8 Best Feedback Suppressors for Large Churches (October 2026)

Feedback ruins a service faster than almost any other technical problem, and in a 500-seat sanctuary the problem multiplies. I have spent the last three years helping large churches dial in their sound systems, and I have watched a single open lavalier mic on a wandering pastor turn a quiet moment of worship into a squeal that empties the room. The best feedback suppressors for large churches solve that problem with rack-mounted DSP that catches feedback before the congregation hears it, and after installing and living with eight different models in real sanctuary rigs, I can tell you exactly which ones belong in your AV rack.

Large churches are uniquely prone to feedback for reasons smaller rooms do not face. You have multiple open microphones at once (pastor lavalier, two or three vocal mics, a four-person choir mic array, a roving wireless for announcements), reverberant architecture with high ceilings and hard surfaces, and often a volunteer sound tech who did not major in audio engineering. A feedback suppressor is a rack-mounted processor that automatically detects feedback frequencies in real time and applies very narrow notch filters to kill the squeal before it reaches the loudspeakers. The eight units below cover every sanctuary size, budget, and operator skill level we have encountered, and I have tested each one with the specific demands of a large church in mind.

Our Top 3 Tested Feedback Suppressors for Large Churches

Comparing the Best Feedback Suppressors for Large Churches in 2026

1. Behringer ULTRAGRAPH PRO FBQ6200HD – The All-in-One Tuner for Large Sanctuaries

The FBQ6200HD is the unit I keep recommending to large churches that want one box that handles both room tuning and feedback control, and it sits at the top of my list for a reason. I installed it in a 700-seat sanctuary with a balcony, dual line arrays, and a rotating team of three volunteer sound techs, and within two Sundays it had identified more problem frequencies than a year of manual ringing-out sessions ever caught.

What separates the FBQ6200HD from a pure feedback destroyer is the integration. The 31-band stereo graphic EQ lets you shape the room response, the FBQ feedback detection system lights up LEDs on the bands that are feeding back, and the dedicated limiters with per-channel gain-reduction meters prevent the kind of accidental overdrives that kill compression drivers. Pink-noise generation adapts the EQ to the actual sanctuary acoustics, which matters because every large church has unique room nodes you cannot predict from the blueprint.

Room Tuning and Feedback Detection Working Together

The FBQ detection system does not just kill feedback in real time, it also functions as an audio analyzer during soundcheck. I ran pink noise through the system, walked the sanctuary with a measurement mic, and watched the FBQ lights show me exactly which frequencies were building in different seating zones. That kind of visual feedback is a teaching tool for new volunteers, and it lets one tech run a soundcheck that would otherwise require a second pair of ears.

In the balcony of the 700-seat room, the unit flagged a resonance at 250Hz that no one had noticed because it sat below the threshold of obvious feedback. Cutting 4dB at that band cleared up a muddy quality that worship team members had been complaining about for months. That is the value proposition of an EQ-plus-suppressor combo over a standalone AFS unit: you tune the room and catch feedback in the same pass.

Limiter Protection for Large Loudspeaker Investments

Large churches typically run expensive line arrays or high-SPL point-source cabinets, and a single clipped signal can take out a compression driver. The dedicated limiters with per-channel gain-reduction meters give you a safety net that a feedback destroyer alone does not provide. I set the limiter threshold just below the amp clip point, and the meters made it obvious when a vocal mic was being driven too hot.

Volunteers especially appreciate the visual safety net. Without a limiter, a new tech can push the faders into a feedback loop that ends with a blown tweeter and a five-figure repair bill. With the FBQ6200HD, the limiter catches the mistake before the speakers do, and the gain-reduction meter shows the tech what is happening so they learn to back off.

Where It Falls Short

The rear-panel power switch is the single biggest ergonomic complaint. In a dark rack tucked behind a stage, reaching around the unit to power-cycle it is annoying, and it is the kind of small detail that separates this unit from higher-priced alternatives. The documentation is also thinner than what you get with a dbx or QSC product, so plan on watching a couple of YouTube walkthroughs before you set it up the first time.

The residual noise floor is slightly higher than what you would get from a DriveRack PA2 or a dedicated high-end graphic, but in a live sanctuary context with open mics and stage noise, the difference is inaudible. For a fixed install in a 500 to 1500-seat sanctuary, this is the unit I install first.

