Behringer Shark DSP110

# How easy is it to get a good sound out of it? It is not, the manual is comprehensive and good, however..... I tried it on Bass, Guitar and on Mike. There is a considerable insertion loss in level which can't be got back without introducing hiss from the unit. The Sound quality is poor, with significant loss of Bass even with the Bass filter off. A straightforward plug in plug out of the unit for mikes show just how poor what is sent out of this box of tricks is.

Setup is easy and intuitive, I used all the parameters apart from delay trying to get a good sound out of it. I used it with several amps, including a few PAs, an Acoustic Image Chorus, and a Guitar AMp

Don't know, I tested it, (well three actually I thought the first two might be an error) boxed it up and sent it back, but it has Behringers usual plug in the back, so sooner or later you are going to have to work out how to repair or replace a 6mm diameter plug with three lives and an earth jammed into it.

I play Jazz, Big Band, Blues and Rock.
I had it for a total of about a week. I would never ever replace it, I wish it did what it said in the box, it gets in the way of making music, and the power supply is Behringers usual stupid multiway plug which we all know with a bit of use breaks, leaving you with several unnatractive options

How easy is it to get a good sound out of it? DIFFICULT!
How about Editing patches? HUH?
How is the manual for it (if there is one)? SIMPLE BUT EXPLANATORY
Do you know the firmware revision number? NO
Has your unit been upgraded? HUH? AGAIN ...

Setup: vocals - I have large volume differences between low and high vocals. Some of us must sing much louder to get out the high notes. I might try it with my fretless basses to get pre-recorded compression as my bass amp is way too monstrous for the my sound card. Guitars? Maybe.

Is it noisy? It can be in high input gain. So I dropped the gain way down and passed it through a direct box - and Voila. That makes it sound good. And I had to pass it into the mic jack on the sound card otherwise just not enough recording level volume. Post recording amplification using software tends to introduce large amounts of horrible noise.

Not using an amp. That might help right? It records my voice work and is much easier bouncing backwards and forwards from the mic. That's just irritating and more or less impossible to get right.

I might depend on it if it didn't get so freakin' hot. Chances are I won't use it on stage but perhaps with practice. Backup? Who can afford that?

Appartnyl they suck!

Good match for my loud high voice
Palying 30 years
I would by something else if lost
I like that it actually does compress properly, if set up correctly. It needs some serious amplification though. Feedback is still an unknown quanityt though.

I'll agree with everyone else that this unit takes some time to learn, but once you've gone through all the parameters (and there's not too many!) it's quick to set up. Mic gain on the back, bad when you have big dynamic range in your performances, say something like singing vs. tap dancers!

I'm using five of these, rackmounted, inline with my mics, into a Mackie 1642 mixer followed by two Mackie M-1400 amps. I'm using mic level, never have used line level, so I can't comment on the quality of the preamp in that mode. Relatively quiet, feedback supression does color sound output significantly at higher cut levels. I try to use -6 to -9dB, unless it really needs more. I don't use the compressor or delay. Lo cut works great. Feedback destroyer only gets me an extra 2-3dB usable gain. It often mistakes any loud noise for feedback and sets a filter, especially string instruments.

Never again. Had one of five fail in the middle of a show. Something that no one else has complained about, there is no bypass! NONE, therefore, my main vocal mic was out until I went in back of my rack and mechanically bypassed the unit. It overheated and fried, screen stayed on, phantom stayed on, but no audio in/out. I had left a single rackspace open above, but after 8 hours, I guess it had had enough. I immediately removed the remaining four from the rackmount and spread them out. Behringer's own rackmount BLOCKS THE VENTS, by design! I've had these three years, but they probably have less than 60 hours on them total!

I'll see whether they'll do anything for me regarding the above problem. I really think that this is their fault, a design flaw. We'll see, otherwise, I've never contacted them before.

I do live dance/musical shows 2-3 times a year, overall I've been pleased, but never really excited about this product.
I really only wanted these for feedback supression, and it was the price that attracted me, but I don't think I'd buy this product again. I had a Sabine FBX-Solo before, and it was the best that I'd ever used. Oh, and it had all the controls on the front, including a mechanical bypass! But sadly, it was damaged in a fire. But I got 5 Behringers for the same price as 1 Sabine...

Shark DSP110
Easy to manipulate/operate/understand but definitely hard to make things work out.
If you're not able to at least "operate" this unit without manual, you should leave the job to someone else.

