Ringing Out Monitors: Eliminating Feedback Before It Starts

Ringing out monitors describes the process of identifying and reducing feedback-prone frequencies before performers take the stage. This preemptive approach increases usable monitor volume while reducing feedback risk during performance. Every venue and microphone combination presents different feedback challenges requiring fresh analysis.

Understanding Monitor Feedback

Feedback occurs when sound from a speaker reaches a microphone, amplifies through the system, returns through the speaker louder, and cycles continuously into a howl or screech. Monitor speakers face performers and their microphones, creating inherent feedback potential that front-of-house speakers avoid by facing away from the stage.

Certain frequencies feed back more readily than others due to microphone response characteristics, speaker output patterns, room acoustics, and resonant properties of physical structures. These feedback-prone frequencies vary between venues, making on-site analysis essential.

The feedback threshold represents the point where a specific frequency begins sustaining and growing. Just below this threshold, frequencies ring briefly then decay. The goal of ringing out extends the usable gain before any frequency reaches its feedback threshold.

Equipment for Ringing Out

Graphic equalizers provide the primary tool for feedback control. The 31-band graphic EQ offers cuts at standard ISO frequencies spaced one-third octave apart. This resolution allows reasonably precise targeting of feedback frequencies without affecting too much adjacent content.

Each monitor mix may need its own graphic EQ when mixes differ significantly. A universal monitor EQ affects all wedges equally, while individual EQs allow optimization per mix. Budget and complexity constraints determine the appropriate approach.

Real-time analyzers display frequency content, helping identify feedback frequencies visually. Software analyzers running on tablets or laptops provide this capability affordably. Hardware analyzers from Behringer, dbx, and other manufacturers integrate with EQ processing.

Automatic feedback eliminators detect and notch feedback frequencies using narrow parametric filters. Products from dbx, Behringer, and Sabine handle obvious feedback, though results rarely match skilled manual ringing. These devices work best as backup protection rather than primary feedback control.

The Ringing Out Process

Begin with all monitor sends at zero. Bring up one microphone through one monitor at a time, isolating variables for controlled analysis.

Slowly increase the monitor send level while speaking or making consistent sound into the microphone. Listen for frequencies beginning to ring or sustain longer than natural. These ringing frequencies indicate approaching feedback points.

When a frequency begins to ring, identify its location on the graphic EQ. Experience helps recognize frequencies by ear—400 Hz has a hollow, boxy quality; 1 kHz sounds nasal; 4 kHz sounds harsh and aggressive. Visual analyzers confirm ear-based identification.

Cut the identified frequency by 3-6 dB on the graphic EQ. Narrow cuts affect less overall tonal content while addressing the specific problem. Continue increasing monitor level until the next frequency begins ringing.

Repeat the identify-and-cut process until adequate monitor level exists before any frequency reaches feedback. Typically three to six cuts per channel provide sufficient control. Excessive cuts degrade tonal quality, indicating problems beyond what EQ can solve.

Prioritizing Critical Channels

Vocal microphones demand the most attention when ringing out monitors. Vocalists need to hear themselves clearly, requiring higher monitor levels than most other sources. Vocal microphones also typically have wide pickup patterns, increasing feedback susceptibility.

Drum overheads and room microphones present challenges in loud stage environments. These microphones pick up broad stage sound, including monitor output. Careful positioning and conservative levels often matter more than extensive EQ treatment.

Instrument amplifiers with microphones benefit from stage volume reduction when possible. Lower amp volumes reduce stage bleed into all microphones, improving overall monitor stability.

Working With Multiple Monitors

Each monitor position may require different EQ treatment. A vocal wedge directly below the singer faces different acoustic coupling than a side-fill monitor across the stage. Systematic treatment of each position, in isolation and then together, ensures comprehensive feedback control.

Stereo monitor setups create complex feedback interactions. Sound from both monitors reaches each microphone, combining in ways that neither monitor alone produces. Ringing out stereo systems requires evaluating both individual and combined monitor output.

In-ear monitoring systems largely eliminate feedback concerns by isolating performers from monitor speakers. However, ambient microphones feeding in-ear mixes can still cause feedback, requiring similar ringing procedures.

During-Show Feedback Management

Despite thorough ringing out, feedback may still threaten during performance. Performers move relative to microphones and monitors. Energy and excitement lead to higher monitor requests. Room acoustics change as audiences fill the space.

Recognize feedback onset before full howl develops. A sustained ringing quality indicates imminent feedback. Quickly identify the source channel and reduce its monitor send or cut the problem frequency if identified.

Graphic EQ adjustments during performance should be minimal if pre-show ringing was thorough. Drastic mid-show EQ changes often create new problems while solving the immediate one. Conservative adjustments maintain overall tonal integrity.

Post-show analysis reviews what worked and what caused problems. Notes about problem frequencies and successful EQ settings inform future shows at the same venue. Building venue-specific knowledge improves efficiency over time.