Mixer important functions and operating skills
1. Mixer's signal input: The mixer's input signal is roughly divided into low-resistance microphone signal input and high-impedance line signal input. Each input can be seen as a water pipe, that is, if a mixer has multiple signal inputs, it is as if there are multiple water pipes to the mixer for processing. The authors can regard the distinction between low resistance and high resistance as the difference in water pressure or flow speed. For example, if the level of the high-impedance input is high, it is as if the water pressure is high and the water flow is more urgent. It is appropriate to directly input the water to the mixing console. It is not necessary to add any link to adjust the water pressure and water flow rate; but The level of the low-resistance input is low, as if the water pressure is very low and the water flow is very slow. It is not appropriate to directly input into the pool of the mixer. The authors need to add a pump to the large pool to make the low resistance low. Water pressure increases it and speeds up the flow of water, so a dedicated circuit amplifier is built into the mixer's low-impedance input channel to amplify the low level to the appropriate level. The characteristics of water use to describe low-resistance signals and high-resistance signals should be well understood.
2. Adjustment of mixer channel gain: To input the sound source in the mixer, the authors must first distinguish whether it is low impedance or high impedance, and then use the standard signal line to connect to the mixer correctly. If we want to achieve perfect sound quality for each source, the authors need to make careful adjustments. The gain of each input channel of the mixer is very important and critical, but many sound engineers seem to simply think of the gain as a volume knob, which is a big mistake. In fact, the gain is mainly used to control the dynamic range of the input signal. When the gain is adjusted to the maximum without distortion, it is the maximum effective dynamic range, and it is also the best effect state. This is more difficult to understand, but still use water to describe it: the mixer's input channels and input lines will all have a basic noise floor. This noise floor is like the sediment in the river bottom and cannot be eliminated. Everyone knows that when the river is not deep, the flowing water is under the sand and the water quality is certainly not good. Therefore, if the dynamic range of the gain adjustment is insufficient, the sound source signal will be like a muddy stream, and the noise floor will suddenly emerge. At this time, the sound quality is definitely not good; on the contrary, when the river is deep, The flowing water is relatively clear, and the water quality is certainly good. That is to say, the dynamic range of gain adjustment is relatively large and reasonable, so the sound quality is definitely good. Of course, if the water is big, even the dams are washed away, and the bottom of the river is given Overturned, this is equivalent to the level signal to a large distortion, this time can not talk about what the sound quality, but also cause damage to the equipment, so it is not the greater the better the gain, have a degree, suitable to do it. The author wants to describe the role of gain in this way, even sound beginners should be able to understand it.
3. Adjustment of the mixer channel equalization group: When the gain is adjusted well, generally the next step is to adjust the equalizer group of the mixer channel. The order of adjustment should be to start from the bass part and then adjust the middle and high parts. Because only the basic sound of the sound is guaranteed, a good sound overtone can be guaranteed. Basic adjustment everyone has no problem, here the author only said a few things in terms of skills.
Now the professional mixer's balanced group is generally equipped with frequency adjustment, a lot of sound engineers will not be flexible to use, it is difficult to say all the details, some things rely on the personal understanding, the author can only briefly say: For example When I was playing disco music, I felt that the bass wasn't strong enough. The authors could choose the bass frequency of the channel equalization group of disco music to be around 200Hz, and then use the adjustment knob to make a moderate increase, so that the bass intensity came out; For example, when the vocal tones of a female singer are obviously prominent, the authors can select the high-frequency frequency around 6000Hz, and then use the adjustment knob to perform moderate attenuation, which will properly reduce the tooth sound. If you are flexible, you can also use the equalizer group's frequency selection function to suppress the acoustic feedback. For example, there will be a formant around 300Hz in a ballroom. This frequency is likely to produce acoustic feedback. The authors can select the frequency of the microphone input channel. About 300Hz, and then use the adjustment knob to moderate attenuation, so that you can effectively reduce the acoustic feedback. Of course, the frequency of acoustic feedback generated by each sound field is not the same, but no matter what the frequency of acoustic feedback, can be easily controlled by this method, of course, this need to be flexibly controlled based on experience. And to perfectly adjust the sound field and avoid acoustic feedback is to use a professional multi-band equalizer or feedback suppressor to adjust, in the article