The mixing console, also known as the tuning console, is a multi-channel input signal for amplification, mixing, distribution, sound quality modification and sound effect processing. It is a broadcast and recorded program in modern radio broadcasting, stage amplification, audio program production and other systems. Important equipment. The mixer is equivalent to the heart of a sound system. How this blood circulation of the heart directly affects the stability of the entire system. In order to achieve the most stable effect of the sound system, in addition to some important functions of the demodulation station, the operation skills are also very important.
1. Signal input of the mixer: It has been introduced in the previous article. The input signal of the mixer is roughly divided into low-impedance microphone signal input and high-resistance line signal input. Specifically. The wired dynamic microphones and condenser microphones we use today are low-impedance signals, but the wireless microphones are already high-impedance signals after being amplified by the microphone receiver; and various audio source playback devices such as DVD, CD, VCD, LDMD , MP3, recorders, etc. are high-resistance signals; and various instruments such as keyboards, electric bass and other standards are high-impedance signals, but in some special cases can also be input with low-resistance ports.
2, mixer channel gain adjustment: To input to the sound source in the mixer, we must first distinguish whether it is low resistance or high resistance, and then use the standard signal line to connect correctly to the mixer. If we want every sound source to achieve perfect sound quality, we need to make careful adjustments. The gain of each input channel of the mixer is very important. Many sound engineers understand the error simply by considering the gain as a volume knob. In fact, the gain is more important to control the dynamics of the input signal. The range, the general gain is adjusted to the maximum without distortion, is the maximum effective dynamic range, and is the best effect state. Here I use the characteristics of water to describe: the input channel and input line of the mixer will have a basic noise floor. This noise floor is like the sediment in the river bottom, which cannot be eliminated. As we all know, when the river is not deep, the flowing water is muddy, and the water quality is definitely not good. That is to say, if the gain knob is too small and the dynamic range is insufficient, the sound source signal seems to be flowing under the mud, and the noise floor will emerge suddenly. At this time, the sound quality is definitely not good; when the river is deep, The flowing water is relatively clear, and the water quality is definitely good. That is to say, the gain knob is open and the dynamic range is large, so the sound quality is definitely good. Of course, if the gain is too large, it is like a huge water, even the river. The dams are washed out, and the bottom of the river is turned over. This is equivalent to the level signal being too large. At this time, of course, there is no sound quality, and it will cause damage to the equipment, so it is not the bigger the gain, the better. It is necessary to have a degree and suitability. I want to describe the effect of gains, even if it is a beginner, you should understand. How to adjust the gain simply: Here is a brief introduction: a, the gain adjustment of the microphone: whether it is a dynamic microphone, a condenser microphone or a wireless microphone, after accessing the mixer, we can use the monitor signal of the corresponding channel of the mixer or The PEAK overload indicator light is used to adjust the gain. The specific method is to first press the monitor button that needs to adjust the channel where the microphone is located. One hand holds the microphone and speaks loudly, and the other hand slowly increases the gain of the channel where the microphone is located. While observing the monitor monitor signal indicator, when the signal indicator reaches 0-4dB, the gain of the microphone is basically adjusted. If the mixer does not have a monitor signal indicator, you can observe the PEAK overload indicator of this channel. When the indicator is occasionally lit when we speak loudly, then the gain knob is slightly turned off, then the gain of this channel is also basic. Adjusted. It should be noted that the sound of professional singers is generally large, we must pay attention to observation, if necessary, appropriate to close the small gain. Some wireless microphones may have to be tested with low-resistance and high-impedance ports, respectively. It is possible to adjust the gain to the optimum. Generally, the microphone gain knob is between 11 and 14 points similar to the clock. Make adjustments. b. It is flexible to adjust the gain of audio playback devices such as DVD, CD, MD, recorder, etc. These devices are basically input to the mixer through the high-impedance port. The gain adjustment method is also the same as the microphone, using the channel monitor signal. Indication or PEAK overload indicator to adjust. However, the DVD and CD sounds are louder, and the gain is generally adjusted between 9:11 and 11 o'clock, which is similar to the clock; some MD sound signals are too small to be driven to the 10 o'clock to 12 o'clock position; some recorder signals are more Small can be opened to the position around 11:1-4. c. The gain adjustment method of various instruments and the gain adjustment method of the microphone are also the same, but it should be noted that some instruments use high-impedance signal input to think that the gain signal is not enough, then it should be replaced with low-resistance input, because the instrument itself is noisy. Big, plus the distance between the stage and the console is too far, the connection line used is long, there will be noise in the line, so the gain of these instruments can not be opened by 12 points empirically, otherwise I can hear the obvious noise, so we can use the low-resistance port to connect the instrument. In summary, the adjustment range of the mixer gain knob is basically at 9:14 to 14 o'clock. Exceeding this adjustable range means that the signal is a bit abnormal.
