The commissioning and installation of the live sound reinforcement system is a huge system engineering, especially in the sound reinforcement system of large-scale performances. The main tuning engineer must have rich on-site experience, macroscopic and clear system ideas, extraordinary courage and unpredictability. Peace of mind, and careful and rigorous work habits of each team worker.
In the face of such a complicated and huge system engineering, it is almost impossible to make a simple and simple description. Today we will simply talk about the traditional simulation system debugging and sound debugging in the live sound reinforcement system. Most of the basic steps, I hope to be helpful to friends interested in the field of sound reinforcement, if there is any missing content in the text, welcome to leave a message to correct.
About system commissioning Step 1: Initial commissioning of system level 1. Line check According to the system line drawing, carefully check the line connection to confirm that the line can operate normally.
2. Setting the initial state of the device Set the amplifier input to minimum and set the input/output knobs of all peripheral devices to 0 dB position or intermediate position. Power on in order from the previous stage to the next stage (without turning on the power amplifier), check that all equipment is powered on, and then power on the amplifier.
3. Initially check the system status. At this point, properly turn on the gain control of the large amplifier, play a familiar CD, and adjust the mixer input level to the basic normal position. Slowly push up the mixer fader, listen to the sound from the speaker is normal, whether it is distorted, if it is not normal, shut down immediately.
4. After the speaker and system polarity detection system are basically normal, turn on all the power supplies, set the power discharge level to the maximum, pull down the mixer output fader, connect the phase meter generator to the mixer input channel, and turn on the phase meter power supply. Adjust the output gain and mixer input gain to the mixer's indicator meter to 0 dB. Slowly push up the mixer output fader, until the speaker emits a "beep" sound to achieve sufficient loudness (if the loudness is not enough, the test results are sometimes inaccurate), use the phase detector to check whether each speaker is in phase or with the speaker The description of the instructions is consistent. It is best to turn off other speakers during the detection to prevent interference, and the detection is more accurate one by one. If there is any abnormality, check if the speaker cable is connected reversely or if the system cable is reversed, and then it can be detected after being transferred or replaced.
5. Phase adjustment If the combination of ultra low frequency and full frequency is used at the same time, due to the existence of the frequency division system and the installation position, there may be phase problems caused by cross frequency interference or delay time difference, so phase adjustment is required. The pink noise generator is connected to the mixer input channel to adjust the level to the normal position. The phaser test microphone is placed in the middle of the field and is equilateral triangle with the speaker. Push up the mixer output fader and check if there is any valley in the frequency band near the crossover frequency of the full-frequency and ultra-low frequency speakers. If so, increase the corresponding frequency band of the equalizer. If it cannot be improved, there is a phase problem. The occurrence of phase problems directly affects the sound quality, and the use of an equalizer is nothing to solve. To solve the phase problem, you need to adjust the phase angle of the crossover or the delay time between the speakers. When adjusting, pay attention to the spectrum analyzer display. First adjust the phase angle of the low frequency crossover to see if there is any improvement. If there is improvement, determine the optimal value and then adjust the delay time. The delay time adjustment depends on the scene. If the low-frequency speaker is close to the seat, you need to adjust the delay of the bass. Also, look at the spectrum analyzer screen and adjust the delay time to make the curve as flat as possible. Minimize phase interference.
6. Frequency Equalization After the above adjustments are made, the frequency response curve of the system needs to be adjusted. Place the test microphone of the spectrum analyzer at a certain position in the seating area, play the pink noise source, watch the spectrum analyzer display, and use the equalizer to correct the defective area. Place the test microphone in a different place, change several positions, and adjust the balance repeatedly to make the frequency response curve of each area as straight as possible.
