Feedback / Microphone: Difference between revisions

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<~~table><tr~~>

<~~td valign="top" width="500"~~>__TOC__</td>

<~~td valign="top"~~>

<div><h2>Introduction</h2>

If you have questions about this article, please see this

</td>

<big> {{Community|link=https://twitter.com/ST_Muso/status/1391466144138100736|text=Microphone Feedback discussion}}</big>

</~~tr>~~</~~table~~>

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

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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|~~800px~~|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.

</div>

~~If you understand this diagram, it is relatively easy to understand how changes in an amplification system and room can contribute to either increasing or decreasing the likelihood of feedback.~~

~~== Techniques For Reducing Feedback ==~~

~~=== Gain Staging ===~~

~~Your setup should always begin with good gain staging.~~

~~Take two minutes to watch this video by clicking on the picture below.~~

~~{{Get Plugged In Microphone}}~~

* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video.

* If you ~~are using the {{T1}}, the principles are the same as shown on the video: simply substitute the~~ [[~~T1_ToneMatch%C2%AE_Audio_Engine~~#~~Set_Input_Trim~~|~~trim~~]] ~~on the {{T1r}} for the trim on the Classic or Model I~~. ~~{{T1 icon}}~~

== Techniques For Reducing Feedback ==

=== Gain Staging ===

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]].

=== 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.

~~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 ===

Line 43:

Line 35:

=== Directional Microphones ===

==== 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.

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Line 42:

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.

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 ~~feebdack~~. 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.

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====

<!--

;There are two basic types of microphone — omnidirectional and unidirectional.

<html>

<summary>Introduction to Omnidirectional and Unidirectional Microphones</summary>

</html>

<html>

</details>

</html>

-->

<div>

</div>

<br>

=== Effects ===

If you are using vocal effects like reverb, chorus or delay, turn them off until you can get sufficient [[Gain Before Feedback|gain before feedback]] to get performance level volume. Then add the effects back into the signal chain (one at a time) so you can be aware of the individual impacts that each effect is having on feedback.

If you are using vocal effects like reverb, chorus, or delay, turn them off until you can get sufficient [[Gain Before Feedback|gain before feedback]] to get performance level volume. Then add the effects back into the signal chain (one at a time) so you can be aware of the individual impacts that each effect is having on feedback.

==== TC Helicon Vocal Processors ====

If you are using a TC-Helicon vocal processor and you have the '''Tone''' processing on, you should not use a T1® Microphone Preset. Using both at the same time can reduce your gain before feedback. For more detail see [[:Category:TC-Helicon|TC-Helicon]].

=== Monitor Placement ===

=== Open Microphones ===

Use as few open microphones as possible. When a microphone is not in use, if possible, turn it off. If you have a ~~{{t1}}~~ consider using the [[T1_ToneMatch®_Audio_Engine_/_Tips_%26_Tricks#Feedback:_Comp_Gate_.2F_Noise_Gate|noise gate]] to do this automatically.

Use as few open microphones as possible.

:Note that each time the number of open mics in a sound system is doubled (1 to 2, 2 to 4, 4 to 8, etc.), the overall gain [before feedback] of the sound system drops by 3 dB. This means that more open mics equals less gain in the PA system.<ref>[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]</ref>

When a microphone is not in use, if possible, turn it off. If you have a ToneMatch mixer consider using the [[T1_ToneMatch®_Audio_Engine_/_Tips_%26_Tricks#Feedback:_Comp_Gate_.2F_Noise_Gate|noise gate]] to do this automatically.

=== EQ and Tone Controls ===

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=== 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]].

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

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For this reason, whenever possible, use a microphone with a ToneMatch preset.

=== Gain Staging ===

==== L1 Pro and S1 Pro/Pro+ ====

When you sing or play at the loudest you will perform, the channel light should be solid green. Occasional flickers of red are okay. But if you see solid red, turn down the volume. Important: Use [[#Close Microphone Technique|close-microphone technique]]. The farther you are from the microphone, the greater the likelihood of feedback.