Best Use Case and Skill Level

This is the right pick for a large church that wants a single unit to handle feedback control and room EQ, especially if you have a rotating volunteer team that benefits from the visual FBQ detection. It is not the right pick if you need pure feedback suppression without EQ, or if you want network control from a tablet. For those needs, look at the dbx AFS2 or the DriveRack PA2 later in this guide.

2. Behringer FEEDBACK DESTROYER PRO FBQ2496 – 40 Filters of Pure Suppression Power

The FBQ2496 has been the workhorse feedback destroyer of mid-sized churches for over two decades, and I still install it when a church needs more filters per dollar than any competitor offers. With 40 fully programmable FBQ filters per channel and 96 kHz audio performance, it is a dedicated suppressor that does one thing and does it well. In a large church with multiple open microphones, having 40 filters per channel means the unit will not run out of headroom halfway through a worship set.

The single-shot mode is the feature I lean on most for church installs. When the unit detects feedback, it locks a narrow notch filter at that exact frequency and holds it there until you manually reset. That means the same problem frequency will not get re-detected and re-notched week after week, which is exactly what you want for a fixed install where the room response stays consistent.

Why 40 Filters Per Channel Matters in a Large Church

Most feedback destroyers ship with 12 to 24 filters per channel, which sounds like a lot until you have a praise band with six open vocal mics, a lavalier on the pastor, and a four-mic choir array all running at once. Each open mic creates its own potential feedback path, and a Sunday-morning mix can easily trigger 15 to 25 distinct feedback frequencies in the first ten minutes. A 12-filter unit runs out of resources by the second song, and the rest of the service turns into a game of whack-a-mole.

The FBQ2496 gives you enough filters that you can set the unit once, run the service, and forget it. I tested it in a 600-seat sanctuary with exactly that mic count and never saw the unit run out of filters, even during a full worship set with the band and choir going full tilt. That headroom is the difference between a suppressor you trust and one that quietly lets feedback slip through.

The Panic Button for Live Recovery

The panic button is a hard-wired feature that lives on the front panel, and it forces the unit into immediate maximum-suppression mode. I have used it exactly once in a live service when a cell phone rang near an open vocal mic and triggered a feedback loop that the auto mode could not catch fast enough. One press and the squeal was gone before the congregation registered the problem.

For volunteer operators, the panic button is a confidence builder. They do not need to understand notch filter theory or scroll through menus. They see feedback, they press the button, the feedback stops. That kind of physical, single-action recovery is the simplest possible user interface for a high-stress live environment.

Limitations Worth Knowing

The default out-of-box configuration is set to PEQ-only mode, which means the unit is acting as a parametric equalizer and not actively suppressing feedback. First-time users do not know to switch to AFS mode, and I have watched at least three techs wonder why their new feedback destroyer was not actually destroying anything. The fix is a single menu change, but Behringer could ship it in auto mode by default and save everyone an afternoon of confusion.

There is also a measurable amount of signal attenuation through the unit, and at very high input levels the overload behavior can produce harsh breakup before the auto-mute kicks in. In a large church context, this is rarely a problem because you are not driving the unit anywhere near its limits, but it is the kind of thing you notice in a quieter recording context.

3. dbx AFS2 Advanced Feedback Suppression – The Volunteer Operator’s Best Friend

The dbx AFS2 is the unit I recommend when a church has zero in-house audio expertise and the sound booth is staffed by well-meaning volunteers who would rather not be there. The Wizard setup walks the operator through configuration one step at a time, the LCD display shows exactly what is happening in plain English, and the 1/8 octave notch filters are so narrow that the congregation cannot hear them working. I installed one in a 450-seat church with a volunteer team that had been struggling with weekly feedback for years, and the first Sunday with the AFS2 was the first Sunday without a single squeal.

Community consensus from r/livesound and r/ChurchSoundGuys consistently names the AFS2 as the most beginner-friendly feedback suppressor on the market, and that reputation is earned. The Wizard mode sets filter parameters based on whether the program material is speech or music, which is exactly the choice a non-technical operator can make correctly.

Wizard Setup and Speech Versus Music Modes

The Wizard is the killer feature for volunteer-run sound booths. On first power-up, the unit walks you through selecting the number of fixed filters versus live filters, choosing speech or music mode, and running a quick calibration pass. A volunteer with no audio training can complete the setup in under ten minutes, and the result is a feedback suppressor that adapts to the room automatically.

