FBX Feedback Exterminators set themselves apart for their ability to control feedback during the program, not just at setup time. If feedback occurs during that crucial moment of the show, in the middle of the big solo, or just when the worship leader begins the sermon, the FBX places a filter that only kills the feedback, not the sound and power you work so hard to achieve. Think of the FBX as a very advanced set of automatic parametric filters. If you had the time, the filters, and the test equipment, you could find the feedback frequencies, dial in the precise filter location, and make a very narrow filter, just deep enough to remove the offending tone. The FBX does it all for you automatically, and it does it faster than any other method. How do we do it? First let’s consider just how a superior feedback control filter should behave. Filters can be described by their Speed, Accuracy, Resolution, and Sonic Integrity
The industry’s best digital signal processors give the FBX1210 a distinct speed advantage over all other automatic feedback controllers. And in Setup Mode the speed is increased, so you can complete your entire setup of the FBX in less than 30 seconds.
Is it music or is it feedback? This is the most difficult question your feedback controller must answer. A wrong decision means you waste filters (less gain for you) and punch unnecessary holes in your sound. Less sophisticated feedback controllers place filters on any loud tone, even if it is music, but the FBX uses a patented analysis of the harmonic content of your program material. Because feedback is low in harmonics, and music and speech are rich in harmonics, the FBX is able to make the correct and accurate answer to the music or feedback question.
This is a big one. Now that we know feedback is happening, we need to target it precisely. Many feedback controllers place their filters in the general vicinity of the feedback and then widen the filters until the feedback goes away. The FBX uses a more sophisticated solution. It centers the filter exactly on the frequency that is feeding back. This unique one-Hertz resolution enables the FBX to control feedback with transparent filters that are ten times narrower than graphic equalizer filters, which can only muster 31 bands to place their very wide filters. Feedback frequencies are single tones, and that means there can be almost 20,000 places for them to occur in the audio spectrum. The Sabine FBX places filters effectively and accurately.
ClearOne’s innovative approach to digital filtering is unique in the industry. Our filters just sound better, with far less phase distortion and a smoother response. Most other feedback controllers and graphic equalizers claim to provide Constant Q filters, but they really get wider as the filters go deeper. ClearOne filters remain extremely narrow regardless of their depth.
The FBX1210 gives you the easiest, fastest, and quietest setup procedure. In less than 30 seconds you will be ready for your performance, and the whole process is so quiet you can almost do it without anyone knowing it is happening!