will be detailed in the future of the surrounding system. One of the mixers, it is the balanced group of the mixer that requires the sound engineer to frequently adjust. It is often seen that some sound engineers only know how to push and pull the volume fader. They are too lazy or do not know how to adjust the balance knob. In fact, they are used. It can be said that every time the author needs to adjust the mixer, For example, when the singer comes to the stage to introduce his own repertoire, the authors need to turn off the bass of the microphone and adjust the reverberation to a moderate or switched off, so that the clarity of the language can be guaranteed; when the music sings the singer When I began singing, the writer needed to increase the treble of the mic, otherwise the sound would appear thin and the reverberation volume would be increased to the right. In addition, in order to avoid treble treble during the singing, the authors could attenuate the treble slightly. However, when the song is played, the audience's attention will shift from the singer to the music, so at this time the authors will need to increase the treble of the music, and at the same time make the music louder, and this will be very good. Naturally highlights the music, otherwise it will be too rigid without change. And at this time, the authors have to turn down the reverberation volume so that even if the singer suddenly speaks during interludes, he will not have very complicated reverberations; when the song is played for a period of time, the next stage of singing will be performed. Turn off music, attenuate music treble, push large microphones, and reverb volume. When the climax of the final singing, the authors still need to increase the volume of the microphone, and then open the music volume from small to large, and create a perfect, shocking, magnificent climax effect to end, of course, not all songs are Suitable for such operations, so the need for sound division is flexible. The author feels that I really need to express each function of the mixing console in written form. It may be necessary to write a thick book, and the effect is not always obvious. Here the author's space is limited, the author just throws a few words, I have been talking about the author for many years. To use the experience of the mixer, the specific aspects also rely on personal efforts and learning.
4. Adjustment of the mixer channel AUX; the various adjustment knobs on the mixer are generally the most balanced group, followed by the AUX knob, and the term is called: Aux Send Control. As it is of an auxiliary nature, many sound engineers do not pay enough attention to it and do not fully understand its function. I remember when I was studying in the Department of Radio, Film and Television in Beijing in 1997, I talked about this AUX teacher for two days, but many students still felt confused. In the end, the author couldn't help it. It took two minutes to unravel their confusion in the past two days. After understanding, many students were sighing that the original AUX was so simple! Of course, I can't say that the author's level was higher than the teacher at that time, but the author used an image metaphor: The author said that every input channel of the mixer is like a big water pipe, and the water flow is basically divided into A, B. Two main water pipes: One A main water pipe is: the volume fader of this channel of the mixer is sent out through grouping and etc. The channel volume fader is known by everyone; the other B water main pipe is: AUX The difference is that the AUX part of a mixing console can be divided into multiple channels. If a mixer has 4 channels of AUX, it seems to divide the AUX group, which is the B water mains, into 4 smaller taps. The tube flows out again, and it works like the following faders, except that most AUX volume switches are controlled by knobs, and the channel volume switch of a channel is controlled by a fader, just like a large pipe. Even if the following are divided into A, B two main water pipes, and they are divided into a lot of small water pipes below, but the quality of water is still the same. So the authors can't just look at the surface differences of things. In fact, their functions are very similar. Most of the audio beginners here should probably understand it. The main thing to understand is that the AUX knobs are the same as the volume faders on the console. Next, we must also talk about the specific use of the AUX group: General AUX is the most used external vocal effects, the authors need to deal with the sound of the corresponding AUX switch sent to the effect, after processing and then flow Back to the tune. This is the basic knowledge, most sound engineers should be there; AUX of large-scale mixers generally have a fader before/after conversion, when set in front of the fader, the total volume fader below this channel is no way Controls the volume of this AUX channel; on the contrary, it is controlled by the total volume of this channel. Some other AUX functions are for monitoring or recording. Another convenient use is that the authors can also use AUX to control the bass volume of a sound system, so that channels that require more bass can open up the corresponding AUX without the need for large bass sound sources such as microphones. The corresponding AUX can be opened less volume, otherwise it will easily produce bass sound feedback. In principle, the principle of AUX can be understood by analogy. I don't have much to say here.
