Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can ideally whistle. Suppress. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Below I would like to give a practical example in the performance, a detailed description of the operation of the debug (DT12B).
There is a small show in the show, and 8 lavalier microphones are needed.
1. Program the 8 lavalier microphones on the mixer as a group, adjust the EQ and GAIN buttons of each channel to the midrange position, and then push the auxiliary volume. Pull down.
2. Focus the 8 microphones on the stage where they are most likely to whistle, and then place them on a platform about 1m above the stage floor.
3. Connect the sound reinforcement system as usual. The feedback suppressor (DT12B) is inserted into the grouped INSERT interface corresponding to the eight microphones by interpolation.
4. Set each peripheral equipment (including DT12Bd) connected in series from the mixer to the amplifier on the bypass, and set the input and output knobs of each equipment to 0dB. The amplifier attenuation button is set in the middle position. on.
5. Set the microphone group output fader and the main output fader on the mixer to 0dB. Debug each microphone separately through the cooperation between the gain button and the auxiliary fader.
6. Push the auxiliary volume fader of one of the microphones slowly up until the stable howling sound appears. Remember the decibel position on the fader, then pull the fader down, then debug the second microphone, and so on, until the 8-way microphones are debugging a steady howling. This step is very important and requires patience and fine tuning.
7. Pull down the main output fader on the mixer and restore the position of each fader in the position where the howling sound appears.
8. Restore the bypass button of the acoustic feedback suppressor to the working state, and select the S1 single-point filtering method, then slowly pull the main output fader up. After the screams appear, the suppressor will suppress the whistling sounds of the eight mics on a frequency-by-frequency basis until the respective red filter indicators on the suppressor are no longer flashing.
9. Finally press the STORE storage button, select the storage number with the rotary wheel, and press the STORE button to store the adjustment result.
10. The entire commissioning work will be completed when the surrounding equipment is restored to work.
Through the above debugging, the eight lavalier microphones can work stably in an optimal state, thereby effectively suppressing the acoustic feedback that is easily generated in the performance.
Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can ideally whistle. Suppress. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Below I would like to give a practical example in the performance, a detailed description of the operation of the debug (DT12B).
There is a small show in the show, and 8 lavalier microphones are needed.
1. Program the 8 lavalier microphones on the mixer as a group, adjust the EQ and GAIN buttons of each channel to the midrange position, and then push the auxiliary volume. Pull down.
2. Focus the 8 microphones on the stage where they are most likely to whistle, and then place them on a platform about 1m above the stage floor.
3. Connect the sound reinforcement system as usual. The feedback suppressor (DT12B) is inserted into the grouped INSERT interface corresponding to the eight microphones by interpolation.
4. Set each peripheral equipment (including DT12Bd) connected in series from the mixer to the amplifier on the bypass, and set the input and output knobs of each equipment to 0dB. The amplifier attenuation button is set in the middle position. on.
5. Set the microphone group output fader and the main output fader on the mixer to 0dB. Debug each microphone separately through the cooperation between the gain button and the auxiliary fader.
6. Push the auxiliary volume fader of one of the microphones slowly up until the stable howling sound appears. Remember the decibel position on the fader, then pull the fader down, then debug the second microphone, and so on, until the 8-way microphones are debugging a steady howling. This step is very important and requires patience and fine tuning.
7. Pull down the main output fader on the mixer and restore the position of each fader in the position where the howling sound appears.
8. Restore the bypass button of the acoustic feedback suppressor to the working state, and select the S1 single-point filtering method, then slowly pull the main output fader up. After the screams appear, the suppressor will suppress the whistling sounds of the eight mics on a frequency-by-frequency basis until the respective red filter indicators on the suppressor are no longer flashing.
9. Finally press the STORE storage button, select the storage number with the rotary wheel, and press the STORE button to store the adjustment result.
10. The entire commissioning work will be completed when the surrounding equipment is restored to work.
Through the above debugging, the eight lavalier microphones can work stably in an optimal state, thereby effectively suppressing the acoustic feedback that is easily generated in the performance.
Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can ideally whistle. Suppress. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Below I would like to give a practical example in the performance, a detailed description of the operation of the debug (DT12B).
There is a small show in the show, and 8 lavalier microphones are needed.
1. Program the 8 lavalier microphones on the mixer as a group, adjust the EQ and GAIN buttons of each channel to the midrange position, and then push the auxiliary volume. Pull down.
2. Focus the 8 microphones on the stage where they are most likely to whistle, and then place them on a platform about 1m above the stage floor.
