On the stage monitor horn

A very needed but troublesome equipment, first of all, there are usually two or four monitors in front of a concert. How to distinguish these monitors, there are several combinations of two or four speakers. Let's talk about its simple flow and sequence. Generally, in each musician's own listening box, first adjust his own instruments and sounds, and then assign related instruments, so that his ears can meet the sense of sound balance in different performance venues and express his musical feelings. The question is, why is the sound bad? All right! Come on, let's take it apart step by step, and there will be some small lessons. A microphone picks up the sound and sends it to the monitor box in front of us, so there are several action processes in the process of "physics" and "physiology": 1. Sound energy (the unit of pronunciation on the stage, such as human voice or musical instrument equipment). 2. Kinetic energy (the microphone receiving this sound, the operation of its diaphragm, the change of voice coil and magnet produce small signal voltage). 3. Electric energy (small signal voltage is sent to the power amplifier through the preamplifier Mic-Pre amp. Or the mixer amplifies the signal several times and then connects it to the speaker). 4. Kinetic energy (the voice coil and magnet in the horn are subjected to large voltage changes, which generate kinetic energy to push the paper basin). 5. Acoustic energy (paper pots produce sounds for people's ears to amplify). There is so-called transmission distortion in just a few processes, and all the conversion bandwidth requirements can meet the response range of 20HZ ~ 20KHZ. This is because people can hear almost so much sound. As for the distortion in transmission and conversion, it is not inaudible (we are not machine ears). By using the equalizer on the mixer (a simpler expression is to divide the sound into three parts), we can correct the sound close to what we can satisfy. However, there will be efficiency problems when the sound is adjusted, that is to say, the original sound with the volume of 1 0,000% is released from the speaker, and the efficiency may be 70% ~ 80% after correction. This is not to mention that the microphone not only receives your own voice, but also receives other sounds on other stages, such as the direct sound of drums, the reflection of bass amp, gt amp stage board and roof, etc. The sound was not intentional. Therefore, appropriately increasing the number of monitoring speakers, high-efficiency speakers and high-power amplifiers is to make up for the dynamic shortage of the required sound. Take a preset system with human voice (also playing guitar), bass (also playing chorus), drummer and keyboard (also playing chorus) as an example. Adjust the maximum sound pressure ratio of the lead singer's voice on the four monitoring speakers, [including initial feedback adjustment]. As mentioned above, two of them can be used flexibly, two of them can be used as stereo modes "L" and "R", or one of them can make voices and the other is all musical instruments. The matrix of four branches of four Wedgs is more vivid, which can be divided into outer zone, inner zone, single mode independence, too many three-dimensional ............... settings–2, the volume of grabbing guitar, not exceeding the sound pressure ratio of human voice. Set 2–1to modify the sound quality in the basic monitoring volume of the guitar to make the guitar feel right. This volume setting is the volume ratio of the guitar against the rhythm. "Don't forget, powder is very important". Setup 2–2, adjust the volume pedal of the guitar and the volume knob of the guitar itself to the maximum volume required for intermission and solo, because after the previous basic tone is set, the data on the mixer will not change as much as possible, so as not to affect the sound pressure ratio of the monitor box, and the volume of solo and intermission is best controlled by the musicians themselves. On-site house acoustics only need to appropriately increase or decrease the noise ratio of the crowd. Generally, when playing guitar at high volume, different effects will be produced due to different musicality, but the sound quality will be brighter and the high-pitched part will feel a little noisy. Usually at this time, I will turn down the high-pitched part of the equalizer a little and wait until the bar time is over. When the guitar sound returns to the rhythm volume ratio, I will restore the sound quality to the original parameters. Of course, not all songs are suitable for this adjustment, but before the music is faithfully expressed, the monitoring system on the stage must be done. Setup-3, add basic musical instruments such as drum series, drums, mini drums and cymbals to keep the rhythm and give them according to your own standards. In addition, I want to explain an action here, which is called "microphone effect". When there are multiple microphones in the same place or at the same time, each microphone will also receive the instruments that emit direct sound at the same time. When you increase the volume of each microphone on the monitor speaker, the monitor speaker will determine the volume ratio of crosstalk due to the number of microphones. This is very important, because this ratio will affect the efficiency and clarity of the monitoring horn. When this influence ratio is greater than the actual maximum efficiency ratio of the monitoring horn of 1/2, the monitoring system can be abandoned. Because the effective value of its sound expression is definitely inaccurate, (if a musician asks for such an adjustment, you can ask him to hire someone else). Why do you ask this question in the third step? Because a set of drums has 9 ~ 10 microphones, and the spacing is not more than two meters, the effect ratio is already very high. In addition to adding noise suppression to each microphone, my personal suggestion is to send the cymbals of the big and small drums to monitor themselves evenly according to personal requirements. If the responsibility of stabilizing music is not primary, the microphones of other drum instruments can't be used. Set–4 to add bass reference sound. For the demand of bass, the clarity of treble is what ordinary people need. The root sound of bass is clear and continuous, and the pitch is natural and safe. Therefore, the bass can clearly hear different scenes and quickly understand the clear or turbid proportion on the stage. Setting -5. Plus the sound of the keyboard [set off next to the guitar, the sound pressure is not more than the guitar]. Because in the process of music, sometimes when you go to a certain piece of music, it will fluctuate because of the feeling at that time, and the proportion of music is best expressed by the keyboard player himself, so the overall feeling on the monitor speaker will be more humanized, which is different from the feeling of directly adjusting the volume control to a certain degree. The former is more acceptable. After these steps are completed, when you turn to any song again, first listen to what your speaker feels, and then use Monnitor sound man to adjust the listening part in detail. [The sound pressure in the outfield should be 1/2, but the bass part should be played at full power], adjust the proportion of the reflected sound in the outfield, and then get used to that feeling. [If you want to describe this feeling, it is like adding a little overtone to every instrument], the volume of the listening speaker should be divided