5, mixer's sound and image balance adjustment: the sound of the mixer is generally understood by the sound engineer, but many are all rigid understanding, such as a two-channel stereo music signal input to the mixer, most of the sound engineer Both of these two channel panning knobs will be played leftwards and rightwards, thinking that this is "stereo". In fact, the voices coming out of these two channels will appear to be very floating, and the middle will be weak and weak; When the knobs are in the middle, they feel that the music sounds are head-to-head, and it's hard to accept, and the width of the sound is not enough; the best position is that the left channel's pan knob turns to the 9 o'clock position of the clock, and the right channel sound image The knob is turned to the 15 o'clock position of the clock. This kind of music is neither dynamic but wide and has good strength and penetrating power. Everybody can carefully try it out. The principle is not analyzed. The author only pays attention to practice. The other aspects of the application of audio and video applications are not much to say, are basic knowledge. In fact, it is often the simplest thing to think about. It is complicated to think about it.
6. Adjustment of the main output section of the mixing console: The main output section of the mixing console refers to the group volume and total volume. For example, the authors can edit the band to 1-2 groups; group the microphones to 3-4 groups; control the bass level by the volume of 5-6 groups; control the auxiliary speakers by the volume of 7-8 groups, etc. Multiple groups of mixing consoles are easier to control. In addition, the grouping can choose to output the signal individually or cut the grouped signal into the mixer's master volume mixing control. Others such as channel faders are very simple, but it is necessary to flexibly control the volume fader according to the situation of each input channel. Although this part of the adjustment is simple but very important, it is mainly to observe the input and output levels of each signal. The signal cannot have serious distortion.
Problems to be aware of when using the mixer
1, the mixer console signal input section need to pay attention to the problem: the above has been introduced into the input signal is generally divided into low resistance and high resistance input, but how to define a certain signal is low impedance or high resistance you need to be flexible. For example, according to the standard, keyboards, electric guitars, etc. are high-impedance signals, which can only be input to the mixer with a 6.35 plug, but in some places, the connection line from the stage to the mixer is too long, and the line resistance is large. System disturbances such as lighting, and the noise floor of this signal line is already very large. Even if no audio signal is input, the gain of the input channel of this line will be very loud on the mixer. It's as if it was described above: This line is a river, and now there is too much sediment in the river, that is, a lot of noise on this line is still immutable, and the volume of the instrument on the line has been turned to the maximum It cannot be increased anymore, that is, the river can only give you so deep water. If the high-resistance signal input is equal to the water in the river is not increased, the water quality can't be changed, and the sound quality can't be changed; if the signal is input from the low-resistance socket with the XLR plug, the shallow water in the river will pass through the low-resistance amplifier. Zoom in, so that the water is deep, the water quality is good, and the sound quality is also good. It does not seem to be true. We can try it. The author has done a lot of projects now. The band uses low-resistance inputs from the card interface. Although the surface does not seem to be standardized, it is actually a good way to reduce band noise. Therefore, audio workers need to be flexible and need to seek truth from facts and find the best working methods in practice.
2, AUX part need to pay attention to the problem: I know that AUX has fader before / after the conversion, the standard requirements for the stage and other monitor signals to send before the fader, but in the performance of the general still use the fader to send better. Take the AUX signal as a stage monitor. For example, the authors use AB two CD players to play music in turn. When the A player has finished playing music, the authors can pull down the fader volume to switch off the sound, and then take the road B again. The volume fader pushes up. But at this time, the A-CD player has not yet had time to play the disc and is still playing. If the AUX signal sent after the fader is used at this time, there will be no sound of the A-CD in the stage speaker, but if it is adopted AUX signal sent before the fader, the stage speaker will still send the sound of the A CD, so that the stage speaker will have the sound of A, B two CD players, the singer can not hear, although at this time The outside master volume is not affected. Therefore, even the authors of the AUX sender must carefully adjust.
3. Marshalling distribution problem: The problems that need to be paid attention to in the marshalling are relatively simple, because the volume of all the groupings can be output separately without switching into the master volume. Therefore, the authors need careful consideration in the grouping. For example, the authors use 5-6 groupings. To control the volume of the bass, the group 5-6 of most of the input channels on the console can be pressed, but if it is a microphone channel, it should be careful, otherwise pressing the 5-6 group of the microphone channel will produce bass sound feedback; Another point is that since the 5-6 group authors have independently output signals from the corresponding outlets at the back, it is no longer necessary to output through the mixer's total volume, that is, 5-6 groups to the mixer's total volume. The switch can no longer be pressed.
