Behringer FEEDBACK DESTROYER PRO DSP1124P Manual - Page 8

FEEDBACK DESTROYER PRO DSP1124P 2. APPLICATIONS The DSP1124P is used exclusively to eliminate feedback in FOH and monitor mixes. Before you go on, please note the following two remarks: + The FEEDBACK DESTROYER PRO is not intended to be connected directly to the microphones! If this is unavoidable, then we recommend our proven BEHRINGER SHARK DSP110 instead, which is equipped with a dedicated microphone preamplifier. + No processing device can undo the mistakes made when placing the microphones! So, when you set up your mics, use them according to their directivity and feedback susceptibility (see chapter 8 “PROBLEMS DO HAVE A CAUSE ...”). 2.1 Level setting Take care to set levels properly on the DSP1124P, so as to successfully employ the FEEDBACK DESTROYER PRO to remove feedback. Use the LED LEVEL METER . Make sure that the top Clip LEDs flicker only rarely, but never light up all the time. Low levels deteriorate the dynamics of the music signal, which results in a poor, weak and noisy sound. On the other hand, excess levels overdriving the converters in the FEEDBACK DESTROYER PRO should also be avoided. Digital distortion is (unlike its analog counterpart) very unpleasant to hear as it does not occur gradually but abruptly. 2.2 Using the FEEDBACK DESTROYER PRO in the monitor path Your DSP1124P is equipped with two channels. In Couple mode (see control elements and ), these two channels are linked. But you can also use them separately, for example, to protect two dedicated monitor paths against feedback. Monitor mixes are realized either via the pre-fader Aux Sends on an FOH console, or via a (usually stagemount) monitor mixer. When using an additional monitor mixer on the stage, you need a so-called splitter to route the single microphone signals both to the FOH console and to the monitor mixer. When using the FOH console for the monitor mix, the stage microphones are connected directly to the console (if necessary, via a so-called stage box). In both cases, separate monitor mixes are created for the musicians, which can then be provided from the console outputs (usually via the Aux Send outputs). Owing to its 2-channel design, your FEEDBACK DESTROYER PRO allows you to protect two monitor paths against feedback. To do so, connect the pre-fader Aux Send outputs on your console to the inputs of the DSP1124 (as shown in fig. 2.1). Then, connect the inputs of the monitor power amps to the outputs of the FEEDBACK DESTROYER PRO (see fig. 2.1). As already mentioned, monitor paths are particularly susceptible to feedback. When vocal microphones are not installed in a fixed position, things become even worse, so it really makes sense to protect the monitor paths against feedback. Another positive side effect of using the DSP1124P in the monitor path is the fact that you can raise the volume levels considerably. As you can see, your DSP1124P is a perfect tool to protect two independent monitor paths. But why is that so important? Because “monitoring” is a complex task. Usually, each monitor path is used for an independent mix comprising a variety of signal sources. This is the only way to ensure that each performer on the stage can hear exactly what he or she wants. + Owing to its 2-channel design, the DSP1124P is the perfect tool for application in two separate monitor paths. However, if you need to protect four monitors against feedback, we recommend that you use a second DSP1124P. + If possible, all monitor paths should be set pre-fader, as this leaves the monitor mix unaffected from any changes made to the FOH mix. 8 2. APPLICATIONS