3. Connect the sound reinforcement system as usual. The feedback suppressor (DT12B) is inserted into the grouped INSERT interface corresponding to the eight microphones by interpolation.
4. Set each peripheral equipment (including DT12Bd) connected in series from the mixer to the amplifier on the bypass, and set the input and output knobs of each equipment to 0dB. The amplifier attenuation button is set in the middle position. on.
5. Set the microphone group output fader and the main output fader on the mixer to 0dB. Debug each microphone separately through the cooperation between the gain button and the auxiliary fader.
6. Push the auxiliary volume fader of one of the microphones slowly up until the stable howling sound appears. Remember the decibel position on the fader, then pull the fader down, then debug the second microphone, and so on, until the 8-way microphones are debugging a steady howling. This step is very important and requires patience and fine tuning.
7. Pull down the main output fader on the mixer and restore the position of each fader in the position where the howling sound appears.
8. Restore the bypass button of the acoustic feedback suppressor to the working state, and select the S1 single-point filtering method, then slowly pull the main output fader up. After the screams appear, the suppressor will suppress the whistling sounds of the eight mics on a frequency-by-frequency basis until the respective red filter indicators on the suppressor are no longer flashing.
9. Finally press the STORE storage button, select the storage number with the rotary wheel, and press the STORE button to store the adjustment result.
10. The entire commissioning work will be completed when the surrounding equipment is restored to work.
Through the above debugging, the eight lavalier microphones can work stably in an optimal state, thereby effectively suppressing the acoustic feedback that is easily generated in the performance.
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Below I would like to give a practical example in the performance, a detailed description of the operation of the debug (DT12B).
There is a small show in the show, and 8 lavalier microphones are needed.
1. Program the 8 lavalier microphones on the mixer as a group, adjust the EQ and GAIN buttons of each channel to the midrange position, and then push the auxiliary volume. Pull down.
2. Focus the 8 microphones on the stage where they are most likely to whistle, and then place them on a platform about 1m above the stage floor.
3. Connect the sound reinforcement system as usual. The feedback suppressor (DT12B) is inserted into the grouped INSERT interface corresponding to the eight microphones by interpolation.
4. Set each peripheral equipment (including DT12Bd) connected in series from the mixer to the amplifier on the bypass, and set the input and output knobs of each equipment to 0dB. The amplifier attenuation button is set in the middle position. on.
5. Set the microphone group output fader and the main output fader on the mixer to 0dB. Debug each microphone separately through the cooperation between the gain button and the auxiliary fader.
6. Push the auxiliary volume fader of one of the microphones slowly up until the stable howling sound appears. Remember the decibel position on the fader, then pull the fader down, then debug the second microphone, and so on, until the 8-way microphones are debugging a steady howling. This step is very important and requires patience and fine tuning.
7. Pull down the main output fader on the mixer and restore the position of each fader in the position where the howling sound appears.
8. Restore the bypass button of the acoustic feedback suppressor to the working state, and select the S1 single-point filtering method, then slowly pull the main output fader up. After the screams appear, the suppressor will suppress the whistling sounds of the eight mics on a frequency-by-frequency basis until the respective red filter indicators on the suppressor are no longer flashing.
9. Finally press the STORE storage button, select the storage number with the rotary wheel, and press the STORE button to store the adjustment result.
10. The entire commissioning work will be completed when the surrounding equipment is restored to work.
Through the above debugging, the eight lavalier microphones can work stably in an optimal state, thereby effectively suppressing the acoustic feedback that is easily generated in the performance.
Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can ideally whistle. Suppress. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Below I would like to give a practical example in the performance, a detailed description of the operation of the debug (DT12B).
There is a small show in the show, and 8 lavalier microphones are needed.
1. Program the 8 lavalier microphones on the mixer as a group, adjust the EQ and GAIN buttons of each channel to the midrange position, and then push the auxiliary volume. Pull down.
2. Focus the 8 microphones on the stage where they are most likely to whistle, and then place them on a platform about 1m above the stage floor.
3. Connect the sound reinforcement system as usual. The feedback suppressor (DT12B) is inserted into the grouped INSERT interface corresponding to the eight microphones by interpolation.
4. Set each peripheral equipment (including DT12Bd) connected in series from the mixer to the amplifier on the bypass, and set the input and output knobs of each equipment to 0dB. The amplifier attenuation button is set in the middle position. on.
5. Set the microphone group output fader and the main output fader on the mixer to 0dB. Debug each microphone separately through the cooperation between the gain button and the auxiliary fader.
