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FEEDBACK DESTROYER FBQ1000 User Manual

The FBQ1000 is used exclusively to eliminate feedback in FOH and 

monitor mixes.
Before you go on, please note the following two remarks: 

Take care to set levels properly on the FBQ1000, so as to successfully employ 

the FEEDBACK DESTROYER to remove feedback. Use the LED LEVEL METER  

(1)

. 

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 should also be avoided. Digital distortion 

is (unlike its analog counterpart) very unpleasant to hear as it does not occur 

gradually but abruptly.

Your FBQ1000 is equipped with two channels. In Couple mode (see control 

elements  

(8)

  and  

(9)

), 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 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 FBQ1000 (as shown in fig. 2.1). 

Then, connect the inputs of the monitor power amps to the outputs of the 

FEEDBACK DESTROYER (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 FBQ1000 in the monitor path is the fact 

that you can raise the volume levels considerably.
As you can see, your FBQ1000 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.

Monitor 1

Output 1

Input 1

Pre-Fader 

Aux Send 1

Input 2

Pre-Fader 

Aux Send 2

Master 

Out

Output 2

Power Amp

(Mono)

Monitor 2

P.A. System

Monitor System

Fig. 2.1: Using the FBQ1000 in the monitor sends

Since you want to make sure that deliberately produced feedback signals, such as 

“guitar feedback”, are not eliminated, you should try inserting the FBQ1000 into 

those channels that are susceptible to feedback. For example, you could process 

a vocal microphone that is liable to produce feedback by connecting the FBQ1000 

to the insert points of the respective channel.

P.A. System

Outp. 1

Inp. 1

Outp. 2

Channel

Insert

Channel

Insert

Inp. 2

Master Out

Fig. 2.2: Using the FBQ1000 for specific mics (connecting the FEEDBACK DESTROYER in either channel 
or sub-group inserts)