Feedback / Microphone: Difference between revisions

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If you are using effects, remove them from the signal chain 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.

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

== Techniques For Reducing 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.

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* 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]]

~~=== Handling the Microphone ===~~

~~shure.com notes <ref>[http://www.shure.com/shurenotes/how_june2004/default.asp Miking Live Vocals - from shure.com]</ref>~~

Seems like a pretty natural thing, doesn't it? But how your vocalists handle the microphone has a major effect on the resulting sound. It may look great, but your tech team won't get the sound they want when your soloist holds a microphone an arm's length from her mouth.

~~=== Why? ===~~

The first reason is the inverse square law. If you hold your mic a half-inch from your lips it receives a given amount of sound energy from your voice. Move it twice as far-one inch-and it receives one-fourth as much energy. That extra half -inch takes away three-quarters of the efficiency of your sound system. While good mic technique involves "working" the microphone, singers that fully extend their arms when reaching for that climax, are usually doing it for dramatic effect. Small changes in distance from the mouth can result in very dramatic changes in sound level.

Second: When you move the microphone away from your lips, you must turn up the microphone level at the mixer to be heard, and more unwanted sound enters the mic. When sound from a monitor speaker enters the microphone , it instantly becomes the earsplitting screech we know as feedback. Keeping the microphone close to your mouth minimizes feedback.

~~See the whole article: [http://www.shure.com/shurenotes/how_june2004/default.asp Miking Live Vocals]~~

== Other References ==

* [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]

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

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@@ Line 17: / Line 17: @@
 If you are using effects, remove them from the signal chain 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.
-{{Get Plugged In Microphone}}
 == Techniques For Reducing 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.
@@ Line 45: / Line 45: @@
 * 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]]
-=== Handling the Microphone ===
-shure.com notes <ref>[http://www.shure.com/shurenotes/how_june2004/default.asp Miking Live Vocals - from shure.com]</ref>
-Seems like a pretty natural thing, doesn't it? But how your vocalists handle the microphone has a major effect on the resulting sound. It may look great, but your tech team won't get the sound they want when your soloist holds a microphone an arm's length from her mouth.
-=== Why? ===
-The first reason is the inverse square law. If you hold your mic a half-inch from your lips it receives a given amount of sound energy from your voice. Move it twice as far-one inch-and it receives one-fourth as much energy. That extra half -inch takes away three-quarters of the efficiency of your sound system. While good mic technique involves "working" the microphone, singers that fully extend their arms when reaching for that climax, are usually doing it for dramatic effect. Small changes in distance from the mouth can result in very dramatic changes in sound level.
-Second: When you move the microphone away from your lips, you must turn up the microphone level at the mixer to be heard, and more unwanted sound enters the mic. When sound from a monitor speaker enters the microphone , it instantly becomes the earsplitting screech we know as feedback. Keeping the microphone close to your mouth minimizes feedback.
-See the whole article: [http://www.shure.com/shurenotes/how_june2004/default.asp Miking Live Vocals]
 == Other References ==
 * [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]
+* [http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_vocalmiking Vocal Miking Problems and How To Solve Them]
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