先驱均衡器说明书
均衡器参数详解操作指南
均衡器参数详解及操作指南1、均衡器的调整方法：超低音： 20Hz-40Hz，适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音： 40Hz-150Hz，是声音的基础部份，其能量占整个音频能量的70%，是表现音乐风格的重要成份。
适当时，低音张弛得宜，声音丰满柔和，不足时声音单薄，150Hz，过度提升时会使声音发闷，明亮度下降，鼻音增强。
中低音： 150Hz-500Hz，是声音的结构部分，人声位于这个位置，不足时，演唱声会被音乐淹没，声音软而无力，适当提升时会感到浑厚有力，提高声音的力度和响度。
提升过度时会使低音变得生硬，300Hz处过度提升3-6dB，如再加上混响，则会严重影响声音的清晰度。
中音： 500Hz-2KHz，包含大多数乐器的低次谐波和泛音，是小军鼓和打击乐器的特征音。
适当时声音透彻明亮，不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音： 2KHz-5KHz，是弦乐的特征音（拉弦乐的弓与弦的摩搡声，弹拔乐的手指触弦的声音某）。
不足时声音的穿透力下降，过强时会掩蔽语言音节的识别。
高音： 7KHz-8KHz，是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出，语言的齿音加重和音色发毛。
极高音： 8KHz-10KHz合适时，三角铁和立*的金属感通透率高，沙钟的节奏清晰可辨。
过度提升会使声音不自然，易烧毁高频单元。
2、平衡悦耳的声音应是：150Hz以下（低音）应是丰满、柔和而富有弹性；150Hz-500Hz（中低音）应是浑厚有力百不混浊；500Hz-5KHz（中高音）应是明亮透彻而不生硬；5KHz以上（高音）应是纤细，园顺而不尖锐刺耳。
整个频响特性平直时：声音自然丰满而有弹性，层次清晰园顺悦耳。
频响多峰谷时：声音粗糙混浊，高音刺耳发毛，无层次感扩声易发生反馈啸叫。
3、频率的音感特征：30~60Hz沉闷如没有相当大的响度，人耳很难感觉。
60~100Hz沉重 80Hz附近能产生极强的“重感”效果，响度很高也不会给人舒服的感觉，可给人以强烈的刺激作用。
均衡器参数详解及操作指南之欧阳文创编
均衡器参数详解及操作指南1、均衡器的调整方法：超低音： 20Hz-40Hz，适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音： 40Hz-150Hz，是声音的基础部份，其能量占整个音频能量的70%，是表现音乐风格的重要成份。
适当时，低音张弛得宜，声音丰满柔和，不足时声音单薄，150Hz，过度提升时会使声音发闷，明亮度下降，鼻音增强。
中低音： 150Hz-500Hz，是声音的结构部分，人声位于这个位置，不足时，演唱声会被音乐淹没，声音软而无力，适当提升时会感到浑厚有力，提高声音的力度和响度。
提升过度时会使低音变得生硬，300Hz处过度提升3-6dB，如再加上混响，则会严重影响声音的清晰度。
中音： 500Hz-2KHz，包含大多数乐器的低次谐波和泛音，是小军鼓和打击乐器的特征音。
适当时声音透彻明亮，不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音： 2KHz-5KHz，是弦乐的特征音（拉弦乐的弓与弦的摩搡声，弹拔乐的手指触弦的声音某）。
不足时声音的穿透力下降，过强时会掩蔽语言音节的识别。
高音： 7KHz-8KHz，是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出，语言的齿音加重和音色发毛。
极高音： 8KHz-10KHz合适时，三角铁和立*的金属感通透率高，沙钟的节奏清晰可辨。
过度提升会使声音不自然，易烧毁高频单元。
2、平衡悦耳的声音应是：150Hz以下（低音）应是丰满、柔和而富有弹性；150Hz-500Hz（中低音）应是浑厚有力百不混浊；500Hz-5KHz（中高音）应是明亮透彻而不生硬；5KHz以上（高音）应是纤细，园顺而不尖锐刺耳。
整个频响特性平直时：声音自然丰满而有弹性，层次清晰园顺悦耳。
频响多峰谷时：声音粗糙混浊，高音刺耳发毛，无层次感扩声易发生反馈啸叫。
3、频率的音感特征：30~60Hz沉闷如没有相当大的响度，人耳很难感觉。
60~100Hz沉重 80Hz附近能产生极强的“重感”效果，响度很高也不会给人舒服的感觉，可给人以强烈的刺激作用。
均衡器参数详解及操作指南
均衡器参数详解及操作指南1、均衡器的调整方法：超低音： 20Hz-40Hz，适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音： 40Hz-150Hz，是声音的基础部份，其能量占整个音频能量的70%，是表现音乐风格的重要成份。
适当时，低音张弛得宜，声音丰满柔和，不足时声音单薄，150Hz，过度提升时会使声音发闷，明亮度下降，鼻音增强。
中低音： 150Hz-500Hz，是声音的结构部分，人声位于这个位置，不足时，演唱声会被音乐淹没，声音软而无力，适当提升时会感到浑厚有力，提高声音的力度和响度。
提升过度时会使低音变得生硬，300Hz处过度提升3-6dB，如再加上混响，则会严重影响声音的清晰度。
中音： 500Hz-2KHz，包含大多数乐器的低次谐波和泛音，是小军鼓和打击乐器的特征音。