Mine was new and 100% functional out of the box (gate,comp,low cut and delay were turned off) so I guess Behringer react to customer complaints.
I'm floored so many people here (including so-called sound engineers) were unable to figure out how to turn off the delay ...

Features are 12 filters, phantom power, line delay, preamp, compressor, noisegate and a low cut filter.
It has both mic and line level inputs and outputs on both 1/4" jack and XLR connectors.
I don't know if they can be used simultaneously. I doubt.

Input gain on the back ... bad idea ...

The external powersupply is horrible. Weights a ton is about as big as the Shark itself.
Seems to supply 2 different voltages simultaneously (7V and 11V or so).

The signal goes : vocal mic -> digitech vocal300 -> dsp110 -> mixing desk (mic level)
The vocal300 and DSP110 are on stage.
Most soundmen around here are idiots and I can only count on myself.
Hence the audio devices being next to me on the stage floor.
Mixing desk is either our own (on stage) or a venue desk (using additional DI's then).

I had noise when using the box at line levels whether at the "in", "out" or both connectors.
No noise/hiss problems when using ins AND outs at mic levels instead and pre-amplifying only at the desk.

As usual, the key to success is getting the levels good :
With clip level knob set halfway, the LED's show the actual input signal, thus set your input level at the rear accordingly. You can then further fine tune the INTERNAL LEVELS ONLY (i.e. the digital signal path) with the clip level knob but that's kind of pointless
once your input level at the rear is set right ...

Main features :
- Line delay. For distant speakers. Next time we play stadiums I'll use it, thank you Behringer ...
- Compressor. Works well and smooth when used "sparingly", a key word in audio processing.
- Noise gate. Below average. The unit can also set the noise gate treshold automatically according to the room.
Attack and release are always unnatural sounding. Not smooth at all.
- Low cut (high pass) filter, adjustable 20-150Hz. A nice bonus.
- Fixed FB filters. You can only define sensitivity (for detection), initial notch depth and how many filters you dedicate to this job. Filters can only be set by the unit itself (not manually).
It sends clicks through the freq spectrum to create feedback and uses the previously defined number of filters to suppress it. The outcome is more headroom and the more "dangerous" frequencies are taken care of even before you start the show. Works like a charm but club owners will slap your butt for stressing his speakers for 10-30 seconds.
You cannot "add" several runs (i.e. to include several configurations like : mic alone, standing in front of the mic, vocal effects activated/deactivated etc ...) because every time you engage this automatic process, it resets all previously defined filters. Bad design IMO.
Sensitivity and notch depth are the most important parameters on the entire box. Trial and error.
I have currently a sensitivity of 50 and a notch of -12dB (factory defaults)
- Roaming FB filters (total fixed+roaming filters = 12).
Sensitivity is same as fixed ones, notch depth is set automatically.

The unit doesn't detect high frequency FB at all (say above 4-5KHz).

Well it's a Behringer ... plug-play-throw away
I have/had a few units.

Rather good :
- mic's
- all the rack multiFX units
- DSP110

Rather bad :
- mixers, both small and big ones (reliability and noise but OK for the price though ...)
- B300 powered speaker (thermaling, I strongly discourage people from buying these at any price)
- tube composer (reliability)
- tube ultragain (reliability)

The heat topic in the Shark is nonsense IMO. One side of the unit runs "hot" indeed, but nowhere near to the point where you'd have to remove your hand for instance.

From my personal experience, Behringer Germany are not easy to deal with and not very helpful

The FB suppression performs reasonably well. Don't expect miracles. If your levels are stupidly high (like using roaring halfstacks in a 50 people club) you'll get nowhere : all filters will get busy and feedback will still occur at all frequencies ..

On the other hand, if you expect to win a couple dB's and there's only really one or two frequencies feeding back because of a peculiar room layout, then you might get happy.
The Behringer gives me just a LITTLE more headroom. I'm grateful for every dB I can grab.

No experience with moving mics. Mine stays at the same place, same angle all night long.
No experience with "regular" use of the DSP110 at mixing desk level either.
And no experience with using the Shark in monitor paths.

When you have 3-4 filters in use, your sound WILL be different, no matter how narrow Behringer claims the notches are.
That's the price to pay. Also the unit slightly colors the sound, even when bypassing all features.
Nothing major, you only notice it when A/B'ing with a direct signal.

