This is helpful, thank you.  I'm hoping that you can help us with the biggest challenge our 4 piece rock back has had from using the T8S and two L1 II system/B2 bass which is microphone feedback.  We have done all you recommend on the video in the past, but unless our main vocalist is physically blocks the mic from the speakers, we get huge feedback.  We have noticed if we turn the trim way down, we get less feedback.  I don't like doing that however, because I'm guessing we are compromising the vocal sound.  Our audiences biggest complaint about us is that it's hard to hear the vocalist.  We want to get her sound as loud as possible without compromising vocal quality.  Any tips?  We are to the point were we are considering putting the system in front of us and using monitors behind but I really like having the system behind us so we can hear what we have going on.  We're ready to try any creative approaches people may have in mind. 

Original Post

Hi Jami

Have a look at the mics you are using, check the make and model at the manufacturers site and look for the polar pattern.

Some Shure mics for instance come with varying polar patterns for resisting sound from the side or other angles.

I run two L1 MKII systems in stereo and use a Shure Beta 87A specifically chosen with this set up in mind. I could have chosen the Beta 87B which is a different polar pattern that I believe would have brought about issues with feedback - I could be proven wrong but I'm not experiencing feedback issues on a regular basis

I can stand in front of, at the side of and of course behind (and oddly enough still her myself reasonably well) and I can push to an audience of 4 - 500 easily without feedback and still having clarity at the back of the room.

If you have the wrong polar pattern that is open to sound capture from all sides it might be worth trying one that isolates you better.

Hope it helps.

ST posted:

Hi Jami,

Have you seen this article?

Microphone Feedback

Notice the section on using the Noise Gate.


Thank you! We put a noise gate on all mics when we got the system and it's helped but hasn't solved the problem entirely.  There is a lot of additional great information here though, and it helps me to better understand what's going on.


Stephen posted:

What levels are the main outputs on the system?


we struggle to get the system over about 11 o'clock

Chet 3 posted:

Are the L1s behind you? 

If so, moving them to the sides and slightly in front of the microphone line may still give you enough sidewash sound for monitoring and be much more resistant to feedback...

We're going to try that at tomorrow's rehearsal.  thank you for the thoughts on that.

I have on occasion in a noisy room where I am playing at reduced levels had the two L1's to my sides - a couple of metres away with them a couple of feet in front of me but turned in such that the 180 degree spread is bleeding towards me just a little - then I have up front speakers with a very little bit of foldback to monitor myself.

We tried anything and everything at our last rehearsal with trim, noise gate EQ, etc with the mixers.  Our lead vocalist uses a Shure Super 55 deluxe.  The sound is amazing and in some ways it resists feedback, and in others it seems to magnify it.  We found we had the most success by putting the two L1's in barely in front of and to the side of the mics and putting both back up vocal mic's on the L1 that wasn't used by the lead vocalist.  There is enough bleed behind the system, that we could here the sound as could our drummer so we're thinking we may not even need a monitor.  Thank you for all of your help as it helped us work through the problem.  Now we'll give it a few gigs and see if the plan holds up.

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