Feedback / Microphone - Revision history

ST at 16:53, 4 April 2026

2026-04-04T16:53:14Z

← Older revision		Revision as of 16:53, 4 April 2026
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	If you understand this diagram, it is relatively easy to understand how changes in an amplification system and the room can contribute to either increasing or decreasing the likelihood of feedback.		If you understand this diagram, it is relatively easy to understand how changes in an amplification system and the room can contribute to either increasing or decreasing the likelihood of feedback.

	~~Here's a quick link to other articles about <categorytree mode="pages">Feedback</categorytree>~~
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	== Other References ==		== Other References ==
			Here's a quick link to other articles about <categorytree mode="pages" hideroot="off" namespaces="Main">Feedback</categorytree>

	<!--		<!--
	* [http://www.shure.com/stellent/groups/public/@gms_gmi_web_ug/documents/web_resource/us_pro_mics_for_music_sound_ea.pdf Microphone Techniques for Live Sound Reinforcement] Shure Educational Publication 2006 39 pages - pdf format		* [http://www.shure.com/stellent/groups/public/@gms_gmi_web_ug/documents/web_resource/us_pro_mics_for_music_sound_ea.pdf Microphone Techniques for Live Sound Reinforcement] Shure Educational Publication 2006 39 pages - pdf format

ST at 16:44, 4 April 2026

2026-04-04T16:44:56Z

← Older revision		Revision as of 16:44, 4 April 2026
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	If you understand this diagram, it is relatively easy to understand how changes in an amplification system and the room can contribute to either increasing or decreasing the likelihood of feedback.		If you understand this diagram, it is relatively easy to understand how changes in an amplification system and the room can contribute to either increasing or decreasing the likelihood of feedback.

	Here's a quick link to other articles about <categorytree>Feedback</categorytree>		Here's a quick link to other articles about <categorytree mode="pages">Feedback</categorytree>
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ST at 16:43, 4 April 2026

2026-04-04T16:43:52Z

← Older revision		Revision as of 16:43, 4 April 2026
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	If you understand this diagram, it is relatively easy to understand how changes in an amplification system and the room can contribute to either increasing or decreasing the likelihood of feedback.		If you understand this diagram, it is relatively easy to understand how changes in an amplification system and the room can contribute to either increasing or decreasing the likelihood of feedback.

			Here's a quick link to other articles about <categorytree>Feedback</categorytree>
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	</div>		</div>

ST: /* Techniques For Reducing Feedback */

2026-04-04T11:20:42Z

Techniques For Reducing Feedback

← Older revision		Revision as of 11:20, 4 April 2026
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	== Techniques For Reducing Feedback ==		== Techniques For Reducing Feedback ==
	=== Gain Staging ===		=== Gain Staging ===
	Your setup should always begin with good gain staging and with microphones, that starts with great microphone technique.		Your setup should always begin with good gain staging and with microphones, that starts with [[#Close Microphone Technique\|great microphone technique]]. After that, you can consider [[##Gain_Staging_2\|gain staging your equipment]].


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	=== Distance Between Microphones ===		=== Distance Between Microphones ===
	Another (low priority) design guide-line could be to keep open microphones as far apart as possible. Neighboring systems with open microphones can mutually decrease [[Gain Before Feedback\|gain before feedback]].		Another (low priority) design guide-line could be to keep open microphones as far apart as possible. Neighboring systems with open microphones can mutually decrease [[Gain Before Feedback\|gain before feedback]].


	== Techniques specific to the {{L1 family}} ==		== Techniques specific to the {{L1 family}} ==

ST at 11:17, 4 April 2026

2026-04-04T11:17:34Z

@@ Line 26: / Line 26: @@
 == Techniques For Reducing Feedback ==
 === Gain Staging ===
-Your setup should always begin with good gain staging.
+Your setup should always begin with good gain staging and with microphones, that starts with great microphone technique.
 === Close Microphone Technique ===
@@ Line 143: / Line 97: @@
 For this reason, whenever possible, use a microphone with a ToneMatch preset.
 === Tilt the Mic Up ===

ST: /* Monitor Placement */

2026-02-24T02:45:30Z

Monitor Placement

← Older revision		Revision as of 02:45, 24 February 2026
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	=== Monitor Placement ===		=== Monitor Placement ===
	~~If you are using stage monitors, be sure to place them so they are directing sound at the area of the microphone that rejects the most sound.~~		{{Monitor Placement}}