Gripes :
- no time no where you can see the frequency a filter has been set at,
- nor the depth of the notch.
- You can't set/adjust/remove filters manually !
Would have very handy to be able to adjust manually the automatic settings.
All you can do here is to release ALL filters at once. Period.
- The bulky power supply. Would pay twice the price if it had a built-in adaptor instead.


In short, all features work reasonably well for a unit that sells at a ridiculous price.
Buying again ? Yes, probably, unless I could afford something better.

There's one page on the manual which tells you how to set it up... If you're not the kind of person who reads the instructions you'll have a nightmare! Read the instructions!!! Trying to just suss it out by fiddling with it will be a nightmare. Once it's set up and ready to go, it's OK. I'm still not clear on what the 'clip level' knob does, but it's not keeping me awake at night...

The output level is not loud. I'm currently using it as a mic preamp, with the +4db button pushed in. I tried it in the FX loop of my mixer and PA amp, and it just deadened the sound completely. Having said that, i don't hear any of this hiss that people have mentioned, so many that's the way it's been sorted.

If you try and use maximum compression at high volume in an enclosed space, it's not going to work. Used sensibly, it works really well. Setting it up gave me a headache, you basically have to sit in the room with your fingers in your ears while it clicks and shrieks to itself. Not fun. Once it's set up though, it definitely kills feedback, I knw this because i pressed reset and had to go through the EEEEEEEEEEEE!!!!!!!!!!! routing again.

I'm using it for reverby female vox in an small rehearsal space. An interesting side effect is that it decided that some sustained very high notes were feedback, and reduced the level accordingly, giving a more even sound generally. The vocals sound a bit processed, but in a quite nice way, kind of like a really good recording.

The 'accidental eq' effect plus compression (only use a bit) are totally useful for evening out the balance between different pitches of note. ie, low notes tend to be quiter, high notes are louder...

Haven't had it long enough yet to comment on reliablity. It's metal, but it has no feet so it slides around, and it weighs nothing, i can see it being pulled onto the floor easily. The power input worries me a little, it's like a PS2 computer mouse/keyboard socket, i can see the little prongs on the plug getting bent... It would be OK as a rackmount, they should make a pedal-board type box or something for it...

It nearly got sent back because it was so hard to learn to use. I think it's going to become invaluable though. Go mad with the settings and it will drive you nuts... It was the cheapest thing of its type i could find, and for the money it's great as a mic preamp that evens out levels and cuts back on feedback. Which is what i wanted. If you want that, then buy it. If you want a multi-fx for vocals, then don't...

This unit would probably be very easy to use (as long as you already know about the available processes and their settings) if the manual was... a manual. It's so poorly written that it's almost useless. Once I figured it out, though, I found the unit easy to set up and use.

When used with correct input levels, and with an adjusted "clip" level, the sound is suprisingly clean and noise-free. I didn't notice any of the hiss others complain about. Did they check their input levels..?

Can't tell because I took it back after testing it.

Can't tell.

I've been testing this unit thouroughly, with singing mikes and violin mikes, in real live situations during a long, relaxed sound-check. I was quite disappointed.

I don't consider this unit as a real feedback destroyer. It seems to look for bumps in the frequency response and not for actual feedback. It's rather effective for problems under +/- 5Khz, but forget it if your feedback problems are over this frequency. It actually never found a loud, obvious, in-you-face 8.5Khz feedback (with 9 available auto filters... and nothing happening). What the..?


I returned this unit because I found it rather useless. Maybe it will help if you have cheap monitors with lots of bumps in their frequency response, but with reasonably linear monitors, it's of no help when problems arise in the upper frequency range.

It's still a fairly good and low-cost mic preamp with phantom power, the noise gate is effective and easy to set up, so all in all it's worth its price, as long as you don't rely on it as a feedback destroyer. Which is the paradox as they sell it as one...

Read the manual. Twice. Then play with the thing, and read the manual again!
Manual is typically badly written for Behringer, but a few minutes playing and you'll soon figure it out.
Once you've got the hang of it, it's actually quite easy to use. You have to use the 'Learn' function in an empty venue - if a band is already setting up, you can gaurantee that the drummer is going to try and play along with the calibration clicks, or the guitarist will try and match the feedback as it starts, thus messing up the filters...
Also, RESIST the urge to drop the volume as it sets itself up!

