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Home : Avoiding Feedback : Avoiding Feedback, Microphones

Avoiding Feedback, Microphones

Microphone directional characteristics and how they are placed are the main contributing factors with microphone use in controlling feedback. Frequency response also plays a role.

When used properly a microphone with a narrow pickup pattern will have better feedback suppression than one with a wider pattern. This is simply because the narrow pattern microphone is less sensitive to sound coming from directions other than it's directivity axis. The problem arises is when performers don't use these microphones effectively. I've seen them waved about indiscriminately or spoken into from the side. The key is to always have the microphone pointed at it's intended source and nowhere else. Microphones of this kind have supercardioid or hypercardioid pickup patterns. For vocal use a supercardioid pattern is preferable because it allows a little freedom of movement for the performer and still have sufficient feedback rejection.

Hypercardioid microphones are best used with instruments where their relative position is fixed, or when a vocalist is skilled in using this type of microphone. One drawback of microphones with these narrow patterns is they have a slight rearward sensitivity. In this case position stage monitors a little to the side, in areas of maximum rejection (127 degrees for supercardioid or 110 degrees for hypercardioid), instead of directly behind as you would with a cardioid microphone.

Placing a microphone closer to it's source will alter the volume ratio between source loudness and system loudspeakers. This makes the source appear louder to the microphone, thus requiring less gain. A no-brainer really but there are trade offs. The sound can become a little too focused, especially with acoustic instruments, though a light application of reverb can easily soften it.

Proximity effect is also a factor. When a directional microphone is placed close to it's source, bass response increases dramatically. Be prepared to turn down the bass as the microphone is moved closer. Some microphones display more proximity effect than others so it's important to be familiar with each one.

Frequency response gives a microphone most of it's character or colour which influences microphone choice for a particular use. Microphones having a peaked response are more prone to feedback at frequencies where the peak occurs. A microphone with a smooth frequency response is less prone to feedback because gain is more uniform throughout it's bandwidth. Choosing a microphone because it's sound colour matches that of an instrument may be moot if it needs heavy equalization to avoid feedback. If this is the case, then instead look for other microphone qualities such as transient response and harmonic content to bring out the particular instrument or voice.

It goes without saying that unused microphones on stage should be turned down but this is sometimes overlooked. With multiple, back-to-back acts, that extra vocal mic off to the side may still be on.

As a final note, all directional microphones become less directional in the lower end of their operating range. Limiting bandwidth to that of the instrument further reduces likelihood of feedback.


Previous (Avoiding Feedback, Introduction)

Next (Avoiding Feedback, Mixer Gain)

How To Use A Handheld Microphone

A little more info: Signal Sources: Microphones, Instrument Pickups, and Direct Inputs

Directional Patterns of Microphones



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Home : Avoiding Feedback : Avoiding Feedback, Microphones

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