Professional audio system for the lecture hall of Hangzhou Foreign Language Primary School

Professional audio platforms have designed return speakers. What is the purpose of return speakers? When do you need a return speaker and when do you don't need a return speaker? Depending on the location, the design schemes vary greatly. How to design a high-quality, affordable, and cost-effective audio system? Please refer to the following text. In a few minutes, you will be completely enlightened.

Due to the large business area of performance venues such as song and dance halls, and the corresponding stage being particularly large, the actors and hosts are already located behind the main amplifying stage speakers. The large stage is deep and wide, leading to singers and performers being further separated from the main amplifying speakers. Firstly, it may cause the singer to be unable to hear their own voice clearly, and some weak tones may even be completely inaudible during processing, making it difficult to accurately sense and inevitably affecting the singing mood; Secondly, due to the inability of instrument performers to hear their own and others' instruments and sounds clearly, it is difficult to form a tacit understanding in playing coordination, and the effectiveness must be greatly reduced. Furthermore, due to the low-frequency diffraction effect behind the main speaker, the performer must feel that the bass is very strong, which will inevitably have a misleading effect on the adjustment of the instrument's timbre.

There was once a case where a guitarist did not use a return speaker and felt that his guitar's bass was too heavy during performance. He had to handle it on the tuning table, but when he went ahead and listened, it was almost a very harsh high pitched noise.

This indicates that the bass behind the main speaker is higher than the bass in front of the speaker, and the result is that it constantly attenuates the bass and enhances the treble (on the guitar effector). It is obvious that low-frequency diffraction information has misled its hearing, which is particularly evident in large venues. Furthermore, during a live performance, if the main speaker system malfunctions, the return system can serve as an emergency response, at least much better than a silent silence, while also providing time for the mixer to repair and handle the main system.

The relationship between stage return sound and monitoring

When it comes to hearing back systems, there must be another issue involved - monitoring. So what is the connection between listening back and listening? Return listening mainly serves the entire singer or performer, allowing them to hear their own and others' voices through return listening, in order to facilitate adjustment and cooperation; And monitoring only serves a single individual performer. Because of this, there are a series of monitoring (built-in amplifier) speakers, such as guitar dedicated monitoring speakers, basses, keyboards, etc.

They are mainly designed based on different instrument timbres, so that users can adjust and monitor the timbres of their instruments in real-time; If it is a recording studio or a studio, the meaning of monitoring is different. Here, it is also called monitoring, and the target audience is the audio director or recorder. The sound they hear is completely unmodified and can be received at the output end of the mixing station. This is actually a high-level system used for production or recording.

Design and Debugging of Stage Audio Return Listening System

1. Determination of stage return speaker power

Generally, the power of the feedback power amplifier should not be less than 20%~30% of the total power of the main amplifier. Of course, theoretically, this