Behringer Feedback Destroyer Pro DSP 1124P 

We purchased a pair of these for our venue, one for the FOH mix and one for the monitor mix. We didn't really have feedback problems, but the owner thought it would be a good idea to be safe. I have since removed both of them from their respective mixes. They were filtering out frequencies that I needed for my mix and in general killing the vocals. The end result was that I had to gain the monitors up so high that it CAUSED feedback.If you have a serious feedback problem, I could see using them. I could also see using this unit as an insert for one channel or if you only have one channel going at a time. But for most musical applications, particularly live sound, this thing causes more problems than it fixes.It's always better to use your ears and an EQ.

I bought this unit to cure a nagging monitor feedback problem. It does just what it's supposed to. I use the single shot mode and rarely look at the thing. We run sound from the stage with no soundtech so I look for equipment that doesn't need much oversight. Mission accomplished.

I just ordered another one of these. After 3 yrs of almost constant use, my old one gave up the ghost on ch 1. I'll gladly fork again. Used as a two mix, front of stage and drum riser, monitor processor, Set up all SI single shots, ring out the mix, take a look at what hz come up. If you have multiple locks on a given hz, set up a PA parametric for that one. Repeat. After a few passes, if your monitors and mics are matched and not being asked to do the impossible, you'll have the real problem hz's whacked. Set up the remainder of the filters as SI's to catch random weirdness. Save the program. Now, when you come back to that stage, your good to go, all things being equal (which can happen......). Powering down does not wipe out SI locks if you save the program.The coolest thing about these are that once you have them wired your monitors will sound amazing, as the Q width is very narrow. Having used graphic EQ's in a previously life, there is no comparison. And club owners genuinely appreciate not having to listen to you ringing out the monitors over and over and over again. Use the time for rehearsal instead.Dave ReynoldsGrey Wolf Band, Mobile, ALCoyotemoon Sound, Coden, AL

I find the FBD a great tool if you take time to explore its possibilities. The quality of the manual can be discussed, but it contains the information needed. We do a lot a gigs in bars and small clubs and these are probably amongst the worst situations what feedback is concerned.The FDB has helped me a lot in getting the Monitor volume to a decent level (=very load) to enable 3 singers to sing in harmony (nect to heavy drums and loud bass)A few remarks:- Switching off the power removes the filters in Single Shot or auto mode. If you want to keep the settings, switch them to parametrisch and save. You can do this for different venues (12 different filter settings can be saved). Some consider it good practice to do this before the start of the gig. In that case be careful to verify that the Prameteric equalisers are not bypassed. The soft bypass does not affect the single shot or auto filters, only the parametrics (yes, been there....)- verify an important parameter: Namely the sensitivity of the FB detection. Therefore you need to push the gain button and the filter mode button simultaniously. I find 6 dB to be perfect.- Don't use the FBD in the mike inserts: you are affecting monitor AND FOH at the same time. You don't want your FOH sound to affected.- Also temperature affects feedback frequencies. Sometimes it is necessary to ring out the monitors during the break. - Use a graphic EQ for the FOH because it is more intuitive for changing soundcolour. Feedback should be of secondary importance for the FOH.

Used for pa with speaker presenting on a wireless lapel mike. Trying to run a pa in a small venue with kitchen noise in the background and a soft spoken presenter on a cheap rental lapel mike makes for horrible volumes. Used as insert on lapel mike with great success. Drasticly improved headroom and almost utterly destroyed feedback. I ran left output back into right input and took advantage of all channels. I had 20 setup to lock out and the balance in auto. Worked better than expected. Used in addition to EQ. I primed the left first, rewired to add right in in series and then primed right. Then set EQ.

I bought this thing after running into major feedback problems with our singer. His vocal effects box was making very low pitched noise. I went to pick one up and plugged it in. It simply worked. It stopped the noise while keeping the vocals sounding decent enough. The PA can get loud now, without feedback. If you use the single shot mode, it will kill the feedback frequency and lock it out. It also doubles as a parametric EQ which is cool in my mind. I don't find this unit hard to use. Know that if they are selling it for so little, its not going to be top of the line; but it still works.

The best way to use this is as a channel insert on individual vocal mics. One channel for each vocal mic. If you need to supress feedback on more than two mics; then you should buy more than one unit. It's also best to combine some single shot filters with auto filters. I use this unit in my home rehearsal studio and at live shows to supress feedback on vocal mics only and it works very well if you follow the instructions in the manual. If you prime the system the way the describes in the manual, you will have good results with more headroom than without the feedback destroyer. I don't recommend using it on the whole main mix or in the monitor path as I have found that it will send your mix way out of balance. All vocalist should be mindful not to direct their mics towards any speakers as this will cause the feedback destroyer to pull down the gain on multiple frequencies and make their mic sound lifeless. I will buy another one for our backup singers soon. If you have quality EQ's you might get better results; but you'll have to actively be working the mixer to eliminate feedback as it occurs and it's not always obvious which mic is causing the problem. If you don't travel with a sound engineer; then this is a good option.

It's been about two years now & around the holidays while we were doing our Christmas parties, it stopped working in the middle of our show & made the loudest static sound ever!Up until that point, we were able to make it work really well for us. We never had a problem with feedback (we only used it for our monitors.)We had it dialed in & it worked perfectly for my 5 horns, 1 guitar, 1 upright bass, 1 vocal & entire drumset. However, I'm guessing it stopped working because of the wearing down it got from useage on the road day after day.I would recommend this if it's gonna be in one place for a long time... But I would look for something a little stronger if you're looking to take something on the road.

I purchased the Feedback Destroyer to handle feedback problems in our church floor monitors, primarily caused by acoustic guitar pickups. For some reason the unit just starts notching low end frequencies for no apparent reason. Often I would find several single shot filters on the same frequency each with a -6db reduction. The monitors were nowhere near a volume level that would have produced feedback. After a typical service, all of the single shot filters would be fired and held, and the auto filters would be cycling through notching what the system thought was feedback. I find this unit nearly useless and will be returning it. I don?t know what Behringer did different in this feedback detection circuit, but we also own an Ultra Curve Pro and the feedback detection in that unit seems to work just fine.

Although the unit worked as it was supposed I found that it sucked too much of the life out of the PA. I used it in my live PA set up only for the monitor mix and we play mostly rock with a pretty load stage volume. By the end of a set it had notched out so many frequency's I could barely hear the monitors. I had to reset it and let it start from scratch every set. I would recommend an EQ with feedback detection rather than suppression. I am much happier since I bought one (dual 31 band w.feedback detection). Now I can see which specific frequency is causing the problem and notch it accordingly. Where the destroyer would notch 8 -12 bands I typically only need to slightly notch 2 or 3. Go with detection not suppression.