Behringer Feedback Destroyer Pro DSP1124P User Manual

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 stage-

mount) 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.

2. APPLICATIONS

DATA-MANFULL_DSP1124P_ENG_Rev. A.p65

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