Re: shaker mics

[Mike Curtis <wd6ehr@xxxxxxxxxx>]

> I have continual feedback problems with my shaker mic.  Seems
> like I can't get it above the second notch on the volume control
> without it howling unless I get too far away to hear it above the
> stage volume.
> 
> Do I need to:
> 	cup it differently (more airtight),
> 	play harder,
> 	or get the rest of the band to turn down?
> 
> Any suggestions?

These are all excellent suggestions.  You also may need to work on your
acoustic tone.  A good, fat acoustic tone goes a long way toward
projecting a great amplified tone.  If you listen to the Walters' (or
anyone else with a great amplified sound, for that matter) acoustic tunes,
you'll notice that the basic sound they put out is fuller.  This requires
less gain on the amp, thereby cutting the likelihood of feedback. 

Other tips:

1. Play with your tone controls.  It may be that MORE treble will make 
you heard better with less feedback, but try it and bass both ways.  A 
graphic EQ is an excellent tool for this.  If you get a 1/3 octave unit, 
you may be able to notch out critical feedback frequencis without hurting 
your sound.

2. If your amp has both "volume" and "gain" controls, or similar, turn 
down the "gain" control (preamp, usually used for overdriving) and get 
most of your amplification in later stages.  Overdriving is exceptionally 
susceptible to feedback.

3. Get the guitarist(s) to put their amps on chairs or other elevating 
devices.  Ear level is best, but anything to get the amps closer to their 
ears will do wonders for keeping the volume below "armageddon" levels.

4. If you play with earplugs, you can rely on your own sound rather than 
that from the amp.

5. Experiment with amp placement.  Sometimes you might find that moving 
it a couple feet in relation to the wall(s) will cut feedback due to 
reflections.

6. If the audience has trouble hearing you, try micing your harp amp
through the PA with a good cardioid directional microphone such as an
SM58.  This is where a small amp and desk mic stand comes in really handy. 

A lot of bands use all small amps, usually at ear level, and a huge sound
reinforcement system to run everything through.  Of course, this is more
in a "concert" type environment and is probably overkill in a club that
uncomfortably seats 45 small people :-) But a setup like this does produce
the best sound, as long as your engineer knows what he's doing (and I have
a few horror stories about times when the engineer didn't!)