Feedback is one of the most frustrating issues in live sound, especially when you’re not sure how to stop it. The good news is, there are several steps you can take to eliminate feedback. Let’s walk through them one by one.
The very first thing you want to check is whether your room has been EQ’d properly. If you’ve never done this before, it’s worth doing. Check out this video that shows you how. For now, let’s move on to the next steps.
Start by finding the exact source of the feedback. If you already know, feel free to skip ahead. Otherwise, have the worship team play a song that has caused feedback in the past. Let them know you’re going to intentionally push the system until feedback happens.
As they play, slowly inch up your mains fader until you hear feedback. Keep your hand on the fader so you can pull it back if it gets too loud. Once feedback is present, mute your channels one by one until it stops.
Start with vocal mics, then move on to instrument mics, and then the acoustic guitar. It won’t be a digital keyboard, and it’s rarely an electric guitar unless you’ve got a mic’d amp on stage.
Keep in mind that feedback can come from multiple sources, so take note of every channel that changes it and work through them all.
Next, check mic placement. This is a huge factor in whether or not feedback happens.
For vocalists, the mic should stay 1–3 inches from their mouth and directly in front. If you struggle to communicate this to your team, send them this video that explains it in a way they’ll understand and remember.
For drum mics that aren’t clipped directly to the rim, place them 1–3 inches from the drum head, pointing straight down or toward the center of the head. Experiment within that range to find what sounds best.
For other instruments, the same 1–3 inch rule is usually a great starting point. The closer the mic is, the cleaner the signal and the less stage noise and feedback you’ll deal with. In live sound, prioritize a clean signal over the “perfect” studio mic placement.
Also, make sure no microphone is pointed at the PA. Ideally, every mic should face away from it. Remind vocalists not to stand in front of the PA or accidentally point their mic toward it.
The same principle applies to floor wedges. Consider the mic’s pickup pattern too: if it’s cardioid, the null is directly behind, so place wedges behind the mic. If it’s supercardioid, the null is to the sides, so place wedges there instead.
Once you’re confident your mics are placed effectively, move on to step 3.
Now, let’s check your gain staging. Have the vocalist sing or the instrument play with the full band. Adjust the gain so the channel meter averages around the first yellow or orange light. Don’t worry about the fader position yet; you can turn it all the way down to avoid feedback while setting gain.
If you’re using wireless microphones, check both the transmitter and receiver gain settings. Every system is different, so look up your manual or find a tutorial for your gear. If you adjust at the mic, make sure to re-adjust at the mixer as well.
After setting gain, bring the fader back up and fit that channel into the mix. Have the band play normally and push the instrument or vocal volume as high as you’d ever use it. If feedback still happens, it’s time for step 4.
Navigate to the EQ page for the channel causing feedback. Try to reproduce the feedback while watching the RTA graph. Look for the biggest spike, then take a parametric EQ filter and cut that frequency by 3–6 dB or until the feedback stops. Narrow the Q so you’re only targeting the problem frequency.
If you see multiple spikes, cutting the biggest one usually helps reduce the others. If you can’t visually spot the spike, boost a PEQ filter about 6 dB and sweep across the spectrum until feedback rings out. Once you find the problem frequency, cut it.
Once again, test with the band playing at full volume. If feedback is still happening after EQ adjustments, check your effects. Pull back reverbs, delays, or other effects on that channel to see if it helps.
You might also need to use this method on your floor wedges as well.
If you’re still fighting feedback after all of this, the problem is probably your PA setup or room acoustics.
Check out this video from Michael Curtis about proper speaker coverage and aiming. You might discover your speakers are aimed incorrectly or that you have the wrong ones altogether. If that’s the case, you may need to budget for replacements in the future.
Your room could also be too “live,” meaning there’s too much natural reverb and echo. Acoustic treatment can be pricey, but it’s a solid long-term investment.
And don’t forget: if it’s been a while, re-EQ your room. This alone can sometimes fix lingering issues. Just make sure to re-EQ your channels afterward if you make big changes.
But if new speakers or treatment aren’t in the budget and you’ve tried everything else, you may have to run your overall sound a little quieter. Dropping 3 dB isn’t nearly as noticeable to the congregation as ongoing feedback.
The same goes for your wedges. You may need to bring those down, too. Long-term, consider upgrading to in-ear monitors; they reduce feedback drastically and make life better for the worship team.
Feedback is distracting, but with these steps, you’ll either solve it or at least make it manageable.
If you have more questions, drop them in the comments!
