from PA speakers, monitors, or backline combo amps
and you may have to turn down the Mic volume to
prevent feedback to such a low signal that it is effectively
perceived as turned off
POSITIONING:
If you try to make the Mic sound a little
less boomy and unnatural by pointing it out of the
sound-hole you will be making it even more likely to
pickup speaker cabinets and monitors which may make it
more likely to feedback
If a Uni-Directional Microphone is mounted outside of an
instrument, it may be offset to cut it's potential to
feedback, by angling it to keep front and rear of the Mic
pointed away from the main sound source
GOOSENECKS:
If an internal Mic is on a flexible
gooseneck you may lessen the problems by spending
time finding the best sounding spot for placement but as
soon as it inevitably moves or changes angle slightly, or
you take it to a different acoustic environment, the
problems are likely to worsen as it interacts differently
with the room
ANTI-FEEDBACK ELECTRONIC DEVICES:
If used
correctly, these can help a lot at the professional sound
engineer level but the sound quality that a good
microphone can deliver is incrementally compromised by
use of anti-feedback electronic devices. The harder they
work, the more holes in the sound they need to remove,
which defeats much of the aim of using a Mic. One of the
cheaper rack units commonly available is supplied
incorrectly setup and they are not at all easy to use
P.39
