kzirianj Posted June 6, 2001 Share Posted June 6, 2001 I like to have my stage floor monitors really loud and I often get problems with feedback. I have tried 31 band eq's and also a roland AF 70 feedback eliminator. The problem with the Roland is once the filters get set while we are setting up for the gig, they can't change or adapt to changes in the monitor mix. I have heard good things about the Sabine 1020, but I have never used it. Anyone have any suggestions?? Thanks. Link to comment Share on other sites More sharing options...
MusicMan Posted June 6, 2001 Share Posted June 6, 2001 I recently bought a behringer feedback destroyer and was amazed at the additional volume I was able to achieve. -john My Music Link to comment Share on other sites More sharing options...
Kris Posted June 6, 2001 Share Posted June 6, 2001 Use as little eq as possible and put your monitor on a crate or something to get it closer to your ears. Kris My Band: http://www.fullblackout.com UPDATED!!! Fairly regularly these days... http://www.logcabinmusic.com updated 11/9/04 Link to comment Share on other sites More sharing options...
kudyba Posted June 6, 2001 Share Posted June 6, 2001 3 words: In Ear Monitors... Link to comment Share on other sites More sharing options...
fantasticsound Posted June 6, 2001 Share Posted June 6, 2001 3 more words: Turn it down! This may be the voice of experience (read: age) but I'm not THAT old and my hearing is intact. I've found, as many others can agree, that when you play consistantly at a lower volume, you get used to the timbre of your instrument and the sound of the band as a whole. It's not an easy adjustment, but it sure makes everything onstage a whole lot easier. Despite the advances in feedback inhibitors, they all add some artifacts to the signal. Why spend the money when you can achieve better results by simply turning down? I always told bands at the last bar I mixed regularly at that there are two ways to play the gig. It can sound like heaven or like shit. The modest gear we mixed on could achieve the first. An out of hand stage volume almost always achieves the latter. I just assured them that if their audience said, later, the gig sounded like shit, it wasn't MY fault. Most of them appreciated the advice and the gigs went off without a hitch. I tell you this because the quality of soundmen in local bars varies A LOT. (Not to mention the GEAR!) What I heard from these bands was they weren't getting good mixes in most places around town. (Nashville; rock, country, hardcore) It is, therefore, largely your responsability to guard your sound onstage. Limit the damage a bad mixer can do offstage by making his/her job easier in the first place. I've heard a Clair Bros 12AM monitor system set up for Cinderella by Gino, monitor engineer for Sheryl Crowe. This sky's the limit wedge system was being run by the store's Spirit monitor console. Not in the same league as the racks and wedges. Gino had it sounding clear as a bell, at levels I couldn't even stand for a few seconds, onstage. With great gear and an incredible mixer, you can achieve these results at damaging levels. Personally I wouldn't want to, but you can't count on this level of gear and mixer. You may NEVER encounter it, even if you hit the big time. My .02 Neil It's easiest to find me on Facebook. Neil Bergman Soundclick fntstcsnd Link to comment Share on other sites More sharing options...
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