More than a decade ago, the author worked as a DJ in a dance hall. This dance hall is divided into afternoon and evening games, each with a cast member performance. The sound control of the afternoon field is controlled by the author, and the sound control of the evening field is handled by another voice controller.
However, after a while, the musicians felt that there was a significant difference in the sound effects between the afternoon and the evening. They said to me with amazement: "Why is the sound effect better in the afternoon, and the sound effect in the evening is worse?" I am also very puzzled, the instrument I transferred, the voice of the voice, I think he will not go to the big move. Then, there is the ratio between the instrument and the instrument, as well as the ratio between the instrument and the vocal. Even if he is negligent in this regard, I think the musicians and singers can't help but tell (or ask) that he is bigger, that is bigger. Therefore, I listened carefully to the ground during the evening, and it was indeed less effective and less full. After that, I curiously walked into the DJ room to see what happened. As the saying goes, a master has a method and wants to use an intuitive method to see how he adjusts the sound.
First of all, look at the position of the four equalizers on each side of the mixer. There is no big change. Then look at the total output volume fader of the mixer, but the pressure is low, only push to the position below one third, and each The road sub-control fader (referring to musical instruments, vocals) is almost full. This is a typical frequency response is too narrow, the dynamic range is too small, resulting in insufficient sound pressure level of the speaker. This is like the total valve of the water pipeline is opened very small, and the valve is opened to the maximum value, so the water that is adjusted can not be big. Therefore, the tone that he transferred out is dry, even if the four-stage balance of the split is adjusted well, the signal is squeezed after the position of the total output, and the result is that the high pitch does not rise, the bass does not sink, and in short, it is not perfect. Show it out. Let me talk about how I adjust the width of the frequency response. First, turn the gain (GAIN) of the splitter on the mixer to the optimal position (the gain is commonly called the aperture), that is, adjust to the critical point between distortion and distortion, and adjust the frequency of controlling the CD machine. When the width is loud, play a CD first (you can't use the VCD as the reference standard, because most VCDs are not recorded properly, not standard, each song is different in level and distortion), firstly equalize the four segments. Adjust to the best state (if you don't adjust it in advance, then adjust the gain will be in vain, because it is possible to distort the person by adding low frequency and then pull down the mixer's total volume fader, then control the CD two faders Go to the top (maximum value), then turn the gain knob of the road, see the red indicator light of this path distortion (PEAK) light up and then stop, then return the attenuation gain, see the distortion indicator flashes continuously. Slowly spin down.
At this point, the indicator light will be slower and slower, and it will be adjusted to a small rotation without flickering. Rotate a little and it will flash. This is the critical point. This is not distorted even if it is required to reach the maximum and minimum values, and the frequency response width is effectively expanded. After this adjustment, the fader is pulled back to the half position, so that there is a certain space for adjusting up and down. The same is true for the frequency response of the instrument.
Then go back and push the total output fader to 80%. There are many brands of mixers, so the decibels of their faders are different. There are two kinds of them. One is from -40dB to 10dB, and the other is from odB to 10dB. The former is pushed to odB~5dB. Between the latter, the latter failed to 8dB.
The result of the above modulation effectively increases the spatial and frequency response width of the dynamic range. In the power output link, try to adjust to the maximum value, but handle it as appropriate (because it involves the function and the speaker match; the speaker brand is different, the sensitivity is not the same, therefore, the amount of decibel required by the speaker is not The same; there are feedback, etc.).
Finally, it is worth mentioning that when people reduce the decibel volume in the hall, they tend to pull down the total volume fader of the mixer. In fact, this is not right. The position where the total output should be pushed should remain the same, but instead pull the sub-control faders, or group the faders, so that the sound effects will not be much different, otherwise there will be a world of difference.
Beginners and experienced people may lose knowledge of the equipment when using the same equipment, as well as the correct methods and skills.
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