Feedback / Microphone: Difference between revisions

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=== Vocal Strength ===

In the feedback diagram at the top, it is clear that other things being equal, vocal strength related directly to how loud a system will play before feedback. Said another way, a low-output singer is more likely to experience feedback for a given desired level in the room than a high-output singer.

=== Directional Microphones ===

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.

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.

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.

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.

=== Effects ===

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

=== The Benefit of ToneMatch Presets ===

A microphone that is not tonally balanced requires expertise and sophisticated equipment to equalize optimally. ToneMatch takes the guesswork out of getting studio-quality sound from a microphone connected to an L1 system. Equalization attempted by those not necessarily skilled in the art, or with tone controls that are not sophisticated enough, can leave peaks in the tonal response of the microphone -- peaks that are more likely to invite feedback.

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

=== 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.

[[Image:MicGoodBad.gif]]

== Does Microphone Sensitivity Affect Feedback? ==

== Picking a Microphone ==

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

== Other References ==

@@ Line 41: / Line 41: @@
 === Vocal Strength ===
 In the feedback diagram at the top, it is clear that other things being equal, vocal strength related directly to how loud a system will play before feedback. Said another way, a low-output singer is more likely to experience feedback for a given desired level in the room than a high-output singer.
 === Directional Microphones ===
 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.
-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.
+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.
+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.
 === Effects ===
@@ Line 67: / Line 70: @@
 == Techniques specific to the {{L1 family}} ==
+=== The Benefit of ToneMatch Presets ===
+A microphone that is not tonally balanced requires expertise and sophisticated equipment to equalize optimally. ToneMatch takes the guesswork out of getting studio-quality sound from a microphone connected to an L1 system. Equalization attempted by those not necessarily skilled in the art, or with tone controls that are not sophisticated enough, can leave peaks in the tonal response of the microphone -- peaks that are more likely to invite feedback.
+For this reason, whenever possible, use a microphone with a ToneMatch preset.
+=== 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.
 [[Image:MicGoodBad.gif]]
 == Does Microphone Sensitivity Affect Feedback? ==
 {{:Microphone Sensitivity and Feedback}}
+== Picking a Microphone ==
+For the best feedback performance, choose a directional microphone that has a ToneMatch preset.
 == Other References ==