Not used the preamp on this unit, as it's only ever used with an insert point on a mixer (+4bDu level). Later versions apparently have a quieter preamp in there.
There's a tiny amount of digital noise if you have the gate turned off, but pressing 'gate learn' with no input fixes that! On the analog side, there's no hiss worth mentioning.
As for its feedback destroying capabilities, does what it says on the tin. By setting very fine notch filters, it solves most feedback, but sometimes struggles with singers that insist on leaping about the stage, hanging over speakers, etc, but that's to be expected.
Compressor works, but we've only used it with drum mics (it's a bit primative, only having 2 parameters).

Has a nasty external power brick, and the unit itself has a 5v power regulator screwed to the case, which gets rather hot. I'd never mount 5 of these in the Behringer rack mount kit!
Having level switches on the back is a nuisance, as they get pressed by patch leads!
So far, they have been mostly reliable. The oldest one has a slightly dodgy Gate button now since it was hit by the blunt end of a flying drumstick, and I'd not trust them in an enclosed space without decent air cooling.
If looked after, I suspect they'd be fine.
We usually carry 4 of these units, often only using 2 or 3, but if we didn't have a spare and one failed, we'd just revert to killing feedback the old way!

Behringer support is either very good, or very bad. Nothing inbetween.
Known issues are dealt with very well, but anything a little odd is rarely dealt with at all.

If you can figure out how to use it, and you're using line levels, rather than mic levels, it's a very nice little unit.
Feels rather plasticky, and I'd prefer it to be bigger and have an internal power supply, as 4 external packs and cables takes up a lot of rack space.
As usual, the manual could be re-written by a user rather than a developer.
If you are using one (or more) of these gizmos in a live environment, and there are backline guitar amps, don't use the autolearn feedback killer (flashing red lights). It desperately tries to cancel out the guitar feedback on the vocal channels, and leaves you with dead zones in the vocal frequency range!
We can do without these gadgets, but it's easier to let them worry about feedback while we worry about the music!

DON'T BELIEVE THE GUYS BELOW!
This thing is pure hell! Absolutely harder than rocket science, and I'm no newbie in the effects world.
In fact I wanted this to solve feedback problems when playing with my electro acoustic guitar (piezo with eq system, yamaha aex1500) and YOU CAN ALL FORGET ABOUT THIS! Pure crap, absolutely ineffective, hey it's even worse!
DO AS I DO: BUY A ZOOM 504 FLOOR PEDAL WITH A REMOTE SWITCH, THIS WORKS WONDERFULLY IN THE SECOND YOU HAVE THE FEEDBACK PROBLEM, NO JOKE
Oh, and what did they think about the mic gain on the back??? Stupid!!!

?Because of horrid feedback problems it gets a one.
But if you use the device for compression and preamplifier it gets a solid 8.
The sound is fresh and clear, and the compressor is easy to use while quite effective with reduced side effects (it is actually better than any of the floor effects I checked). I used the comp to smoothen the piezo tone, and it did a good job at this. With the fretless bass it was also very useful to obtain a softer, rounder tone with more sustain.
The delay line is fine, too, ez to set. I did use it when mixing down guitar tracks (panning dry even and slightly delayed odd on another track) : great for the wall-of-sound.

It seems reliable, but I can't tell because I don't use it much because of feedback problems.
IT gets hot, make sure there is enough space around it( I surely wouldn't put five of them in a row as the advertisement suggests...)
I never had problems with "studio" equipment from Behringer, but I had many with their guitar gear. So no opinion here

Full-time crap, they could sell ties for all they care about their products!

It gets in the way of making music, that's for sure. Too complicated, not effective at all considering feedback, bad manual, and so on.
If you play amplified acoustic and want something to solve feedback issues, GET A ZOOM 504!!!
If you need a decent mic preamp(with phantom power), a fine compressor or 100%wet delay, then you do a not so bad purchase.
Since it is marketed as feedback suppressor, it gets a one here

The manual is a bit eccentric in places, but otherwise it's straightforward to use as long as you apply a little common-sense and logic. Step 1 is to reset all the delay, gate and compressor settings to turn them off. 5 minutes spent with the manual quickly sorts this out. The delay is a "delay line" - it's intended to delay the output for large venues. A nice trick, but not terribly useful for most people, I suspect. The manual is quite clear about this, but if you just read the box you might get the wrong impression. Editing is easy, once you've sorted out the up/down buttons and the speed setting - the manual isn't terribly clear on this. If you want to increase the speed of the "up" button, hold it down and briefly push the down button. Each push will make the up button go faster. Likewise for using the down button.