7. Debugging dynamic control equipment Generally, the dynamic adjustment equipment is a pressure limiter. If the chain limiter is connected in series with the chain, it is generally used as a protection system, so the limiter function of the compressor is mainly used. According to individual needs, only one of the compressor settings is described here. The compressor can be set to BYPASS, the input and output gain is set to 0 dB, the compression ratio is set to "infinity", and then sent from the mixer. The pink noise signal is gradually pushed up. Observe the input level indicator of the amplifier when the clip indicator (CLIP) is lit. Connect the compressor to adjust the start level knob so that the amplifier input clipping indicator turns off. Then increase the mixer output by 6 decibels or let the output level indicator reach +6 decibels, then adjust the startup level so that the amplifier clip indicator light just starts to flash. At this point, the level debugging of the system is completed, and the sound adjustment and effect processing (including effects, exciters, etc.) of the sound need to be handled by the tuner. Of course, in sound engineering, this is generally handled by the audio company's technicians.
Step 2: Avoid the whistle and the debugging of the singing microphone sound 1. The monitoring system adjusts the level of one microphone according to the method in the first step, without the microphone equalization processing of the mixer, the mixer channel fader is placed At 0 dB position (provided that the signal from the stage monitor is taken from the auxiliary output after the fader). Place the microphone on the main position on the stage, turn on the monitor output master control (AUX) and gradually increase the output level. After the microphone causes a certain frequency band howling, fine-tune the AUX knob to stabilize the howling at a certain volume level, and then adjust the equalizer. The corresponding band knob is used to eliminate the howling in this band, and then continue to raise the level. After the other party's howling is generated, the equalizer is adjusted to eliminate it, and so on. The flat fader or AUX knob is adjusted to the normal position (such as 0dB), and the microphone no longer produces howling, which indicates that the debugging is completed and the mixer fader is restored to the starting position. This method is used to find the howling point in the sound field that easily causes resonance, and then appropriately lower the level of the microphone channel, find a person to speak on the microphone, and then gradually increase the volume of the microphone to the normal position, if there is a howling, then pass The equalizer is eliminated. Operation points: It is necessary to control the level so that the whistle can be maintained at a stable level and then adjusted. The operation must be slow, otherwise you will not be able to find the correct howling point one by one. The resonance point in the room is usually around 5-6 points. If there are too many feedback points, it is necessary to check whether the speaker position is reasonable.
2. After the main expansion system monitoring system whistle point is debugged, adjust the main expansion system according to the same method. If the main expansion is a two-channel system, first close a channel, push the input fader of the mixer, and gradually increase the volume. Look for howling. After adjusting one channel, turn off the channel and adjust the other. After both sides are adjusted, push the two channels at the same time and check if there are other howling points, and then eliminate them by the equalizer.
About the sound debugging After the howling problem is solved, the sound debugging 1. The vocal microphone uses a high-quality microphone as a reference to adjust the balance of the microphone input channel, so that the microphone sound is as close as possible to the high-quality microphone used as a reference. Tone. After completing this step, the microphone sound can generally meet the requirements of most actors, and then let the actors audition the microphone, and then fine-tune the mixer channel equalization according to the needs of the actors.
The space of the control room should be as large as possible. The specific size can be determined according to the number of cabinets and the number of staff. 2. After the original sound of the microphone is adjusted, the reverb effect can be added if necessary, and the effect is selected. For the appropriate reverb type, turn on the corresponding AUX output of the mixer, adjust the input level of the effector and the auxiliary output level of the mixer, talk to the microphone, and listen to whether the signal output to the effect is too large or too small. This signal is controlled at 0 dB. Set the effect mix ratio to 100%, then gradually increase the output level of the effect, and check if the level of the output echo stage is normal. If it is normal, set the output of the effect to the appropriate position according to the specific needs of the actor. .
After adding the effect, due to the existence of artificial reverberation, it is likely to generate a new whistle point, generally the first whistle point appears in the low frequency band, and the hardware effect return is generally the line input to the mixer. The equalization module of this input channel can be adjusted to eliminate howling.
This completes the most basic audio debugging process.
