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Template:Feedback FAQ: Difference between revisions

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Set your source at its loudest performance level, then raise the Trim until you get solid green with occasional yellow (never red).   
Set your source at its loudest performance level, then raise the Trim until you get solid green with occasional yellow (never red).   
Once Trim is set, use channel volume for mixing — not Trim.
Once Trim is set, use channel volume for mixing — not Trim.
 
{{FAQItem
For detailed steps for T1, T4S, and T8S, see [[Feedback / Microphone#Gain Staging]].
|question=Details for the T4S/T8S
|answer={{T4S/T8S Gain Staging}}
}}
{{FAQItem
|question=Details for the T1
|answer={{T1 Gain Staging}}
}}
For more  detailed steps for T1, T4S, and T8S, see [[Feedback / Microphone#Gain Staging]].
}}
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{{FAQItem
{{FAQItem
  |question = How close should I be to the microphone?
  |question = Microphone Technique?
  |answer  =  
  |answer  =  
Use close‑microphone technique: lips touching the windscreen.   
Use close‑microphone technique: lips barely brushing the windscreen.   
Every halving of distance gives roughly 6 dB more gain before feedback.
Every halving of distance gives roughly 6 dB more gain before feedback.
 
{{FAQItem
|question = Close Microphone Technique details
|answer = {{Close Microphone Technique}}
}}
For more, see [[Feedback / Microphone#Close Microphone Technique]].
For more, see [[Feedback / Microphone#Close Microphone Technique]].
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Supercardioid and hypercardioid microphones provide the best gain‑before‑feedback, followed by cardioid.   
Supercardioid and hypercardioid microphones provide the best gain‑before‑feedback, followed by cardioid.   
Omnidirectional microphones provide the least.
Omnidirectional microphones provide the least.
{{FAQItem
| question=Details about Directional Microphones
| answer=
{{Directional Microphones}}
}}


For examples and diagrams, see [[Feedback / Microphone#Directional Microphones]].
For examples and diagrams, see [[Feedback / Microphone#Directional Microphones]].
}}
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{{FAQItem
{{FAQItem
  |question = How should I place monitors to avoid feedback?
  |question = How should I place monitors to avoid feedback?
  |answer  =  
  |answer  =  
Aim monitors at the microphone’s rejection angle. 
{{Monitor Placement}}
Do not place wedge monitors directly behind cardioid mics; place them at the mic’s least‑sensitive angle.
 
For details, see [[Feedback / Microphone#Monitor Placement]].
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{{FAQItem
{{FAQItem
  |question = How many open microphones can I use before feedback becomes a problem?
  |question = How many open microphones can I use before feedback becomes a problem?
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  |answer  =  
  |answer  =  
Use EQ sparingly.   
Use EQ sparingly.   
Avoid excessive high‑frequency boost, and use ParaEQ to notch out a single problem frequency if needed.
Avoid excessive high‑frequency boost, and use ParaEQ to notch out a problem frequencies if needed.


For step‑by‑step notching instructions, see [[Feedback / Microphone#Notch Out a Problem Frequency]].
For step‑by‑step notching instructions, see [[Feedback / Microphone#Notch Out a Problem Frequency]].
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{{FAQItem
|question = Do feedback destroyers help?
|answer  =
Generally no. 
They often degrade sound quality and notch out more and more frequencies over time, resulting in a muddy mix.


See [[Feedback / Microphone#Feedback Destroyers]].
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