==== T4S/T8S Gain Staging ====

==== {{T1}} ====

* If you are using the {{T1}}, the principles are the same as shown on the video: simply substitute the [[T1_ToneMatch%C2%AE_Audio_Engine#Set_Input_Trim|trim]] on the {{T1r}} for the trim on the Classic or Model I. {{T1 icon}}

Your first adjustment for any input to your {{T1}} is the Trim setting. The exact position of the Trim will vary depending on signal strength of your input source. The correct setting for any particular source may be different from your other sources.

[[Image:T1TrimPots.png|T1® Trim Pots]]

Take two minutes to watch this video by clicking on the picture below.

* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video.

===== Set Up Your Source =====

Set your source at the maximum that it will be when performing.

* Microphone

:Sing directly into the microphone using close microphone technique (lips just brushing the windscreen). Sing as loudly as you will sing during your performance. You want to set the Trim to work at your maximum volume.

* Instrument

:Turn your input as high as it is likely to go during performance.

===== Set Trim Controls =====

Turn the Trim setting up until the Trim Light is solid green with occasional flickers of yellow. Use the Trim lights as your guide. (The exact position of the Trim knob is not important).

[[Image:TrimlightsOK.gif]]

If you see flickers of red (below), turn the Trim down. You are definitely nearing or in compression. Turn the Trim down until there are no red flickers.

[[Image:TrimlightsNo.gif]]

Bill-at-Bose <ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/9821050644?r=7191052284#7191052284 Bill-at-Bose Talks about Gain Staging in the Bose® Musicians Community Message Boards]</ref> talks about setting the gain on a {{T1}}.

:One difference in gain staging the T1 and the Classic is that the T1 has a three-stage trim LED. It lights up green when signal is present, yellow when you are getting pretty loud (8 to 10 dB of headroom left), and red when you dangerously close to or at full scale.

:In a way, the yellow trim on the T1 is similar to how you treat the red on the Classic. Some yellow during peaks is good on the T1, just like some red on the Classic is good.

:If the T1 trim is going red, you should back off, you are definitely nearing or in compression.

:A really helpful feature on the T1 is to go to the Prefs/Output Level menu, and see where you are relative to maximum output.

==== ToneMatch Mixer Trim Controls ====

=== Tilt the Mic Up ===

* All players should be playing / singing through the {{L1}} closest to them.

* If you are using a {{T1}} it is often possible to use the parametric EQ section to notch the frequency that is causing feedback. You can find details in the article: [[Using the T1® to Control Microphone Feedback]]

* If you are using a {{T1}} try using the Comp Gate section to effectively turn off microphones that aren't being used. You can find details in the article: [[Feedback / T1 ToneMatch® Audio Engine / Comp Gate]]

* When stand mounting a directional microphone, tilt the microphone up ten or twenty degrees off the horizon so that it is less sensitive to direct sound from the speakers.

* In the feedback diagram at the top, using a directional microphone, tilted up, means getting less ~~<font color="red">~~sound from ~~speaker</font>~~ which translates to more gain without feedback.

* In the feedback diagram at the top, using a directional microphone tilted up and away from the Cylindrical Radiator® means getting less sound from the loudspeaker which translates to more gain without feedback.

** Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.

** {{Compact icon}} Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.

[[Image:MicGoodBad.gif]]

=== Noise Gate ===

Use the Comp Gate ({{T1}}, {{T4S}}/{{T8S}}) to mute the microphone

<!--

-->

=== Notch Out a Problem Frequency ===

Use the ParaEQ ({{T1}}, {{T4S}}/{{T8S}}) to Notch out a problem frequency

Sometimes the geometry and configuration of the mic(s) will cause one particular frequency to be reinforced more than all the others, relatively independent of the positioning of the microphone. By identifying that particular frequency, one can use the T1® to reduce ("notch out") just that one particular "problem" frequency.