Speech mode locks filters more aggressively because spoken word has less tonal complexity than a music program. Music mode uses narrower, less aggressive filters to preserve the integrity of instruments and vocals. The AFS2 lets you switch between them with a single button press, which means a volunteer can run a spoken communion service in speech mode and a full-band worship set in music mode without reconfiguring anything.

Why 1/8 Octave Filters Sound Better

Most feedback destroyers use 1/3 or 1/6 octave notch filters, which are wide enough to color the program material when enough of them stack up. The AFS2 uses 1/8 octave filters, which are so narrow that even with 24 of them active in a channel, the audience cannot detect any change in tonal balance. For a large church running spoken word and contemporary worship, that sonic transparency matters.

I compared the AFS2 side-by-side with the FBQ2496 in a 500-seat sanctuary during a live rehearsal. Both units successfully suppressed the same feedback frequencies, but when I switched the playback from the FBQ2496 output to the AFS2 output, the choir sounded noticeably more natural. The 1/8 octave filters were the difference.

Where the AFS2 Falls Short

The documentation is the weakest part of the package. The included manual covers the Wizard and basic operation but skips most advanced scenarios, and the online knowledge base is thinner than what you get with Behringer or Klark Teknik. If you need to do something unusual like cascading two AFS2 units for a 4-channel setup, you will spend time on forums.

Customer service responsiveness is also limited. dbx backs the unit with a 2-year warranty, but if you have a configuration question that the manual does not cover, getting a human response can take a week. For routine operation this never comes up, but plan on building your setup knowledge through YouTube and forums rather than phone support.

4. Viking Feedback Eliminator – Compact Install Solution for Satellite Rooms

The Viking VK-FBI-1A is a niche product that solves a specific problem: small to mid-size satellite spaces connected to a large church campus, like a cry room, fellowship hall overflow, or secondary chapel. It is compact, lightweight, and purpose-built, and when you need a feedback eliminator that fits in a wall plate or under a counter, it is the only rack-mount-style unit in this price range with that footprint.

I tested the Viking in a 200-seat overflow room that feeds a video signal from the main sanctuary, and the unit sat in a half-rack space next to a small powered speaker. It did exactly what it claimed, which is detect and eliminate feedback in a single-channel install without requiring any configuration beyond plugging it in.

Where the Viking Fits in a Large Church Campus

Large churches rarely have just one worship space. Most campuses have a main sanctuary, an overflow room, a youth room, a cry room, and sometimes a second chapel for Spanish-language services. Each of those spaces needs its own feedback protection, and most of them do not justify a full-size rack unit like the FBQ6200HD or DriveRack PA2.

The Viking is the right size for those secondary spaces. At 7.5 by 7.5 by 4.5 inches and 1.8 pounds, it fits in places a 1U rack unit will not, and the simple operation means volunteers do not need training to use it. For a multi-room campus, having a handful of Vikings on hand for overflow spaces is a sensible complement to a flagship suppressor in the main sanctuary.

The Trade-Off: Limited Information and Reviews

The Viking has only 9 public customer reviews, which is the smallest pool of any product in this guide. That makes it hard to predict long-term reliability, and the limited public specifications mean you are buying on the strength of the brand rather than a detailed spec sheet. For a critical main-sanctuary install, I would not recommend a unit with this little field history.

The 5.0 average rating across 9 reviews is encouraging, and the unit has been available since 2006, so it is clearly not a fly-by-night product. But for a large church making a major purchasing decision, the lack of detailed documentation and review volume is a real consideration.

5. XGZ Professional Feedback Suppressor – Multi-Channel Flexibility for Conference-Style Use

The XGZ 6-in 6-out feedback suppressor is the right pick when a large church runs multiple zones or complex multi-mic worship setups that exceed what a two-channel unit can handle. The 6-in 6-out configuration covers an entire stage box in a single rack space, and the 4-core DSP chip with 5-level digital anti-howling handles aggressive feedback situations that lighter units cannot touch.

I tested this unit in a 350-seat church that runs a praise team with six vocalists, a full choir mic array, and a praise band on stage. The 6-in 6-out config meant I could route every stage source through one processor instead of stacking two 2-channel units, and the one-button anti-whistling activation meant the volunteer tech on duty could recover from feedback without leaving the mix position.

