When the sound engineer tells you that the audience area is very good, the accompaniment will drown your voice when it is a little bigger, and then you can't hear the accompaniment. What will you do then? The answer is simple, plus return speakers.
The return is a speaker that helps the singer or player to hear the music. As you begin to rehearse, the sound engineer plays the accompaniment and balances your voice and accompaniment. If there is no stage monitoring system, then the current live music is likely to be not so good. If you are a musician or singer, you will know how important it is to hear your voice clearly; you need constant adjustments and synchronization with the band's instrumental performance.
Use the gain to choose the speaker position feedback, the terrible sound of the sound engineer, which is a very harsh sound, which is generated again when the sound enters the microphone after leaving the speaker. This creates an endless loop and it is necessary to reduce the volume to stop this situation. In a sound system, the amount of gain or the gain before feedback does not depend solely on the size of the power amplifier. The connection of the microphone to the speaker and the room in which they are located also have an effect on the gain of the system.
Obviously, in most cases we can't find a position 500 meters from the speaker. We had to place the speaker in a place where the sound could completely cover the entire audience area, while placing the microphone in the appropriate position to maximize the gain.
In most cases, the speakers are placed in a position that is slightly above the head of the audience and placed on the front and sides of the stage. You can adjust them slightly, but be careful. The more you adjust inward, the less gain you get, because the sound starts to point to the microphone. Keep in mind that even small rotation angles can make a big difference.
The tuner should control the effect of returning the speaker. The stage returns the speaker. In general, the tuner cannot directly hear the effect of returning the speaker before the mixer. Because the return system is used to monitor the performance of the singing or performance of the casters on the stage, when the tuner can not directly feel the return effect in real time, it often feels deviation from the actors on the stage. The volume is large or small, and the proportion of each part is not necessarily very accurate, which is easy to contradict.
The way the MONITOR tuner does the show is to move one speaker with the same speaker on the stage and put it next to him. When you send it back, you can connect the signal of this speaker to that channel. You can hear the effect of the return channel you debug in real time, it is very straightforward to debug, and it is easy to understand the requirements of the musician. It’s much easier to adjust to the console and listen to the effects on the stage.
The monitor speaker should have its own volume control. One condition is the stage monitor speaker, which is very close to the microphone. If we drive the monitor speakers with an amplifier driven by the main speakers, then we will encounter feedback problems. We need to understand the relationship between the speaker and the microphone and the interaction between the gains. If the volume is turned on, can you predict what will happen? The monitor speaker is closer to the microphone than the main speaker and points directly to the microphone. It is the first to enter the feedback, and then the main speaker enters the feedback, which limits the gain of the entire stage monitor system.
To eliminate this problem, the monitor speaker should have its own volume control or, if possible, be connected to a separate amplifier. At this point, we can adjust the volume of the speaker system without affecting other devices. Therefore, the gain of the monitor speaker does not affect the main system.
Today's consoles offer great flexibility in controlling independent monitor speakers and master volume. Because you listen and mix separately for each musician's needs, the closer the listener is to them, the easier it is to hear.
It is easy to balance the main speaker and then adjust the return volume to return the sound. This can be observed. When the sound pressure of the returned speaker is increased, the definition of the main speaker is lowered. When the returned sound reaches the singer, it continues to reflect through the wall, and finally the sound heard by the audience is the mixed sound of the reflected sound and the main system. The reflected sound degrades the sound quality, and if the main system exhibits such an effect, it proves that the reflected sound is too large. This problem is not very well resolved.
The sound engineer should tell the artist these reasons, and both sides should understand the relationship. First of all, the correct choice to return the speaker and placement is the key; second, first balance the sound of the main speaker, and then start debugging the volume of the return. This will keep the volume of the return as low as possible, as long as the player feels enough to listen.
The mixer should have enough AUX return output. Most of the return system is controlled by the mixer's AUX output. The mixer can be simple or complex, but at least it must be able to satisfy the tuner's separate control of the return and main expansion system. The AUX output is sent to the amplifier that returns the speaker. In addition, the active return speaker makes the return setting easy, especially if the speaker cable is not well placed.
It is enough to connect a microphone cable from the AUX output of the mixer to the speaker. If your mixer does not have enough return output, consider using the audio splitter. The output of the deck is divided into two ways, all the way into the mixer, and all the way directly into the active return.
Debugging of the returning speakers in the example drama performance
The listening system is very important in the performance of the opera. Because the opera music has no fixed rhythm, it pays attention to the cooperation between the singer and the band. When the aria and the accompaniment are tight, it is necessary to have a tacit understanding between the band and the actor. In the opera music, the aria is the main body. The actor can't sing along with a fixed-tempo instrument. On the contrary, the band has to follow the actor to perform the accompaniment. The returning system becomes the bridge between the band and the actor.
If the drummer and the violinist can't hear the actor's aria, the actor can't hear the sound and beat of the band's main stringed instrument, there will be problems in the match, so that the accompaniment and singing can not be synchronized.
Most sound engineers prefer to use the mixer's group output to send signals to the returning speaker. This will make the music and vocal proportions of the main speakerbox consistent with the returning speakers. The ratio of the stage return and the main sound box is not the same, and it is also very easy to cause howling. Using the auxiliary output on the mixer to provide a signal signal to the returning speaker, the signal obtained by the returning speaker can be independently adjusted from the signal of the main speaker, and can be independently adjusted according to the requirements of the actors and the band, so that the band and the actor are satisfied. Effect. Note that you must use the auxiliary output after the fader on the mixer.
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Some suggestions for better monitoring:
A. Proper placement - this is the main factor.
1. Every performer needs to hear his own voice.
2. The monitor speakers should be placed close enough to be touched. The closer you are to the speakers, the louder the sound. The main advantage of a personal monitor speaker is that it can be placed very close to the performer, so that you can take full advantage of this feature.
3. The monitor speakers should be placed on the back or back side of the microphone.
4. If the monitor is close to the microphone, you need to turn down its volume so that no gain is generated to affect the entire monitor system.
B. Use a unidirectional microphone. There are many brands of microphones on the market, and there are big differences between them, so if possible, choose a few brand-name microphones to use.
C, balance your system
1. The volume of all the microphones in the PA system should be gradually increased until the ringing of the upcoming ringing occurs. Attenuation related frequencies and octaves. When repeating this process, speak to the entire system periodically until you can get a loud sound immediately.
2. When you need high volume, be sure to reduce all frequencies below 150Hz in the monitoring system. Because the low frequencies are not directional, the monitoring system rarely uses low frequencies, and low frequencies can be heard anywhere on the stage.
D. Distortion problem - If your monitor is distorted, it is probably because you don't have enough power. You should use an amplifier in the monitor system or reduce the low frequency.
E. When the monitor speaker is working, do not insert the plug or unplug it, as this may cause the amplifier to be short-circuited and damaged.
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