It sounds fine to my ears. I play amplified blues-harp, with valve amps, so I use the Shark to help manage feedback problems. I set it up in Filter Learn mode, and once it was finished, I activated the filters and all was well. The trick is to set a reasonable number of filters for learn mode (e.g. 9, rather than the default 12), set the sensitivity to medium (50, instead of the default 100) and just use moderate cut to start with (say, -15 to -18dB). I was very impressed at having a huge amount more headroom with feedback effectively gone. I haven't used the delay, gate or compressor since I don't need these things.

So far, so good. I will definitely be gigging with it and won't use a backup. Like any electronics device, I expect to have to be careful.

Haven't needed to use customer support yet. The downloable manual from the Behringer is a nice touch.

For my style of harp playing, this is a breath of fresh air. Feedback is a harp-player's bugbear. The Shark, if you use it properly, fixes the problem. I'm impressed. The value-for-money is absolutely amazing when you think of the multiple hundreds of dollars you can pay for feedback eliminators. I paid GBP55 to HW Audio in the UK, which included postage - I think it's a bargain.

This unit it easy to use, once you figure out how to speed up the up and down buttons. I've recomended a revision for the manual.

Can't say I'm sold on the pre-amp, but it's passable. I think I'll try using it as an insert, and see if that improves things. I admit the delay is annoying upon first listen, and especially frustrating, since the manual so poorly describes how to speed up the arrow keys. BTW- I don't think the delay is intended as an effect, rather to be used for delayed speakers and such. Although the other features would probably work in a pinch, I bought the unit for my feedback control on my church's lav mic. Horrible experiences at first. Although the unit claims to cut out 12 thin 1/60 octave slices, the cumilitive effect when allowed to suck out 27 db of feedback (44db is the max) is that a giant high mid canyon was cut out, and the unit is self defeating. The more it cuts, the more you push it, and the more it searches for feedback, the more it s_cks. I've had much better results starting the feedback search with 9 or 12 db of cut. The sound is MUCH more natural. This is not a cure all unit, but it is a great bandaid. Do not expect to do miracles with feedback suppression. You will still have feedback.

Within reason, I would rely on the feedback suppression, but don't throw your ears away.

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For $69, I am satisified, but I do feel I have justifiable complaints. If they'll take my suggestion on the manual revision, that will take care of one complaint. I think they could be more thorough in explaining what the unit is capable and not capable of doing, and in explaining how the unit accomplishes it's functions, and in what order. This would help in knowing how to apply it to my specific function.

Easy to plug in to a system..

I dont like the idea for putting the mic gain control on the back of the unit... That is something I would like to get to in a live or studio (not reccomending for studio) situation...

The manual was decent... It came out of the box with the factory settings set to the highest limits of the system... Delay, Gate, and Low Cut were all engaged...

The unit was fairly noisy... But its Behringer, what do you expect?

I liked the idea of the speed control on the up and down buttons... If you want to go up faster you hold up and press down until you reach the speed you like the cursor to move...

I like the 'Gate Learn" function that automaticly sets the gate to what you need... ex. Gates on distortion guitar amps...

The feedback supressor wouldn't work even if the entire Behringer company depended on it... I let it feedback and it NEVER found the 6.3k freqency that was sticking out like a sore thumb... If I were a newbie engineer I could have trained myself to learn every frequency in audible spectrum and ring it out with a 1/3 octave before this "suppressor" thing would ever find it.

Sound quality (Please refer to Ease of Use)

I used an EV767, Mackie 2404 and, EV S-40 speakers that were sitting in our show room...

Over all not a great unit but it does work...

I wouldnt depend on it... Were talking about the same company that uses tape in their crossovers...

I wouldnt even bring it to a gig...

Havent tried I just sell the stuff

Ive been a studio and live engineer for three years now... I work for a very well respected studio/retailer... I have an A.A.S in Audio Technology...

I would NOT reccomend this product to professional users... If you are a small gig band it would work for the price...

Cryptic Non-Intuitive controls. Make sure you set aside an hour or so to pore thru the manual! As is typical with most Behringer products, the manual spends more time boasting about its' products features and less time on how to actually use the thing. German engineering at it's worst.

