24-bit high-speed DSP and parametric EQ.

The 2-channel, digital Behringer DSP 1124P Feedback Destroyer Pro automatically and intelligently searches out and destroys up to 12 frequencies per channel. 24 fully programmable parametric filters can be set manually or via MIDI. Set-and-forget default setting enables immediate and super-easy performance. A single-shot mode automatically searches and destroys feedback, then locks the filter until you reset it. Auto mode continuously monitors the mix and resets the filters automatically. Servo-balanced inputs and outputs on gold-plated XLR and 1/4" TRS connectors assure high signal integrity. Accurate 8-segment LEDs simplify level setting. The Behringer DSP 1124P Feedback Destroyer Pro also gives you future-proof software-upgradable architecture.

Behringer Feedback Destroyer Pro DSP 1124P Features:

• Ultrahigh performance 2-channel digital Feedback Destroyer/parametric EQ powered by a 24-bit high-speed DSP
• 24-bit A/D and D/A converters with 64/128 times oversampling for ultrahigh headroom and resolution
• Automatically and intelligently searches out and destroys up to 12 frequencies per channel
• Set-and-forget default setting enables immediate and super-easy Feedback Destroyer performance
• Single-shot mode automatically searches out and destroys feedback and locks the filter until you reset it manually
• Auto mode continuously monitors the mix, resetting programmed filters automatically
• Manual mode allows for setting up to 2 x 12 fully parametric filters including frequency, bandwidth, and gain
• Single-shot modes are assignable to each filter
• Free design software allows for total remote control via PC
• 2 digital processing engines give you independent or coupled functions on left and right channels
• Servo-balanced inputs and outputs on gold-plated XLR and 1/4" TRS connectors
• Internal 24-bit processing with professional 46kHz sampling rate
• Full MIDI capability and user preset memories to store programs for instant recall
• Accurate 8-segment LED level meters
• Future-proof software-upgradable architecture
• High-quality components and exceptionally rugged construction ensure long life and durability
• Internal power supply

Order today and never be troubled by feedback again.

Behringer Feedback Destroyer Pro DSP 1124P

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Average of 35 User Ratings

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Not Worth It For Most Applications

Posted by Steve from Denver, CO on Mar 28, 2009

Experience w/product: I have used it

Reviewer's Background: Live sound engineer and recording engineer

Reviewer's Play Style: N/A

We purchased a pair of these for our venue, one for the FOH mix and one for the monitor mix. We didn't really have feedback problems, but the owner thought it would be a good idea to be safe. I have since removed both of them from their respective mixes. They were filtering out frequencies that I needed for my mix and in general killing the vocals. The end result was that I had to gain the monitors up so high that it CAUSED feedback. If you have a serious feedback problem, I could see using them. I could also see using this unit as an insert for one channel or if you only have one channel going at a time. But for most musical applications, particularly live sound, this thing causes more problems than it fixes. It's always better to use your ears and an EQ.

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Works as advertised

Posted by Mike from North Carolina on Dec 27, 2008

Experience w/product: I own it

Reviewer's Background: Musician/DJ/Soundtech

Reviewer's Play Style: various

I bought this unit to cure a nagging monitor feedback problem. It does just what it's supposed to. I use the single shot mode and rarely look at the thing. We run sound from the stage with no soundtech so I look for equipment that doesn't need much oversight. Mission accomplished.

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Best for the money

Posted by Dave Reynolds from Mobile AL on Jun 8, 2008

Experience w/product: I have heard about it

Reviewer's Background: Live Sound Engineer, Lifelong Musician

Reviewer's Play Style: Classic Rock, Blues, Southern Rock

I just ordered another one of these. After 3 yrs of almost constant use, my old one gave up the ghost on ch 1. I'll gladly fork again. Used as a two mix, front of stage and drum riser, monitor processor, Set up all SI single shots, ring out the mix, take a look at what hz come up. If you have multiple locks on a given hz, set up a PA parametric for that one. Repeat. After a few passes, if your monitors and mics are matched and not being asked to do the impossible, you'll have the real problem hz's whacked. Set up the remainder of the filters as SI's to catch random weirdness. Save the program. Now, when you come back to that stage, your good to go, all things being equal (which can happen......). Powering down does not wipe out SI locks if you save the program. The coolest thing about these are that once you have them wired your monitors will sound amazing, as the Q width is very narrow. Having used graphic EQ's in a previously life, there is no comparison. And club owners genuinely appreciate not having to listen to you ringing out the monitors over and over and over again. Use the time for rehearsal instead. Dave Reynolds Grey Wolf Band, Mobile, AL Coyotemoon Sound, Coden, AL

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Loud monitors

Posted by Crumb from Belgium on Nov 8, 2007

Experience w/product: I own it

Reviewer's Background: Musician and sound engineer

Reviewer's Play Style: Rock

I find the FBD a great tool if you take time to explore its possibilities. The quality of the manual can be discussed, but it contains the information needed. We do a lot a gigs in bars and small clubs and these are probably amongst the worst situations what feedback is concerned. The FDB has helped me a lot in getting the Monitor volume to a decent level (=very load) to enable 3 singers to sing in harmony (nect to heavy drums and loud bass) A few remarks: - Switching off the power removes the filters in Single Shot or auto mode. If you want to keep the settings, switch them to parametrisch and save. You can do this for different venues (12 different filter settings can be saved). Some consider it good practice to do this before the start of the gig. In that case be careful to verify that the Prameteric equalisers are not bypassed. The soft bypass does not affect the single shot or auto filters, only the parametrics (yes, been there....) - verify an important parameter: Namely the sensitivity of the FB detection. Therefore you need to push the gain button and the filter mode button simultaniously. I find 6 dB to be perfect. - Don't use the FBD in the mike inserts: you are affecting monitor AND FOH at the same time. You don't want your FOH sound to affected. - Also temperature affects feedback frequencies. Sometimes it is necessary to ring out the monitors during the break. - Use a graphic EQ for the FOH because it is more intuitive for changing soundcolour. Feedback should be of secondary importance for the FOH.

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Roadie

Posted by Hettinger from Louisville, KY on Feb 1, 2007

Experience w/product: I own it

Reviewer's Background: Sound Engineer

Reviewer's Play Style: None

Used for pa with speaker presenting on a wireless lapel mike. Trying to run a pa in a small venue with kitchen noise in the background and a soft spoken presenter on a cheap rental lapel mike makes for horrible volumes. Used as insert on lapel mike with great success. Drasticly improved headroom and almost utterly destroyed feedback. I ran left output back into right input and took advantage of all channels. I had 20 setup to lock out and the balance in auto. Worked better than expected. Used in addition to EQ. I primed the left first, rewired to add right in in series and then primed right. Then set EQ.

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Behringer Feedback Destroyer Pro DSP 1124P

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Behringer Feedback Destroyer Pro DSP 1124P

Read 37 Reviews