Description
BEHRINGER FEEDBACK DESTROYER PRO FBQ2496
Automatic and Ultra-Fast Feedback Destroyer/Parametric EQ with 40 FBQ Filters and 96 kHz Audio Performance
- Ultra-high performance 2-channel 24-bit/96 kHz Feedback Destroyer and Parametric EQ
- Automatically and “intelligently” locates and destroys up to 40 feedback frequencies
- Ultra-narrow FBQ filters for extremely effective feedback suppression, while keeping highest sonic quality
- Panic button immediately takes action in feedback emergency situations
- “Set-and-forget” default setting enables immediate and super-easy Feedback Destroyer performance
- Auto mode continuously monitors the mix and automatically sets filters
- Single-shot mode automatically detects and destroys feedback and locks filters until they are reset manually
- Ultra-high resolution 24-bit/96 kHz A/D and D/A converter plus 32-bit DSP for ultimate audio performance
- Extensive MIDI implementation and user preset memories for instant program recalls
- Balanced inputs and servo-balanced outputs with ¼” TRS and gold-plated XLR connectors
- Internal switch-mode power supply for maximum flexibility (100 – 240 V~), noise-free audio, superior transient response plus lowest possible power consumption for energy savings
- High-quality components and exceptionally rugged construction ensure long life
- Conceived and designed by BEHRINGER Germany
The FBQ2496 Feedback Destroyer PRO is the fastest feedback suppressor on the market (less than 0.2 seconds) and the only one to offer a 96 kHz sampling rate. This rack-mountable audio solution is the quick, easy way to protect yourself and your audience from feedback.
One Smart Solution
Using an ultra-fast feedback detection algorithm, the FBQ2496 automatically and “intelligently” locates up to 20 feedback frequencies per channel. The algorithm then sets extremely narrow notch filters (up to 1/60th of an octave) to “destroy” feedback frequencies, leaving the remainder of your signal virtually untouched. And with the “Set-and-forget” default setting, plus the Panic button, your FEEDBACK DESTROYER can be up and running in a matter of seconds.
Ease of Operation
The Auto Mode continuously monitors the mix, resetting programmed filters automatically, while the Manual Mode allows individual programming of up to 40 fully-parametric filters with frequency, bandwidth and gain adjustment. Open MIDI architecture makes future firmware updates and flexible communication with digital equipment exceedingly simple.
Be Prepared
With the FBQ2496’s various modes, you can master just about any live sound situation or use the unit as a creative sound-shaping tool. A single FBQ2496 can protect you from feedback in both your mono PA mains and a monitor mix. And the FBQ2496 is more than just handy – it’s affordable! Check one out today at your nearest BEHRINGER dealer. Your ears and your audience will thank you.
FBQ2496
Automatic and Ultra-Fast Feedback Destroyer/Parametric EQ with 40 FBQ Filters and 96 kHz Audio Performance
- Ultra-high performance 2-channel 24-bit/96 kHz Feedback Destroyer and Parametric EQ
- Automatically and “intelligently” locates and destroys up to 40 feedback frequencies
- “Set-and-forget” default setting enables immediate and super-easy Feedback Destroyer performance
- Auto mode continuously monitors the mix and automatically sets filters
FBQ2496
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FEEDBACK DESTROYER PRO FBQ2496The FBQ2496 Feedback Destroyer PRO is the fastest feedback suppressor on the market (less than 0.2 seconds) and the only one to off er a 96 kHz sampling rate. This rack-mountable audio solution is the quick, easy way to protect yourself and your audience from feedback. |
One Smart SolutionUsing an ultra-fast feedback detection algorithm, the FBQ2496 automatically and “intelligently” locates up to 20 feedback frequencies per channel. The algorithm then sets extremely narrow notch filters (up to 1/60th of an octave) to “destroy” feedback frequencies, leaving the remainder of your signal virtually untouched. And with the “Set-and-Forget” default setting, plus the Panic button, your FEEDBACK DESTROYER can be up and running in a matter of seconds. |
Ease of OperationFBQ2496’s Auto mode continuously monitors the mix, resetting programmed filters automatically, while the Manual Mode allows individual programming of up to 40 fully-parametric filters with frequency, bandwidth and gain adjustment. Open MIDI architecture makes future firmware updates and flexible communication with digital equipment exceedingly simple. |
