Behringer Shark FBQ100 User Manual
6
SHARK FBQ100 User Manual
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Use the INPUT LEVEL switch to select the input sensitivity (microphone or
line levels). In LINE mode, you can use the CLIP LEVEL control to adapt the
internal level settings to the digital circuitry. Please make sure that the
CLIP-LED will not light up.
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The PHANTOM switch enables the Phantom Power supply required for
condenser microphones.
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The PHANTOM CONTROL LED lights up when Phantom Power is on.
2. Applications
2.1 Wiring the FBQ100: general remarks
With its great versatility the SHARK can be used for a variety of applications.
This chapter describes connection and configuration examples of the most
common applications.
2.1.1 Connection between microphone and
mixing console
In live applications it is often useful to protect specific single microphones against
In live applications it is often useful to protect specific single microphones against
feedback. We therefore recommend that you connect the SHARK between your
microphone and a microphone input on your mixing console (OUTPUT LEVEL
switch set to MIC). If all mic inputs are in use, you can set the SHARK’s OUTPUT
switch to +4 dBu (switch pressed) and adapt the output signal of your SHARK to
a line input on your console using the MIC GAIN control. To prevent the occurrence
of subsonics you can activate the SHARK’s Low Cut filter. Switch on Phantom
Power when you are using condenser microphones.
Mic In / Line In
Mic / +4 dBu Mic
Fig. 2.1: The SHARK connected between microphone and microphone input on console
2.1.2 Connection between line-level source and
mixing console
At first sight, this configuration may seem to make no sense, because line-level
At first sight, this configuration may seem to make no sense, because line-level
sources usually have no problems with feedback frequencies. However, acoustic
instruments are often equipped with so-called piezo pickups which are
susceptible to feedback. In such a case, we recommend that you route the audio
signal through the SHARK before feeding it into the console.
Line In
+4 dBu
Line
Fig. 2.2: The SHARK connected between acoustic guitar and line input on console
2.1.3 Connection between mixing console and
power amplifier
When you use the SHARK as a Delay Line unit for speaker systems placed at
When you use the SHARK as a Delay Line unit for speaker systems placed at
various positions (see chapter 2.3), you should connect the SHARK between the
console’s output and the input of the power amp driving the “delayed” speakers.
Delayed Speakers
Speakers on Stage
+4 dBu
Master Out
Line
Fig. 2.3: The SHARK connected between console and power amp
2.1.4 The SHARK used in the monitor path
Inserting the FBQ100 in the monitor path of your mixing console gives you
Inserting the FBQ100 in the monitor path of your mixing console gives you
utmost protection against unwanted feedback. Monitor paths are particularly
susceptible to feedback, because on stage there are usually several microphones
and speakers placed close to each other. Especially vocal microphones pose
some problems, because their volume levels must be fairly high to be able to
“compete” with other instruments, and often these microphones are hand-held
and hence carried around on stage. It is therefore useful to protect the monitor
path against feedback. In particular, when used in the monitor path, the SHARK
produces a positive side effect in that it improves both sound and volume of the
monitors. By filtering interference it makes the sound more transparent and by
eliminating unwanted feedback it allows for raising the volume of the monitors,
an effect that is usually welcomed by musicians on stage. Another advantage
when using this configuration: one SHARK can control several microphones. As at
least four monitor paths are used in a typical live application, all you need are
four SHARKs to give you optimum feedback protection.