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Analysis of professional recording and sound reinforcement techniques from practical point of view

If you put aside the recording system in the "record" and sound reinforcement system in the "microphone and speaker with a sound field," these two links, "recording" and "sound" of the two work is to a large extent is a back thing. For audio and audio workers engaged in recording and sound reinforcement, the first thing to solve is to understand theoretically a variety of sound sources in different sound field in the spread of the law, microphone, mixer and a variety of external processors and other hardware functions Features and so on. In addition, of course, have to master some practical skills. So, from a practical point of view, the common recording and sound reinforcement skills that? I would like to mainly from the microphone and mixer to talk about this two aspects of this topic.

First, the principle of disposal between the microphone

If you are doing a stereo beats solo recording or public address, then the first job should choose a good microphone using the standard: If you want to get a sound stereo sound, it is best to use the time difference of AB standard; if you want to get compatible with the mono The sound system is very good, then the intensity of the system will be the first choice; if it is necessary to consider the compatibility with the mono, but also easy to get the stereo effect, XY standard will be a wise choice.

After selecting the standard, consider the relationship between the main and the microphone (the main microphone and the auxiliary microphone) - it should be consistent with the following principles: the main microphone determines the entire performance of the scene width, depth and volume dynamics and level, and auxiliary microphone only It covers the small range, the main microphone failed to fully display the sound, orientation, volume embellishment and supplement. It should be clear that the auxiliary microphone should not be given to the main microphone has been identified for each source of the distance and orientation information chaos, but only luster. Unfortunately, many people, especially beginners, often grasp the relationship between the main, auxiliary microphone, the stage of the microphone not only did not explain the level of sound, but boiled a pot of porridge. Then the main, auxiliary microphone in the use of any rules to follow it? Successful experience at home and abroad tells us, in general, if the following two do, you beats by dr dre take the so-called "tuning" the first step:

1, the volume relationship: This is the first to make use of the auxiliary microphone, the output level of each of the main microphone than the small 6 ~ 9dB. How small is the specific number of dB, depending on the number of auxiliary microphones: the more you use, the smaller the size should be. Of course, with the difference between the main microphone to 9dB limit, worse and more, it lost the meaning of the auxiliary microphone. But can not be too small, too small will appear the aforementioned interference on the main microphone level. Here the "degree" depends entirely on your experience to grasp. It should be understood that the above 6 ~ 9dB level difference is obtained by the following two practical methods: when the main and auxiliary microphone is the same model, as long as they are in the mixer microphone input amplifier level has the same gain , And then adjust the auxiliary microphone through the channel of the push and pull attenuator, so that the main microphone channel through the push and pull attenuator location of the scale of small 6 ~ 9dB can be (not to see the VU table pointer drop 6 ~ 9 scale!); When the main, auxiliary microphone is divided into different models, the same playing volume, the first only open the main microphone, so that the VU table 0VU instructions, and then only open the auxiliary microphone, it also reached 0VU, and finally according to the The microphone scale of the channel where the auxiliary microphone is located is determined to be reduced by 6 to 9 dB.

2, the time relationship: the Cheap Beats By Dr Dre auxiliary microphone is closer to the sound source than the main microphone, so the main and Beats Headphones Cheap auxiliary microphone will be from the speed of sound C (340m / s), distance D (m) determined by the time difference T (s) = D / C. Tuners are generally added to the auxiliary microphone delay, which is the main, auxiliary microphone between the time. Unfortunately, in most cases the signal sent by the auxiliary microphone channel is often not 100% pure delay signal, but a "dry" (no delay), "wet" (delayed) mixed signal. This is due to the analog equipment in the recording environment, it is difficult to achieve each auxiliary channel serial with a delay, on the other hand the delay of the indicators are difficult to do like tuning Taiwan is as good (mainly economic considerations), in this case the auxiliary signal is not a pure delay signal is also excusable, in the inevitable. However, the result of this is a real damage to the sound microphone level established by the main microphone, and the more the auxiliary microphone, the greater the damage.

This is also one of the reasons why some people make the effect of the worse. But if you are using a professional high-end digital mixer and effects, the situation is completely different: at this point you can use a real "wet" signal in each auxiliary channel to truly complement the main microphone signal.