== Does Microphone Sensitivity Affect Feedback? ==

== Picking a Microphone ==

For the best feedback performance, choose

* A [[{{PAGENAME}}##Supercardioid_.2F_Hypercardioid|supercardioid or hypercardioid microphone]]

* 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 more insights, please see [[Review / Microphone / Various|Microphone Reviews]].

== ~~Picking a Microphone~~ ==

== Feedback Destroyers ==

~~For the best feedback performance, choose a directional microphone that has a ToneMatch preset.~~

== 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://bose.infopop.cc/eve/forums/a/ga/ul/5711082304/us_pro_mics_for_music_sound_ea.pdf alternate source for above]

-->

*[[Media:us_pro_mics_for_music_sound_ea.pdf|Microphone Techniques for Live Sound Reinforcement]] pdf format

*[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]

* [https://www.shure.com/en-US/performance-production/louder/how-to-control-feedback-in-a-sound-system How to Control Feedback (Shure)]

* [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]

* [http://www.shurenotes.com/issue27/article.html Debunking Common Audio Myths] (related to microphones)

* [[Vocal and Guitar Performance Techniques]] - article by L1® Community Expert, Tom Munch

----

@@ Line 1: / Line 1: @@
 {{Bose Reviewed}}
+{{Responsive Iframe}}
-<table><tr>
+<div class="tocdiv">
-<td valign="top" width="500">__TOC__</td>
+    <div>__TOC__</div>
-<td valign="top">
+    <div><h2>Introduction</h2>
+If you have questions about this article, please see this
-</td>
+<big> {{Community|link=https://twitter.com/ST_Muso/status/1391466144138100736|text=Microphone Feedback discussion}}</big>
-</tr></table>
 == What is feedback and how does it occur? ==
@@ Line 14: / Line 12: @@
 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|800px|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.
+    </div>
+</div>
-If you understand this diagram, it is relatively easy to understand how changes in an amplification system and room can contribute to either increasing or decreasing the likelihood of feedback.
-== Techniques For Reducing Feedback ==
-=== Gain Staging ===
-Your setup should always begin with good gain staging.
-Take two minutes to watch this video by clicking on the picture below.
-{{Get Plugged In Microphone}}
-* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video.
-* If you are using the {{T1}}, the principles are the same as shown on the video: simply substitute the [[T1_ToneMatch%C2%AE_Audio_Engine#Set_Input_Trim|trim]] on the {{T1r}} for the trim on the Classic or Model I. {{T1 icon}}
+== Techniques For Reducing Feedback ==
+=== Gain Staging ===
+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]].
 === 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 ===
@@ Line 43: / Line 35: @@
 === Directional Microphones ===
+==== 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.
@@ Line 49: / Line 42: @@
 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.
-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 feebdack. 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.
+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====
+{{:Microphone Polar Pattern}}
+<!--
+;There are two basic types of microphone — omnidirectional and unidirectional.
+<html>
+<details>
+<summary>Introduction to Omnidirectional and Unidirectional Microphones</summary>
+</html>
+{{:Microphone Polar Pattern}}
+<html>
+</details>
+</html>
+-->
+<div>
+&nbsp;
+</div>
+<br>
+<br>
 === Effects ===
-If you are using vocal effects like reverb, chorus or delay, turn them off until you can get sufficient [[Gain Before Feedback|gain before feedback]] to get performance level volume. Then add the effects back into the signal chain (one at a time) so you can be aware of the individual impacts that each effect is having on feedback.
+If you are using vocal effects like reverb, chorus, or delay, turn them off until you can get sufficient [[Gain Before Feedback|gain before feedback]] to get performance level volume. Then add the effects back into the signal chain (one at a time) so you can be aware of the individual impacts that each effect is having on feedback.
