Behringer DSP1124P Feedback Destroyer Pro

Protect your ears (and your audience) by eliminating feedback with the Behringer DSP1124P Feedback Destroyer Pro. 117 People rated this product:

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Behringer DSP1124P 24-bit Feedback Destroyer Pro

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You know the situation: your system is perfectly set up and carefully equalized. You've done everything possible to avoid problems. Then it happens: a mic too close to a speaker... ear-splitting feedback. Switch on a Behringer DSP1124P Feedback Destroyer Pro and you'll hear the difference immediately. Within fractions of a second, the Feedback Destroyer Pro's ingenious search algorithm locates feedback frequencies and sets extremely narrow, 1/60-octave filters, leaving the desired signal virtually untouched. The result: a rich, full sound without feedback. And without headaches.

Features

- Digital 2-channel feedback suppressor/parametric EQ based on a high-power 24-bit DSP
- 20-bit A/D and D/A converters with 64/128 times oversampling
- Automatically searches and suppresses feedback frequencies
- 24 programmable, fully parametric filters, adjustable manually or via MIDI
- Single-Shot, Auto and Manual mode selectable for each filter
- 24-bit internal processing, professional 46-kHz sampling rate
- Servo-balanced inputs and outputs with XLR and 1/4 in. TRS connectors
- Internal power supply for professional use
- Extensive MIDI implementation
- Super-precise 8-segment LED level meters
- "Future-proof" updatable software architecture

All Sound, No Feedback

Once the Behringer DSP1124P Feedback Destroyer Pro locates feedback frequencies, it sets extremely narrow notch filters to eliminate the selected frequencies, leaving the remainder of the signal virtually untouched. The unit's various modes allow you to remove feedback from any live sound situation, or creatively shape your sound with 24-bands of fully parametric equalization.

Modus Operandi

The Behringer DSP1124P Feedback Destroyer Pro uses 24-bit A/D (analog to digital) and D/A converters, and a 24-bit high speed DSP for processing functions. The unit can function in Single Shot, Manual and Auto Mode. Single Shot mode automatically searches and removes feedback, locking the filter until it is reset manually. Manual mode enables you to use 2 x 12 fully parametric filters including frequency, bandwidth and gain. Auto mode continuously monitors the mix, resetting programmed filters automatically. Single Shot, Auto and Manual modes are assignable for each filter.

Ins and Outs

The Behringer DSP1124P Feedback Destroyer Pro features servo-balanced inputs and outputs on gold plated XLR and 1/4" TRS connectors, accurate eight-segment LED meters, and "future proof" software upgradeable architecture.

Preserve Your Sound

For ultra low-noise sound that's clear of feedback, the Behringer DSP1124P Feedback Destroyer Pro is an easy, effective and highly affordable audio solution. Check one out today at your local BEHRINGER dealer and find out how it can protect your sound from feedback. zZounds is an authorized dealer of Behringer products.

- Analog Inputs Connectors: XLR and 1/4 in. jack
- Analog Outputs Connectors: XLR and 1/4 in. jack
- Bandwidth: 20 Hz to 20 kHz, -3 dB
- Noise: > 94 dB, unweighted, 20 Hz to 20 kHz
- THD: 0.0075 % typ. @ +4 dBu, 1 kHz, Gain 1
- Crosstalk: < -76 dB
- MIDI Interface: Type 5-Pin-DIN-Socket IN/OUT/THRU
- Digital Processing: Converters 20-bit Sigma-Delta, 64/128x oversampling
- Display: Type 2 1/2-digit numeric LED-Display
- Power Consumption max. 15 Watts
- Dimensions (H x W x D): 1-3/4 x 19 x 7-1/2 in. (44.5 x 482.6 x 190.5 mm)
- Net Weight: 2 kg, approximately
- Shipping Weight: 3 kg, approximately

Behringer Warranty

Behringer Warranty

If you have additional warranty questions, please call the manufacturer at 425-672-0816

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Customer Reviews

4 out of 5 (117 ratings) Rate and Review This Product

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This review has been selected by our experts as particularly helpful. Behringer DSP1124P Customer Review

