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.

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' 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.

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.

If this is what you need, its a great deal.

Behringer tries, which is at least 'hope'.

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.

Pro

All

This unit really does perform as advertised, in that it (when used correctly) doesn't wreak havoc with the tone of the PA when used to eliminate feedback. Its parametric equalization functions have been absolutely instrumental in getting workable sound from even some cheap PA cabinets with piezo loaded horns.

The fact that the unit easily doubles as a parametric equalizer is a very nice extra.

Some Behringer build quality is a bit suspect (I had a power switch fall off of its post and rattle around inside the unit's case for a while), but I have not had any of my three units die on me. They have performed quite well in a mobile PA that moves quite a bit.

This unit is an extremely valuable tool that I absolutely MUST have to do my job properly. Having both EQ and feedback extermination in one affordable unit is fantastic.

I have to give Behringer the benefit of the doubt, as I have never dealt with their support for these units.

Its functionality makes it appealing, but it probably won't win any beauty contests.

Rock, Christian Rock, Worship, and whatever else comes my way.

I use it in a fixed setting in a high-echo brick church. Once it is set up, it works very well, improving headroom by a good 6db. I have tried it in the immediate-supress mode. It does not suppress feedback in miliseconds, which doesn't surprise me, because it would be hard to distinguish a musical transient from feedback in that time. So don't expect it to completely eliminate all feedback in a live setting.

The actual electronics are very good. The manual is not as user friendly as it could be.

Had it six months, and so far, no problems. Quality from a visual and tactile sense seems quite good.

This is probably the best part of Behringer products.

Dont' know. Haven't had to use it, but I've heard from others that Behringer support is essentially non-existent. For the performance/price ratio however, I'm willing to take a chance on Behringer. Ask me again, when something breaks, and I may answer differently!

Like a beautiful woman with bad breath. Looks great, seems engineered well, then read the manual for a slight turn-off.

Classical, Pop Christian

I run various PAs for various bands including some of my own in North Carolina. I found this unit to be disappointing, but with heavy tweaking I was able to achieve a usable state and I do use it regularly. Primary application in my case is loud stage monitor wedges (vocalist). The unit is basically a stereo, 12 bands per channel parametric EQ, but with a twist. Instead of setting the notches manually it is supposed to automatically identify problem frequencies and notch them on the fly for you. Obviously, the strength of the unit will be how precisely and quickly it is able to differentiate between desirable musical signals and undesirable feedback signals and set those notches. It is this critical part of the unit that was the most disappointing. The feedback identification algorithm functions in a rather primitive matter. Essentially if you get your system to feedback uncontrollably at a particular stable frequency at extremely high volume (-6 db, by default), for several continuous seconds, the thing will FINALLY step in and set one of its notches, eliminating the feedback loop and temporarily programming that notch into the unit. This does not work well at all during a performance because it takes so long for the unit to respond and the audio going through the unit is varying so much and so fast during the performance. It can be useful, however, if you train the system before the performance. Training the system involves setting it to automatic mode, cranking up the volume until it feeds back AT HIGH VOLUME FOR SEVERAL SECONDS at a particular frequency. Then crank the volume up again until the system feeds back at a different frequency and another filter is set. Repeat until you

This unit is essentially an extraordinarily inexpensive 2x12 parametric eq, with a somewhat usefull feature to automatically configure notches.

The physical quality seems reasonable, except for the high pitched whine discussed under sound quality. The power supply is integrated, so you get to use a standard power cable, which is nice.

This is an extremely low cost 2x12 parametric eq with a somewhat usefull auto/freq tool. It's price is very low for a 2x12 parametric and for all my complaints I do use the thing, so I have to give it a 9 on value.

Rock

Yes... there is a high pitch whine. In a Live setup you probably will not hear it. But if you take the outs on the unit and run them back into your mixer on a seperate bus that you can monitor seperately from the signal before it hits the unit, you can definetaly hear a difference. So for live PA, its fine, not a chance it would give a clean sound good enough for the studio... and I am a fan of behringer and use behringer mixers in my studio.

It does what it says it is supposed to. No complaints for the price.

Horrible until you learn the functions. Don't even read the manual. Set aside 1 hour and fiddle with every button until you figure it out. But, if you can't figure it out, you probably should not be in the audio arena.

Would give it a ten if it was more user friendly. Looks aren't bad and the frame is sturdy.

For the price... its worth it if you can't be behind the rig all the time. e.g. one man performances

I've talked to them a few times for general questions before, not for this unit. They are friendly and helpful.

Producer/Engineer

Hip-Hop, Nasheed, Spoken Word

I have own this unit for almost two years and it does a good job. If you use the balanced inputs and outputs is noiseless. I use it for the monitors and it has an integrated EQ. Is a little complicated at first, it will be easier if you read the instructions carefully.

Feedback destroyer and EQ in one unit!

Confusing at first, takes time and patience.

Good quality, Like I said, I own it for almost two years with no problems.

The best on the price range.

Never used them

Nice, green display and red led's

Active Musician, Recording Engineer, Music teacher

Jazz, Latin, Gospel

I use this product during live performances every week. We have a tremendous problem with feedback. With so many frequencies feeding back, this unit unfortunately has a tendancy to knock the sound qualtiy and levels down too much. On one occasion, I yanked the system out during an intermission because 90% of the vocals had been removed, making it appear as though we turned the entire P.A system down. In addition, the ring out can damage your speakers because the system does not respond fast enough to feedback. "Keep a close ear to your tweeters and midrange speakers". The slow response may kill them.

