Feedback / Microphone - Revision history

ST: /* Directional Microphones */

2026-04-13T15:44:41Z

Directional Microphones

← Older revision		Revision as of 15:44, 13 April 2026
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	==== Principles ====		==== Principles ====

	Choose a '''directional microphone''' to maximize gain‑before‑feedback. A [[Microphone Directionality#Supercardioid_/_Hypercardioid\|Supercardioid~~/Hypercardioid~~]] pattern provides the strongest focus on the intended source, followed by [[Microphone Directionality#Cardioid\|Cardioid]], with [[Microphone Directionality#Omnidirectional Microphone\|Omnidirectional]] offering the widest pickup (the least desirable in most live sound applications).		Choose a '''directional microphone''' to maximize gain‑before‑feedback. A [[Microphone Directionality#Supercardioid_/_Hypercardioid\|Hypercardioid/Supercardioid]] pattern provides the strongest focus on the intended source, followed by [[Microphone Directionality#Cardioid\|Cardioid]], with [[Microphone Directionality#Omnidirectional Microphone\|Omnidirectional]] offering the widest pickup (the least desirable in most live sound applications).

	Directional microphones excel because they emphasize the desired sound—such as a voice or instrument—while naturally reducing sound arriving from other directions. This focused pickup helps maintain clarity and increases the system’s resistance to feedback.		Directional microphones excel because they emphasize the desired sound—such as a voice or instrument—while naturally reducing sound arriving from other directions. This focused pickup helps maintain clarity and increases the system’s resistance to feedback.

ST: /* Principles */

2026-04-13T15:27:56Z

Principles

← Older revision		Revision as of 15:27, 13 April 2026
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	=== Directional Microphones ===		=== Directional Microphones ===
	==== Principles ====		==== Principles ====
	Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid\|Supercardioid/Hypercardioid]] is better than [[Microphone Directionality#Cardioid\|Cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone\|Omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.

	~~Directional microphones "collect" less sound from directions other than what they~~'~~re supposed~~ to ~~amplify~~ (the ~~voice, or an instrument~~) ~~and hence are less likely to feed back~~.		Choose a '''directional microphone''' to maximize gain‑before‑feedback. A [[Microphone Directionality#Supercardioid_/_Hypercardioid\|Supercardioid/Hypercardioid]] pattern provides the strongest focus on the intended source, followed by [[Microphone Directionality#Cardioid\|Cardioid]], with [[Microphone Directionality#Omnidirectional Microphone\|Omnidirectional]] offering the widest pickup (the least desirable in most live sound applications).

	~~In addition, most~~ directional microphones ~~have~~ a ~~strong behavior called~~ [[Proximity Effect\|proximity effect]]. ~~This is the strong buildup of bass and low-mid response as~~ the source ~~(say~~ the ~~voice) to~~ microphone ~~distance decreases~~. ~~For microphones intended to sound~~ natural ~~when the voice is very~~ close ~~-- say one of a number of popular stage vocal microphones -- what this means is that low-to-middle frequencies~~ from sources ~~at a distance~~, including loudspeakers ~~being used to amplify the voice~~, ~~are largely rejected~~ by ~~the microphone~~. This is ~~a real plus~~ in ~~terms~~ of ~~avoiding microphone feedback~~.		Directional microphones excel because they emphasize the desired sound—such as a voice or instrument—while naturally reducing sound arriving from other directions. This focused pickup helps maintain clarity and increases the system’s resistance to feedback.

			Most directional microphones also offer a helpful characteristic known as the [[Proximity Effect\|proximity effect]]. As the source moves closer to the microphone, low and low‑mid frequencies become fuller and more pronounced. Microphones designed for close‑up vocal use take advantage of this: they deliver a natural tone at close range while reducing low‑to‑mid frequency content from distant sources, including nearby loudspeakers. This selective emphasis further improves feedback performance.

			Omnidirectional microphones, by contrast, maintain a consistent tone regardless of distance. This can be ideal in studio environments where uniformity is the goal. On stage, however, their equal sensitivity in all directions means they capture more ambient sound and offer less natural rejection of low‑to‑mid frequency energy. As a result, they provide less gain‑before‑feedback than directional designs.