In recent years, the rapid development of science and technology, digital network products and analog numerical control products came into being. These new technologies will save the tuner from the mountains and wires and equipment. With the help of powerful equipment, the tuner will be more More from the perspective of sensibility and art, through the rational technology and experience to present high-quality live performances to the audience.
In the face of such a complicated and huge system engineering, it is almost impossible to make a simple and simple description. Today we will simply talk about the traditional simulation system debugging and sound debugging in the live sound reinforcement system. Most of the basic steps, I hope to be helpful to friends interested in the field of sound reinforcement, if there is any missing content in the text, welcome to leave a message to correct.
About system commissioning Step 1: Initial commissioning of system level 1. Line check According to the system line drawing, carefully check the line connection to confirm that the line can operate normally.
2. Setting the initial state of the device Set the amplifier input to minimum and set the input/output knobs of all peripheral devices to 0 dB position or intermediate position. Power on in order from the previous stage to the next stage (without turning on the power amplifier), check that all equipment is powered on, and then power on the amplifier.
3. Initially check the system status. At this point, properly turn on the gain control of the large amplifier, play a familiar CD, and adjust the mixer input level to the basic normal position. Slowly push up the mixer fader, listen to the sound from the speaker is normal, whether it is distorted, if it is not normal, shut down immediately.
4. After the speaker and system polarity detection system are basically normal, turn on all the power supplies, set the power discharge level to the maximum, pull down the mixer output fader, connect the phase meter generator to the mixer input channel, and turn on the phase meter power supply. Adjust the output gain and mixer input gain to the mixer's indicator meter to 0 dB. Slowly push up the mixer output fader, until the speaker emits a "beep" sound to achieve sufficient loudness (if the loudness is not enough, the test results are sometimes inaccurate), use the phase detector to check whether each speaker is in phase or with the speaker The description of the instructions is consistent. It is best to turn off other speakers during the detection to prevent interference, and the detection is more accurate one by one. If there is any abnormality, check if the speaker cable is connected reversely or if the system cable is reversed, and then it can be detected after being transferred or replaced.
5. Phase adjustment If the combination of ultra low frequency and full frequency is used at the same time, due to the existence of the frequency division system and the installation position, there may be phase problems caused by cross frequency interference or delay time difference, so phase adjustment is required. The pink noise generator is connected to the mixer input channel to adjust the level to the normal position. The phaser test microphone is placed in the middle of the field and is equilateral triangle with the speaker. Push up the mixer output fader and check if there is any valley in the frequency band near the crossover frequency of the full-frequency and ultra-low frequency speakers. If so, increase the corresponding frequency band of the equalizer. If it cannot be improved, there is a phase problem. The occurrence of phase problems directly affects the sound quality, and the use of an equalizer is nothing to solve. To solve the phase problem, you need to adjust the phase angle of the crossover or the delay time between the speakers. When adjusting, pay attention to the spectrum analyzer display. First adjust the phase angle of the low frequency crossover to see if there is any improvement. If there is improvement, determine the optimal value and then adjust the delay time. The delay time adjustment depends on the scene. If the low-frequency speaker is close to the seat, you need to adjust the delay of the bass. Also, look at the spectrum analyzer screen and adjust the delay time to make the curve as flat as possible. Minimize phase interference.
6. Frequency Equalization After the above adjustments are made, the frequency response curve of the system needs to be adjusted. Place the test microphone of the spectrum analyzer at a certain position in the seating area, play the pink noise source, watch the spectrum analyzer display, and use the equalizer to correct the defective area. Place the test microphone in a different place, change several positions, and adjust the balance repeatedly to make the frequency response curve of each area as straight as possible.