Be PreparedWith the FBQ2496’s various modes, you can master just about any live sound situation or use the unit as a creative sound-shaping tool. A single FBQ2496 can protect you from feedback in both your mono PA mains and a monitor mix. And the FBQ2496 is more than just handy – it’s affordable! Check one out today at your nearest Behringer dealer. Your ears – and your audience will thank you! |
Charles Sorgie –
Works well once you understand how it works
I have mixed feelings about this product, but the bottom line is that I feel it is a good value.Some reviews mention build quality. I would say the build quality is very good. The only cheap looking part is the knob (as mentioned in another review) which for some reason is not completely round. Other than that, it looks like a solid, well-built unit.For some reason, Behringer has gone out of its way to make this product confusing, The most confusing thing about it is that out of the box, all of the filters are set to PEQ, which means there are no single shot or automatic filters available at all. This might be the reason why some reviewers (here and elsewhere) have complained that the unit does not stop feedback, because it won’t! So, the very first thing you need to do it press and hold PEQ, turn the knob so the display shows P0, and then press PEQ again. Now you can press Learn (or press and hold it) and it will search and destroy feedback as advertised.I also discovered a hidden feature, which is that an automatic filter can be turned into a single shot one. But first, again, Behringer chooses terminology that makes a simple concept hard to grasp. Assuming you have set the number of PEQ filters to zero, you start out with 20 filters (assuming you are in stereo mode) left for the unit to use to deal with feedback. If a filter is set while Learn is pressed, this increases the single shot (S) count. So, let’s say that by either pressing and holding Learn, or just clicking it and allowing feedback to occur by normal means, you end up with four slots set. You now press Learn again (so its LED is off) and “run” shows. If feedback occurs and another filter is deployed, it is the same kind of filter that was Learned; the only difference is (a) if it will be remembered if you turn the unit off and then on again, or (b) if you briefly press Reset. Got that? The only difference between single shot and automatic is how they are reset.So, let’s say you have four single shot filters, and in “run” mode two more automatic filters get deployed. If you press Learn, turn the knob to six (up from four) and press Learn again, guess what? You now have six single shot filters, because all you had to do is increment the single shot count. This is very useful to know.The other oddity is that at first I thought my unit was DOA. Even after talking to customer support, they suggested I return the unit because I was getting no input signal at all (no motion in the LED input lights) even though when I connected my mixer output directly to my amplifier, everything was fine. Well, ends up that the jacks I was using are shrink wrapped, and that was enough to prevent the jack from making a connection (even though those cables work perfectly well on everything else I have ever used forever). So, an oddity in the jacks of this unit as well.The other unexpected feature of this unit is that it significantly attenuates the signal. By this I mean if you connect a mixer output to the unit and then run the output to an amplifier, the signal is significantly weaker. This isn’t too big of a deal (just turn up the amp) but why it has to be isn’t exactly clear.Another thing about the unit is the rude way it overloads. Yes, it is digital, but a DSP128 PLus is also digital, and when it overloads it is nowhere near as run it terms of the amount of breakup is causes. Combine this with the automatic learning feature and you get breakup that is murder on the speakers. At a bare minimum, in automatic learning mode, the signal ought to be automatically muted just before it overloads.Other than that, the unit performed for me quite well. I basically hooked it up between my mixer and amplifier and turned everything on except the amplifier. I then played normally and turned up the output of the mixer until the input LEDs of the unit were hot but did not clip, then I turned the amplifier on with the volume all the way down. I initially didn’t use automatic learning, and so I pressed Learn once and gradually raised the volume of the amp while snapping my fingers into the mic, which created feedback. The unit, most of the time, deployed a filter before the unit clipped. Once it was done (sometimes it would deploy more than one filter) I raised the volume of the amplifier and repeated the finger snapping process. I repeated this process until the volume was significantly higher than I wanted it to be, then I lowered the volume of the amplifier and pressed Learn, which displayed “run”. Now I was set to play!In this mode, automatic filters may get deployed, and you will see the LEDs advance. Now, here is the little trick. If the Filter Lift LED is off, this means the automatic filters will remain in place until you turn the unit off or press reset. But if you press Learn, increase the number of single shot filters, and then press Learn again, you can get the unit to remember these new automatic filters as single shot filters. Again, I have to say that the term “single shot” for a filter that is remembered until you press and hold Reset is just an unfortunate term that breeds confusion. The single shot filters are permanent and the automatic filters are temporary, but they are (a) the same kind of filter, and (b) temporary filters can be remembered by simply increasing the number of permanent filters.Also, when we say the same kind of filter, they (single shot, automatic, PEQ) are ALL the same kind of filter. This is another source of confusion. The unit doesn’t do anything a 40 band PEQ couldn’t do; it just (a) sets the sliders itself by listening to the frequencies that are causing feedback, and (b) has sliders that slide left and right in that they are not fixed at a certain frequency; you get to set that as well.So, again, there is only one kind of filter, and the setting of the PEQ and single shot count is just about managing them.The unit is reasonably quiet, but in my case it did inject some hiss; to be fair, I am not using balanced inputs.I personally cannot imagine using the unit as a PEQ because the interface is so awkward, unless you somehow had a listing of what the settings ought to be and you were just manually entering them. You have to select the slot, then set a frequency, a bandwidth, and a positive or negative gain. Compare that to just moving a slider (but, again, if the sliders are fixed at frequencies, this unit will give you more flexibility).Initially, in Learn mode, I ended up with four single shot filters. While in “run” mode and while playing (with Filter Lift off) some additional filters would automatically get deployed, which I added to the single shot count as described. In my case, I eventually got up to 16 single shot filters. At this point, I set Filter Lift to one minute so there would always be some automatic filters available, and I’ve left it there.Panic mode didn’t seem to do as much as it should. I still had to plug my ears and listen to my speakers howl far more than it seemed necessary before the unit finally kicked in. While I can understand that while music is playing the FFT algorithm might have a hard time determining what was music and what was feedback, in automatic learning mode, it sure seemed it ought to be able to tell a lot quicker than it did; if you are automatically learning and the input to the unit is peaking to the point of clipping, sure seems the unit ought to know feedback is occurring.After I figured out the confusing terminology, aside from the degree to which my speakers had to squeal before the filter was deployed, I really liked the unit. That would be my primary complaint; there ought to be a way unit to automatically attenuate or something to reduce the amount of time the speakers have to squeal before the filter is deployed, and clipping at overload ought to be more polite and not generate square waves that sound so horrible and are so hard on the speakers, at least while learning. But is sure seems it could monitor input and compress so it would never overload, or at least only overload momentarily; there is no excuse for the unit to be overloading for seconds with the speakers crackling.So, I’m deducting one star not for the confusion factor, but for the overloading and noise issues. Every unit has it quirks and has to be learned. I’m ignoring the UI involved in trying to use it as a PEQ; factor all of that in, and it is pretty much set, calibrate and forget.For the price (less than half list) this unit is a great value.
Andrew –
Amazon customer service was outstanding for this purchase
Turned out this kit wasn’t for me, best to try and eq your way out of feedbackThat being said this is a clever bit of kit for those who want a quick and easy solution and dont have the time or inclination to understand how eq works etc
P. Miller –
Does yours crash too?