	Conversely, an omnidirectional microphone (equal sensitivity to sound coming from any direction) has no proximity effect. This is an advantage often in the studio where the engineer wants consistent tone regardless of distance. But it's a disadvantage on stage in terms of feedback. An omnidirectional mic collects more sound that's not the target, and because it has no proximity effect is more susceptible to feedback at low-to-mid frequencies than a directional mic.
	====Omnidirectional and Unidirectional Microphones====		====Omnidirectional and Unidirectional Microphones====
	{{:Microphone Polar Pattern}}		{{:Microphone Polar Pattern}}

ST: /* Directional Microphones */

2026-04-13T15:19:30Z

Directional Microphones

← Older revision		Revision as of 15:19, 13 April 2026
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	=== Directional Microphones ===		=== Directional Microphones ===
	==== Principles ====		==== Principles ====
	Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid\|Supercardioid/Hypercardioid]] is better than [[Microphone Directionality#Cardioid\|~~cardioid~~]], which is better than [[Microphone Directionality#Omnidirectional Microphone\|~~omnidirectional~~]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.		Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid\|Supercardioid/Hypercardioid]] is better than [[Microphone Directionality#Cardioid\|Cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone\|Omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.

	Directional microphones "collect" less sound from directions other than what they're supposed to amplify (the voice, or an instrument) and hence are less likely to feed back.		Directional microphones "collect" less sound from directions other than what they're supposed to amplify (the voice, or an instrument) and hence are less likely to feed back.

ST: /* Directional Microphones */

2026-04-13T15:16:25Z

Directional Microphones

← Older revision		Revision as of 15:16, 13 April 2026
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	=== Directional Microphones ===		=== Directional Microphones ===
	==== Principles ====		==== Principles ====
	Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid\|Hypercardioid]] is better than [[Microphone Directionality#Cardioid\|cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone\|omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.		Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid\|Supercardioid/Hypercardioid]] is better than [[Microphone Directionality#Cardioid\|cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone\|omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.

	Directional microphones "collect" less sound from directions other than what they're supposed to amplify (the voice, or an instrument) and hence are less likely to feed back.		Directional microphones "collect" less sound from directions other than what they're supposed to amplify (the voice, or an instrument) and hence are less likely to feed back.

ST at 17:25, 11 April 2026

2026-04-11T17:25:32Z

← Older revision		Revision as of 17:25, 11 April 2026
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	{{Bose Reviewed}}		{{Bose Reviewed}}
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			<!--
	<div class="tocdiv">		<div class="tocdiv">
	<div>__TOC__</div>		<div>__TOC__</div>
	<div>~~<h2~~>Introduction~~</h2>~~		<div>
			-->
			==Introduction==
	If you have questions about this article, please see this		If you have questions about this article, please see this
	~~<big>~~ {{Community\|link=https://twitter.com/ST_Muso/status/1391466144138100736\|text=Microphone Feedback discussion}}~~</big>~~		{{Community\|link=https://twitter.com/ST_Muso/status/1391466144138100736\|text=Microphone Feedback discussion}}

	== What is feedback and how does it occur? ==		== What is feedback and how does it occur? ==
	Feedback occurs when the sound from the loudspeaker (or loudspeakers if a microphone is connected to more than one) is louder at the microphone than the sound of the voice.		Feedback occurs when the sound from the loudspeaker (or loudspeakers if a microphone is connected to more than one) is louder at the microphone than the sound of the voice.

	This fundamental fact is shown in the figure below. Note that in the diagram an L1 system is shown but the same fundamental fact is true for ANY loudspeaker.		This fundamental fact is shown in the figure below. Note that in the diagram, an L1 system is shown, but the same fundamental fact is true for ANY loudspeaker.

