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3.4 Using the FEEDBACK DESTROYER PRO in single channels and sub-groups
Master Out
P.A. System
Sub-Group
Insert
Channel
Insert
Fig. 3.3: Inserting the FEEDBACK DESTROYER PRO in single channels and sub-groups
If you want to make sure that deliberately produced feedback signals, such as guitar feedback, are not
eliminated, you should try inserting one or several FEEDBACK DESTROYER PRO`s into single channels (e.g.
vocal mics) which are susceptible to feedback. Or, you could use the sub-groups of your mixing console by
routing any channels susceptible to feedback (e.g. all vocal mics) to one or several sub-groups. Thus, all less
critical signals (e.g. line signals, lower-level instrumental microphones) can pass through the mixing console
unaltered, while only the critical microphone channels are monitored from the FEEDBACKDESTROYERPRO.
In this way, you can protect your P.A. system against feedback and still use wanted feedback signals.
3.5 Using the FEEDBACK DESTROYER PRO in a studio environment
With its highly flexible configuration the FEEDBACK DESTROYER PRO also delivers good results in a profes-
sional studio or home recording environment, as it provides a maximum of twelve fully parametric equalizers
per channel in Parametric EQ mode. Thus, you can realize any application ranging from slight processing to
the total manipulation of music signals. For example, you can use the FEEDBACK DESTROYER PRO as an
equalizer for your studio monitors or to enhance the EQs in your mixing console, as these are often only semi-
parametric.
3.6 Using the FEEDBACK DESTROYER PRO as an effects device
With its MIDI interface the FEEDBACK DESTROYER PRO can also be used as a programmable EQ - as a
control unit in a guitar rack or in combination with a keyboard. If you own a MIDI footswitch with an expression
pedal, you can produce interesting wah-wah effects by modifying the filter frequency with the expression pedal
while playing. A similar effect is produced when the FEEDBACK DESTROYER PRO is used to generate
sweeping sounds. Emphasize or de-emphasize a particular frequency and change the filter frequency con-
tinuously via MIDI. The resulting effect sound like a heavily modulating phaser (although the phasing effect is a
different phenomenon from a physical point of view). The advantage in this application is that the sweeping
sound is MIDI-controllable and can be synchronized to, for instance, a sequencer. This effect is very popular in
dance and techno music.
3. APPLICATIONS