#1
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Mic Feedback From Bose L1
I have just purchased a Bose L1 Model II system with the Tonematch. Because I have a low voice, I need to ensure my Mic level is way up so my audience can hear me clear. However, when I set my mic level high, I get feedback. I can turn down the trim level, however I lose volume; or turn down the volume on the Tonematch or the main, but still can't seem to get the volume I want without the feedback. I would appreciate any suggestions from anyone who has or has had one of these systems. I also play an acoustic guitar through this system. Again, because I don't use a pick (just bare thumb), I need the volume level high for the sound. Any help would be appreciated. Thank you.
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#2
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Hi Strumminman,
I think you'll find the Bose forum covers all this stuff in detail http://bose.infopop.cc/6/ubb.x but here's a quick list: 1. get at least 6 ft. separation between the mic and the tower 2. don't point the mic straight back at the tower; angle it a bit off center relative to the tower, and angle a bit off parallel to the floor 3. use ParaEQ on the T1 to find the specific frequency the mic is feeding back and cut it 4. and/or use zEQ bands to take cuts within a broader range (low, mid, high) where feedback occurs 5. try a different mic preset 6. use the Noise Gate effect on the T1 to cut out the mic entirely below some threshold (when you're not singing and your head is not 'shadowing' the mic) What mic are you using? I found when upgrading from SM58 to beta58 I needed less gain, and feedback issues pretty much went away.
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#3
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I've been using Bose systems since they first came out. I sing very close to the mic--lips touching sometimes. This helps a lot. I also angle the mic upward a bit which also helps.
Good luck! You've got a great system! |
#4
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Which vocal mic are you using? Look on the Bose forum for mic suggestions that feedback resistant.
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#5
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When I hear that you have a "low" voice, first thing that comes to mind is that if you're not able to get enough volume out of your mic before feeding back, you are either singing out of your range, or you need to learn to project more.
Basically, I'm saying to treat the condition instead of the symptoms.
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Chris Official site That which is good or great makes itself known, no matter how loud the clamor of denial. -- Theodore F. MacManus I've got a fever and the only prescription is more cowbell -- Christopher Walken |
#6
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I have a Bose Model I Classic - I prefer to run striaght through that, but I have a T1 as well, mostly for the extra inputs in case I have friends sitting in... I have NEVER had any feedback trouble with the mic I use - a Shure Beta 58A - and I don't sing extra loud myself, so I have the volume up pretty good. I leave the system "hot" when I take a break, too; volume up and ready, never even a whimper from the vocal mic...
So, in addition to the other comments here, the FIRST thing to do is to follow Bose's "gain staging" process when setting up your mic channel. Just do it like they suggest (actually a great idea with any PA or mic/guitar, not just Bose's good idea)... Singing "close-mic" is a good way to limit feedback, as is having the mic slightly angled upward. Some mic's are more prone to feedback than others; perhaps it's time to switch mics? You didn't say what type of microphone you are using, but I'm assuming it's a good one - why have a great sound system and a crappy mic, right? Let us know if you solve the problem - I REALLY think the gain staging process is going to take care of it, though. Another thing, cut ALL fx on your vocal mic and try it that way. If you use a lot of "treatment" on your vocals, that can wreak havoc with the overall sound. I do like the suggestion about working on your vocal technique - one thing's for sure, you have to BREATHE when you sing or you'll have nothing to project your notes. Good luck - I hope this is helpful for you!
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#7
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I also have a "low" or I'd characterize it as "weak" voice, some days worse than others..... I've never owned a Bose but had the same issue with feedback; tried a lot of remedies, including several different mics and even a feedback destroyer. Aside from the specific advice relative to the Bose, which I have no experience, I'd say you've already gotten some good tips.... of which the best, in my experience are placement (mic to speaker), understand gain staging and, learn to use close mic technique. The issue you're likely to run into relative to close mic technique is proximity effect, some mics are more sensitive than others. The one I've found to be most "forgiving" is the Audix OM7. Oh, by the way, the feedback destroyer works, problem is, whilst it's "killing" the feedback frequency, it's "killing" the vocal quality of your voice. Whatever "sparkle" you have in your voice will become duller with each deployed filter shot. Hope this helps, good luck!