by. Setup–6, adding keyboard vocals and bass vocals is very flexible for the positioning of lead vocals. If the monitor speaker works in stereo mode, the voice put into the monitor speaker can draw the sound stage sense of point and line stereo direction according to the arrangement position of the stage. The monitor horn works in monophonic mode, and the voice put into the monitor horn can only improve the sound pressure and reduce the sound pressure. No matter what method is used, the sound should be heard as much as possible, so as not to affect the whole when the dynamic sudden increase occurs. The above operation mode only analyzes the setting process of the front monitor speaker, and then we will talk about side filling. Side filling system: Away from the lead singer position, there is a monitoring blind area, which extends the side filling device of the side speaker. Looking back at several events, the position of the side-filled speakers was placed on the far left and right side of the stage, but the height was problematic. Because of the structural design, sidefill has no extra space to hang on the stage, only stacking. What's the difference between this hanging and stacking decoration? A subwoofer is usually added to the standard side filling combination, so we can know that the music dynamic it presents is a whole. From standing on the stage, you can experience the combination of various musical instruments, and such sounds will be due to the terrain and characteristics decorated on the stage, large-scale barrier equipment, or musical instruments. The distance between the stage surface and the roof is various, which will affect the feelings of the performers on both sides. Generally, the direct sound of musical instruments is behind or beside everyone, so it is not enough to just use the front monitor speaker. It is a matter of position to set up side-filled speakers to compensate the spatial blind area of the voice when the singer moves left and right, and how to make the speaker efficiency in the side area play as much as possible. Although erection, displacement, plane angle adjustment and other actions are very convenient and quick, from the farthest side to the middle position, this effective sound pressure must first compete with the direct sound pressure filled on the stage, and this efficiency is often not helpful. When you try to raise the sound pressure to an acceptable level, the music balance ratio of the bass player on the stage is completely gone. Then, you will be asked to try to increase the volume of your monitor and bass amplifier. Because of the overtone of the side filling, the keyboard player will raise his sound pressure to cover up this phenomenon. Drummers' direct cross talk has the largest proportion and the deepest influence. When the sound pressure ratio on the stage changes, the sound clarity of the drummer's headphones or monitor speakers will be affected, and the data will change from time to time, which is very hard. Although the palliative method is good, it can't completely solve the problem. There are too many advantages of suspension method. The only drawback is that the erection is time-consuming and the hardware cost is high. Let's talk about the benefits of suspension first. When the sound of the speakers in the side area shoots down from the high-voltage straight line, the range of collision between these effective sound pressures and the direct sound on the stage is much smaller, and the relative available sound pressure is more. On the stage, you can easily feel that the range of side filling compensation does not need to be close to the speaker, and because it is in mid-air, the sound directly passes through the bass player and will not directly affect others. This kind of sidelining can be regarded as the principle of ending the sound stage issue on the stage. The sound field content of side-filled speakers is rich and colorful. Strictly speaking, its function is a group of small PAs on the stage, which are divided into built-in system and external system by unilateral stage structure. Built-in so-called built-in erection means that the pronunciation range starts from the stage of performance, and the sound termination area is also within the stage range. [The stage sketches of the first few side-filled speakers are all built-in structures]. The built-in effect has a certain sound stage range regardless of stacking or hanging. That is to say, the stage performers are close to hearing Sidefill's voice on the stage, but they can't express the sense of distance between live music and the audience. It should be regarded as the natural overtone of the scene! The external structure is the most similar sound sense of the sound stage effect and the outfield, which can give the performers on the stage a full sense of overall music. No matter in terms of distance, sound pressure, etc. The adjustment conditions are very good. It is usually used in combination with PA speakers, so the hardware construction and meeting coordination in advance will affect the construction quality. When everything is normal, the outside filled speakers are located on the inside of the stage, facing the inner area of the stage and the outer edge of the stage. There are also some steps to adjust the technology of lateral filling. First of all, the data of the whole music content of the outfield PA is sent to the external side filler speaker, in which the sound does not include vocals and effects, but only the sound of the band. Then, according to the performer's balance of various musical instruments on the stage, the sound data of a certain musical instrument is appropriately increased or decreased. In a good stage monitoring system, the built-in hanging side padding and the external side padding are used together. But it must be emphasized that, as shown in the figure, it is used on the plane stage. When the stage is full-time on all sides, the situation is completely different. Let me explain here that not every concert's audio hardware is so huge, sometimes it is too expensive, but it can't achieve the expected effect. For example, an indoor performance space, a venue with a proportion of @ Live, requires only a small amount of monitoring, and then the direct sound data of musical instruments can be combined into a suitable stage monitoring system under what sound stage conditions. All of the above are the basic equipment structures of analogy and the most basic traditional technology. The new stage hardware field has been doped with digital technology, even all-digital architecture, and the difference between them lies in field application. The accuracy of data, the change of scene and the coordination of time and speed will not affect each other. Moreover, after the evolution of the system, it must be based on the degree to which singers accept new ideas, and only the construction cost will increase. Before the meeting, the budget is often cut off, music and feelings are not invested, and the time consumption of light hardware is not in the mood. What good works will be shown? I wrote the basic concepts of stage monitoring on these points, hoping to help. (Excerpt from: Audio Rental Exchange Station)

References:1Discussion on the vibration and sound characteristics of Wang Baicun and He Gong in 2002; 2. Discussion on Ke Chongji's current information technology integration model; Chen Zaiyong, Zhuang Homozygous, Wang Zhen-de and Fan Zhen-de used wood materials to improve indoor acoustic characteristics: 3 cases report.