Sound: I'm using it with a small pa system with one house mix and one monitor mix. So far I have not noticed any extra noise from the unit. Some of the presets can be quite aggressive in their removal of frequencys. So much so that it can deaden the sound from the pa quite a bit. That's to be expected though. In manual mode this thing excels. Feature: This thing just works and does exactly what it's designed to do Ease of Use: You need to know a bit about audio to really get the most out of the unit but even the set and forget auto modes work quite well. Quality: I've had no issues with the quality of the unit Value: I play in some places where feedback is a nightmare and this thing really keeps things in check. Manufacturer Support: I have used their support system quite a lot to ask questions about the various products I own of behringers. They have always been extremely quick to respond and very friendly. I have never had to send anything back into them luckily. Overall: For me this unit is a life saver

Style of Music: Rock

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"Know your monkey"

Sound: The FBD Po is a pretty amazing unit, most people don't relaize what it can do. If you think you can just plug-in and be feedback-free, you might be dissapointed. Factory presets 'may' work in some limited situations, but actually taking the time to figure out the working platform will be very usefull and it'll make you appreaciate the units abilities and a true friendship will blossom. Feature: For $99 you get 12 channels of either stand-alone or mixable parametric eq and feedback suppression. Feedback detection rate is adjustable and one of the features that's a 'must-learn'. Ease of Use: 'Ease of use' is always dependant on ones knowlage of the unit. Jog wheels are not that easy/fun to use, but that's the world you're in here~~~'jog wheel and a small-screen digital'. The FBD Pro 'is not' hard to use, what it may be for most is 'hard to understand', but once understood, you'll have strong confidance to make settings/adjustments with no problem, you might even be looking for a reason to make a setting, its that easy once understood. The manual is 'German-mind' into english, so 'strike one'. What I tell people is "Envision the working platform as a mixing board" you have 12 channels, so~~~ it could be viewed like a 2 channel 12 band graphic EQ with each channel able to be programmed any way you like and in no particular order...another anology- Two seperate 12 channel mixing boards. Each of the 12 channels are programmable with either 1)a paramaetric-EQ (setting you choose) 2)a roving (AU) feedback filter. 3) a set feedback filter (SI) which 'locks onto' a freq. and stays locked all by its own doing. These are the 3 functions the FBD offers---> EQ, AU and SI The manual will clarify these 3 functions and their abilities. Its all a matter of decieding which function to put in each of the 12 channels. So~~~in channel 1 through4 you can set SI~~~ channel 5 you can set an eq notch (say -3 at 2.5K),~~~~ on channel 6 you can have another SI,~~~ on 7 and 8 'nothing' if you want~~~~ 9 through 12 again EQ natchos without bathtub cheese and so forth. A mistake a lot of people make is 'overuse'. You don't need to run all 12 channels of feedback supression, as this is where sound quality (EQ curve) can become compromised. You can run 3 out of the 12, or 7 out of 12, or any combanation. I've never had the need to activate all 12 channels and even Behringer factory pre-sets have a few of the 12 channels 'unprogrammed'. The option 'is' here to use all 12 channels if you use the unit as EQ-only, which is possible and cool i.e. Top-bank of 12 for EQ-Only (FOH) and the bottom bank of 12 channels programmed for feedback supression on the monitor mix. Mind you, setting parametric EQ with a jog wheel on a small screen is tedious and takes knowing the ISO band for stress free stage eq'ing. Overview~~~You can put any of the 3 functions (EQ,SI,AU) into 'any' of the 12 channel's, so we're talking flexability here. You can set bank A of 12 channels for FOH and bank B for Monitors, or run 2 monitor mix's, or even 'bridge' both banks of 12 together (mirror settings). Each and every AU and SI filter you programe can also be 'gain' adjusted 'independantly' like levels on a mixing board (major flexibility). Setting gain is explained in the manual and pretty easy. -6 is suggested as a good 'overall' gain setting, though just remember, -3 is slow to react and -9 is quicker to react. Gain setting is adjustable -3 through -9 try them all out. Once you 'understand' how to use Feedback destroyer, it becomes your friend and you'll use it confidently and often to imprees both musicians and audiences with higher gain before feedback levels. Quality: All electronics parts will eventually fail, its just a matter of when. Unfortunately, an electronic parts life-span cannot be tested. Just at 'launch' of the first Saturn-5 rocket into space, some 40,000 parts failed, causing a 99% run efficiency, a lot we're electronic. Value: If this is what you need, its a great deal. Manufacturer Support: Behringer tries, which is at least 'hope'. The Wow Factor: You need 20/20 vision to get along happily with Behringer. Would suggest flourescent paint on all audio units silkscreen graphics, then add black-lite, problem solved.

Style of Music: All

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