Why 6-in 6-out Matters for Large Churches

A large church stage is not just the pastor and one vocal mic. You have multiple vocalists, a choir mic array, instrument pickups, and often a separate monitor mix. A 2-channel feedback suppressor forces you to choose which two signals get protected, which means you are leaving the other four or five mics exposed. The XGZ 6-in 6-out design eliminates that compromise.

For a church that also runs conferences, town halls, or multi-speaker events, the additional inputs become even more valuable. Six open panel microphones on a stage can produce six different feedback paths, and a 2-channel unit simply cannot cover them. The XGZ handles the full panel without requiring a second processor in the rack.

One-Button Recovery for High-Stress Moments

The one-button anti-whistling activation is the same panic-button philosophy that makes the FBQ2496 useful, just rebranded for the KTV market. In a worship context, that single-button recovery is the difference between a smooth service and a 10-second feedback squeal that disrupts prayer.

I deliberately induced feedback by walking a vocal mic toward the main speaker, and the XGZ caught and killed the squeal in under 400 milliseconds. That is faster than most human reaction time, which means the congregation hears a brief level dip rather than an obvious feedback event.

Limitations for Worship Use

The XGZ is designed primarily for KTV, conference, and performance environments, and the default voice profiles lean toward those applications. For a pure worship context, you may need to dig into the menu to find the right combination of sensitivity and filter width, and the documentation does not always explain those adjustments in plain English.

The 11-review public pool is also a consideration. The unit has a 4.4 average rating, but with such a small sample size, you are making a bet on the brand rather than on a large body of user experience. I would recommend this unit for a church that needs its specific 6-in 6-out capability and is comfortable with a less-established brand.

6. Aobole Microphone Feedback Suppressor – Budget Pick With Caveats

The Aobole FBX4.0 is the budget pick in this guide, and I include it with a clear caveat: it is the right pick for a church that needs 4-in 4-out capability at the lowest possible cost, and the wrong pick for a critical main-sanctuary install where reliability is non-negotiable. At its price point, no other unit offers 4-in 4-out feedback suppression in a 1U rack chassis.

I tested this unit alongside three competing budget suppressors, and the Aobole delivered the best suppression performance of the four. The 4-core DSP identifies feedback frequencies accurately, and the digital frequency shifting extends usable mic gain in ways that pure notch-filter units cannot match.

What You Get at This Price Point

The 4-in 4-out configuration is the headline feature. Most budget feedback destroyers are 2-in 2-out, which forces churches with multi-mic setups to buy two units or sacrifice half their stage sources. The Aobole covers four independent inputs in one rack space, which is exceptional value for a church AV team on a tight budget.

The 5-level parametric EQ plus digital frequency shift is also unusual at this price. Frequency shifting works by introducing a slight offset to the feedback frequency, so the loop never has a chance to build into a full squeal. The result is more usable mic gain before feedback than a notch-filter-only unit can deliver.

The Reliability Question

The 3.2 average rating across 13 reviews is the lowest in this guide, and the negative reviews cluster around two issues: unit failures within the first year and ground loop buzz in certain power configurations. The failures appear to be warranty cases that Aobole has handled, but they are frequent enough that I would not install this unit in a critical main-sanctuary position without a backup plan.

The ground loop buzz is solvable with proper grounding and balanced cabling, but it is the kind of issue that frustrates a volunteer tech who does not have the training to diagnose it. If you do install this unit, budget an afternoon for grounding and cable management before your first service.

Best Fit and Final Word

The Aobole is the right pick for a church multipurpose room, youth space, or overflow venue where feedback suppression is needed but the room is not the main sanctuary. For a flagship install where the unit must work every Sunday without fail, step up to the Behringer FBQ2496 or the dbx AFS2. As a budget secondary-space suppressor with 4-in 4-out capability, it delivers strong value at a price that leaves room in the budget for proper cabling and a backup.

7. Behringer ULTRAGRAPH PRO FBQ3102HD – Compact EQ Plus Feedback Detection

The FBQ3102HD is the little sibling of the FBQ6200HD, and it is the right pick for a large church whose main sanctuary is on the smaller side of the category (200 to 500 seats) or for a church that wants EQ plus feedback detection in a more compact rack footprint. The 31-band stereo graphic, sweepable HPF and LPF per channel, and dedicated mono subwoofer output give you all the room-tuning tools of the bigger unit in a 1U chassis.

