Behringer Shark DSP110

Out of the box, it had problems. When first powered up, the delay was set to 5 seconds. It took me about ten minutes to figure out the manual and turn off the delay. The product specifications that sold me on the unit were lies - it was not ready to go out-of-the-box and I wasted setup time trying to figure it out.
The manual is difficult to understand. You have to bumble between pages and trial-and-error push buttons on the unit (compounded with the fact that the buttons are not on top).
Once I figured out the manual and the operation, it was pretty easy to use the thing (a plus for that). You could manipulate settings, lock them in place, and even when powered-down the unit "remembers" the settings for the next use.

The unit creates a lot of "hiss." I bought this unit for either feedback suppression on an acoustic guitar or to use between a mixer and power amp for overall-mix feedback suppression. The unit is very noisy, and the gain control on the input only decreases the signal-to-noise ratio. The output (or clip) control on the front also introduces noise.
The noise gate is a joke. Since the unit itself creates a lot of noise, you lose a lot of dynamic range by clipping off low volumes. In other words, you are stuck between a rock and a hard place: a low gate (dB) setting causes the slightest bump on a mic to cause a burst of white noise, and a higher setting to cover the noise causes low volumes (light strums on an acoustic) to drop out.
Don't expect to use the delay as an effect. There is no mix control. It is used to delay a signal by so many seconds or feet of distance to minimize the effect of distant speaker. The next time I play Wimbley stadium I might use this effect.
I kind of like the compressor feature, but it affects your feedback suppression. Since frequencies' volume levels are flattened out, you are more likely to get feedback. In an extreme feedback situation (live acoustic guitar) your channels for feedback are filled very quickly. Eventually, some feedback gets through.
The feedback suppression feature works pretty well. It will locate and "zap" feedback, but there is a slight delay between detection and "zap." You might get a few chirps now and then.

I have had this unit for 1 week. The only other Behringer product I own is a mixer. My first mixer failed after 1 month, and I went through a hassle with the Germans to get it replaced. I ended up going through the dealer to get it replaced. Give up on customer support from Behringer.

The company is in Germany, so warranty returns are out of the question (you must pay for shipping). As your dealer before hand, and get it in writing, that you can go through them for repairs/replacement. I am still a little leary of Behringer because of my mixer fiasco, but I gave them the benefit of a doubt on this one.

This unit will spend most of its time in the box. I will pull it out only in extreme feedback situations where EQ will not suffice. Because the power cord is real funky (the wart/transformer is in the middle of the cord, the connection looks like a midi plug) it is awkward to mount it anywhere. I didn't mind blowing the $70, and if I can use it once at a gig, it was worth it.

First off: Out of the box, it got locked up. It wasn't until I figured out the exact plug-in order that the unit started functioning. The first thing that happened was that it had a 5 second delay active which caused several of us to die laughing on the floor due to the fact that our complaining about the lockup got repeated without warning.

After getting the unit configured, this little beast performed beautifully. This little box managed to control feedback in a fixed auditorium that has been commented to be one of the worst acoustic rooms in the country.

I have used 5 other feedback suppressors of varying brands and none have even compared to this unit. Size doesn't matter!!! Period. During a recent event involving a foreign president's speech, this unit managed to control the feedback with no problem. Granted that it cycled through it's filters over 100 times during the course of an hour talk. No other unit has ever managed to inaudibly handle this room.

Hard to mount without the rack mount unit, which is a separate purchase. It does get hot though. Keep this in mind when figuring out heat loads in a rack system.
Other than that this unit is pretty solid. The front buttons are a little cheesy plastic press type which could become a problem.

Answered all questions. Great people.

This little unit has amazed myself and other pro audio experts.
Any box that can handle my most problematic room, is great by my standards. When other, more expensive units fail, this unit shined through. No matter how much people complain about Behringer products, I stand behind them 100 percent. Their units are lifesavers and the new price ranges just ensure that I can keep plenty of backup units handy for replacement or installation into new systems.

According to the manual, all you have to do is plug it in, power it up, and it's supposed to fix all your problems. Getting the shark to suppress feedback in a monitor path was a problem as soon as I started checking the mic. With every word the same feedback kept occuring and took atleast 3 seconds to roll off. If you're like me, 3 seconds (or even one second) of feedback is too much. No Matter what I did this thing couldn't or just wouldn't do the job I bought it to do.

The shark had a airy sound quality and when I tapped the mic with my finger there was a delay from when I actually hit it till the sound came through teh monitor. As soon as I unhooked the shark, the monitor sound was 110% better and I wasn't getting any feedback at the same volume as when the shark was in line. As a matter of fact, I could bump it up a little before the first feedback came on.

I'd say this is actually a feedback creator rather than a destroyer.
It wasn't worth my time or money even if it'd only cost me 50 cents.

You're better off getting a good EQ unit and adjusting your sound that way. I'm doing that now. Good luck to you!

I had no problems getting good sound out of the Shark DSP 110.
The manual is in 5 different languages and is pretty well written.
Out of the box, it took me about 15 minutes to configure everything.

I'm presently using it as a delay to our rear fill speakers.
And decided to buy it to replace a Peavey delay that has been to the repair shop twice already. The sound is clean. And the settings are
quite user friendly.

