- Issue Time
Do you remember the debugging skills and precautions of the stage audio equipment in the performance? Let's review it together.
1. Adjustment of gain
2. Noise gate
4. Equalizer adjustment
5. Reverberation adjustment
6. Adjust the return speaker
In the last chapter, we talked about two debugging techniques and precautions for stage audio equipment in performances, but did you know that stage sound effects are not only related to equipment debugging, but also to the tuner. In many live performances, the relationship between the tuner and the singer is not so friendly, the tuner cannot understand the singer, and the singer cannot understand the tuner, so the two are prone to conflicts!
When the singer's volume reaches a certain level (threshold), the compressor will start to work to make the voice a little lower. How small is it? Is it a quarter or a percent?This is the compression ratio! Many tuners adjust the threshold value very small, the compression ratio is very large, and the start-up time is very short. As a result, the singer felt that his voice had been suppressed, the volume was very low, and the high pitch could not be raised. Sing with the singing effect of this stage sound equipment, and the singer's voice is not working before a song is finished! There are many factors that cause singers to appear on the scene of a car accident, and it is not the singer's own cause that singing is out of tune!
Return speaker adjustment
Some singers felt that the volume of the return speaker was not shocking enough, and went straight to sing in front of the return speaker.In order to prevent the return speakers from whistling, the tuner directly turned off the stage return speakers.At this time the singer was completely panicked! Singers need to send back speakers to distinguish the rhythm and tune of the accompaniment, so that their voice and accompaniment can be better integrated. The main amplifier speaker is facing the audience (back to the singer), so the main amplifier speaker cannot replace the return speaker. If there is no return speaker, no matter how hard the singer sings, he will feel that his voice is too low (even out of tune throughout the concert). After being scolded several times by the singer, many new tuners failed to understand the truth. The tuner cannot understand the singer, nor can the singer understand the tuner, so it is easy to conflict between the two! And this is still an endless loop, and neither side will compromise!
Many tuner habitually add a lot of reverberation effect for a long time (voice is very muddy) to cover up the singer's flaws in singing. That's because this type of tuner has no chance to get in touch with singers who are good at singing! Therefore, I mistakenly believe that all singers are amateur singers, and adjust the effect of reverberation and echo to the greater the better.
In fact, many powerful singers hope that the sound from the microphone is clear, clean, and has a higher degree of reproduction.
Many tuners only know how to use an equalizer to eliminate howling. As long as the speakers do not howl, it is a tuning. As a result, the equalizer was messed up, and the sound from the best microphone was not right. In the words of the singer: "I suspect I used a fake microphone"!
In fact, the equalizer is used to beautify the sound, and the elimination of howling is only an incidental function of it. Real tuning masters will work hard on the equalizer, which involves too many parameters and variables.
After reading today's article, do you know why the stage acoustics have become bad? If you feel that the singing effect of the stage audio equipment is not good during the performance, you can refer to the content I wrote.