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Kent Margraves is National Applications Manager, Installed Sound at Sennheiser Electronic Corporation, where he provides audio training and product application/system design support to the worship community. Kent also has extensive, full-time experience as a professional worship audio director.
Michael Hill is a Sennheiser sales representative and has been mixing audio for touring and church installations for over 25 years. He has led worship since the age of 17 and is currently serving as Worship Pastor at Trinity Fellowship Church in Rockwall, TX. His seminars focus on eliminating the gap between "stage performers" and techs to make a more productive "praise team."
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H.O.W. Tips & Tricks - Lose the Feedback

Audio Sound Systems, Houses of Worship, voice, microphone
Audio Sound Systems, Houses of Worship, voice, microphone Tips & Tricks
Lose the Feedback
By Kent Margraves, Sennheiser

Improving Gain-Before-Feedback in Worship

*This discussion focuses on the processing and optimization of miked sources on the worship stage, using the equalization available in the PA console channels strips or outboard equalization inserted into these channels. It does not discuss overall system processing or "tuning" and assumes appropriate system installation and optimization.*

Have you ever experienced a case of microphones squealing feedback before they are loud enough in your PA mix? Even with great mics and a wise layout, sometimes you could still use more GBF (gain-before-feedback). We'll take choir miking as our example for discussion. We usually mic choirs with several cardioid condenser microphones, right?

The feedback that occurs here is caused by the microphone(s) hearing itself being amplified in the PA system. The microphone picks up the source in front of it (good) and also picks up itself coming out of the PA (bad). So, since we wish to have the mics "hear" less of themselves from the loudspeakers, several ideas seem fairly straightforward for increasing GBF:
  1. Turn it down
  2. Use fewer microphones
  3. Use directional mics aimed at the choir (and away from the loudspeakers)
  4. Move the mics closer to the choir (and further from the loudspeakers)
  5. Use directional loudspeakers, placed and aimed away from the mics
  6. Use parametric equalization
For more detailed information, click here
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