#16
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I have had problems with feedback on an L1 on multiple occasions. Couldn't redesign the club so the requisite 6-12 feet was not possible. At any level at all the squealing ensued. It happens.
Often, even with a mic level input, it is possible to adjust mixer output or speaker input sufficiently to get appropriate gain staging. Even better if there was a simple switch that allowed switching from mic to line input level gain. Many consumer grade speakers have this feature. Given time and proper mixer routing, OP might have gotten it to work. A stereo mixer gives the option to send different levels to different sides. But whit the kind of mismatch that you get with line into mic, things get pretty sensitive to small adjustments. hunter |
#17
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Feed Back Issues
A lot of P.A.'s have feedback suppression . My portable self contained DCV battery or A.C. does a great job on my acoustic electric dread . Before I got this system I used ( still use ) :
I got it to tame my acoustic electric in situations that I had problems while playing that acoustic electric loud . Also to tame SS guitar amps when I blow harp like on my Polytone Mini Brute . You can get these cheap . They are well worth the expense IMHO . For the mic I just got a T.C.Helicon ( made by Sennheiser ) MP-76 - it's a dynamic with a super tight cardioid pattern and a few other bells & whistles - like a double internal shock mount system and much more . Made specifically for T.C.H's vocal processors . A super mic for feed back rejection is essential for loopers and especially musicians with acoustic guitars or vocalists . EZ : HR
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It started for me with Twinkle Twinkle Little Star in 54 on a Blues Harp and progressed , then life .....some death ....Evolving as I went like a small rock in a stream rounding out as I went with the flow as I go through the white waters and waterfalls of life . Life has always been interesting to me |