7. Debugging dynamic control equipment Generally, the dynamic adjustment equipment is a pressure limiter. If the chain limiter is connected in series with the chain, it is generally used as a protection system, so the limiter function of the compressor is mainly used. According to individual needs, only one of the compressor settings is described here. The compressor can be set to BYPASS, the input and output gain is set to 0 dB, the compression ratio is set to "infinity", and then sent from the mixer. The pink noise signal is gradually pushed up. Observe the input level indicator of the amplifier when the clip indicator (CLIP) is lit. Connect the compressor to adjust the start level knob so that the amplifier input clipping indicator turns off. Then increase the mixer output by 6 decibels or let the output level indicator reach +6 decibels, then adjust the startup level so that the amplifier clip indicator light just starts to flash. At this point, the level debugging of the system is completed, and the sound adjustment and effect processing (including effects, exciters, etc.) of the sound need to be handled by the tuner. Of course, in sound engineering, this is generally handled by the audio company's technicians.
Step 2: Avoid the whistle and the debugging of the singing microphone sound 1. The monitoring system adjusts the level of one microphone according to the method in the first step, without the microphone equalization processing of the mixer, the mixer channel fader is placed At 0 dB position (provided that the signal from the stage monitor is taken from the auxiliary output after the fader). Place the microphone on the main position on the stage, turn on the monitor output master control (AUX) and gradually increase the output level. After the microphone causes a certain frequency band howling, fine-tune the AUX knob to stabilize the howling at a certain volume level, and then adjust the equalizer. The corresponding band knob is used to eliminate the howling in this band, and then continue to raise the level. After the other party's howling is generated, the equalizer is adjusted to eliminate it, and so on. The flat fader or AUX knob is adjusted to the normal position (such as 0dB), and the microphone no longer produces howling, which indicates that the debugging is completed and the mixer fader is restored to the starting position. This method is used to find the howling point in the sound field that easily causes resonance, and then appropriately lower the level of the microphone channel, find a person to speak on the microphone, and then gradually increase the volume of the microphone to the normal position, if there is a howling, then pass The equalizer is eliminated. Operation points: It is necessary to control the level so that the whistle can be maintained at a stable level and then adjusted. The operation must be slow, otherwise you will not be able to find the correct howling point one by one. The resonance point in the room is usually around 5-6 points. If there are too many feedback points, it is necessary to check whether the speaker position is reasonable.
2. After the main expansion system monitoring system whistle point is debugged, adjust the main expansion system according to the same method. If the main expansion is a two-channel system, first close a channel, push the input fader of the mixer, and gradually increase the volume. Look for howling. After adjusting one channel, turn off the channel and adjust the other. After both sides are adjusted, push the two channels at the same time and check if there are other howling points, and then eliminate them by the equalizer.
About the sound debugging After the howling problem is solved, the sound debugging 1. The vocal microphone uses a high-quality microphone as a reference to adjust the balance of the microphone input channel, so that the microphone sound is as close as possible to the high-quality microphone used as a reference. Tone. After completing this step, the microphone sound can generally meet the requirements of most actors, and then let the actors audition the microphone, and then fine-tune the mixer channel equalization according to the needs of the actors.
The space of the control room should be as large as possible. The specific size can be determined according to the number of cabinets and the number of staff. 2. After the original sound of the microphone is adjusted, the reverb effect can be added if necessary, and the effect is selected. For the appropriate reverb type, turn on the corresponding AUX output of the mixer, adjust the input level of the effector and the auxiliary output level of the mixer, talk to the microphone, and listen to whether the signal output to the effect is too large or too small. This signal is controlled at 0 dB. Set the effect mix ratio to 100%, then gradually increase the output level of the effect, and check if the level of the output echo stage is normal. If it is normal, set the output of the effect to the appropriate position according to the specific needs of the actor. .
After adding the effect, due to the existence of artificial reverberation, it is likely to generate a new whistle point, generally the first whistle point appears in the low frequency band, and the hardware effect return is generally the line input to the mixer. The equalization module of this input channel can be adjusted to eliminate howling.
This completes the most basic audio debugging process.
In recent years, the rapid development of science and technology, digital network products and analog numerical control products came into being. These new technologies will save the tuner from the mountains and wires and equipment. With the help of powerful equipment, the tuner will be more More from the perspective of sensibility and art, through the rational technology and experience to present high-quality live performances to the audience.
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