Well.. I've only had it 2 weeks. But comparing the Shark DSP and the Peavey. It's great bang for buck. I paid S$328 (that's about US$187)
The balanced outputs are great, you can use it as a spare phantom power supply and overall it's a pretty nifty package.

I dealt directly with a dealer. And he will fix it if anything
goes wrong. Over here in Singapore, I haven't heard many horror
stories about Behringer.

My advice if you're looking for a 1 channel delay, with good clean sound, and are on a budget. The Behringer Shark DSP 110 is great.
One small gripe though, I wish they sold rackmount ears for just 1 unit. The rackmount unit that is sold is suppossed to hold 6? DSP 110's.

Likes
Balanced outputs
Cheap
Easy to setup
Clean sound

Dislikes
No single unit rack ears
Only 1 output
Wall wart power supply(but they were probably trying to save space)
Runs quite hot..

Really easy. Hook it up, turn it on, press to buttons and your ready to go.

I'm using this for the drum sound of my band. I'm the guitar player / sound guy for my band and have always had headaches when it comes to our drums feeding back. Before, I had to cut out a lot of the good frequencies of the bass drum to prevent feedback. Now I can have the eq flat or even boost lower frequencies and this little box handles the rest. Also, a lot of bars will not tolerate a drum sound-check because obviously the sound of a bass drum by itself gets very annoying after less than a minute. When testing, I had the bass bins right next to the kit and there was only a little bit of feedback (great considering it was running at around 400w) In a live situation where the bins will be further away there won't even be a little ring anywhere.

One small complaint that I have in regards to the sound quality is that there was ever-so-slight an amount of latency when I plugged a microphone into it and tested a vocal situation. Not a show-stopper, but it was probably about 3-5 ms of delay. Enough to notice that something wasn't quite right, but oh well it still sounded great.

Not sure, have only had it about 5 days

Behringer has excellent customer support

This box seems to be an all-out problem solver. It's really smart too. It will learn the problem frequencies and keep them under control. The filters that aren't being used will roam around the frequency spectrum and find other problems should they arise. If you want to plug and play, get this box.

This is not really adverstised or marketed as a guitar effect but I purchased it after noting in the manual that it will work well with acoustic guitar feedback. I have an amplified dobro (Dobrolektric)that howls that a madman when amplified. I took a chance on this box.

This sucker is basically a one channel feedback eliminator with a noise gate, low cut filter, compressor and delay. The delay is designed to delay a signal to a satellite speaker and, since it has no blend function with the undelayed signal that I can find, it really is useless as an effect. Otherwise, this box is amazing for feeback prone acoustic instruments.

The unit is very small - about the dimensions of a stompbox only taller - it will fit on a pedal board if you can deal with the display being on the front rather than on the top. There is no bypass switch. The Sharc will also provide 48v phantom power out of its balanced input jack if you're so inclined.

The manual is average when it comes to the non-feedback related features - it explains everything but you have to jump around a bit to figure out which button has to be held and how you access this or that - but it's not too bad. Fortunately, the automatic feedback supressor is ready to roll right out of the box with the factory settings.

The Sharc has both mic and line level inputs - it will accept an unbalanced guitar signal - input level and clip level can be adjusted as necessary. Output can be set to line or mic level - set it at mic level and go straight to your guitar amp.

Power comes from an outboard transformer - the connection to the Sharc is a strange multi-pin plug - quick replacement is, therefore, a problem should the power supply burnout. Minus one point for that.

I bought this really for one thing - feedback supression on an acoustic instrument - it does that incredibly well with the factory setting's untouched. I could not stand with my back to the amp over three feet away without my guitar feeding back - last night I sat in front of it and about a foot away and heard absolutely no feedback whatsover (without any appreciable change in sound quality). The unit works on very small bands (1/60 of an octave) and does not color your sound like a graphic or parametric eq. Brilliant!

The low cut is cool for eliminating bumps and clacks - put it on about 35hz - your guitar doesn't go that low so no tone is lost.

The compressor lacks enough parameters to really be used as an effect - but it will level off the top of your volume range (like Fishman's compressor on its new Platinum acoustic pre-amp purports to do) - you can go from slide to fingerstyle with less change of volume if you squash the strum volume by ear - start with a setting of 60 on density and 70 on speed.

Noise gate is just that and does a fine job.

As noted, the delay is really not usable as a guitar effect.

The whole thing is very quiet and doesn't color your sound.

This box is completely worth it alone as an excellent one-channel feedback supressor!

I wouldn't spill beer on it or go swimming with it. It otherwise seems to be as sturday as most professional sound-reinforement gear - A lot of plastic though....don't drop it.

Haven't dealt with these folks before. I think they're German...

If you have feedback problems with an acoustic instrument that goes beyond somethig Fishman or L.R. Baggs can fix with a notch filter, this is most definitely the way to go.

Although the Sharc has some other features, don't expect a multi-effects unit - that being said, the low cut is cool as is the noise-gate. The compressor is more a limiter than anything but can be helpful to smooth out peaks.

It costs about as much as a good acoustic pre-amp and basically does the same job as one (minus the eq features) with a vastly more advanced feeback supressor. I would buy it again if lost or stolen.