hello and welcome to Jason's acoustic workshop today I'm doing part 12 in the series where I show you the gear that I use when I go out and do live shows but before I begin make sure you hit that subscribe button like the video share with your friends and please comment it really helps me out a great deal thank you now have you ever been playing a gig and everything's going great you got the floor monitors and a relatively nice decent level and all of a sudden you hit that one note preferably interest the ones on the top and all of a sudden you get this really nasty feedback well that happens to me all the time especially when I have the capo on on the first or second fret if I have it open like this I got no problems but then I put a capo on there all of a sudden I hit that top chord and boom feedback all right I'm going to show you but this is what I got I wish I'd seen it sooner it's from dear Dario it's called screeching halt feedback suppressor alright it's just a rubber little disc that you put in the hole of your guitar and illuminates feedback I was a little skeptical at first because I'm thinking man how's this gonna help you know do help suppress the feedback well it does trust me it wish I had seen this earlier no I I found it by accident it hides when I was looking through there and I saw it I'm like you know what I'm gonna try it and believe me it works so like I said when you get it out of the cardboard wrapper here the two rubber it's beyond a rubber so it's a little stiff so you kind of kind of flex it a little bit and like I said this part I'm gonna I have one right here and if you can see I'll bring it up here right here there's a little cutout you see that words cut that's going to go towards your strings it's like that alright you bring it in through the top and then just kind of snug it in it should it's fits really tight but fits all right so we're going to show you what it's like without it and with it turn the guitar on here you're doing good like that only gonna feed that already [Music] okay you don't want that you don't want that feedback and that happens to be some time off sender plan [Music] you have to kind of stop a little bit all right soften it no like that don't like that and people could hear it out there and they're kind of wonder what the hell's going on now we're gonna put the feedback suppressor in there and we'll show you how it sounds turn the guitar off here like I said this little piece here that's cut is going to go towards the strings takes a little finagling you get it in there like that bow alright now what's in now we're gonna try it again [Music] your feedback [Music] it's wonderful it's wonderful usually when I play at the casinos it's in an enclosed area so you have all that sound just bouncing everywhere and it just feeds back like them Wow like you wouldn't believe no but I put it in there now I can enjoy shows I could play louder I could have the monitor right next to me I can hear myself and I don't have to worry about a feedback anymore all right so if you're having problems with feet biofeedback get this feedback suppressor I mean it really works you saw it right here you could hear the feedback without it and then with it there's no feedback it's awesome all right so this uh screeching halt feedback suppressor from da Dario I'll leave the links below in the description if you want to get one if you shop online I'll leave the links there and please visit your local music stores support the local music stores and support local music too if you have friends that are in bands go watch him alright alright so for Jason's acoustic works out I'm Jason you take care of yourselves you practice at least an hour a day and I'll see you in part 13

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The MTX and MRX range of installation processors all include very effective feedback suppressors. It’s particularly useful in situations where you don’t have a skillful engineer taking care of the sound system. If you have presenters, actors, or teachers who like to move around, they might cause feedback when stepping closer to the loud speakers. Well, you can eliminate that problem with the DYNAMIC Feedback Suppressors. Once enabled, it will constantly seek and eliminate up to seven problem frequencies, while keeping your message loud and clear.

hello i'd like to do a quick demonstration of the afs2 feedback suppression on the soundcraft ui 12 uh mixer which is what we have here and um there's some explanations online but they're not great um so here's another one so um this is what it kind of looks like after you've done some of the feedback suppression and i'll show you how to achieve that we've got some fixed frequencies on the left some live frequencies meaning what it does in real time while you're playing and let's just clear that all out and start fresh okay so we hit clear the live frequencies clear the fixed frequencies the afs2 can be used only on the master or on an aux so if you were to um go to an aux send and then click on on that double click anyhow then you can set up the afs2 on that aux end and here's the aux 1 and aux 2 so this could be monitor 1 monitor 2. for this demonstration we're just going to go with the master so i'm going to double click on that and it brings up our equalizer which i'm gonna double click on these frequencies just to reset this whole thing there we go and uh so we're going to go to the eq tab which is where the afs is found so first you double click master then go to eq tab then at the bottom you click set up and make sure that this green uh rather make sure that this button is green otherwise it's not going to do anything so i've got myself a microphone with a on off switch which i find to be very handy for finding feedback frequencies because you can flip that switch on and it kind of sends a transient which initiates a feedback uh loop of some sort so here i've just got a cube um that's taking just the the right main output into a channel here if i turn this on check check check testing one two now i don't want to get the mic too close to the speaker yet because um i haven't done any feedback suppression so what i'm going to do is i'm going to make sure this is all on i'm going to set the mode here to fixed and that's going to set a series of frequencies that are always going to be in the feedback rejection circuit basically so now what i'm going to do is i'm going to turn on my mic and move it closer okay and then see it just made a notch right there in purple for that frequency i'm gonna do it again there it added another notch i'm going to turn it on again that was a little lower there we are let's do it again there we go there's one more that's kind of higher in the four kilohertz range so now as you can see those are automatically in use so when i turn this on and wiggle it around in front of the speaker it's already reducing those frequencies luckily so if i start talking check one two mic check one two it's it's already uh reducing any chance of feedback at those frequencies which is great now we can go to the live mode and up here in in this display you'll see that we've gotten four fixed frequencies ones that we've found by you know you know ringing out the microphone and the speaker now this one is empty because we haven't let it look for frequencies yet so basically if you were to set that to live and then just start your performance while you're playing if there happens to be some feedback it's going to locate that frequency and put it right there um so let's just wring it out and see if there we go i could get one because i put it really close and it's kind of a duplicate of one that was already there here's one at 2134 you know in that two kilohertz range and then here's one at 2146. i'm sorry let me move that over here's one at 21.34 and here's one at 2146 in the live so that's one frequency area that seems extra problematic so what we can do is we can go to this eq here and just drag down that that band so that not only is it reducing feedback at that frequency but i'm also eq'ing 1.7 decibels of that frequency to just ensure that it's not going to feedback check one two check one two mic check check check check check check check check check nice and clean no feedback i hope that helps somebody

