Hi guys, do you have tips on how to try to reduce the Larsen effect using the tc-helicon parameters?
Yesterday I did a test using a friend's "Mic Mechanic", connected directly to the mixer, the same microphone and the same position, and I had the impression that it was much more resistant to audio feedback, i usually use factory mic preset 0...
Any advice will be greatly appreciated, thanks in advance.
Pa4X TC-HELICON and Larsen effect, any tips?
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Hi,
I had the same problem when I was using my HK Element speakers. I could reduce the problem by reducing the adaptive mic shape parameter from 50 to 35% and Compressor to 6%. Also I switch off all Maxx EQ setting only leaving the stereo and volume feature on.
At home practicing, I was using a small PA of Yamaha Stagepas 500. With this set there wasn’t a problem with higher volumes. During gigs in a duo or in a band I’m using the HK set and I had to limit the mic gain/volume because of the feed back. Now that I changed the setting the problem seems to be very much reduced.
I think, because the HK Speakers have very detailed highs and mids in combination with a sort of line array philosophy. This let the sounds bouncing to walls and other objects easily. Adding more highs and some other enhancements is not really needed with these speakers and was a little overdone.
Curious to some other experiences on this subject.
I had the same problem when I was using my HK Element speakers. I could reduce the problem by reducing the adaptive mic shape parameter from 50 to 35% and Compressor to 6%. Also I switch off all Maxx EQ setting only leaving the stereo and volume feature on.
At home practicing, I was using a small PA of Yamaha Stagepas 500. With this set there wasn’t a problem with higher volumes. During gigs in a duo or in a band I’m using the HK set and I had to limit the mic gain/volume because of the feed back. Now that I changed the setting the problem seems to be very much reduced.
I think, because the HK Speakers have very detailed highs and mids in combination with a sort of line array philosophy. This let the sounds bouncing to walls and other objects easily. Adding more highs and some other enhancements is not really needed with these speakers and was a little overdone.
Curious to some other experiences on this subject.
NoëlHammond SKpro, Korg PA4x,
HK Elements, HK Nano iPad pro
HK Elements, HK Nano iPad pro
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Korghelper
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I’m a big believer in recording your main output with singing and everything, then playing it back at setup time while you walk the venue. Nothing beats hearing your arranger and voice from the audience’s perspective. Often, the sound that they hear can be quite different from what you are hearing, being so much closer to the speakers.
But all other things being equal, if it sounds good out front before your ears get fatigued from being next to the speakers for a few songs, perhaps you should try setting up the array as far away as possible? Also, try to get it positioned so your head is between the microphone and the speakers (behind and to the side, perhaps?).
Bottom line, if the microphone sounds great out front, you really don’t want to mess with it to reduce feedback if you can possibly avoid it. Best to mitigate the problem by positioning if you can.
You can also help reduce feedback from the side position by trying a supercardioid or hypercardioid pattern microphone. Regular cardioids like SM58 etc. reject best from in front of the mic. That’s where most singers have the monitor. But super and hyper pattern mics reject best more off axis, where most keyboardists have their speakers. Worth a try if all else fails..!
Edit... by the way, I use a Perform-VK as front end (I like the tap tempo delays!) and I agree, their deesser and gate system and auto EQ work very well. Push comes to shove, if the Mic Mechanic works best, just get one!
But all other things being equal, if it sounds good out front before your ears get fatigued from being next to the speakers for a few songs, perhaps you should try setting up the array as far away as possible? Also, try to get it positioned so your head is between the microphone and the speakers (behind and to the side, perhaps?).
Bottom line, if the microphone sounds great out front, you really don’t want to mess with it to reduce feedback if you can possibly avoid it. Best to mitigate the problem by positioning if you can.
You can also help reduce feedback from the side position by trying a supercardioid or hypercardioid pattern microphone. Regular cardioids like SM58 etc. reject best from in front of the mic. That’s where most singers have the monitor. But super and hyper pattern mics reject best more off axis, where most keyboardists have their speakers. Worth a try if all else fails..!
Edit... by the way, I use a Perform-VK as front end (I like the tap tempo delays!) and I agree, their deesser and gate system and auto EQ work very well. Push comes to shove, if the Mic Mechanic works best, just get one!
Thanks for the tips: I'm using a supercardioid microphone (Electro-Voice ND96), without monitor, with two speaker arrays behind shoulders.
I tried to make the adjustments indicated (adaptive shape and compression parameters) but then I solved it simply by turning off the Maxx EQ: I was using an old equalization but, with the new speakers (LD SYSTEMS Maui 11 G2), it is not necessary to emphasize high frequencies anymore. Maxx EQ off and no more feedback!
Thanks again,
Claudio
I tried to make the adjustments indicated (adaptive shape and compression parameters) but then I solved it simply by turning off the Maxx EQ: I was using an old equalization but, with the new speakers (LD SYSTEMS Maui 11 G2), it is not necessary to emphasize high frequencies anymore. Maxx EQ off and no more feedback!
Thanks again,
Claudio