4. Phantom power: Most consoles will have a 48 volt phantom power supply, which can be used to drive a variety of condenser microphones. However, since it is the current transmitted from the microphone cable, it is necessary to check the microphone cable frequently. The lines are unblocked, or loud currents will be heard when the lines are in poor contact. There is also a phenomenon that if you use a conference condenser microphone with a battery in a mixer, do not turn on the phantom power. Otherwise, the two will interfere with each other and it will send out a rainy rustle. .
5, recording input: most of the mixer's recording input channel is through a simple control and then directly through the mixer's total volume output, so be careful operation, do not produce misuse, suddenly put the sound of the recording channel from the mixer The master volume is released.
6, the output level: I know that the standard level of recording is 0dB, but the actual performance in the general will exceed a lot, even up to +10 dB, so do not look at the red light was shocked, in fact, in actual use Among them, it is reasonable that the signal level is slightly exceeded, and the sound coming out at that time is also the best. Another point to note is that when the peak level indicator reaches +4 dB, the volume level of the output port at the back of it reaches 0.775 volts of 0 dB.
7. Other function buttons: In addition to the important adjustment knobs, there are many function knobs, buttons or switches on the mixer, such as: positive and negative inversion buttons, high or low cut button, fader forward and backward transition buttons, mute Buttons, monitor buttons, and so on, some of the regular use of the author should be proficient, not often used in the understanding of its basic functions, do not often adjust them, so as to avoid misuse.
8, headphone and live effects: a lot of sound engineers always like to always take the headphones to tune, of course, headphones is very important, but the sound in the headphones, after all, and the sound of the scene is very different, so we still have to go to the scene to listen to. Do not be unrealistic, wishful thinking of the headset as a measure of standard, to know when recording, the headset can be used as a standard; and in the live performance when the headset is only a tool, and the standard is the author's ears, to go to the scene to listen.
1. Mixer's signal input: The mixer's input signal is roughly divided into low-resistance microphone signal input and high-impedance line signal input. Each input can be seen as a water pipe, that is, if a mixer has multiple signal inputs, it is as if there are multiple water pipes to the mixer for processing. The authors can regard the distinction between low resistance and high resistance as the difference in water pressure or flow speed. For example, if the level of the high-impedance input is high, it is as if the water pressure is high and the water flow is more urgent. It is appropriate to directly input the water to the mixing console. It is not necessary to add any link to adjust the water pressure and water flow rate; but The level of the low-resistance input is low, as if the water pressure is very low and the water flow is very slow. It is not appropriate to directly input into the pool of the mixer. The authors need to add a pump to the large pool to make the low resistance low. Water pressure increases it and speeds up the flow of water, so a dedicated circuit amplifier is built into the mixer's low-impedance input channel to amplify the low level to the appropriate level. The characteristics of water use to describe low-resistance signals and high-resistance signals should be well understood.
2. Adjustment of mixer channel gain: To input the sound source in the mixer, the authors must first distinguish whether it is low impedance or high impedance, and then use the standard signal line to connect to the mixer correctly. If we want to achieve perfect sound quality for each source, the authors need to make careful adjustments. The gain of each input channel of the mixer is very important and critical, but many sound engineers seem to simply think of the gain as a volume knob, which is a big mistake. In fact, the gain is mainly used to control the dynamic range of the input signal. When the gain is adjusted to the maximum without distortion, it is the maximum effective dynamic range, and it is also the best effect state. This is more difficult to understand, but still use water to describe it: the mixer's input channels and input lines will all have a basic noise floor. This noise floor is like the sediment in the river bottom and cannot be eliminated. Everyone knows that when the river is not deep, the flowing water is under the sand and the water quality is certainly not good. Therefore, if the dynamic range of the gain adjustment is insufficient, the sound source signal will be like a muddy stream, and the noise floor will suddenly emerge. At this time, the sound quality is definitely not good; on the contrary, when the river is deep, The flowing water is relatively clear, and the water quality is certainly good. That is to say, the dynamic range of gain adjustment is relatively large and reasonable, so the sound quality is definitely good. Of course, if the water is big, even the dams are washed away, and the bottom of the river is given Overturned, this is equivalent to the level signal to a large distortion, this time can not talk about what the sound quality, but also cause damage to the equipment, so it is not the greater the better the gain, have a degree, suitable to do it. The author wants to describe the role of gain in this way, even sound beginners should be able to understand it.
