Feedback / Microphone: Difference between revisions
mNo edit summary |
m Reverted edits by ST (Talk); changed back to last version by DanCornett |
||
| Line 28: | Line 28: | ||
* 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}} | * 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}} | ||
| Line 60: | Line 52: | ||
=== Effects === | === Effects === | ||
If you are using vocal effects like | 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. | ||
=== Open Microphones === | === 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. 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. | ||
=== EQ and Tone Controls === | === EQ and Tone Controls === | ||
| Line 77: | Line 67: | ||
=== 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 96: | Line 87: | ||
[[Image:MicGoodBad.gif]] | [[Image:MicGoodBad.gif]] | ||
=== Use the | === Use the T1® Comp Gate to mute the microphone === | ||
{{:Feedback / T1 ToneMatch® Audio Engine / Comp Gate}} | {{:Feedback / T1 ToneMatch® Audio Engine / Comp Gate}} | ||
=== Use the T1® ParaEQ 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}} | {{:Feedback / T1 ToneMatch® Audio Engine}} | ||
== Does Microphone Sensitivity Affect Feedback? == | == Does Microphone Sensitivity Affect Feedback? == | ||
| Line 109: | Line 102: | ||
== Picking a Microphone == | == Picking a Microphone == | ||
For the best feedback performance, choose a directional microphone that has a ToneMatch preset. | For the best feedback performance, choose a directional microphone that has a ToneMatch preset. | ||