Terrible. Had to use EXTREME amounts of choppy noise gating to squelch the hiss. In order to get a substantial amount of compression for a PA setup, I had to crank the gain so high feedback ran rampant.
The Feedback Controller was very poor. Ran it in the setup mode (unit sends clicks thru the signal path to try to start feedback loops) and a minute later all feedback filters channels were used up and still got feedback. If found the SHARK totally unusable in a live situation in which the singer might go in front of a speaker, yet you still wish to apply limiting.
As stated above, the unit is very noisy.
I knew from reading the reviews how to eliminate the out of the box delay problem. Behringer should wise up an ship it with a useful default setting.

Seems sturdy enough. Has a "LOCK" mode to keep settings intact (until turned off).
The unit must have very poor components, as the unit got VERY hot after being on for an hour, and it was just sitting on a table!! So if you're gonna rackmount it, I'd recommend extra cooling.
Most of my previous Behringer products have had no problem.

I play hard rock and bought it to run sound for the lead vocal channel at a multi band show, as there is a lot of screaming/singing going on. I ran it thru a 8 channel 450 W Carvin PA head. The main problem lies in the fact that if you wish to employ compression/limiting you will have to endure feedback and choppy noise gating. My voice sounds better run straight into the channel. Since then I have used the Behringer Multicom between the mic and the PA's XLR input and it has worked beautifully.

I returned the SHARK after it failed testing. MNaybe I got a bum unit, but

Why is everything set at max out of the box? Delay, and Gate were all maxed. The gate gave me a very nasty surprise when I tried feedback testing. I turned up the volume and was happy that I could get the amp to 10 then I spoke and opened up the gate. Ouch loud feedback.

I use a wireless mike and once situated and learned the unit is great, clean and a audio swiss army knife. I am very happy with it.

Yes I am considering buying two more -- one as a spare and one for monitors.

as a guitarist/pro audio engineer I have encountered oversights in design but this one may take the darwin award !I have yet to meet a person that has not had trouble deactivating the delay that this unit comes out of the box with.furthermore there is not a clue how to do this in the manual anywhere.having had some experience with behringer I expect the sound will be pretty good..not great..if you spend a few hours locked in a room.using a behringer mixing board with guitar and vocal and then patiently compare it to a soundcraft spirit folio board with the ultra-preamps or to a tc elctronics preamp..you'll quickly see the difference between mcdonalds and a fine food restaurantfor a few hundred dollars more.for the money and options ...there fine..but if your serious professional and you care to get the best sound without going bankrupt go soundcraft,tc electronic,focusrite all have consumer lower price preamps of course more expensive than behringer..but you'll forget that 300-400 dollars difference when your in a car driving to vermont with stereo blasting...the extra price will be replaced by a wide smile and oh so much less ear fatigue..as a feedback destroyer i will reserve my opinion till i hear it working since right now it only does a wacky time line delay outta the box..ive been hearing as a feedback destroyer it works well..we'll see...a to behringer.."come on guys...a little more thought and ease of use will ya" ciao

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This device does require going over the manual mainly because of the multiple functions of each button as well as the push and hold options that are also used. The gain for the mic pre should be on the front instead of the back, but might have been placed on the back to prevent engineers from messing around once the device is in production in a live sound rig. At least there is always gain at the console.
The device comes with the delay set to maximum, making it not usable right out of the box. However, this is quickly resolved.

One person complained about this device's delay not being good for use as an effects unit. Well, that was because that individual could not figure out the difference between an inline device or mic pre and a devicee being used as an aux send. Used properly, this makes a nice delay.

The devices run hot/warmer than I would prefer. I have mounted my nest of 5 in an 8-space SKB older-style rack(pre Roto, no rear rails). I left space above and below the rack mount shelf in order to allow adequate ventilation. In my particular situation, this works out perfectly since some cabling in my lighting controller below the DSP110 nest needs a bit more space above it. Just be aware that you do need to give it some space to ventilate it and it is over 1 rack space high.

Overall sound quality is excellent. Behringer has been giving me quite good price/performance ratios and I have been happy with all Behringer gear purchased, and this is no exception. While not totally transparent, the device is after all a notch-filtering devicec. Even with the feedback filters disabled, there is a tiny amount of sound coloration. Considering this is a device intended for live applications, this is acceptable. The further sound modifications are due to the filtering and should not be factored into overall ratings.
The gate seems fairly good but I would like to see more features such as release times. Compressor works but again, would like to see more features such as threshhold, attack and release. I say this because I routinely patch a Behringer 1400 into each vocal channel and use the gate and compressor, so I'm trying to see about freeing up some outboard gear for other channels. However, comparing the gate and compressor section of the DSP110 to devices like dbx 1066, 166, 266 and even Behringer 1400 and 4400 is not a fair comparison as those are dedicated devicecs. Yes, I'll be getting a Behringer quad-gate soon.

