Bose Portable PA Knowledge

Feedback / Microphone: Difference between revisions

← Older edit
ST (talk | contribs)
Bureaucrats, Interface administrators, Administrators
20,075 edits
VisualWikitext
mNo edit summary
 
(12 intermediate revisions by the same user not shown)
Line 15: Line 15:


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>   
Line 26: Line 25:
== Techniques For Reducing Feedback ==
== Techniques For Reducing Feedback ==
=== Gain Staging ===
=== 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 [[#Close Microphone Technique|great microphone technique]]. After that, you can consider [[##Gain_Staging_2|gain staging your equipment]].


==== {{T4S}}/{{T8S}} ====
{{ToneMatch Mixer Gain Staging and ToneMatch Preset}}
===== 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.
===== Trim Controls =====
The {{ToneMatch Mixer}} trim controls for Channels 1-4 (1-8 for the {{T8S}}) provide a significant gain increase when you reach the upper limit. This increase in gain is normal operation.
Most sources like typical microphones and piezo pickup systems can provide enough level without the need to add significant gain from the trim control. Certain sources like passive acoustic guitar pickups require additional gain and in these cases it can be necessary to set the trim level to the upper range of the control. When the trim control is set this high you may notice the gain change. This is normal operation. If you want to run the trim control at lower settings we recommend using a preamp or simple stomp box level booster.
The trim for Aux input channels 5/6 (9/10 for the {{T8S}}) do not exhibit the same behavior as the trim controls for Channels 1-4 (1-8 for the {{T8S}}).  The Aux inputs are designed for line level sources and do not have the same gain staging as channels 5/6 (9/10 for the {{T8S}}).
==== {{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.
==== T1 Trim Pots ====
{{:T1 ToneMatch® Audio Engine / Trim Pots}}


=== 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 ===
Line 140: Line 69:


=== 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 ===
Use as few open microphones as possible.  
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 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>
: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.
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.
Line 164: Line 88:
=== 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}} ==
Line 172: Line 95:


For this reason, whenever possible, use a microphone with a ToneMatch preset.
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 ===
=== Tilt the Mic Up ===
Line 201: Line 176:


== Picking a Microphone ==
== Picking a Microphone ==
For the best feedback performance, choose a directional microphone that has a [[ToneMatch]] preset. For more insights, please see [[Review / Microphone / Various|Microphone Reviews]].
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]].


== Feedback Destroyers ==
== Feedback Destroyers ==
Line 208: Line 188:


== 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
Retrieved from "https://boseperformer.com/Feedback_/_Microphone"