+==== TC Helicon Vocal Processors ====
+If you are using a TC-Helicon vocal processor and you have the '''Tone''' processing on, you should not use a T1® Microphone Preset. Using both at the same time can reduce your gain before feedback. For more detail see [[:Category:TC-Helicon|TC-Helicon]].
+=== Monitor Placement ===
+{{Monitor Placement}}
 === Open Microphones ===
-Use as few open microphones as possible. When a microphone is not in use, if possible, turn it off. If you have a {{t1}} consider using the [[T1_ToneMatch®_Audio_Engine_/_Tips_%26_Tricks#Feedback:_Comp_Gate_.2F_Noise_Gate|noise gate]] to do this automatically.
+Use as few open microphones as possible.
+:Note that each time the number of open mics in a sound system is doubled (1 to 2, 2 to 4, 4 to 8, etc.), the overall gain [before feedback] of the sound system drops by 3 dB. This means that more open mics equals less gain in the PA system.<ref>[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]</ref>
+When a microphone is not in use, if possible, turn it off. If you have a ToneMatch mixer consider using the [[T1_ToneMatch®_Audio_Engine_/_Tips_%26_Tricks#Feedback:_Comp_Gate_.2F_Noise_Gate|noise gate]] to do this automatically.
 === EQ and Tone Controls ===
@@ Line 67: / Line 88: @@
 === 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]].
 == Techniques specific to the {{L1 family}} ==
@@ Line 75: / Line 95: @@
 For this reason, whenever possible, use a microphone with a ToneMatch preset.
+=== Gain Staging ===
+==== L1 Pro and S1 Pro/Pro+ ====
+When you sing or play at the loudest you will perform, the channel light should be solid green. Occasional flickers of red are okay. But if you see solid red, turn down the volume. Important: Use [[#Close Microphone Technique|close-microphone technique]]. The farther you are from the microphone, the greater the likelihood of feedback.
+==== T4S/T8S Gain Staging ====
+{{T4S/T8S Gain Staging}}
+==== {{T1}} ====
+{{:T1 ToneMatch® Audio Engine / Gain Staging a Microphone}}
+* If you are using the {{T1}}, the principles are the same as shown on the video: simply substitute the [[T1_ToneMatch%C2%AE_Audio_Engine#Set_Input_Trim|trim]] on the {{T1r}} for the trim on the Classic or Model I. {{T1 icon}}
+Your first adjustment for any input to your {{T1}} is the Trim setting. The exact position of the Trim will vary depending on signal strength of your input source. The correct setting for any particular source may be different from your other sources.
+[[Image:T1TrimPots.png|T1® Trim Pots]]
+Take two minutes to watch this video by clicking on the picture below.
+{{Get Plugged In Microphone}}
+* If you are using an {{Classic}} or {{Model I}} follow the instructions exactly as shown in the video.
+===== Set Up Your Source =====
+Set your source at the maximum that it will be when performing.
+* Microphone
+:Sing directly into the microphone using close microphone technique (lips just brushing the windscreen). Sing as loudly as you will sing during your performance. You want to set the Trim to work at your maximum volume.
+* Instrument
+:Turn your input as high as it is likely to go during performance.
+===== Set Trim Controls =====
+Turn the Trim setting up until the Trim Light is solid green with occasional flickers of yellow. Use the Trim lights as your guide. (The exact position of the Trim knob is not important).
+[[Image:TrimlightsOK.gif]]
+If you see flickers of red (below), turn the Trim down. You are definitely nearing or in compression. Turn the Trim down until there are no red flickers.
+[[Image:TrimlightsNo.gif]]
+Bill-at-Bose <ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/7521050644/m/9821050644?r=7191052284#7191052284 Bill-at-Bose Talks about Gain Staging in the Bose® Musicians Community Message Boards]</ref> talks about setting the gain on a {{T1}}.
+:One difference in gain staging the T1 and the Classic is that the T1 has a three-stage trim LED. It lights up green when signal is present, yellow when you are getting pretty loud (8 to 10 dB of headroom left), and red when you dangerously close to or at full scale.