I bought this to use as a parametric EQ, not for feedback elimination. Although I did attempt to use it for feedback just to see what it did, I’m only rating it as an EQ. For feedback I didn’t have a lot of luck with it’s auto setup in my quick experimentation.As an EQ it seems to work well. Although I prefer lots of knobs over lots of buttons and one knob, once you get used to it you can cruise through setting and tweak filters pretty easily. My main goal was to eliminate some low frequency boom and room resonances on some live sound monitor speakers. I also tried (successfully) using it with the free REW (room eq wizard) software. Very slick. Run a frequency sweep, look at a graphic of the room response, have the software generate filters to improve system response, have the predicted corrections shown graphically …then have the PC download the filter settings over MIDI to the EQ automatically …then re-sweep the room and see the improvements. Nifty.My one complaint is that when the unit was shipped to me, there appeared to be bogus frequency settings in the unit. When I first tried to update one of the parametric filters, I lost the output from the unit. Cycling power did not help. I got sound in bypass mode, but not when the filter chain was active. I found that if I went to a filter and adjusted the gain before adjusting the frequency the unit would cut out. If I adjusted the frequency, then gain, all was well. The only way to get output after it was lost was to either disable the offending filter (gain=0) or adjust the frequency of that filter (and cycle power). What I determined was that the initial frequency values stored in the unit were crashing the DSP when the gain was adjusted and no update had been made to the default frequency. Although the display showed a valid frequency (trying to remember, 29.5Hz maybe?) as soon as you adjust the frequency knob in either direction, it jumps to 20kHz. I think basically the EPROM that stores the filter settings is pre-programmed in a way that presents invalid data to the DSP and causes it to crash. A guess here, I’d love confirmation from Behringer. Are you reading?Okay, one other little issue. The frequency adjustment is not wrap-around. It starts you at 20kHz …and most of the time I want to be in Hz …so it takes forever to scroll down to where I want to be.Overall happy once I determined why the output kept shutting off. Hopefully this helps someone else out if they run into the same problem!
ゆちねこ@hsp –
フィードバックは抑えられる…が、少々 音質に影響も
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まず、ビデオレビューもしていますので、使い方の判らない方はビデオの方を参考にしてみて下さい(^^♪数少ないフィードバックデストロイヤーの中で、そこそこ使える価格帯の製品です。内部で異常処理によるフリーズ(操作を受け付けなくなる)などの初期不良様の症状があったため、何度かAmazonさんに初期不良交換を行って貰い、その後、再購入して初期不良→交換→メーカー送りという形になりました。Amazon様で購入しても、日本の正規代理店による3年間の延長保証がありますので、購入された方は万が一のために製品の登録をおススメします。ベリンガー代理店様によると、フィードバックデストロイヤーの型番が同じでも、細部での仕様変更などがあるとの回答でした。続いて、商品の使用方法ですが、製品に同梱されている説明書は「ドイツ語」→「英語」→「日本語」に機械翻訳されたものなので、そもそも解釈が出来ない説明書と考えればと思います。（サウンド〇ウスさんの口コミでも、使用方法が判らないとの書き込みが多数ありました。）なので、使い方に関しては 論理回路やMIDI関係を触った事が無い方には、少々敷居が高いかな～？？…と思います。一応、使用方法として今後 商品を購入される方のために自分なりに検証した結果を元に書いておきます。・LEDの1～20は、チャンネルでもなくイコライザーでもなく、いわゆるメモリーバンクという解釈です。 (以下ではスロット〇〇番と表現します。)