The device has not been quite the "wonderbox" I had been looking for, but I am very happy with it and currently own 5 and am considering purchasing maybe another 15 of them. The DSP110 has allowed me to stop trying to deal as much with feedback problems, allowing me to deal with other mixing issues. The main problem that I personally have is that I run a large sound system and rarely are given the time to adequately not only set things up, but also run a sound check. During the sound check, I like to let the DSP110's learn the initial set of frequencies to filter out, but this rarely happens, so I leave the devices in "search mode" and that generally has given acceptable results. The main problem I have exists between performer and microphone. My main gig is doing "live band/karaoke", where the band plays and people come up and sing. They run up to the stage screaming their lungs out wanting to sing, and then once they get the microphone, they turn into "whisper singer". As a result, I have to keep not only increasing the fader, but often times increasing gain at the console just to get a usable level, then they whine when there is feedback. The DSP 110 will not be able to compensate for such performers that well. However, when I have used the device on professionals who actually show up during sound check, I typically have no problems that evening. I have 3 wireless mics hardwired through the DSP110's and that leaves me two DSP110's open for whatever I need them for, typically knocking out feedback in the monitors.

I have not needed to deal with customer support. I read manuals.

I have to say that this has been a fantastic little box. For the people who keep checking out the sound rig, it's got a lot of flashing and blinking lights and a neat little LED display to impress the uninformed. Heck, even my competition can't figure out my rig, which is fine because they are generally idiots, but I digress. I've using the device from anything from rock shows to conferences and the device has performed perfectly every single time. While I tend to mainly use it on vocals, I have had to use it to knock out feedback in monitor mixes and it has also worked excellent. I've also used it to deal with delay towers and having the distance conversion has been an absolute life saver. Sometimes I have had to use it as a gate, or an emergency compressor, so as far as being a multifunction device, it seriously has been a great tool to keep in the racks. I have even used it as a delay on an Aux channel just to fatten up or deliberately effect something. On the other side of things, for a traveling engineer, the devicecs are small enough to throw one or two into a small case and take along. The mid-line transformers are great as it does not hog up AC receptacles in my Furman rack units.

So much horsepower in a tiny little box at a really excellent price. As a working engineer who has worked with brand name acts, this device has so many applications and is one of the more multifunctional devices I've personally come across. Why dedicate an expensive EQ for a device that the DSP can do better? Rack space is at a premium and the DSP110 can pack a bunch of stuff into 2 rack spaces with 5 of them installed.

First of all, this little giant is not for everyone. You got to have knowledge about technical stuff. If you are a musician or a choral director, forget it! If you are a technician, you'll love it. Out of the box my unit had a delay, a gate and a compressor set. In three minuts I had them reset, so my unit was clean. The manual is very compactly written, also , I think, meant for a technician to read. So for me it's OK. Editing and using the unit is very easy (once you know it).

I hooked up the sharc between a transmitter mike and my desk. It has no influence on the sound or noise levels. The unit searches it's own feedback frequenties, I experienced overall an easier handling of the mike, I could turn up the volume more than before. Normally transmitter mikes are a nightmare, because people walk around with them in front of the speakers etc, know it's easier to manage the sound.

The nice thing is, when you use the Sharc, you tend to forget it, because it does its job VERY well. Thusfar, no problems at all!

I have no idea, 'cause all of my Behringer stuff works OK.

I think, every sound tech with his or her mind in the right place, should take one or two of these baby's with them on the road at all times. It is a very little unit, with a lot of functions. So if you pack a tourbag, pack a Maglite, a Leatherman, two Sharcs, a good book and a bottle of Bourbon, and have FUN!

The manual is tough to understand. Expect to take some time to master this unit. It's worth it.

I bought two units. One for vocals one for acoustic guitar. I play in small pubs etc., where they want high volume in tough conditions. This is a clean little box. The others who said it is noisy probably did not know how to set levels properly. It's got every possible I/O combination and gain setting. This is not a plug an play box. It's a real tool that real audio people can use.

Runs a little hot...but ok after six months.

They talked me through the initial menus. Seems they know the manual sucks.