3. Adjustment of the mixer channel equalization group: When the gain is adjusted well, generally the next step is to adjust the equalizer group of the mixer channel. The order of adjustment should be to start from the bass part and then adjust the middle and high parts. Because only the basic sound of the sound is guaranteed, a good sound overtone can be guaranteed. Basic adjustment everyone has no problem, here the author only said a few things in terms of skills.
Now the professional mixer's balanced group is generally equipped with frequency adjustment, a lot of sound engineers will not be flexible to use, it is difficult to say all the details, some things rely on the personal understanding, the author can only briefly say: For example When I was playing disco music, I felt that the bass wasn't strong enough. The authors could choose the bass frequency of the channel equalization group of disco music to be around 200Hz, and then use the adjustment knob to make a moderate increase, so that the bass intensity came out; For example, when the vocal tones of a female singer are obviously prominent, the authors can select the high-frequency frequency around 6000Hz, and then use the adjustment knob to perform moderate attenuation, which will properly reduce the tooth sound. If you are flexible, you can also use the equalizer group's frequency selection function to suppress the acoustic feedback. For example, there will be a formant around 300Hz in a ballroom. This frequency is likely to produce acoustic feedback. The authors can select the frequency of the microphone input channel. About 300Hz, and then use the adjustment knob to moderate attenuation, so that you can effectively reduce the acoustic feedback. Of course, the frequency of acoustic feedback generated by each sound field is not the same, but no matter what the frequency of acoustic feedback, can be easily controlled by this method, of course, this need to be flexibly controlled based on experience. And to perfectly adjust the sound field and avoid acoustic feedback is to use a professional multi-band equalizer or feedback suppressor to adjust, in the article will be detailed in the future of the surrounding system. One of the mixers, it is the balanced group of the mixer that requires the sound engineer to frequently adjust. It is often seen that some sound engineers only know how to push and pull the volume fader. They are too lazy or do not know how to adjust the balance knob. In fact, they are used. It can be said that every time the author needs to adjust the mixer, For example, when the singer comes to the stage to introduce his own repertoire, the authors need to turn off the bass of the microphone and adjust the reverberation to a moderate or switched off, so that the clarity of the language can be guaranteed; when the music sings the singer When I began singing, the writer needed to increase the treble of the mic, otherwise the sound would appear thin and the reverberation volume would be increased to the right. In addition, in order to avoid treble treble during the singing, the authors could attenuate the treble slightly. However, when the song is played, the audience's attention will shift from the singer to the music, so at this time the authors will need to increase the treble of the music, and at the same time make the music louder, and this will be very good. Naturally highlights the music, otherwise it will be too rigid without change. And at this time, the authors have to turn down the reverberation volume so that even if the singer suddenly speaks during interludes, he will not have very complicated reverberations; when the song is played for a period of time, the next stage of singing will be performed. Turn off music, attenuate music treble, push large microphones, and reverb volume. When the climax of the final singing, the authors still need to increase the volume of the microphone, and then open the music volume from small to large, and create a perfect, shocking, magnificent climax effect to end, of course, not all songs are Suitable for such operations, so the need for sound division is flexible. The author feels that I really need to express each function of the mixing console in written form. It may be necessary to write a thick book, and the effect is not always obvious. Here the author's space is limited, the author just throws a few words, I have been talking about the author for many years. To use the experience of the mixer, the specific aspects also rely on personal efforts and learning.