Features are ok. If it worked as advertised, the features would be great. DANGER - You must turn up your P.A. system to a very loud level and wait three seconds for the controller to work. Or, turn it up extremely loud for 1 second and it will work. Both actions run the risk of damaging your system.

Because it is not a high priced unit, it's worth the value you invest to some degree. You have to determine the degree. If you have a enormous problem controlling feedback, don't expect miracles. This unit is appropriate for environments that don't have numerous (30-40) frequencies feeding back.

I have not used their support; however, if you need to get it repaired, be prepared to send it overseas and wait.

Gospel

I haven't heard the high-pitched whine the previous reviewer mentioned but it would be difficult to hear in its current installation. I've heard other people also use it as a parametric EQ for recording so I'm wondering if his unit is defective - or the gain structure isn't right. And the manual's not as bad as someone else said. Previous reviewer really went the roundabout way to save a feedback suppression set up. You don't have to convert filters to parametric, you just start out with them set to "single shot," ring out the room (the filters stop flashing and go into locked mode), and save. Filter parameters will be saved; if you need to reset them, you'd have to reset the filters from locked to single-shot. I used factory preset 2, which is set up with all but 5 of the filters/ch to single shot, "primed" it and saved over the preset. Now when the sound op turns on the system, the single-shot filters are preset, and the five indicators for the automatic (not single-shot) filters flash, showing that they're not set. By the end of the show, some of the Auto filters have also locked in on some frequency or another, and I haven't heard any feedback.

Three different filter modes from parametric to automatic feedback suppression - this is a very flexible box! I'm using this in a very feedback-prone situation. A theater where speakers are mounted in the trussing above the stage, with wireless lavs on two of the actors, with heavy effects on their voices because they're magical characters. Understand, the main speakers are pointed directly at the omni mics! I was able to ring the system out in just a few minutes and have way more headroom than I expected. I haven't heard a bit of feedback through the whole production.

Seems fine so far... (had it 4-6 weeks, only used it for the last three).

For barely more than the price of a cheap graphic EQ you get something that'll ring out your system automatically?

I've never had to use Behringer support.

For barely more than the price of a cheap graphic EQ you get something that'll ring out your system automatically? I don't see why there's not one of these in every PA out there!

jazz/world/theatrical

The unit makes NO sound. Heh. That's a good thing. No noise, no hum, no clicks. It helps my sound by adding at least a couple of "safe" mixer level increments to my main output. I use in-ear for monitoring and the feedback destroyer takes care of the two channels of my FOH main output. We do some "open mic" nights at the coffee shop, and it sure makes life easier when we are passing around a vocal mic to a harp player.

This unit has three big features: 1) It makes feedback go away. 2) It DOES NOT screw up the sound, deadening parts of the music and messing up the frequency spectrum. The automatic responses are surgical -- as little as 1/60th of an octave, only as deep as needed, only as wide as needed. 3) It is dead-head, box-of-rocks easy to use but also has the potential to be very sophisticated. The presets are quick and simple to set up.

Fit, finish and build are excellent. Behringer is known for three things: leading-edge design, beautiful construction, poorly written or unhelpful manuals.

Behringer items, in general, are priced absurdly low. I hesitated for a while when buying my first Behringer product, simply because it was so cheap. The irony is that they are unusually well made. I can't figure it out, it sort of defies normal understanding.

I have asked tech support questions both before and after purchases. I always get a fast and detailed answer. I haven't had anything break yet (I own 5 Behringer items) but the info support is good.

I don't know what "I want it" means. This thing helps me. It also has a lot of cool flashing lights and so forth, and causes people to want to get to know me better. I believe it has strengthened me morally and physically.

blues, folk, classic hippy anthems

I haven't heard the high-pitched whine the previous reviewer mentioned but it would be difficult to hear in its current installation. I've heard other people also use it as a parametric EQ for recording so I'm wondering if his unit is defective - or the gain structure isn't right.

Three different filter modes from parametric to automatic feedback suppression - this is a very flexible box! I'm using this in a very feedback-prone situation. A theater where speakers are mounted in the trussing above the stage, with wireless lavs on two of the actors, with heavy effects on their voices because they're magical characters. Understand, the main speakers are pointed directly at the omni mics! I was able to ring the system out in just a few minutes and have way more headroom than I expected. I haven't heard a bit of feedback through the whole production.

Seems fine so far... (had it 4-6 weeks, only used it for the last three).

For barely more than the price of a cheap graphic EQ you get something that'll ring out your system automatically?

I've never had to use Behringer support.

For barely more than the price of a cheap graphic EQ you get something that'll ring out your system automatically? I don't see why there's not one of these in every PA out there!

jazz/world/theatrical

The high pitched whine or digital clock hash is always in the background. Poor quality.

Hard to set up. Don't waste your money.

I have had great experiences with Behringer EXCEPT in the case of this unit.

Semi-Professional musician, live sound technician

Country, Classic Rock

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.

This thing just works and does exactly what it's designed to do

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.

I've had no issues with the quality of the unit

I play in some places where feedback is a nightmare and this thing really keeps things in check.

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.

Active Musician

Rock

Its "OK". You really need to ring out your PA or monitors before the performance, but this can be difficult if you are setting up in a location where people are already present (like a bar). It also emits a high freq whine. The whine sounds just plain nasty, but its not too loud. Useable for a live situation.