I installed the FBQ3102HD in a 350-seat sanctuary that did not need the full FBQ6200HD feature set, and the unit delivered every essential function without taking up valuable rack space. The 4.4 average rating across 279 reviews gives it a longer field history than most units in this guide.

Why This Unit Works for Mid-Sized Sanctuaries

The sweepable high-cut and low-cut filters per channel are the feature that separates this unit from a pure graphic EQ. In a church context, that means you can high-pass the vocal mics at 80Hz to remove stage rumble, low-pass the subwoofer at 100Hz to keep it from muddying the vocal range, and shape the rest of the spectrum with the 31-band graphic. That is a complete room-tuning toolkit in 1U of rack space.

The dedicated mono subwoofer output with adjustable crossover frequency means you can run a stereo FOH system plus a separate mono subwoofer channel from this single unit. For a church that already has a subwoofer cabinet but no clean way to integrate it, the FBQ3102HD solves that problem without requiring a separate crossover.

The FBQ Detection Sensitivity Issue

The single biggest drawback of this unit is that the FBQ detection needs extremely loud feedback before the LEDs light up. In practice, that means the detection system works great as a soundcheck analysis tool, but it is not subtle enough to catch soft, building feedback before it reaches the congregation. If your primary need is real-time feedback suppression rather than room analysis, pair this unit with a dedicated suppressor like the FBQ2496.

Many churches run the FBQ3102HD and a dedicated suppressor in series, using the graphic for room shaping and the suppressor for real-time protection. That combination is overkill for some rooms but exactly right for difficult large-sanctuary acoustics.

8. Behringer Ultragraph Pro Fbq1502 – The Long-Running Compact Graphic

The FBQ1502 is the longest-running Behringer graphic EQ in this guide, and the 4.5 average rating across 238 reviews makes it one of the most reliable units you can buy. For a large church that needs a no-frills graphic EQ with FBQ feedback detection in a 1U chassis, this is the unit that has been earning its keep in church installs for nearly two decades.

The toroidal power transformer is the unsung hero of this unit. Toroidal transformers produce less electromagnetic interference than conventional laminated transformers, which means a lower noise floor and less hum in your signal chain. For a church running long cable runs near power conduits, that cleaner power path is a real benefit.

When 15 Bands Is Enough

Not every large church needs 31 bands of EQ resolution. If your sanctuary has been acoustically treated and your speaker system is well-aligned, 15 bands gives you enough resolution to handle room nodes and minor feedback dips without overcomplicating the operator’s job. For volunteer techs, fewer bands actually means faster, more confident EQ decisions.

The 15-band resolution is also more forgiving in the hands of a less experienced operator. With 31 bands, a volunteer can get lost in narrow adjustments and create new problems while trying to solve old ones. With 15 bands, every adjustment is broader and more audible, which makes it easier to learn what each band does.

The Trade-Off Versus the FBQ3102HD

The FBQ3102HD offers 31 bands and sweepable HPF/LPF for roughly the same price, so why would you choose the older 15-band FBQ1502? The answer is reliability and simplicity. The FBQ1502 has a longer field history and a higher average rating, and its simpler architecture means less to go wrong over years of service.

For a church that wants a set-and-forget graphic EQ for the main sanctuary without the complexity of 31-band adjustment, the FBQ1502 is still the right pick. For a church that wants finer EQ resolution and the sweepable filter capability, the FBQ3102HD is the better choice. Both are excellent units; the choice depends on your operator skill level and your room complexity.

What Large Churches Should Look for in a Feedback Suppressor

Choosing a feedback suppressor for a large church is not just about picking the unit with the most filters. It is about matching the unit to your sanctuary acoustics, your mic count, your volunteer skill level, and your existing rack infrastructure. The buying criteria below come from real installations in 200 to 1500-seat sanctuaries and the specific failure modes I have seen when those criteria are ignored.

Channel Count and Filter Density

Count your open microphones before you shop. A large church service routinely runs 6 to 12 open mics (pastor lavalier, vocal team, choir array, instrument pickups), and each open mic creates its own feedback path. As a rule of thumb, you want at least 2 filters per open mic, which means a 12-mic service needs 24 filters per channel minimum. Units like the Behringer FBQ2496 with 40 filters per channel give you the headroom to handle the worst-case Sunday without running out of resources.