・シングルショットフィルターを手動で設定するには、LEANボタンを短く押し、ロータリーエンコーダーを右に回し、スロット何番まで手動のシングルショットフィルターを適用するか決めます。(ロータリーエンコーダーを回してゆくと、スロットの番号に該当する赤いLEDが右へと増えていきます。)その後、再びLEANボタンを押すとシングルショットフィルターは、割り当てられたスロット番号の範囲内で動作します。・オートラーンモードで使用するには、マイクプリアンプやパワーアンプなどを接続した状態でLEANボタンを長押しします。すると、フィードバックデストロイヤーよりパルス信号が出力され、機器側から意図的にハウリングを誘発します。7セグLEDのカウントダウンが始まり、ハウリングしやすい周波数やバンド幅、場合によってはPEQが自動的に設定されます。(この操作では、聴力を一時的に失うレベルのハウリングが発生するため、耳をふさいだ状態で操作を行うことをお勧めします。また、フィードバックは反響音などからも誘発されるため、ハウリング中はマイクを色々な位置、角度に向けながら調節すれば良いと思います。)ちなみに、オートラーンを実行すると各スロットに手動で割り当てたシングルショットフィルターやPEQの値などは全て上書きされるようです。オートラーン実行後には、各スロットを示すLEDがシングルショット・PEQに割り当てられるため、常時点灯の状態となります。 空いているスロットがある場合は、実際に使用していてフィードバックを自動検知した際に自動的にその周波数帯域をカットするためのスロットとして機能するようです。※ただ、オートラーンモードで学習させた際は、使用するマイクプリアンプやマイクによっては結構バッサリと広いバンド幅でゲインを下げられる傾向にあるので、常時 高音域が削られた状態になるという不都合な点もあります…。（なので、ある程度のスロットを手動でシングルショットフィルターに割り当て、PEQも極力スロットの割り当てを少なくした上で、残りをフィルターリフトに設定し、自動検知後に一定時間経過したらスロットを自動解放するように設定しておいた方が、音質的には良いようです。）・PEQの設定方法について PEQボタンを長押しし、ロータリーエンコーダーを回して使用するスロット数を選択。(何個のスロットを常時PEQに割り当てるか、あらかじめ設定しておく。)その後、再度PEQボタンを押して設定モードを解除し、PEQボタンを短く押す。そうするとPEQのスロットが選択出来る状態になるので、～20の間で設定しておいたスロットをロータリーエンコーダーで選択。その後、実際にマイクに声を入れた状態で、「周波数、バンド幅、ゲイン」の順でPEQを設定する。（メーカー様に確認して頂いた現象なのですが、周波数がセットされていない状態で最初にゲインを操作してしまうと、ロータリーエンコーダーを回した瞬間に 全ての音が出なくなる症状が発生します…。フレキシーが設定されていない状態なら、本当でしたら回してもゲイン値が変わらない状態が正常だと思うのですが、現在は内部処理の仕様上 そのようになっているようです…。）ちなみに…ですが、60Hzや50Hz付近のゲインを下げることによって、気になる電源周りのハムノイズを消すことも出来ます。フィードバックデストロイヤーに接続しているマイクプリアンプが真空管マイクプリアンプの場合でも同様にホワイトノイズを「ノイズケート」などの機器を使用することなく消すことも可能なのですが、今度は高音域が削れてしまうという副作用があります…。今回は色々とトラブルが重なり、Amazon様にもベリンガー日本代理店様にも色々とお世話になりましたが、ベリンガー日本代理店様も丁寧に状況を確認して検証して下さいますので、「説明書に理解が出来ない日本語が書かれている」ということよりも、使用するユーザー側の機器に関する知識や Amazon様、メーカー様への相談、報告も大切だと思います。このフィードバックデストロイヤーは業務用途の機器ですので、短期間で保証の切れる高価な製品よりも業務用としては低価格なのに、高機能なものを長期間保証してくれるという点も評価したいと思います。（Amazon様へ…製品の使い方が分からなくて困られている方が多いと思われますので、今回のビデオレビューは消されないようにお願い致します。利用規約やガイドラインに沿ったもので、購入した機器の使用方法について説明したものです。）
ultra.kick –
Die berühmte Behringer-Software
Dieser Typ bessert sich nie . Er entwickelt im Jahre Schnee eine Software , die ist fehlerhaft und bleibt 20 Jahre unangetastet . Da gibts mehrere Geräte-Beispiele .Vom ‘FBQ’ gibts dieses verhunzte 24/96-Modell und den uralten FBQ1000 , der auch schon gute 20 Jahre auf dem Buckel hat . Im Vergleich zu diesem Opa kann dieses neumoderne Gerät nicht mehr mithalten . Wenn ich eine PRO-VERSION kaufe , dann erwarte ich mir nicht weniger Funktionen , sondern mehr ?Dieses Gerät hat bis zu 17 PEQ-Bänder , aber keinen einzigen Speicher dafür !!! -Wer PEQ einstellt , weiß , daß man ohne Speicher oder umfangreiche Listen zu keinem brauchbaren Ergebnis kommen kann . Stellt man hier 5 Bänder ein und will dann ein 6. dazunehmen , sollte man höllisch aufpassen , daß nicht plötzlich alle Einstellungen verschwunden sind . Dreht man nämlich zufällig statt auf P6 auf P5/4/3/ oder gar P0 werden alle zugehörigen Bänder gelöscht . Also : von P15 einmal kurz auf P0 und wieder auf P15 gedreht – alle Bänder gelöscht !Erhalten bleibt zwar die Frequenz aber weder Q noch Gain . Katastrophal . Für die PEQ-Bänder gibt es doch eine: eigene Lösch-Taste .Extra-Tip : Setzt man ein zusätzliches PEQ-Band , schaltet das Gerät meist erstmal stumm . Da hilft nur mehr : kurz einstellen , aus+einschalten !Der ‘FILTER-LIFT’ funktioniert überhaupt NICHT , zumindest nicht bei 1min . Die (automatisch) gesetzten Filter bleiben also weiterhin aktiv , was zwar bei 2-3 Filtern recht unhörbar sein kann , aber bei bis zu 20 Filtern schon ganz schön verzerrt werden kann . Es bleibt also dem Profi bloß , die gesetzten Feedback-Filter pausenlos manuell zu löschen (Reset) .Ich habe bloß ein nacktes Radio durchgeschliffen , das Gerät findet selbst bei Musik einige ‘Feedback’-Frequenzen . Verwendet man es also als reinen PEQ , sollte man über die Freeze-Taste das weitere Suchen unterbinden! .Via LEARN fand es in Windeseile 20 Frequenzen , die angeblich -aus dem Radio- ‘rückkoppeln’ , wie das gehen könnte? weiß ich nicht . Einerlei .Ich habe es mir nicht als Feedbacker gekauft , da ich ohnehin den alten FBQ noch von der Jahrtausendwende besitze , sondern als 20-Band-PEQ . Dafür ist das Gerät aus den erwähnten Gründen nur bedingt geeignet . dafür würde ich den FBQ1000 empfehlen . FBQ’s sind halt so eine Sache . Ist alles richtig aufgestellt , pfeifts sowieso nicht . Und pfeifts , dann sollte man besser erstmal umstellen . Ich habe es seinerzeit trotz intensiver Bemühungen nicht einmal geschafft , den halboffenen Kopfhörer zu ‘entpfeifen’ . Da bei 24/96-Geräten die zu verarbeitende Datenflut einfach extrem ist , steht nicht zu befürchten , daß dieses tolle Gerät um soviel besser als das Alte sein sollte .Fazit : Der Uli soll sich am Besten auf seine holprig nachgebauten Analog-Retro-Synthies stürzen , da brauchts keine Software , keine Speicherchips , nur Drehregler und SMD-Microdreck .
Thomas Hörmann –
Zuverlässiger Feedback-Destroyer vor allem auch für Raumakustik
Ich beschäftige mich nebenberuflich mit Musik und auch Beschallung.Bei einem Workshop habe ich dieses Gerät kennen gelernt und dabei gesehen, wie gut es für das Einpegeln des Raumklangs geeignet ist.Der Feedback Destroyer arbeitet sehr schnell, präzise und zuverlässig und erleichtert damit die Arbeit des Tontechnikers gerade bei schwierigen Raumakustik-Verhältnissen enorm.Die Bedienung ist leicht. Im Prinzip hat das Gerät 3 Betriebsmodi, die alle mit einander kombinierbar sind.A) Single Shots, hier definiert man eine Anzahl von Frequenzen, die der FB Destroyer eliminieren soll. Sind diese einmal gefunden und gespeichert, bleiben sie so lange aktiv bis man sie wieder löscht.B) Manuelle EQ-Steuerung, hierzu kann man sich ebenfalls eine Reihe von Bändern reservieren, die man selbst bearbeiten will. Der FB Destroyer fasst diese nicht an.C) Automatik, das spricht für sich. Der FB Destroyer such sich selbständig Frequenzen, die Pfeifen und eliminiert sie. Wenn alle Speicherplätze belegt sind, beginnt er – sofern immer noch neues Feedback aufkommt – mit der Belegung wieder von vorne an und löscht die ältesten Automatik-Frequenzen.Das alles funktioniert dermaßen tadellos und störungsfrei, dass es wirklich eine große Hilfe ist.Ich gehe so vor, dass ich z.B. bis zu 10 Bänder für das Einpfeifen der Raumakustik nutze. Weitere 5 Bänder lasse ich reserviert für mich und 5 Bänder kann der FB-Destroyer während der Veranstaltung automatisch nutzen um Feedback-Frequenzen zu eliminieren.Ich kann das Gerät nur empfehlen.