	~~Note from [https://www.shure.es/musicos/descubre/contenido-didactico/microphone-basics-transducers-polar-patterns-frequency-response Shure.com]~~
	:Other variants on the unidirectional polar pattern include supercardioid and hypercardioid options. Both patterns offer narrower front pickup angles than the cardioid – 115 degrees for the supercardioid and 105 degrees for the hypercardioid – alongside greater rejection of ambient sound. Additionally, while the cardioid is least sensitive at the rear (180 degrees off-axis), the supercardioid is least sensitive at 125 degrees and the hypercardioid at 110 degrees. When placed properly they can provide more 'focused' pickup than the cardioid pattern, but they also have less rejection at the rear. If you're using either of these polar patterns on stage with wedge monitors, it's important make sure you avoid placing the wedges directly behind the mic in this instance. Instead, place them either side at the mics least sensitive angle.

	~~[[File:Microphone Polar Patterns and~~ Monitor Placement~~.jpg\|400px]]~~

	=== Open Microphones ===		=== Open Microphones ===

ST: /* Gain Staging */

2026-02-24T00:06:19Z

Gain Staging

@@ Line 27: / Line 27: @@
 === Gain Staging ===
 Your setup should always begin with good gain staging.
 ==== T4S/T8S Gain Staging ====
-==== {{T4S}}/{{T8S}} ====
+{{T4S/T8S Gain Staging}}
 ==== {{T1}} ====

ST: /* Close Microphone Technique */

2026-02-23T23:51:41Z

Close Microphone Technique

← Older revision		Revision as of 23:51, 23 February 2026
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	=== Close Microphone Technique ===		=== Close Microphone Technique ===
	'''Get close to the microphone''' when you want to be loud. No other technique has a big an impact on feedback. Each halving of distance is approximately another 6 dB of [[Gain Before Feedback\|gain before feedback]]. This relationship in physics is known as the [[Inverse Square Law]]. This means that the difference between working a microphone at 2 inches, and 1/4 inch is 18 dB, which is more than twice as loud. While good mic technique often involves "working" the microphone at different distances, singers must be mindful of the fact that small changes in distance from the mouth result in very dramatic changes in sound level.		{{Close Microphone Technique}}

	~~In the feedback diagram at the top, getting close to the microphone means getting more <font color="blue">sound from voice</font> which translates to more gain without feedback.~~


	~~[[Image:Ferrin_eat_mic.jpg\|Charlie Ferrin at Bose: Nov. 9, 2007]]~~


	=== Vocal Strength ===		=== Vocal Strength ===

ST: /* Picking a Microphone */

2025-10-11T03:45:41Z

Picking a Microphone

← Older revision		Revision as of 03:45, 11 October 2025
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	== Picking a Microphone ==		== Picking a Microphone ==
	For the best feedback performance, choose		For the best feedback performance, choose
	* A [[{{PAGENAME}}#~~Directional_Microphones~~\|~~directional~~ microphone]]~~, preferably supercardioid or hypercardioid~~		* A [[{{PAGENAME}}##Supercardioid_.2F_Hypercardioid\|supercardioid or hypercardioid microphone]]
	* A microphone that has a [[ToneMatch]] preset		* A microphone that has a [[ToneMatch]] preset
			* For any L1 model or any ToneMatch mixer, you can use a condenser or dynamic microphone.
	* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones\|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones		* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones\|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones
	* For more insights, please see [[Review / Microphone / Various\|Microphone Reviews]].		* For more insights, please see [[Review / Microphone / Various\|Microphone Reviews]].

ST: /* Picking a Microphone */

2025-10-11T03:41:18Z

Picking a Microphone

← Older revision		Revision as of 03:41, 11 October 2025
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	== Picking a Microphone ==		== Picking a Microphone ==
	For the best feedback performance, choose		For the best feedback performance, choose
	* A [[{{PAGENAME}}#Directional_Microphones}\|directional microphone]], preferably supercardioid or hypercardioid		* A [[{{PAGENAME}}#Directional_Microphones\|directional microphone]], preferably supercardioid or hypercardioid
	* A microphone that has a [[ToneMatch]] preset		* A microphone that has a [[ToneMatch]] preset
	* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones\|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones		* For an [[S1 Pro+]] / [[S1 Pro]] use a [[Dynamic Microphones\|Dynamic Microphone]]. The S1 Pro family to not support condenser microphones