+:In a way, the yellow trim on the T1 is similar to how you treat the red on the Classic. Some yellow during peaks is good on the T1, just like some red on the Classic is good.
+:If the T1 trim is going red, you should back off, you are definitely nearing or in compression.
+:A really helpful feature on the T1 is to go to the Prefs/Output Level menu, and see where you are relative to maximum output.
+==== ToneMatch Mixer Trim Controls ====
+{{:T1 ToneMatch® Audio Engine / Trim Pots}}
 === Tilt the Mic Up ===
+{{Classic icon}} {{Model I icon}} {{Model II icon}}
 * All players should be playing / singing through the {{L1}} closest to them.
 * If you are using a {{T1}} it is often possible to use the parametric EQ section to notch the frequency that is causing feedback. You can find details in the article: [[Using the T1® to Control Microphone Feedback]]
 * If you are using a {{T1}} try using the Comp Gate section to effectively turn off microphones that aren't being used. You can find details in the article: [[Feedback / T1 ToneMatch® Audio Engine / Comp Gate]]
 * When stand mounting a directional microphone, tilt the microphone up ten or twenty degrees off the horizon so that it is less sensitive to direct sound from the speakers.
-* In the feedback diagram at the top, using a directional microphone, tilted up, means getting less <font color="red">sound from speaker</font> which translates to more gain without feedback.
+* In the feedback diagram at the top, using a directional microphone tilted up and away from the Cylindrical Radiator&reg;  means getting less sound from the loudspeaker which translates to more gain without feedback.
-** Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.
+** {{Compact icon}} Note: with the [[Compact]] be careful that you are NOT pointing the microphone directly at the Speaker Array.
 [[Image:MicGoodBad.gif]]
+=== Noise Gate  ===
+Use the Comp Gate ({{T1}}, {{T4S}}/{{T8S}}) to mute the microphone
+{{Noise Gate}}
+<!--
+{{:Feedback / T1 ToneMatch® Audio Engine / Comp Gate}}
+-->
+=== Notch Out a Problem Frequency ===
+Use the ParaEQ ({{T1}}, {{T4S}}/{{T8S}}) to Notch out a problem frequency
+Sometimes the geometry and configuration of the mic(s) will cause one particular frequency to be reinforced more than all the others, relatively independent of the positioning of the microphone.  By identifying that particular frequency, one can use the T1® to reduce ("notch out") just that one particular "problem" frequency.
+{{:Feedback / T1 ToneMatch® Audio Engine}}
 == Does Microphone Sensitivity Affect Feedback? ==
 {{:Microphone Sensitivity and Feedback}}
+== Picking a Microphone ==
+For the best feedback performance, choose
+* A [[{{PAGENAME}}##Supercardioid_.2F_Hypercardioid|supercardioid or hypercardioid microphone]]
+* 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 more insights, please see [[Review / Microphone / Various|Microphone Reviews]].
-== Picking a Microphone ==
+== Feedback Destroyers ==
-For the best feedback performance, choose a directional microphone that has a ToneMatch preset.
+{{:Feedback Destroyer}}
 == 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://bose.infopop.cc/eve/forums/a/ga/ul/5711082304/us_pro_mics_for_music_sound_ea.pdf  alternate source for above]
+-->
+*[[Media:us_pro_mics_for_music_sound_ea.pdf|Microphone Techniques for Live Sound Reinforcement]] pdf format
+*[https://www.shure.com/en-US/performance-production/louder/feedback-fact-and-fiction Shure - Feedback Facts and Fiction]
+* [https://www.shure.com/en-US/performance-production/louder/how-to-control-feedback-in-a-sound-system How to Control Feedback (Shure)]
+<!-- [http://bose.infopop.cc/eve/forums/a/ga/ul/5711082304/us_pro_mics_for_music_sound_ea.pdf  alternate source for above]  -->
 * [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]
+* [http://www.shurenotes.com/issue27/article.html Debunking Common Audio Myths] (related to microphones)
 * [[Vocal and Guitar Performance Techniques]] - article by L1® Community Expert, Tom Munch
 ----