithmically detect and kill the ring in a nanosecond and block out the "fixed" ones first for good. Stop there.
Any more than that, and you'll lose quality of sound in my opinion.
Consult the manual. It may explain better than I have.
Check with Ben hes our trusted Sponsor. If he cant help you then trust any of our worthy members. Forum sponsors help this site remain what it is. Give them a fair shot and then use our members input.
Damn! All this talk about feedback wizards and such, it sounds more like heaven then a Driverack. Wait, could they both be one?
Sometimes I feel so unnecessary around here.
Yeah, Wolfie does it the hard way. Individual processing components, rack mounted and patched via balanced line. Shure 58 element with UHF diversity receiver.
Yeah, we tri-amp when needed. Three Carvin DCM amps that can dissipate 6kw rms. Yeah, we have the system tweaked right. No mic feedback.
There ain't no puter nor gadgets telling us how to run FOH. We dont need that. We've come a long way from the RS stuff of the old days. Touring grade processing makes a world of difference. We can run full power tri-amped with no mic ring. It's not marketed to DJ companies because DJ companies are notoriously tight with a dollar.
Then, when I look at Val's FOH rig I'm in GAS heaven.
Yeah, Wolfie does it the hard way. Individual processing components, rack mounted and patched via balanced line. Shure 58 element with UHF diversity receiver.
Yeah, we tri-amp when needed. Three Carvin DCM amps that can dissipate 6kw rms. Yeah, we have the system tweaked right. No mic feedback.
There ain't no puter nor gadgets telling us how to run FOH. We dont need that. We've come a long way from the RS stuff of the old days. Touring grade processing makes a world of difference. We can run full power tri-amped with no mic ring. It's not marketed to DJ companies because DJ companies are notoriously tight with a dollar.
Then, when I look at Val's FOH rig I'm in GAS heaven.
Damn! All this talk about feedback wizards and such, it sounds more like heaven then a Driverack. Wait, could they both be one?
Yup. In one rack space.
Keep in mind, not for the individual channels, but for the whole system.
Compression
Limiting
Feedback
Graphic EQ
Parametric EQ
RTA input, Pink noise
Crossover
2 in, 6 out
24 Program Presets
24 User
It goes on....
Before you spend time and money trying to eliminate the feedback you need to be using a decent microphone. If you're using a microphone that costs 1-3 hundred dollars, you will get crappy sound and feedback. You'll be amazed at the improvement if you invest in a decent wireless mic, which is going to run 3-5 hundred. Go get a nice Senheiser or Shure or whatever other good brands the good people on this board will recommend. You will be amazed at the difference.
You also might want to turn down the bass (powered subwoofer) but I'm betting again that this won't be as much of an issue if you upgrade to a good microphone.
I would hate to see you waste time and money on fixing a problem that is first and foremost caused by cheap wireless mics...
You also might want to turn down the bass (powered subwoofer) but I'm betting again that this won't be as much of an issue if you upgrade to a good microphone.
I would hate to see you waste time and money on fixing a problem that is first and foremost caused by cheap wireless mics...
I agree, I am going to invest in a better mic. I will keep my Gemini as a back and for events I am worried about a good mic being out there (Junior high, etc) But I need a better mic, for quality of sound and feedback. I want a Shure or Seinheiser.
I just bought a Shure for $399 at Guitar Center. It was a lot of money to spend but MAAAAAN it's tight. So lightweight and easy to use and the sound is amazing.
How would the Sennheiser Freeport 35 wireless compare? I need a wireless by the end of December, and this was reciently marked down from $299 to $199. I realize it falls into that low priced microphone range, but because Sennheiser is known for decient wireless products, you think this will be alright?
Well, I'd suggest trying it out before buying. Put it through the paces... make sure it will work clearly when you walk far away from the receiver. This is important.
Folks, just a thought on the two brands mentioned: The Senns are indeed a good brand and tend to be uncoloring. That is, they don't color your vocals. What goes in is exactly what comes out. If the speaker has a sinus cold, it will be evident to the audience.
On the other hand, the Shure 58s (and their rebranded bretheren) will give you a warmer response tone. They'll color the vocals a bit.
I just bought a Gemini UX-16 headset from Brian Barra, partly because of the good reviews of gemini mics from you guys, and also because I got it at a great price (thanks brian!). Anything special I should look into to use with this, or the best way to set it up? I will have it on my head for MCing most of the night.
Reasonable Mic
I have just acquired an ElectroVoice ND767A NDYM Super Cardioid Lead Vocal Microphone mic from a demo by the EV rep that was truely impressive. It's back end rejection was better than anything I have seen before including my SURE 58 mic.
It listed out at $129.00 Can for the top model and $79.00 for the less fancy model. We got them on special at a local Chapter meeting in Ottawa for $99.00. Check it out as you can always use another mic before trying to solve it with a more expensive solution. Do a google I'm sure you will find a reseller.
Allen
I have just acquired an ElectroVoice ND767A NDYM Super Cardioid Lead Vocal Microphone mic from a demo by the EV rep that was truely impressive. It's back end rejection was better than anything I have seen before including my SURE 58 mic.
It listed out at $129.00 Can for the top model and $79.00 for the less fancy model. We got them on special at a local Chapter meeting in Ottawa for $99.00. Check it out as you can always use another mic before trying to solve it with a more expensive solution. Do a google I'm sure you will find a reseller.
Allen
Playback
New DJ
Just a thought, but we really are talking about audio feedback here rather than just wandering outside of the range of the receiver, aren't we?
If it is audio feedback rather than the radio link breaking up, mike technique is everything! In my experience, when the mike is on the brink of feedback and starts to howl or whistle, the uneducated user will move the mike further away from their mouth, or worse, turn the mike away from themselves so that it faces the speaker - making it howl even more! (At this point, they normally look at you, as though it's your fault!)
I completely agree with just about everything that has been written before, but all of the effects in the world won't make a duff mike sound great. However, when I'm in a similar mike-out-front situation, I always try to prewarn the user to (1) Keep the mike as close to their mouth as possible and (2) try to avoid walking straight onto the speaker axis! In fact, when I put a live mike out front, I always try to limit feedback problems by either turning the speakers outwards (so they are facing slightly toward the side walls rather than directly at the dance floor) or pan the mike channel away from the cab they are walking towards.
Finally, always have one finger on that mike fader. You can pretty much guarantee that once they've finished talking, they'll either walk straight past the speaker, or bang the mike down hard on a table!!
If it is audio feedback rather than the radio link breaking up, mike technique is everything! In my experience, when the mike is on the brink of feedback and starts to howl or whistle, the uneducated user will move the mike further away from their mouth, or worse, turn the mike away from themselves so that it faces the speaker - making it howl even more! (At this point, they normally look at you, as though it's your fault!)
I completely agree with just about everything that has been written before, but all of the effects in the world won't make a duff mike sound great. However, when I'm in a similar mike-out-front situation, I always try to prewarn the user to (1) Keep the mike as close to their mouth as possible and (2) try to avoid walking straight onto the speaker axis! In fact, when I put a live mike out front, I always try to limit feedback problems by either turning the speakers outwards (so they are facing slightly toward the side walls rather than directly at the dance floor) or pan the mike channel away from the cab they are walking towards.
Finally, always have one finger on that mike fader. You can pretty much guarantee that once they've finished talking, they'll either walk straight past the speaker, or bang the mike down hard on a table!!
wow Playback thanks for cutting to the chase. IT hadnt occured to me to do a few things you mentioned. Old Dog new Trick Thanks.