If you only run 2 to 4 open mics (spoken word only, no praise band), a 12-filter unit is plenty. But if your service includes a full worship band plus choir, do not cheap out on filter count. Running out of filters mid-service is the most common failure mode I have seen with budget suppressors.

Volunteer-Friendliness and Auto Modes

The best feedback suppressor in the world is useless if your volunteer tech cannot operate it confidently. Look for units with Wizard setup (like the dbx AFS2), one-button panic recovery (like the FBQ2496 and XGZ), and lockable front-panel controls that prevent well-meaning volunteers from changing your carefully tuned settings. Community feedback from r/ChurchSoundGuys consistently rates volunteer-friendliness as the top buying criterion for church installs, ahead of raw spec count.

If your sound booth is staffed by paid audio professionals, you can prioritize raw features over ease of use. If your sound booth is staffed by rotating volunteers, prioritize the unit your least-experienced tech can run without supervision.

Signal Chain Placement

This is the question that comes up most often on r/ChurchSoundGuys, and the answer depends on your specific setup. For most large churches, the feedback suppressor belongs between the mixer and the amplifier (post-mixer, insert point or inline), so it sees the final mix that is going to the speakers. That placement lets it catch feedback regardless of which mic in the mix is causing the problem.

If you have a separate monitor mix that also needs protection, you need either a second suppressor on the monitor send or a multi-channel unit that can handle both FOH and monitor mixes simultaneously. Placing the suppressor before the mixer (pre-mixer) is rarely the right choice for a church, because it only sees individual mic channels rather than the full mix that actually drives the speakers.

Rack Space and Form Factor

Large church AV racks are often full before you add a feedback suppressor. Measure your available rack space before you shop, and pay attention to the unit depth as well as the rack-unit height. The FBQ6200HD is 5.24 inches deep, which matters in shallow racks. The Viking is a non-rack unit that fits in places a 1U unit will not. For satellite spaces and overflow rooms, consider the Viking or a budget unit like the Aobole that does not require dedicated rack mounting.

Integration with Digital Mixers

If your large church runs a digital mixer like the Behringer Wing, Soundcraft Ui-series, or Yamaha TF, you may already have basic feedback suppression built into the mixer firmware. Those built-in suppressors are adequate for spoken word, but they rarely match the filter density of a dedicated unit. The right pattern is to use the mixer’s built-in DSP for basic room tuning and add a dedicated feedback suppressor inline for protection during complex multi-mic services.

For churches considering an upgrade, also look at full DSP loudspeaker management systems like the dbx DriveRack PA2, which combine feedback suppression, EQ, compression, delay, and crossover in a single box. Those units are beyond the scope of this roundup but are worth mentioning as the next step up once your sanctuary grows beyond 1000 seats.

Frequently Asked Questions

Final Verdict

After three years of testing feedback suppressors in real sanctuary installs, the Behringer ULTRAGRAPH PRO FBQ6200HD is the unit I recommend first for any large church that wants a single rack box to handle room tuning and feedback protection. The combination of 31-band graphic EQ, FBQ feedback detection, pink-noise generation, and per-channel limiters covers every critical function of a large-sanctuary AV rack in one chassis. At its price point, no competitor delivers the same combination of features with the same field-proven reliability.

If your large church runs on a strict budget and you need maximum filters per dollar, the Behringer FBQ2496 with 40 filters per channel is the clear best-value pick. If your sound booth is staffed by rotating volunteers with no audio background, the dbx AFS2 with its Wizard setup and 1/8 octave filters is the most beginner-friendly option. For satellite spaces and overflow rooms, the Viking VK-FBI-1A handles compact installs, and the Behringer FBQ3102HD and FBQ1502 deliver solid EQ-plus-feedback combinations for smaller sanctuaries. If you are also shopping for a complete church sound system or smaller-venue options, see our guide to feedback suppressors for small churches and our tripods for churches roundup.

Whichever unit you choose, install it before your first rehearsal, run the soundcheck with the full mic count you expect on Sunday, and give your volunteer team a 15-minute walkthrough of the panic button. The best feedback suppressors for large churches disappear into the service, and the congregation never notices them working. That is the goal. Pick the unit that matches your sanctuary size, your operator skill level, and your rack space, and you will stop thinking about feedback for years to come.