更新時(shí)間：2021-07-30
文章來(lái)源：http://m.74seba.com/
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很多人實(shí)際工作中可能都碰到這樣的問(wèn)題，在有樂(lè)隊(duì)的演出時(shí)，樂(lè)手說(shuō)返聽(tīng)不夠大或者返聽(tīng)聽(tīng)不清，要求控制人員提高他的返聽(tīng)音量。有時(shí)候提高了返聽(tīng)的音量后，樂(lè)手仍然會(huì)提出要求。返聽(tīng)音量大了，話筒嘯叫的可能性也大了，就會(huì)進(jìn)入一個(gè)惡性循環(huán)，有時(shí)處理不好的時(shí)候，往往就容易引發(fā)樂(lè)手和音響控制人員的糾 紛。
Many people may encounter such problems in their actual work. When there is a band performance, the musician says that the return is not big enough or can not hear clearly, and asks the controller to increase his return volume. Sometimes, after increasing the volume of return listening, the musician will still ask for it. When the volume of return listening is high, the possibility of microphone howling is also high, and it will enter a vicious circle. Sometimes when it is not handled well, it is easy to cause disputes between musicians and sound controllers.
其實(shí)返聽(tīng)系統(tǒng)本來(lái)是給演員服務(wù)的音響系統(tǒng)，用來(lái)讓樂(lè)手監(jiān) 聽(tīng)自己的演奏或演唱效果，及時(shí)進(jìn)行調(diào)整。所以監(jiān) 聽(tīng)系統(tǒng)是否能夠真實(shí)表達(dá)樂(lè)手的演奏情況是非常重要的一個(gè)方面。
In fact, the back listening system was originally a sound system for actors, which was used to let musicians monitor their performance or singing effect and make adjustments in time. Therefore, whether the monitoring system can truly express the performance of musicians is a very important aspect.
大多數(shù)的情況下舞臺(tái)返聽(tīng)系統(tǒng)是從調(diào)音臺(tái)AUX輸出接一個(gè)均衡器然后到功放到音箱。很多人對(duì)舞臺(tái)返聽(tīng)的處理往往比較片面，此時(shí)的均衡器往往只注重用于處理話筒嘯叫，在這種用法之下，返聽(tīng)音箱發(fā)出的聲音往往是有缺陷的，對(duì)樂(lè)器聲音的還原性大大降低。
In most cases, the stage hearing back system is connected to an equalizer from the AUX output of the mixer, and then to the power amplifier to the speaker. Many people tend to deal with stage listening back one sidedly. At this time, the equalizer is often only used to deal with the roar of the microphone. Under this usage, the sound emitted by the listening back speaker is often defective, and the reducibility of the sound of the musical instrument is greatly reduced.
舞臺(tái)上的人員聽(tīng)到的聲音不是他想象的那種聲音效果，就感覺(jué)聽(tīng)著不對(duì)，但他們往往不懂音響的還原性，所以以為是音量不夠，所以要求提高音量。此時(shí)，你就是把音量提高了，樂(lè)手還會(huì)抱怨聽(tīng)不清，根源就是還原性不好，返聽(tīng)聲音不夠清晰。這就好比一個(gè)說(shuō)話吐字不清的人，小聲說(shuō)話的時(shí)候你聽(tīng)不清他說(shuō)什么，如果讓他大聲說(shuō)話，你就更聽(tīng)不清了。
The sound heard by the people on the stage is not the kind of sound effect he imagined, so they feel that it doesn't sound right, but they often don't understand the reducibility of the sound, so they think the volume is not enough, so they ask to increase the volume. At this time, you just raise the volume, and the musicians will complain that they can't hear clearly. The root cause is that the reducibility is not good and the back listening sound is not clear enough. It's like a person who can't speak clearly. You can't hear what he says when he speaks quietly. If you let him speak loudly, you can't hear clearly.
所以要解決這個(gè)問(wèn)題，是要提供一個(gè)還原性比較好的舞臺(tái)返聽(tīng)系統(tǒng)，還原性好了，清晰度就會(huì)上去，不需要開(kāi)多大的音量就可以讓演職人員清晰聽(tīng)到自己的演奏效果了。要提高系統(tǒng)還原性，就要針對(duì)系統(tǒng)的擴(kuò)聲缺陷使用均衡器進(jìn)行有針對(duì)性的補(bǔ)償。等系統(tǒng)還原性高了，表達(dá)清晰了，也就不需要開(kāi)得驚天動(dòng)地，話筒嘯叫的可能性也會(huì)大大降低的。
Therefore, to solve this problem, the first thing is to provide a stage listening back system with good reducibility. When the reducibility is good, the clarity will go up. It doesn't need to turn on much volume to let the performers clearly hear their performance effect. In order to improve the reducibility of the system, it is necessary to use the equalizer to compensate the sound reinforcement defects of the system. When the system has high reducibility and clear expression, there is no need to drive earth shaking, and the possibility of microphone howling will be greatly reduced.
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