4. Adjustment of the mixer channel AUX; the various adjustment knobs on the mixer are generally the most balanced group, followed by the AUX knob, and the term is called: Aux Send Control. As it is of an auxiliary nature, many sound engineers do not pay enough attention to it and do not fully understand its function. I remember when I was studying in the Department of Radio, Film and Television in Beijing in 1997, I talked about this AUX teacher for two days, but many students still felt confused. In the end, the author couldn't help it. It took two minutes to unravel their confusion in the past two days. After understanding, many students were sighing that the original AUX was so simple! Of course, I can't say that the author's level was higher than the teacher at that time, but the author used an image metaphor: The author said that every input channel of the mixer is like a big water pipe, and the water flow is basically divided into A, B. Two main water pipes: One A main water pipe is: the volume fader of this channel of the mixer is sent out through grouping and etc. The channel volume fader is known by everyone; the other B water main pipe is: AUX The difference is that the AUX part of a mixing console can be divided into multiple channels. If a mixer has 4 channels of AUX, it seems to divide the AUX group, which is the B water mains, into 4 smaller taps. The tube flows out again, and it works like the following faders, except that most AUX volume switches are controlled by knobs, and the channel volume switch of a channel is controlled by a fader, just like a large pipe. Even if the following are divided into A, B two main water pipes, and they are divided into a lot of small water pipes below, but the quality of water is still the same. So the authors can't just look at the surface differences of things. In fact, their functions are very similar. Most of the audio beginners here should probably understand it. The main thing to understand is that the AUX knobs are the same as the volume faders on the console. Next, we must also talk about the specific use of the AUX group: General AUX is the most used external vocal effects, the authors need to deal with the sound of the corresponding AUX switch sent to the effect, after processing and then flow Back to the tune. This is the basic knowledge, most sound engineers should be there; AUX of large-scale mixers generally have a fader before/after conversion, when set in front of the fader, the total volume fader below this channel is no way Controls the volume of this AUX channel; on the contrary, it is controlled by the total volume of this channel. Some other AUX functions are for monitoring or recording. Another convenient use is that the authors can also use AUX to control the bass volume of a sound system, so that channels that require more bass can open up the corresponding AUX without the need for large bass sound sources such as microphones. The corresponding AUX can be opened less volume, otherwise it will easily produce bass sound feedback. In principle, the principle of AUX can be understood by analogy. I don't have much to say here.
5, mixer's sound and image balance adjustment: the sound of the mixer is generally understood by the sound engineer, but many are all rigid understanding, such as a two-channel stereo music signal input to the mixer, most of the sound engineer Both of these two channel panning knobs will be played leftwards and rightwards, thinking that this is "stereo". In fact, the voices coming out of these two channels will appear to be very floating, and the middle will be weak and weak; When the knobs are in the middle, they feel that the music sounds are head-to-head, and it's hard to accept, and the width of the sound is not enough; the best position is that the left channel's pan knob turns to the 9 o'clock position of the clock, and the right channel sound image The knob is turned to the 15 o'clock position of the clock. This kind of music is neither dynamic but wide and has good strength and penetrating power. Everybody can carefully try it out. The principle is not analyzed. The author only pays attention to practice. The other aspects of the application of audio and video applications are not much to say, are basic knowledge. In fact, it is often the simplest thing to think about. It is complicated to think about it.
6. Adjustment of the main output section of the mixing console: The main output section of the mixing console refers to the group volume and total volume. For example, the authors can edit the band to 1-2 groups; group the microphones to 3-4 groups; control the bass level by the volume of 5-6 groups; control the auxiliary speakers by the volume of 7-8 groups, etc. Multiple groups of mixing consoles are easier to control. In addition, the grouping can choose to output the signal individually or cut the grouped signal into the mixer's master volume mixing control. Others such as channel faders are very simple, but it is necessary to flexibly control the volume fader according to the situation of each input channel. Although this part of the adjustment is simple but very important, it is mainly to observe the input and output levels of each signal. The signal cannot have serious distortion.