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#8
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Quote:
Then again, them youngins are used to listen to grossly compressed and distorted MP3s...
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http://www.horsemountain.de 2009 Deerbridge (German builder Martin Wieland) 12-fret OOO 2008 Bourgeois Short Scale Slope D 1970 Gibson J45 Square Shoulder D 2007 Kent Schoonover Squareneck all-maple resonator 2007 Amistar Roundneck resonator 1950 Gibson L-48 archtop |
#9
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Quote:
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2005 Gibson J45 Rosewood 2017 Gibson J45 Hog 12 fret 2019 Gibson J45 Rosewood Modern Cut-Away |
#10
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I'm using a single mic setup, no separation between voice and instrument(s). The offending frequencies are caused by room geometry and mic/loudspeaker placement. I let the feedback destroyer do its thing while the room is empty and quiet (as advised by the manufacturer) by gradually increasing master volume. Depending on a number of factors, anything between 8 and 16 individual filters kick in (I can visually monitor the number of active filters).
Of course you're right when you say that the FB destroyer takes away individual frequencies and hence will "distort" the sound (I'm a physicist with a specialization in digital signal processing, so I'm quite familiar with the concept of narrowband notch filters, and I also know what horrible things they do with the phase). My take of the matter is that the freedom of movement afforded by the single mic technique, and the complete lack of proximity effect (because we usually keep a distance of say 8-10 inches from the mic) make for a more "natural" sound despite the severe interfering of the FB destroyer, at least that's what audience members have told me many times over. Looks like this is very much a "YMMV" proposition. BTW, I use the Peavey Feedback Ferret, and have used a Sabine unit (with similar results) before. I have had a horrible experience with an inexpensive Behringer unit the other day, though. Fortunately I was able to return it. Wouldn't want to touch it with a ten foot pole. Downright devastating.
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http://www.horsemountain.de 2009 Deerbridge (German builder Martin Wieland) 12-fret OOO 2008 Bourgeois Short Scale Slope D 1970 Gibson J45 Square Shoulder D 2007 Kent Schoonover Squareneck all-maple resonator 2007 Amistar Roundneck resonator 1950 Gibson L-48 archtop |
#11
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Quote:
So you think going for this more "natural" sound despite the severe interfering of the FB destroyer is a better way to go than to get a multi-source pickup system for the guitar and getting the vocals closer to the mic virtually elliminating the cause of feedback and therefore elliminating the frequencies that are being destroyed??? HMmmm that's interesting.
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#12
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Quote:
Ever try to install a decent pickup in an openback banjo? A mandolin? A vintage archtop? A dobro? Many bluegrass acts use the single mic technique. Yes, a five piece band can use it. Makes for a clean uncluttered stage. No forest of mic booms, everybody gets to hear everyone else. Soloists constantly gyrate around the mic, thus automatically providing a sort of a choreography that's appreciated by the audience. Also, eliminates the need for an additional FOH mixing person. Of course, this technique isn't suitable for a football stadium, or a noisy bar where you try to cut through the banter. But for an audience that actually wants to listen, just fine. Here's a link with details. and here's a picture (not my band):
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http://www.horsemountain.de 2009 Deerbridge (German builder Martin Wieland) 12-fret OOO 2008 Bourgeois Short Scale Slope D 1970 Gibson J45 Square Shoulder D 2007 Kent Schoonover Squareneck all-maple resonator 2007 Amistar Roundneck resonator 1950 Gibson L-48 archtop |
#13
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Guess that's a different story.
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BoB/335 http://soundcloud.com/acousticskyline http://soundcloud.com/mile-stone http://soundcloud.com/bob-335 |
#14
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I could listen to your band all night!
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#15
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Quote:
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2005 Gibson J45 Rosewood 2017 Gibson J45 Hog 12 fret 2019 Gibson J45 Rosewood Modern Cut-Away |