Eliminate Feedback Like a Pro: Best Microphones for Fighting Stage Monitor Feedback

Are you constantly having trouble with feedback from your stage monitors while you’re trying to do your best during gigs? Do you use a microphone that is OK, but is still having trouble with its colleague the floor monitor?

If any of the statements above reflect your reality, then this article is a must-read for you. This post is exactly what you need to read to find out all about how a proper choice of microphones can help you eliminate monitor feedback and let you be the professional musician that you are.

This article is also for public speakers or anyone who needs vocals through a PA while using stage monitors. 

Understanding Feedback in Live Performances

How does feedback occur? When using a stage monitor, you hear your voice through it. Technically, so does your microphone. Our goal is to make our microphone not hear the sound coming from the monitor. Or at least, bring it to the minimum. When your mic picks up your voice from the monitor, it amplifies it and once again sends that amplified signal to the monitor. This goes on and on, creating a loop that is called feedback.

We don’t want this. The audience doesn’t want this.  

Common Causes of Feedback from Stage Monitors

There are several factors that can cause feedback. If we want to win this battle we need to understand these causes and how they work.

Main causes for feedback from stage monitors:

• Microphone placement
• Positioning of stage monitors
• Improper gain staging
• Unsuitable microphones

How do microphones fight feedback from monitors?

This is the part where we’ll talk about microphones. Not all microphones are designed the same way, and each type has its pros and cons when it comes to eliminating monitor feedback. Choosing the right microphone type can make a huge difference in your performance.

Choosing the right microphone is a balance between two factors:

• It suits our specific voice and preferences
• It reduces monitor feedback

Types of Microphones for Live Performances

A) Types by design

1.Dynamic microphones

In many live situations, a dynamic microphone is used. Generally, they are a better choice than condenser microphones. Thanks to their design, they can handle a much higher sound level before feedback from stage monitors than other mics.

The most popular microphone of all time is the Shure SM58 which is a dynamic microphone. It captures vocals best when singing close because of its less sensitive design. It works great for very loud bands. Its polar pattern is a cardioid pattern that doesn’t pick up sound from behind meaning low to no feedback from monitors.

2.Condenser microphones

Condenser microphones are highly sensitive and can bring out more nuances than dynamic mics. They are a better choice for lower stage volume and for singers who don’t sing very loud. Because of their higher sensitivity, they are harder to work with trying to eliminate feedback from stage monitors.

3.Ribbon microphones

This type of microphone is a less used microphone type than others for live. They used to be a standard back in the old days of microphone use. After the seventies, they were focused more on studio use than live.

They usually use a figure-eight polar pattern which isn’t the best option for main vocalists but can be the best solution for two singers singing on one mic or choirs.

B) Types by Polar pattern

A polar pattern is a graph that shows us how sensitive a microphone is to sound coming from all directions or in short its directional sensitivity. Which polar pattern should we use depends on which sound directions do we want to emphasize and which do we need to reject.

All design types of microphones can have different polar patterns so the combinations are endless. Some microphones even have selectable polar patterns, which is useful in the studio.

1.Cardioid

This polar pattern is best for rejecting feedback from stage monitors placed right in front of us. The downside is that a cardioid microphone is prone to feedback from the sides.

2.Supercardioid

A supercardioid microphone is good at rejecting sound from the sides and can be a good option for stage monitor feedback. Positioning the stage monitor has to be precise due to the specific polar pattern. A supercardioid mic is sensitive to sound coming from directly in front of it but has a left and right spot where it does an excellent job at rejecting feedback.

Having that in mind, when using supercardiod mics, the stage monitor has to be positioned either left or right of the singer.

3.Hypercardioid

Similar to supercardioid, hypercardioid microphones reject off-axis sounds, but are a bit more sensitive to the sound coming from the front. They are less popular for live vocals but are often used in film productions.

4.Bidirectional or figure-eight

This type is equally sensitive to sounds coming from the front and back. Almost all ribbon microphones are bi-directional. This type may not be the best for reducing feedback from a stage monitor.

5.Omnidirectional

Omnidirectional microphones are equally sensitive to sounds coming from all directions. They are mostly used for singers who move a lot and choirs but can be tricky when it comes to monitoring feedback.

If we need to use an omnidirectional microphone we could consider using a wireless headset microphone which is easier for eliminating monitor feedback.

Other factors that can reduce stage monitor feedback

Our main focus has been on choosing the right microphone for minimizing feedback. But other factors also contribute to reducing feedback. These are some helpful tips that will further help with fighting stage monitor feedback during your gigs.

1.Correct microphone placement

Every microphone has its own characteristics. Having them in mind, we should place them in a way that suits them best. That means considering the right angle and distance from the monitor and other possible sound sources that could cause feedback.

2.Monitor mix

As a singer, you should always be able to hear yourself loud and clear. When I say loud, I mean loud enough rather than too loud. After all, if you hear your voice much louder than the rest of the band it won’t sound natural to you and can affect your performance.

In order to achieve the proper balance the person who is in charge of the soundboard (mixer) needs to fine-tune your monitor mix. Besides your voice, you need to hear everything that is relevant to your performance; backing vocals, some guitar,…

The right volume and balance of inputs entering your monitor will provide you with a clear sound picture and will minimize stage monitor feedback. Any volume higher than “enough” will only lead to feedback.

3.Gain adjustment

Gain levels are crucial for avoiding feedback. Correctly set gain level will give us enough sound volume to hear ourselves without monitoring feedback. High gain levels are harder to battle with later on, so less is better. With proper gain, you have a good foundation to build a great, controllable sound.

My Story

I’ve tried out many microphones throughout my musical career. Some sounded OK, some awesome. But the trouble was, there was always something changing, the band, PA, venue, monitors. Dealing with monitor feedback is challenging when there are many changing factors involved.

For the last eight or nine years, my band’s PA gear has been mainly consistent and dealing with feedback as well. During these years I mostly used the Shure 55 Deluxe which is a modified Beta 58a in a Super 55 housing. It is an amazing-sounding microphone and visually perfectly matches my band’s playlist. However I had trouble when playing larger stages, sound producers sometimes had to cut out all the good frequencies to eliminate feedback. 

Then I tried out the Shure Beta 87A, and I was amazed at how my voice sounded through it. Due to its supercardioid polar pattern, I had to move my monitor sideways to match the spot where it was the least sensitive.

Now I use a condenser mic that is very sensitive and suits my voice, but I have to watch where I am placing my floor stage monitor. So it’s a balance of pros and cons, like most things.

Conclusion

Stage monitor feedback can be very challenging, especially when in a hurry. By learning about how different types of microphones work we can successfully eliminate feedback. Choosing the right microphone that matches your voice characteristics, monitor, and gig type is crucial.

We best learn by Playing various types of concerts. There are many venue factors that can lead to feedback from our floor stage monitors. Outdoor gigs differ from indoor ones. Small vs big venues. Room acoustics, and so on.

Floor stage monitor feedback can be a challenge for musicians. Choosing the right microphone is a major factor in fighting feedback and distortion. Carefully consider your requirements and the type of gigs you are playing. Think of all the factors that could lead to feedback. Understanding the causes of stage monitor feedback will make us prepare more professionally for gigs.

Choose one or two options for microphones that you think could work best for you and try out a couple of them in a live situation before buying. And one more thing, don’t forget to have fun while at it.