Problems to be aware of when using the mixer
1, the mixer console signal input section need to pay attention to the problem: the above has been introduced into the input signal is generally divided into low resistance and high resistance input, but how to define a certain signal is low impedance or high resistance you need to be flexible. For example, according to the standard, keyboards, electric guitars, etc. are high-impedance signals, which can only be input to the mixer with a 6.35 plug, but in some places, the connection line from the stage to the mixer is too long, and the line resistance is large. System disturbances such as lighting, and the noise floor of this signal line is already very large. Even if no audio signal is input, the gain of the input channel of this line will be very loud on the mixer. It's as if it was described above: This line is a river, and now there is too much sediment in the river, that is, a lot of noise on this line is still immutable, and the volume of the instrument on the line has been turned to the maximum It cannot be increased anymore, that is, the river can only give you so deep water. If the high-resistance signal input is equal to the water in the river is not increased, the water quality can't be changed, and the sound quality can't be changed; if the signal is input from the low-resistance socket with the XLR plug, the shallow water in the river will pass through the low-resistance amplifier. Zoom in, so that the water is deep, the water quality is good, and the sound quality is also good. It does not seem to be true. We can try it. The author has done a lot of projects now. The band uses low-resistance inputs from the card interface. Although the surface does not seem to be standardized, it is actually a good way to reduce band noise. Therefore, audio workers need to be flexible and need to seek truth from facts and find the best working methods in practice.
2, AUX part need to pay attention to the problem: I know that AUX has fader before / after the conversion, the standard requirements for the stage and other monitor signals to send before the fader, but in the performance of the general still use the fader to send better. Take the AUX signal as a stage monitor. For example, the authors use AB two CD players to play music in turn. When the A player has finished playing music, the authors can pull down the fader volume to switch off the sound, and then take the road B again. The volume fader pushes up. But at this time, the A-CD player has not yet had time to play the disc and is still playing. If the AUX signal sent after the fader is used at this time, there will be no sound of the A-CD in the stage speaker, but if it is adopted AUX signal sent before the fader, the stage speaker will still send the sound of the A CD, so that the stage speaker will have the sound of A, B two CD players, the singer can not hear, although at this time The outside master volume is not affected. Therefore, even the authors of the AUX sender must carefully adjust.
3. Marshalling distribution problem: The problems that need to be paid attention to in the marshalling are relatively simple, because the volume of all the groupings can be output separately without switching into the master volume. Therefore, the authors need careful consideration in the grouping. For example, the authors use 5-6 groupings. To control the volume of the bass, the group 5-6 of most of the input channels on the console can be pressed, but if it is a microphone channel, it should be careful, otherwise pressing the 5-6 group of the microphone channel will produce bass sound feedback; Another point is that since the 5-6 group authors have independently output signals from the corresponding outlets at the back, it is no longer necessary to output through the mixer's total volume, that is, 5-6 groups to the mixer's total volume. The switch can no longer be pressed.
4. Phantom power: Most consoles will have a 48 volt phantom power supply, which can be used to drive a variety of condenser microphones. However, since it is the current transmitted from the microphone cable, it is necessary to check the microphone cable frequently. The lines are unblocked, or loud currents will be heard when the lines are in poor contact. There is also a phenomenon that if you use a conference condenser microphone with a battery in a mixer, do not turn on the phantom power. Otherwise, the two will interfere with each other and it will send out a rainy rustle. .
5, recording input: most of the mixer's recording input channel is through a simple control and then directly through the mixer's total volume output, so be careful operation, do not produce misuse, suddenly put the sound of the recording channel from the mixer The master volume is released.
6, the output level: I know that the standard level of recording is 0dB, but the actual performance in the general will exceed a lot, even up to +10 dB, so do not look at the red light was shocked, in fact, in actual use Among them, it is reasonable that the signal level is slightly exceeded, and the sound coming out at that time is also the best. Another point to note is that when the peak level indicator reaches +4 dB, the volume level of the output port at the back of it reaches 0.775 volts of 0 dB.
7. Other function buttons: In addition to the important adjustment knobs, there are many function knobs, buttons or switches on the mixer, such as: positive and negative inversion buttons, high or low cut button, fader forward and backward transition buttons, mute Buttons, monitor buttons, and so on, some of the regular use of the author should be proficient, not often used in the understanding of its basic functions, do not often adjust them, so as to avoid misuse.
8, headphone and live effects: a lot of sound engineers always like to always take the headphones to tune, of course, headphones is very important, but the sound in the headphones, after all, and the sound of the scene is very different, so we still have to go to the scene to listen to. Do not be unrealistic, wishful thinking of the headset as a measure of standard, to know when recording, the headset can be used as a standard; and in the live performance when the headset is only a tool, and the standard is the author's ears, to go to the scene to listen.
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