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feedback's actual pitch?

#3
I know its kinda silly. But i think it will be a great help in setting up microphones and monitors. There is no more need of going thru each of the sliders to get rid of those nasty feedbacks. Ive read somewhere here that 250 hz is the low B of a bass guitar. Is it constant or does it depend on the room?
 
#4
Feedback is dependent on what frequency is being exponentially amplified. It's different every time. Some rooms and setups have problem frequencies that you can target, but you just have to be on your toes. Going through those sliders is the only way until you train your ear or buy a feedback eliminator, which is never a total solution, just an aid.

low b is 30.86 hz, commonly rounded to 31
 
#6
MooseLumps said:
Feedback is dependent on what frequency is being exponentially amplified. It's different every time. Some rooms and setups have problem frequencies that you can target, but you just have to be on your toes. Going through those sliders is the only way until you train your ear or buy a feedback eliminator, which is never a total solution, just an aid.

low b is 29.14 hz
Click to expand...

+1

It's always going to be different.
 
#8
but, if you could hear what the note is that is feeding back you could look up that note to find the frequency and cut that slider on your eq to eliminate the feedback could you not? So if I knew that the feedback I was hearing was an "A" 440, I could cut 440hz and eliminate the feedback.
 
#10
As I understand it, it depends on too many variables... namely the source pitch and the room. The notes we play aren't just pure tones obviously; there are a number of harmonics in there, too. So when you get feedback, it may be one of the many harmonics in a note being amplified by the room.

On a side note, if the low B is (approximately) 31 Hz, 250 Hz (or rather, 248...) would be a possible harmonic, albeit a pretty high order one...
 
#12
The answer to your exact questions is technically yes. This is what a feedback filter does, it identifies the frequency of the feedback and creates a very narrow EQ band and cuts it a bunch.

You cannot do the same thing with a simple EQ. You can reduce it with EQ, though. Eliminating feedback is impossible, but to reduce it you have to combine a lot of little things.
 
#13
Yeah, it's different every time. Good speaker and mic placement goes a very long way. They do have EQ units now that will pinpoint troublesome frequencies for you ([Invalid or Expired Link Removed]), but I've never used one so I can't comment on how well they work. It helps to know your mics too and where they like to feedback.
 
#16
Using the software that RustyAxe posted here. I still decided to try the idea just for the heck of it lol... So far this is what i got
80 E
100 Ab
125 C
160 E
250 C
315 E
400 Ab
500 C
630 Eb
800 Ab
1k B
1k25 Eb
1k6 G
2k B
2k5 Eb
3k15 G
4k Bb
5k G
8k B
12k5 A
 
#18
If I hear a bad frequency in the room and it might not be feedback per se, maybe it is frequency masking, I just grab the fader that the frequency sounds like. Seems to me like your adding some unnecessary steps. I never heard an engineer calling out musical notes when tuning a rig and I never heard a music calling out frequencies when tuning an instrument. Your system may work for you, but it is not the norm. What if someone says the sound is muddy or sibilant or ice pick in the forehead or the kick drum has a lot of beater and not click?
 
#19
Paulie_m said:
If I hear a bad frequency in the room and it might not be feedback per se, maybe it is frequency masking, I just grab the fader that the frequency sounds like. Seems to me like your adding some unnecessary steps. I never heard an engineer calling out musical notes when tuning a rig and I never heard a music calling out frequencies when tuning an instrument. Your system may work for you, but it is not the norm. What if someone says the sound is muddy or sibilant or ice pick in the forehead or the kick drum has a lot of beater and not click?
Click to expand...
agreed. engineers and soundmen use frequency numbers, not pitches, and they use them because their stuff is marked in frequency numbers, not pitches.

and here's why...you say, "i've got a ring in my monitor. according to my chart it's an F." but which F is it? F2? F7? F10? and then the soundman has to consult your chart in order to figure out what freq he'd need to pull down on his eq sliders. very unwieldy. you're way better off learning their system because it's what they have. then you can say, "i've got a ring...can you pull down 5k?" and whoomp, there it is.
 

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