Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can be used to whistle. Sound suppression. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
The author below talks about the causes and solutions to this problem.
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can be used to whistle. Sound suppression. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
The author below talks about the causes and solutions to this problem.
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can be used to whistle. Sound suppression. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
The author below talks about the causes and solutions to this problem.
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
The author below talks about the causes and solutions to this problem.
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can be used to whistle. Sound suppression. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
The author below talks about the causes and solutions to this problem.
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can be used to whistle. Sound suppression. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
The author below talks about the causes and solutions to this problem.
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
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