in this video we will show you the simplicity of setting up the AFS 2 which will allow you to control any feedback you may encounter while running your live system in this example we'll be sending the main outputs through the AFS 2 by connecting the left and right outputs of a mixer to the left and right inputs of the AFS 2 will then connect the AFS 2's left and right outputs into a pair of speakers after you've set up your system and you sound checked all your microphones you're ready to run the AFS 2's wizard to eliminate any unwanted feedback press the wizard button on the front display and select the channel you'd like to check for this example we'll select stereo link you will then be asked to set up a rough mix for all your microphone bypass any active noise gates and press select fully lower your mixers output faders and press select select the number of fixed filters for this example we'll select the default which is 12 select the filter type we'll choose music and speech now slowly raise the mixers output faders until the system begins feeding back press select when you're done select yes when asked if you're done setting the fixed filters you will not need to continue to raise the master faders at this point lower your mixers output faders to performance level and press select press select one more time to activate your filters if you would like to configure another channel at this point then select yes if you're finished setting filters then select no the filters have now been set and you're ready to begin mixing if you have any questions please visit

I’m sure you know that a Feedback Suppressor is a device that prevents the unpleasant acoustic feedback that occurs when sound from a speaker is picked up by a mic and re-amplified. In addition to being unpleasant acoustic feedback places a strain on the speakers, and can damage them. To prevent such feedback, the first choice would be to place the speakers so that their sound will not be picked up by the mic and amplified. This may not be possible. So the second choice would be to use an EQ to locate and remove the offending frequencies. However, remember that these devices are designed to be installed in places where there are no technicians with the knowledge to do that. Therefore, we need an automatic solution. In the MTX3 and 5-D there is a FBS available on the first four and eight channels respectively. These are notch type FBS. Let's going to the demostration. As we can see from the screen, there are two options; Fixed or Dynamic. Fixed is best used when the position of the microphone in that channel is fixed and doesn’t move. By starting the Detect mode and raising the gain to a high point, it will discover and notch out frequencies that will feedback. Let's give a demostration on that. I turn the microphone on. The detect mode is on. And as I raise the gain to a higher level, it will start discover and notch out these frequencies. As I bring the gain down to a normal level, all the feedback will be put under control. If you have a microphone that moves around the room the it is better to use the Dynamic mode. This will constantly update any changes in the frequencies that are feeding back as the mic moves through different points of the axis. Up to seven dynamic filters are applied at any one time. Depending on the application it is possible to combine both Fixed & Dynamic filters simultaneously. The MRX7-D also features this same notch type FBS but in addition to that is a Pitch Shift Feedback suppressor component. The pitch shift suppressor acts by pushing the pitch of the detected frequency away from the problem area. This is perfect for use with moving microphones as it is constantly learning and correcting problem frequencies. Let me demostrate So I turn this microphone on, without the feedback suppressor, switch on, hold the microphone and we should hear some feedback. toward the speaker rather. And I turn the FBS back on, problems gone away. It uses a pitch shift algorithm to achieve this so of course there is a slight change in sound quality but this is outweighed by the fact that you can run many of these components at the same time. Up to eight of the notch type FBS can be run simultaneously in MRX7-D but when it comes to the pitch shift component many more instances can be used depending on your need and the DSP resource. As a little tip, if you’re experiencing feedback problems that cannot be solved with speaker and mic placement, it is possible to connect a notch FBS and pitch shift FBS in series. This will give you around 3dB extra gain before feedback.

[Applause] the thing about the guitar is that it's a it's a it's a it's a hard instrument you know you make you know for how to make your fingers go whether you don't really want to go in the first place and so that's a it fights you and so if you're playing one thing down down here hey you know you play there but you play it here and it's a different fingering and that's different then it's and it's different there and there and it's different there and every single one has a different so you just kind of got to figure out slowly it sort of comes to you that you have to make these shapes in your mind I suppose that fit when you improvise something on a record and the record comes out you it seems like a good idea at the time and then it becomes part of what the of what of the architecture of the thing so if I was gonna start brothers-in-arms I would start it like this you know I've tried playing it lots of other ways and it doesn't seem to work you know and I came home one night and said darling you know I was played sentenced tonight and didn't really didn't I don't know I don't know what I don't know maybe I should stop playing it and Kitty my wife said well did you play it twiddly bits yeah and I said no I didn't said well that's the problem then in it that's a problem so I try not to let the song be cabaret when I play the song I really like to play these songs you know that the songs that I've written and I like playing all the old songs I really enjoy it and but I've got to try and keep something up in them that is the song because they're landmarks for people the songs are milestones for people in their lives and they use them and they've use them to live with and I love that [Applause] [Music] [Applause] yes at last is the time bell thingy the night now is time to go home makes it fast and one more thing [Music] we are the Sultan we are the Sultans I think we used to play a bit faster than [Music] No what any of this is gonna be [Music] and then I'll come to the severe [Music] [Applause] [Music] [Applause]