Bert –
The manual and quick start guide are horribly lacking
To be completely honest, I’m yet to use this for gigging in anger. However, the manual and quick start guides are really really poor and incomplete. Read the review above by Charles Sorgie – there is more information there than I could find in any Berringher material or on YouTube. Including the fact that the unit ships with PEQ set to use all filter slots, so the most basic Learn and Auto modes won’t be able to work.
Sheer –
Good at some things.
So, if you’re looking for the type of feedback suppression you find in the DriveRack PA, you ain’t gonna find it here.What this box excels at is feedback suppression on a individual *stationary* microphone. It makes a good insert for a single channel. It is too slow to be useful on a wireless or headset mic (unlike the DriveRack, which often suppresses feedback almost before I know it’s happened) but it is good if you can ‘ring out’ the room. It probably adds about 15-20db of headroom to a stationary mic. It will sometimes false on things like guitar notes that could be mistaken for feedback, but it does have a switchable threshold (via the ‘voice’ button) to make it suitable for spoken word or music. Also, and they won’t tell you this in the manual – the factory shipping configuration is *completely useless*. It’s set to 20 preset filters, all set flat. You need to dial it up to have single-shot or floating filters instead or it will do nothing useful at all.Behringer, please try again. You’re getting closer every time, and I promise I will buy and try your next box. This box is a great improvement on the last one. It’s just still not quite to what I want from a feedback cancelling appliance.
desertfox –
use it weekly
We gig 2 weekends a month on average and this is what I use to handle 2 monitor channels. Sometimes, this thing is PUMPING into action to prevent feedback. I’ve heard plenty of folks talk about not liking the auto mode but I have had success with it in many a live environment. I use a DEQ2496 for a feedback net on my FOH mix as I come out of a Phonic S16 Digital Console via AES/EBU to the DEQ2496 -> SRC2496 via digital optical cable -> DCX2496 via AES/EBU cable keeping an entirely digital signal from the mixing board, through EQ processes, to the crossover/loudspeaker management system then out to the QSC FOH system. The unit has MIDI control. Nothing bad to say and would purchase again.Update 11/29/14 -> Hundreds of gigs later and it is still performing well. Our drummer decided to go with headphones! So now I can use it for 2 monitor mixes out front. (Drummer tended to laser aim his floor wedge at everyone’s vocal mic…) I patch up balanced 1/4″ TRS to XLR from my digital mixer to FBQ2496, then XLR to floor wedges. The rig just works. So much so that I haven’t dabbled with many of the features. Gives me headroom and prevents howling on my monitor mixes, which is just what the Dr. ordered.
Gregory E. Dunn –
Excellent multi-purpose programmable filter array
I actually bought this in order to use the 40 individual programmable parametric filters, rather than as a feedback eliminator. The UI is simple and intuitive, and the device can be programmed via MIDI. Additionally, it has pro quality balanced I/O and a built-in power supply instead of a cheap wall wart.I use it to equalize audio systems due to the flexibility of the DSP. It seems to work fine and has a hard bypass switch in case you need to check out the effects of the filters you’ve programmed. It just does its job and that’s all I needed. Recommended.