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Use Tuneable Notch Filter or other EQ controls to cut area of
feedback but by no greater width (Q), than required.
Try Phase Reverse Switch (leave in normal position unless 2 signals
out of Phase or if feedback).
Covering or blocking the sound hole(s) of an instrument can often help
give a few more decibels of level before the onset of feedback.
Sound absorbent materials, such as drapes and heavy banners can
help to damp sound reflections, which cause feedback.
Where using two pickups or pickup + Mic and feedback is
encountered:
i) increase proportion of saddle/bridge pickup or magnetic pickup &
reduce Contact Pickup or Mic.
ii) increase proportion of Contact Pickup and reduce Mic.
Where using Mics avoid Omini-Directional and use Uni-Directional,
preferably Hyper-Cardiod, such as DPA.
Contact pickups such as “The Band” (Bowed Instruments) to give an
advantage over Mics on feedback rejection. Headway's active under
saddle pickups in fretted instruments (HE4 & Snake3) or the VL3
Violin Bridge Pickup should offer much greater sound pressure levels
before feedback.
Electronic feedback destroyers are rack units which can be a great
help for beating feedback by tuning into and attenuating the
troublesome feedback tones. However, they can be complex to use
correctly and will take audible holes out of the sound.
A Limiter, or Compressor/Limiter rack units can be useful in limiting the
peaks which cause acoustic feedback.
Playing harder, get instrument closer to any microphones and reduce
gain.
Damp any strings not in use, either with techniques while playing or
when left on stand.
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