	[[Image:Feedback fig 1.jpg\|400px\|Microphone Feedback]]		[[Image:Feedback fig 1.jpg\|400px\|Microphone 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.		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.
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	== Techniques For Reducing Feedback ==		== Techniques For Reducing Feedback ==
	=== Gain Staging ===		=== Gain Staging ===

ST at 17:22, 11 April 2026

2026-04-11T17:22:55Z

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	~~<!--~~
	<div class="tocdiv">		<div class="tocdiv">
	<div>__TOC__</div>		<div>__TOC__</div>
	<div>		<div><h2>Introduction</h2>
	-->
	==Introduction==
	If you have questions about this article, please see this		If you have questions about this article, please see this
	{{Community\|link=https://twitter.com/ST_Muso/status/1391466144138100736\|text=Microphone Feedback discussion}}		<big> {{Community\|link=https://twitter.com/ST_Muso/status/1391466144138100736\|text=Microphone Feedback discussion}}</big>

	== What is feedback and how does it occur? ==		== What is feedback and how does it occur? ==
	Feedback occurs when the sound from the loudspeaker (or loudspeakers if a microphone is connected to more than one) is louder at the microphone than the sound of the voice.		Feedback occurs when the sound from the loudspeaker (or loudspeakers if a microphone is connected to more than one) is louder at the microphone than the sound of the voice.

	This fundamental fact is shown in the figure below. Note that in the diagram, an L1 system is shown, but the same fundamental fact is true for ANY loudspeaker.		This fundamental fact is shown in the figure below. Note that in the diagram an L1 system is shown but the same fundamental fact is true for ANY loudspeaker.

	[[Image:Feedback fig 1.jpg\|400px\|Microphone Feedback]]		[[Image:Feedback fig 1.jpg\|400px\|Microphone 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.		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.
	~~<!--~~
	</div>		</div>
	</div>		</div>
	~~-->~~
	== Techniques For Reducing Feedback ==		== Techniques For Reducing Feedback ==
	=== Gain Staging ===		=== Gain Staging ===

ST: /* Introduction */

2026-04-11T17:19:25Z

Introduction

← Older revision		Revision as of 17:19, 11 April 2026
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	==Introduction==		==Introduction==
	If you have questions about this article, please see this		If you have questions about this article, please see this
	~~<big>~~ {{Community\|link=https://twitter.com/ST_Muso/status/1391466144138100736\|text=Microphone Feedback discussion}}~~</big>~~		{{Community\|link=https://twitter.com/ST_Muso/status/1391466144138100736\|text=Microphone Feedback discussion}}

	== What is feedback and how does it occur? ==		== What is feedback and how does it occur? ==

ST at 17:18, 11 April 2026

2026-04-11T17:18:11Z

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			<!--
	<div class="tocdiv">		<div class="tocdiv">
	<div>__TOC__</div>		<div>__TOC__</div>
	<div>~~<h2~~>Introduction~~</h2>~~		<div>
			-->
			==Introduction==
	If you have questions about this article, please see this		If you have questions about this article, please see this
	<big> {{Community\|link=https://twitter.com/ST_Muso/status/1391466144138100736\|text=Microphone Feedback discussion}}</big>		<big> {{Community\|link=https://twitter.com/ST_Muso/status/1391466144138100736\|text=Microphone Feedback discussion}}</big>
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	Feedback occurs when the sound from the loudspeaker (or loudspeakers if a microphone is connected to more than one) is louder at the microphone than the sound of the voice.		Feedback occurs when the sound from the loudspeaker (or loudspeakers if a microphone is connected to more than one) is louder at the microphone than the sound of the voice.

	This fundamental fact is shown in the figure below. Note that in the diagram an L1 system is shown but the same fundamental fact is true for ANY loudspeaker.		This fundamental fact is shown in the figure below. Note that in the diagram, an L1 system is shown, but the same fundamental fact is true for ANY loudspeaker.

	[[Image:Feedback fig 1.jpg\|400px\|Microphone Feedback]]		[[Image:Feedback fig 1.jpg\|400px\|Microphone 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.		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.
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	== Techniques For Reducing Feedback ==		== Techniques For Reducing Feedback ==
	=== Gain Staging ===		=== Gain Staging ===

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>
	</div>		</div>
	</div>		</div>