anti feedback vst - live

[BONES]

the point is if you cant cut it yourself and/or you don't have the time or expertise to do it and you don't mind about the sound to much.........

Don't give me that shit! Any idiot can get rid of feedback, its much easier than playing the drums or keyboards but I don't notice you getting all steamed up about us all using drum machines or sequencers.
You're talking about getting rid of feedback with a 1/3 octave EQ, we're talking about using a device which uses simple logic - the feedback frequency is the one that's much louder than everything else - and surgically reducing it with 1/60 octave precision. Even with all 12 filters side-by-side it is still more precise than your 31-band EQ. It has zero effect on the perceived sound and every PA guy who has seen it work marvels at it. What is your problem!?!

[BertKoor]

What is your problem!?!

The problem?? A feedback killer like that hardware box isn't implemented as a VST effect yet....

[fred2112]

okkkkkkkk

The frequency who are the hi-er are not necessary at 1/60 octave..........
Maybe its louder at one full octave are 1/4 octave and need correction in this range !!!!

With real EQ you can choose the "Q" factor and it why at the end your vocal will sound much better !

A feedback killer don't destruct the sound......but it don't balance it as a EQ do ! He just kill the feedback without any real correction in the sound !

A EQ correct the sound and kill feedback ......so WTF

[BONES]

That's rubbish. If you have to cut a full octave range to get rid of feedback that is going to have a huge impact on the sound and could easily be done by the FoH guy at any time anyway. The SHARK takes that possibility out of the equation and gives back control of our sound to us. 22 years of live performance tells me that the less we need to rely on outside assitance, the better we are going to sound live. And like I said, my SHARK has never needed more than two-thirds of the available filters to keep my vocal perfectly under control in every situation I have used it in. It has solved the single biggest live performance issue I have ever had in the most comprehensive way imaginable.

[fred2112]

OK its my last post in this one !!!!


OK ....a vocal channel have a 5 DB peak at 3K with 1/2 octave! your machine gonna notch the 3K at 1/60 octave !
My eq will cut 5 DB at 3K at 1/2 octave! It correct the sound and cut the feedback !

so my EQ gonna do a bether job of cours ?!??!

PEACE

[rockstar_not]

VST to kill feedback? Not that I know of...

With hardware there are several measurements you can take to prevent feedback:

* Use super-cardioid (directional sensitive) microphones, like the Shure SM-58
* Use good quality stage monitors, properly set up (into the face of people on stage, 180 degrees of where the mic points)
* Insert a 32-band graphical EQ in the stage monitoring signal path
* Take some time at the soundcheck to kill feedback. Gently increase the level of a mic until feedback occurs, and kill that a bit (either with the graphical EQ or the channel EQ)

With good equipment and a proper soundcheck procedure you should be able to get absurd levels on stage without feedback.

But the thing is that the most recent 32-band graphical EQ of Behringer comes with the feedback killing feature. And it's not really expensive.

This is pretty close to correct with one little exception:

If you are using floor wedge stage monitors, mics like the SM58 have their best off-axis rejection not at exactly 180 degrees, but a little less; by 30 degrees or so. Check the polar pattern on their website. Directly behind the mic there is a kind of hotspot in the polar pattern- not like in front of the mic, but hotter than at about 150 degrees. See here on page 2 of the SM58 user guide:
http://www.shure.com/stellent/groups/pu ... m58_ug.pdf

here's the easy way to set up the mic/monitor relationship: Aim the wedges directly at the singers. If you can get them to use a mic stand (rock dudes don't apply!), put the SM 58 horizontal to the floor. That will put the mic at just about the right angle (150 degrees) relative to the wavefronts emanating from the floor wedges.

This is kind of typical. SM57 have a similar pattern.

-Scott

[fred2112]

VST to kill feedback? Not that I know of...

With hardware there are several measurements you can take to prevent feedback:

* Use super-cardioid (directional sensitive) microphones, like the Shure SM-58
* Use good quality stage monitors, properly set up (into the face of people on stage, 180 degrees of where the mic points)
* Insert a 32-band graphical EQ in the stage monitoring signal path
* Take some time at the soundcheck to kill feedback. Gently increase the level of a mic until feedback occurs, and kill that a bit (either with the graphical EQ or the channel EQ)

With good equipment and a proper soundcheck procedure you should be able to get absurd levels on stage without feedback.

But the thing is that the most recent 32-band graphical EQ of Behringer comes with the feedback killing feature. And it's not really expensive.

This is pretty close to correct with one little exception:

If you are using floor wedge stage monitors, mics like the SM58 have their best off-axis rejection not at exactly 180 degrees, but a little less; by 30 degrees or so. Check the polar pattern on their website. Directly behind the mic there is a kind of hotspot in the polar pattern- not like in front of the mic, but hotter than at about 150 degrees. See here on page 2 of the SM58 user guide:
http://www.shure.com/stellent/groups/pu ... m58_ug.pdf

here's the easy way to set up the mic/monitor relationship: Aim the wedges directly at the singers. If you can get them to use a mic stand (rock dudes don't apply!), put the SM 58 horizontal to the floor. That will put the mic at just about the right angle (150 degrees) relative to the wavefronts emanating from the floor wedges.

This is kind of typical. SM57 have a similar pattern.

-Scott

That right....there is many trick to get rid of feedback !
If you have a hypercardioid mic you want to have a 45 degrees angle !
Also a sm58 are a sm57 with a ball on it !

[deastman]

I've never heard of the Shark, but it sound like a great value. Also, Sabine has been making similar (and more expensive) modules for years. http://www.sabine.com/

Regarding the original question, I wonder if SpaceBoy or one of the other Elevayta plugs could be used as a feedback eliminator. Never really thought about it before...

[Hannes_F]

Hi,

I would like to revive this discussion.

As far as I know every signal chain (loop), consisting of microphone, amps, cables, speakers and room has a resonance frequency. If this frequency is hit by an input and the overall amplification for this frequency is bigger then one we get a feedback.

Same goes for multiples of the basic resonance frequency.

So the question is, how sharp this resonance frequency is. I think it is quite sharp in which case a notch filter or parametric equalizer would be best to dampen it out of the mix. Whenever I see a 31 band EQ the curve looks rather smooth and that does not seem to be adequate to the problem.

Or am I entirely wrong?

The basic question probably is: How sharp is the peak of a real feedback?


Hannes