3: Tuning of the mixer channel equalization group: When the gain is adjusted, it is generally necessary to adjust the equalization group of the mixer channel. The order of adjustment should be to first adjust from the bass part and then adjust the middle part. Because only the fundamental sound of the sound is guaranteed, the sound can be guaranteed to have multiple overtones. Basic adjustments should be fine for everyone. Here I only talk about a few technical aspects. Nowadays, the balance group of professional mixers usually has frequency selection adjustment. Many sound engineers will not use them flexibly. It is difficult to say all the details. Some things depend on personal understanding. I can only simply say: It is said that when playing the disco music, the bass is not strong enough. We can choose the bass frequency of the channel equalization group of the disco music to be around 200Hz, and then use the adjustment knob to moderately increase, so that the bass strength comes out. Of course, if you think that the bass is too strong, the sound is too hard, and not full, then we can also choose the bass frequency of this music channel to be around 200Hz, and then properly attenuate and increase the volume of the LOW bass of this channel equalizer group. The music will reduce the strength and hardness and increase the fullness. For example, when a female singer's tooth sound is obviously prominent, we can select the high frequency frequency at about 6000 Hz, and then use the adjustment knob to moderately attenuate, so that the tooth tone is appropriately reduced. If the application is flexible, you can also use the equalization group's frequency selection function to suppress the acoustic feedback. For example, there will be a formant around 300Hz in the general ballroom. Often this frequency is easy to produce acoustic feedback. We can select the frequency of the microphone input channel at 300Hz. Left and right, then use the adjustment knob for moderate attenuation, which can effectively reduce the acoustic feedback and increase the clarity of the sound. Of course, the frequency of acoustic feedback generated by each sound field is different, but no matter what frequency of acoustic feedback, it can be simply controlled by this method. Of course, this needs to be flexibly controlled according to experience. If you want to perfectly adjust the sound field and avoid acoustic feedback, you need to adjust it with a professional multi-band equalizer or feedback suppressor, which will be described in detail later. In short, in a mixing console, it is the equalization group of the mixer that needs to be adjusted by the sound engineer. I often see that some sound engineers only know the push-pull volume fader, too lazy or do not know how to adjust the balance knob. In fact, during the performance, we can say that we need to adjust the mixer every moment. For example, when the singer goes to the stage to introduce his own performance, we need to turn off the bass of the microphone, adjust the reverb to moderate or turn off, so that the clarity of the language can be guaranteed; when the music rings, the singer begins to sing. When we need to increase the bass of the microphone, otherwise the sound will be thin and the reverberation volume will be increased. In addition, in order to avoid the high-pitched sound of the microphone, we can slightly attenuate the music treble as needed; When the songs are played, the audience's attention will shift from the singer to the music, so we need to increase the treble of the music and open the music at the same time, which will be very good and natural. Highlight the music, otherwise it will be too rigid without change. And at this time we have to turn down the reverb volume so that even if the singer suddenly speaks during the interlude, there will be no complicated reverberation; when the song is finished, the next sing will start. Small music, can properly attenuate the music treble, push the microphone and reverb volume. At the climax of the final singer, we also need to open the microphone volume, and then turn the volume of the music from small to large, creating a perfect, shocking, powerful orgasm effect to end! Of course, not all songs are suitable for such operations, so what the sound engineer needs is flexibility, but also depends on personal efforts and learning.
4: The adjustment of the mixer channel AUX; the various adjustment knobs on the mixer are generally the most equalization group, followed by the AUX knob, the term is called: auxiliary transmission. Generally, AUX is used for external vocal effects. We send the processed sound to the effect generator with the corresponding AUX switch, and then flow back to the tuning station after processing. This is the basic knowledge, most audiophiles should be; large console AUX generally has fader pre/post conversion, when set in front of the fader, there is no way for the total volume fader below this channel Control the volume of this AUX; on the contrary, it will be controlled by the total volume of this channel after the fader.
Other features of AUX are for listening or recording. Another convenient use is that we can also use AUX to control the bass volume of an audio system, so that more bass channels can be used to open the corresponding AUX without the need for loud and subwoofer sources such as microphones. The corresponding AUX can turn on less volume, otherwise it will easily produce bass feedback. In general, I understand the principle of AUX, and I can't say more about it here.
5: Sound balance adjustment of the mixer: The sound of the mixer is generally understood by the sound engineer, but many are rigid understandings, such as a two-channel stereo music signal input to the mixer, most sound engineers The sound image knobs of these two channels will be turned to the left and right to the end, which is considered to be "stereo". In fact, the sound coming out of these two channels will appear very drifting, and the middle will be weak and weak; if the sound image is When the knob is hit in the middle, the music sounds up to the top, it is difficult to accept, and the width of the sound is not enough; the best position is that the panning knob of the left channel turns to the 9 o'clock position of the clock, and the sound image of the right channel Turn the knob to the 15 o'clock position of the clock, so that the music does not have a dynamic range and width, and the strength and penetration are good. Everyone can test, the principle I will not analyze, I only pay attention to practice. I don't have much to say about other aspects of sound imagery. They are basic knowledge. In fact, it is often considered the simplest thing, and it is very complicated to think about it.
6: Adjustment of the main output part of the mixer: The main output part of the mixer generally refers to the grouping volume and the total volume. For example, we can compile the band into 1-2 groups; program the microphones to 3-4 groups; control the bass through the volume of 5-6 groups, control the volume of the auxiliary speakers through the 7-8 group, and so on. Grouped mixers are easier to control. In addition, the group can choose to output the signal separately or cut the grouped signal into the mixer's master volume mixing control.
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