Smooth Feedback Hunter is measured on a bench of eight real room responses and on our own stage. What we do not have is your room, your microphones and your desk. Until 11 November 2026 we give a full licence to engineers who mix for a living and are willing to tell us how it did on a real stage — theatres with headset mics, conference rooms, churches, small stages with the monitors close to the microphones. In return, the licence is yours.
A full licence key for the beta period. The current build (0.28.77) is on the product page: VST3 and Audio Unit on macOS (universal binary, signed and notarized by Apple), VST3 on Windows (signed installer). If you send us at least one report, the licence stays yours after the beta, free of charge. New builds during the beta use the same key.
1. One real use. A rehearsal or a show with a real microphone and PA, not only a session at the desk.
2. A short report. Five minutes by e-mail: the room (size, walls), microphone, mixer or DAW and buffer size, where the plug-in sits in the chain, whether the feedback went, whether the voice suffered, anything odd.
3. If you can, a recording. Two tracks at the same time: the raw microphone before the plug-in and the plug-in output after it, 48 or 96 kHz WAV, a minute or two is enough. This is the most valuable thing you can give us. Recordings are used only for measurement, never published, and names are not mentioned.
No posts, no reviews, no marketing. If you want to write about it publicly, you are welcome to. Please send bugs to us rather than to forums, so we can fix them quickly.
Write to info@sfhdigital.com with your platform (macOS or Windows), the DAW or mixer you use, and a line about where you mix and what your rooms are like. We answer every message and send the licence key by e-mail. The beta runs until 11 November 2026.
Or by e-mail, in your own words: Build version · platform and DAW, buffer size · format (VST3 / AU) · room type, size, walls, audience · microphones and speakers · where the plug-in sits in the chain · how much more gain you could use, and a guess in dB · did feedback still occur, and when · did the voice change · anything strange in the DAW · better, same or worse than what you used before, and why · recording attached or linked, with the interesting time range.