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Simple answer, the cheaper units probably won't do what you want them to in that situation. They analyse the signal and try to detect the feedback signals, but they can also lock onto entirely legitimate sounds and reduce those as well. They quite often only make a tiny difference and cause more problems than they cure.
A good tech will not need to use a feedback destroyer, as they will know how to ring out the problem frequencies using the EQ on the mixer. With correct gain setting - so that unity on the fader will not feed back and full travel to 6 might cause feedback in some circumstances, you can be assured that untrained operators are less likely to get into trouble.
You would be better suited to have the system tuned to the room and lock a relatively flat response into the system controller or a parametric EQ (Ideally not a graphic equaliser, as they cause their own problems.)
If there are any compressors or limiters, make sure these aren't operating too early and causing gain reduction issues. This often affect monitor systems when run from Front of House, as the engineer will apply a compressor to get a nice, tight levelled vocal into the mix, but as it is hitting the gain quite early, the level into the monitor is compromised.
If you have lots of lapel mics, an automixer - or app on a digital desk will provide a better solution. These work by only putting live mics detected as in use, thus reducing the number of open channels. They also work well with top table mics and even for lecterns etc.
In short, lots of solutions, but frequency searching feedback destroyers are generally not the best choice and they will also annoy good techs who can usually do a better job than they can any way! |
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25-11-2019 21:13:01
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