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

Quality:
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.

Value:
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.

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

Sound:
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.

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

Overall:
I have yet to find any other unit that offers exactly what I want in the way that this unti does.

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

Quality:
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.

Value:
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.

Sound:
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

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'.

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.

Desirability:
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.

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.

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.

Support:
Behringer tries, which is at least 'hope'.

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

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

Value:
This is probably the best part of Behringer products.

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

Sound:
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.

Support:
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!

Overall:
Since it's in a fixed installation, I hope to get many years of use from it. At this price ($119.), I'd probably buy another one.

I read an article in Gig Magazine about these
"so-called" "feedback processors" and was
somewhat intrigued. Noting that the Behringer
seemed to have more features than the others
review, and the fact it was the least expensive,
I got one. Well, it is amazing! The setup was
a breeze and capturing the feedback even better.
I run a large sound system with a church and we are
constantly plauged with feedback problems due
to large monitors on the stage and in the praise
band area. Having 2 channels allowed me to put
one on the each of these areas. I am purchasing
another one for my personal use. I also have a
Behringer Shark for my acoustic guitar rig. All
work very, very well.

This thing is awesome!! We have about a $5000 system, all new. The Feedback Destroyer uses notch filters to take out the feedback. If you go through the manual an program it like it says, it will eliminate the feedback. It gives you sooo much more headroom. We can finally play at the levels we need. We were setting up the monitors and mics IN ALL THE WRONG ways, and it was still keeping the feedback out. Simply amazing. Good job Behringer!! If you have a small PA system, this piece is definately for you. It is a MUST HAVE!!

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

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

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

Sound:
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.

Ease of Use:
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.

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

Overall:
I give it a seven because of the lack of ease of use and the sound quality. If it was advertised for live audio only, that would be one thing. But they state it can be used in a studio but the needed sound quality just isnt there.

Feedback is a sneaky demon.
I decided to give this piece a try.
Seems to take the fiery high pitched monster & gets it down to a manageble puppy.
There are three of us with 2 guitars & a mando.
We like to do some crazy lead exchanges @ high volume. Gives us a lot of room.
I'd say it's worth the money.