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Sabine FBX-SOLO SM820 Digital Feedback Eliminator XLR
- Product 180246
- Free Shipping With Backstage Pass (48 Contiguous U.S. States)
Let's make this loud and clear: You want more gain? Increased clarity? Automatic feedback control? Want to save some money? Sabine has the answer: Th...Click To Read More About This Product
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Single-channel feedback control for wireless mics plus phantom power for use with balanced mics.
Let's make this loud and clear: You want more gain? Increased clarity? Automatic feedback control? Want to save some money? Sabine has the answer: The FBX-SOLO, a miniature version of the award-winning FBX-1020P Feedback Exterminator. One SOLO controls feedback on one microphone or instrument -- you decide which inputs get precision, automatic feedback control and maximum gain, from one channel to all your channels. New features of the SOLOs include increased headroom, a programmable noise gate, & switchable input/output levels for more versatility.
The FBX-SOLO targets feedback without taking a big chunk out of your sound. Digital FBX filters are 10 times narrower than graphic EQ filters. You get back over 90% of the power you lose with a graphic EQ.
Like all the FBX Feedback Exterminators, the FBX-SOLO does what no other audio product can do: it automatically detects and eliminates feedback while leaving the sound crystal clear. The patented algorithm distinguishes music from feedback so it works even during the program, not just at setup time.
If you use your 31-band EQ just to shape your sound and let your FBX control feedback, you should expect up to 9 dB more gain and a dramatic improvement in the sound quality. Why? When you pull down a graphic EQ slider to chase feedback, you also pull out a big chunk of your sound. FBX constant-Q filters are 10 times narrower than graphic EQ filters. Narrow filters mean more gain and more clarity. It's that simple.
The perfect solution for wireless mics
Using the Sabine FBX-SOLO with a wireless mic, you'll be able to move freely without worrying about feedback. Patch it in your monitors and they'll be so loud you may have to turn them down. Get the volume you want with your acoustic/electric instrument or harmonica mic and keep that rich tone. And the built-in noise gate provides the control you need in multi-mic locations like conference rooms and courthouses. Wherever you have an open microphone, the FBX is the most effective and least expensive way to make a dramatic improvement in your sound system.
How It Works:
Precisely detects feedback frequency
Places super-narrow (1/10 octave) digital filter directly on feedback
Sets filter just deep enough to remove feedback
What You Get:
More gain... for the first time you'll have to turn down the monitors!
Increased clarity and intelligibility -- narrow filters get the feedback and leave your sound untouched
Automatic feedback control -- in setup and during the performance
Targeted feedback control -- aim the FBX where you need it most
Which SOLO for you?
This SM820 features 3-PIN XLR I/O connectors (2 high balanced), 1 K Ohm nominal input impedance, -10 dBV maximum input/output level at lowest gain, a -15 to +20dB gain range at high output, and 48V switch selectable phantom power.
The SL820, by contrast, features 1/4" TRS I/O connectors, unbalanced >1 meg Ohm input impedance, +20 dBV maximum input/output level at lowest gain, a 0 to +35 dB (high in), +30 to +65 dB (low in) gain range (with line out selected), and a performance digital bypass.
The Sabine FBX-SOLO -- a fast, accurate, and affordable way to automatically remove feedback and make your sound loud and clear.
- Mixer insert points, powered mixer patch points, acoustic/electric guitars and guitar amps, and high-impedance mics
- Input/output level switches allow any combination of ins and outs
- Switchable filter widths: 1/10 or 1/5 octave
The only high-pitched squeals you should hear during your vocals should come from your audience, not your mic. Order an SM820 and sing brothers and sisters -- sing out!
- Eight independent digital notch filters controlled automatically from 40Hz to 20 KHz
- Filter width: 1/10 octave, typical, or 1/5-oct. selectable, constant "Q" (Below approximately 200 Hz the feedback filters become slightly wider to increase the feedback and rumble capture speed at these low frequencies.)
- Filter depth: DSP controlled, variable to -40dB
- Resolution: 1/50 octave
- Time required to find and eliminate feedback: 0.4 seconds, typical @ 1KHz
- Total number of combined filters active: User selectable, from 1 to 8
- Number of Dynamic vs. Fixed filters: User selectable
- Last configuration stored in memory
- I/O Connectors: XLR 3-pin 2 high-balanced
- Input Impedance: 1 K Ohm nominal
- Output Impedance: Unbalanced 10 Ohms nominal; Maximum load 2K Ohms
- Maximum Input/Output Level at lowest gain: -10 dBV (Note: Inputs may be balanced or unbalanced. For maximum output capability, outputs must be balanced XLR. If either side of an input is grounded, the peak output and dynamic range will be reduced by 6 dB.)
- Gain Range: -15 to +20dB (at high output)
- Input to Output Gain @ unity setting: +/- 0.5 dBV
- Bypass: Digital
- EIN: -105dBm @ 150 Ohms, 20Hz-17KHz or better
- Phantom Power: 48V switch selectable
- Attack Time: Fixed (400 mS)
- Threshold: Selectable (-24, -36, -48, -60 dB)
- 8-20VDC @ 400 mA
- 1-U height, 1/6-RU width; 2.78 x 1.65 x 5.5 in. (6.95 x 4.13 x 13.75 cm)
- 9.0 oz. (0.26 kg)
- SL6RACK Rack Tray (holds up to six units)