HI, I need some help figuring out my feedback issues on lead vocals. I play with 2 different bands; one hard rock with somewhat inexperienced lead singer ( on and off the mic constantly ) and a jazz/soft classic rock band with a good female singer. We use Audix OM 5 mics for vocals. My problem is feedback on the lead channel. It does not seem to matter what I do, I can't get enough lead vocal volume without producing feedback. And the weird part is that we use the very same setups for the backup vocals (sometimes with higher volume setting ) and they have NEVER peeped. I don't use much, if any, effects on the T1, and the only EQ we use to try and boost the lead a little bit to cut through. I have been told to make sure the gain is set right up to clipping and then back it off a little so the yellow light doesn't come on. I am thinking of trying a Audix OM 7 as it seems to be one of the most feedback resistant mics out there; would the T1 have enough gain to use the OM 7? Also, I am considering using one complete tower for ONLY lead vocals, would that help? Any and all help would be very greatly appreciated.
My Gear:
L1 Model II with T1 ( up to 4 if needed )
Subs added as needed.

mx599 --

My band is using OM-5s through Classic and Model IIs with rarely any feedback problems.

I assume you're using the correct preset on the problem mic? Check again to make sure.

Boosting a band of EQ could be a problem. Do you get the same results flat and EQed?

Have you tried using the parametric filter to put a notch at the problem frequency? Or is there more than one problem frequency?

Is mic placement the same for the backing vocal mics and the lead mic? Same tilt-up angle? Are the singers usually in front of each of the mics (a singer's head in front of the mic helps reduce feedback)?

Does the lead singer take the mic off the stand and wave it around? Does she caress the mic or otherwise get her hands near it? That can cause a feedback loop in some circumstances.

I'm afraid I've asked more questions than provided answers, but those are some things that affect feedback with the L1, in my experience.

--Rick

We have had a lot of feedback issues with our Shure Beta 87. Our Beta 58s can set right in front of the unit and not feedback , but not the 87. We started moving the L1 more forward almost in line with the singers and it cured a lot of it. With the 190 degree sound coming out of the system, the folks in the back can still hear it too. So just for fun, try moving it to the front of the stage a little. ( if you have not already , besides its a cheap fix if it works )

I have no experience with Beta87 or OM5/OM7 mics, but I have had success using both the ParaEQ and Noise Gate functions of the T1 when microhpones start "ringing" on the edge of feedback. The right combination of these can help with mic gain, as well. If you haven't tried those functions in the T1, you might want to experiment a little whenever you have some time.

quote:

would the T1 have enough gain to use the OM 7? Also, I am considering using one complete tower for ONLY lead vocals, would that help?

Yes and probably yes. Channels 1, 2, & 3 on the T1 should work just fine with any mic, including the OM7.

Providing you only have one or two lead vocals in one L1® system, I think that would help. Generally, the more open mics you have on stage, the harder it is to obtain gain before feedback. Therefore, if you can limit the number of open mics in a L1® system, you should be better off. As others have indicated also, positioning of mics and systems on stage can make all the difference in the world with regards to feedback issues. I hope this is helpful.

quote:

Originally posted by mx599:
Also, I am considering using one complete tower for ONLY lead vocals, would that help?

Certainly the fewer live mics in any one L1 improves the chances for a feedback free performance.

I wonder if the 'lead' vocal mic is "the straw that broke the camels back". What I mean is, All mics are contributing to the feedback issue but the lead vocal mic is the one in the middle, possibly closest to the L1, and the first one to be turned down or checked when feedback rears its ugly head.

What are you boosting to make the lead vocal "cut through"? When working at the feedback threshold it only takes a dB or two to make a difference, especially the Highs.

If you think highs might be part of the problem, cut them back a little and clean up the lead vocal by reducing the lows or lessening any effects that might be applied.

Listen closely to the vocal. Try to match the speaker to the vocals natural sound, then enhance judiciously to taste.

Hope something here helps.

O..

In addition to everything that has been said...

Play quieter when the singer is King/Queen.

Listen to any hit record and you will hear that the band is never allowed to interfere with the singer. The same discipline is needed live.

This advice would be silly if the L1 system couldn't rock. But it can.

Ken

First off, Thanks to all the replies.

A little more info on our general setup: the tower that the vocals run through is generally in the middle rear of the stage so that the entire band can monitor the vocal better, offset to one side enough so the drums have some room. I have previously run all three vocals through that tower, but I am going to try splitting them up.

The mic angles vary by individual, but all mics stay on the stands, basically stationary.

I use the proper preset in the T1, and actually had better luck with the VX-10 preset.

I use almost no EQ, and when I do, it's only a dB or 2. I feel less is more when it comes to EQ. For the vocals, I generally boost the mids and scoop the lows and highs ever slightly. I not a huge fan of the T1 EQ, I wish they were variable so that one could sweep the freq needed. The only EQ that I have had good results with is the kick, but I am a drummer and I know exactly how it should sound. For the most part I am an EQ novice, but my ear is starting to come around.

I have tried using the Para EQ with a narrow Q to "sweep and destroy" the offending freq, but it seems to be a couple of problems. I do know that the problems are in the G6 area (according to the tuner) a lot of the time.

I have not used the NoiseGate before, how would I go about that, the only gate/limiter/compressor I know how to use is a comp on kick drum.

Are there other mics that might be better, such as plain old 58s to something higher up like a VX-10 or other condenser? I am willing to spend whatever it takes to get rid of the problem.

Thanks again and please don't give up on me, this is the only help I've been able to come by!!!!

quote:

Originally posted by mx599:
...I have previously run all three vocals through that tower, but I am going to try splitting them up....

ALL of the suggestions above are good. However, this one (moving other vocals to other L1s) will make it easiest to "manage" (try out all the suggestions for!) the lead vocal with minimal affect and effect from the other mics.

quote:

I have not used the NoiseGate before, how would I go about that,

The L1® Wiki has a couple of notes about using the Noise Gate function, and some general information about, feedback. All stuff I'm sure you're familiar with, but often good as a refresher now and then, if you have time to review it. Hope you find a combination of things that end up working for you! Good luck.

We are a duo using both Model II and L1c. As I have mentioned before when I position my Bose systems aside and forward a bit of our mic's we rarely have feedback unless we are in close quarters and then we reposition the mic's a bit and if that does not work we may lower the offending mic's Low EQ. We use very little "effects" and maybe that helps us in the minimize feeback issues.

Glad to help....have a great day all!

Aj
Music is neither young or old,,,it just "is"