This is a box I would not gig without. If you run the automatic exterminator and get the "Bad frequenies" notched, you can walk into most gigs with double the volume you would ordinarily get before any kind of feedback. If you're an acoustic guitar/vocal person, it's a clean, cheap solution.

First of all the manual is horrible. Second, this is not an easy set up device. I've been in the pro/audio video business for 20 years and after reading the manual, playing with the settings, I had to call tech support to ask what the functions do. Getting a technical writer to convert german to english seems to be a challenge.

Once you know what the buttons do. (good luck to the not technical) It works.

Once set up, (if you don't get the levels matched from your sources, you will get noise with any device) I found the unit to be very clean. I run one on the mic insert of my mackie 1202 for feedback reduction. If you can get in a room prior to a gig to run the automatic setup routine, it REALLY increases the levels you can achieve. This is perfect for a fixed installation PA with wireless systems. Put one of these on each insert and your life will be good.

I bought two for my gig rig doing acoustic guitar and vocals. They run a bit warm. Keep them ventilated and you should be ok.

The tech support guy was very helpful. I expected no support from a european company selling discounted gear in the states.

From the sounds of my conversation, they know the manuals are bad and are used to the calls to clarify operational issues

If you look at the versatility of this box, it's a steal at $69. Sabine feedback exterminator units are $400 and don't work any better. They don't have both line and balanced Inputs and ouputs...nice behringer. Then throw in a basic compressor, gate (it's slow ), Delay for speakers, 24 bit processing, very strong. Use the manual to line your bird cage, then call customer support and ask them how it works.

The manual could be improved with more step-by-step instructions, but I was able to get it to perform more than 75% of its functions with only a glance at the manual. It should be noted that this is not a device for people who are not accustom to working with gear that has multifunction buttons. If you are use to that type of gear, than accessing the edit functions will seem logical to you

I used it as an insert for a wireless hand held mic that was going to be used out in front of the speaker line. Distortion was easily remidied by adjusting the gain knob. There was no noticable added noise or tainting of the frequency response of the wireless mic and though there is limited editing capabilities for the gate and compressor functions it worked very well for my intended application.

I intend to compile a complete single rack mount of these (4 or 5. I forget) and use them as back ups for other processors as well as insertable problem solvers. I did not notice any extreme temperatures from the unit, though it was sitting in the open air with plenty of circulation.

I consider this device to be the "Gerber, Multi-tool" of processors. Like the Multi-tool, there are better individual tools, but it is not always expediant to carry your whole tool chest around in your pocket for every little fix-it job. At first I was afraid I had goofed by purchasing one after having read all of the frighteningly bad reviews. But I spent 5 minutes solving the little start up problems others had mentioned. And 10 minutes into the show I had set up some base line settings in time for the use of the wireless mic I had inserted it into. CAUTION though...do not try to use the feedback-Learn function in the middle of the show. I thought I was getting interferance until I realized that that is what the manual had talked about when it made referance to it's creating feedback to set the filters. I found that it worked faster than the method in which you set up Ssabine FB eliminators, but it was still a little embarrasing during the show. I am now very happy that I had won another auction for another one on eBay.

I bought it because I do not know a whole lot about sound equipment yet. I am a choral director in a public school. I am trying to build a nice audio setup. I bought mine at Mars for $69.

It would not work out of the box. There was a 3 sec delay on every sound going through the unit. I read and reread the instructions. The instructions are written VERY poorly. I could not get it to work.

I went back to Mars. They plugged it in. The fellow who was helping me is a pro musician. He has run sharks in over 60 gigs. He couldn't get it unlocked. It took him 15 minutes to figure it out. When he looked at levels and numbers it was set at, he found it came straight from the factory with settings that made it impossible to use. It took him 40 minutes total to get the thing working right. He deactivated everything except the auto-filters for feedback (which is the only reason I bought it). When I set it up for the concert, it did nothing to help. I disconected it and went straight from my AT condenser mic.

I will be returning this to Mars for a refund. I'm really glad they have a 30 day return policy. I cannot recommend this to anyone.

It wasn't good. I had to take it out of the mix.

I will not use one again. I cannot take the chance.

I'm not even going to try. I'm getting my money back.

I am a vocal/choral teacher in public High school and middle school. I do not make much money so I cannot afford to buy equipment that will not work. I will not buy this again. I'm returning it. (I have a Behringer 18x4 mixer and am very happy with it.)

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.