6. Push the auxiliary volume fader of one of the microphones slowly up until the stable howling sound appears. Remember the decibel position on the fader, then pull the fader down, then debug the second microphone, and so on, until the 8-way microphones are debugging a steady howling. This step is very important and requires patience and fine tuning.
7. Pull down the main output fader on the mixer and restore the position of each fader in the position where the howling sound appears.
8. Restore the bypass button of the acoustic feedback suppressor to the working state, and select the S1 single-point filtering method, then slowly pull the main output fader up. After the screams appear, the suppressor will suppress the whistling sounds of the eight mics on a frequency-by-frequency basis until the respective red filter indicators on the suppressor are no longer flashing.
9. Finally press the STORE storage button, select the storage number with the rotary wheel, and press the STORE button to store the adjustment result.
10. The entire commissioning work will be completed when the surrounding equipment is restored to work.
Through the above debugging, the eight lavalier microphones can work stably in an optimal state, thereby effectively suppressing the acoustic feedback that is easily generated in the performance.
Most sound engineers use the acoustic feedback suppressor to have the experience that when a single microphone is used, if the microphone is whistling, the acoustic feedback suppressor (for example, using the insertion method) can ideally whistle. Suppress. However, when using multiple microphones at the same time, the whistling effect received is often not ideal. It is often the case that only some of them even a single microphone have better suppression effect, and the other microphones are screaming when pushing up the volume. The call is not suppressed. So where is the problem?
As we all know, due to the structure and characteristics of the microphone, the frequency response, impedance, sensitivity, directivity and other indicators of different brands of microphones are inconsistent. Even the same brand of microphones have different degrees of difference in these indicators, plus The objective factors such as the use and position of each microphone in actual use cause the feedback whistle frequency of each microphone to occur at the same volume.
If we use the conventional method for frequency shifting, the microphone that first whistle will trigger the suppressor to perform point-by-point frequency shifting. As a result, the remaining microphones that have not whistleed are not effectively frequency-shifted. When the volume is turned on, these microphones will still whistle, and the suppressor is powerless. If we use multiple acoustic feedback suppressors to insert frequency-by-point frequency shifts for each microphone, then these problems can be solved, which leads to an increase in equipment cost. If a comprehensive song and dance party is held, this configuration is costly in installation and commissioning, and secondly, it is not practical in terms of cost. In fact, the solution is very simple, as long as we use the correct debugging method, a feedback suppressor can completely obtain the ideal frequency shift suppression effect.
Below I would like to give a practical example in the performance, a detailed description of the operation of the debug (DT12B).
There is a small show in the show, and 8 lavalier microphones are needed.
1. Program the 8 lavalier microphones on the mixer as a group, adjust the EQ and GAIN buttons of each channel to the midrange position, and then push the auxiliary volume. Pull down.
2. Focus the 8 microphones on the stage where they are most likely to whistle, and then place them on a platform about 1m above the stage floor.
3. Connect the sound reinforcement system as usual. The feedback suppressor (DT12B) is inserted into the grouped INSERT interface corresponding to the eight microphones by interpolation.
4. Set each peripheral equipment (including DT12Bd) connected in series from the mixer to the amplifier on the bypass, and set the input and output knobs of each equipment to 0dB. The amplifier attenuation button is set in the middle position. on.
5. Set the microphone group output fader and the main output fader on the mixer to 0dB. Debug each microphone separately through the cooperation between the gain button and the auxiliary fader.
6. Push the auxiliary volume fader of one of the microphones slowly up until the stable howling sound appears. Remember the decibel position on the fader, then pull the fader down, then debug the second microphone, and so on, until the 8-way microphones are debugging a steady howling. This step is very important and requires patience and fine tuning.
7. Pull down the main output fader on the mixer and restore the position of each fader in the position where the howling sound appears.
8. Restore the bypass button of the acoustic feedback suppressor to the working state, and select the S1 single-point filtering method, then slowly pull the main output fader up. After the screams appear, the suppressor will suppress the whistling sounds of the eight mics on a frequency-by-frequency basis until the respective red filter indicators on the suppressor are no longer flashing.
9. Finally press the STORE storage button, select the storage number with the rotary wheel, and press the STORE button to store the adjustment result.
10. The entire commissioning work will be completed when the surrounding equipment is restored to work.
Through the above debugging, the eight lavalier microphones can work stably in an optimal state, thereby effectively suppressing the acoustic feedback that is easily generated in the performance.
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