适当时声音透彻明亮，不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音： 2KHz-5KHz，是弦乐的特征音（拉弦乐的弓与弦的摩搡声，弹拔乐的手指触弦的声音某）。
不足时声音的穿透力下降，过强时会掩蔽语言音节的识别。
高音： 7KHz-8KHz，是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出，语言的齿音加重和音色发毛。
极高音： 8KHz-10KHz合适时，三角铁和立*的金属感通透率高，沙钟的节奏清晰可辨。
过度提升会使声音不自然，易烧毁高频单元。
2、平衡悦耳的声音应是：150Hz以下（低音）应是丰满、柔和而富有弹性；150Hz-500Hz（中低音）应是浑厚有力百不混浊；500Hz-5KHz（中高音）应是明亮透彻而不生硬；5KHz以上（高音）应是纤细，园顺而不尖锐刺耳。
整个频响特性平直时：声音自然丰满而有弹性，层次清晰园顺悦耳。
频响多峰谷时：声音粗糙混浊，高音刺耳发毛，无层次感扩声易发生反馈啸叫。
3、频率的音感特征：30~60Hz沉闷如没有相当大的响度，人耳很难感觉。
60~100Hz沉重 80Hz附近能产生极强的“重感”效果，响度很高也不会给人舒服的感觉，可给人以强烈的刺激作用。
均衡器参数详解及操作指南之欧阳语创编
均衡器参数详解及操作指南1、均衡器的调整方法：超低音： 20Hz-40Hz，适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音： 40Hz-150Hz，是声音的基础部份，其能量占整个音频能量的70%，是表现音乐风格的重要成份。
适当时，低音张弛得宜，声音丰满柔和，不足时声音单薄，150Hz，过度提升时会使声音发闷，明亮度下降，鼻音增强。
中低音： 150Hz-500Hz，是声音的结构部分，人声位于这个位置，不足时，演唱声会被音乐淹没，声音软而无力，适当提升时会感到浑厚有力，提高声音的力度和响度。
提升过度时会使低音变得生硬，300Hz处过度提升3-6dB，如再加上混响，则会严重影响声音的清晰度。
中音： 500Hz-2KHz，包含大多数乐器的低次谐波和泛音，是小军鼓和打击乐器的特征音。
适当时声音透彻明亮，不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音： 2KHz-5KHz，是弦乐的特征音（拉弦乐的弓与弦的摩搡声，弹拔乐的手指触弦的声音某）。
不足时声音的穿透力下降，过强时会掩蔽语言音节的识别。
高音： 7KHz-8KHz，是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出，语言的齿音加重和音色发毛。
极高音： 8KHz-10KHz合适时，三角铁和立*的金属感通透率高，沙钟的节奏清晰可辨。
过度提升会使声音不自然，易烧毁高频单元。
2、平衡悦耳的声音应是：150Hz以下（低音）应是丰满、柔和而富有弹性；150Hz-500Hz（中低音）应是浑厚有力百不混浊；500Hz-5KHz（中高音）应是明亮透彻而不生硬；5KHz以上（高音）应是纤细，园顺而不尖锐刺耳。
整个频响特性平直时：声音自然丰满而有弹性，层次清晰园顺悦耳。
频响多峰谷时：声音粗糙混浊，高音刺耳发毛，无层次感扩声易发生反馈啸叫。
3、频率的音感特征：30~60Hz 沉闷如没有相当大的响度，人耳很难感觉。
60~100Hz 沉重 80Hz附近能产生极强的“重感”效果，响度很高也不会给人舒服的感觉，可给人以强烈的刺激作用。
均衡器参数详解及操作指南
均衡器参数详解及操作指南1、均衡器的调整方法：超低音：20Hz-40Hz;适当时声音强而有力..能控制雷声、低音鼓、管风琴和贝司的声音..过度提升会使音乐变得混浊不清..低音：40Hz-150Hz;是声音的基础部份;其能量占整个音频能量的70%;是表现音乐风格的重要成份..适当时;低音张弛得宜;声音丰满柔和;不足时声音单薄;150Hz;过度提升时会使声音发闷;明亮度下降;鼻音增强..中低音：150Hz-500Hz;是声音的结构部分;人声位于这个位置;不足时;演唱声会被音乐淹没;声音软而无力;适当提升时会感到浑厚有力;提高声音的力度和响度..提升过度时会使低音变得生硬;300Hz处过度提升3-6dB;如再加上混响;则会严重影响声音的清晰度..中音：500Hz-2KHz;包含大多数乐器的低次谐波和泛音;是小军鼓和打击乐器的特征音..适当时声音透彻明亮;不足时声音朦胧..过度提升时会产生类似电话的声音..中高音：2KHz-5KHz;是弦乐的特征音拉弦乐的弓与弦的摩搡声;弹拔乐的手指触弦的声音某..不足时声音的穿透力下降;过强时会掩蔽语言音节的识别..高音：7KHz-8KHz;是影响声音层次感的频率..过度提升会使短笛、长笛声音突出;语言的齿音加重和音色发毛..极高音：8KHz-10KHz合适时;三角铁和立*的金属感通透率高;沙钟的节奏清晰可辨..过度提升会使声音不自然;易烧毁高频单元..2、平衡悦耳的声音应是：150Hz以下低音应是丰满、柔和而富有弹性；150Hz-500Hz中低音应是浑厚有力百不混浊；500Hz-5KHz中高音应是明亮透彻而不生硬；5KHz以上高音应是纤细;园顺而不尖锐刺耳..整个频响特性平直时：声音自然丰满而有弹性;层次清晰园顺悦耳..频响多峰谷时：声音粗糙混浊;高音刺耳发毛;无层次感扩声易发生反馈啸叫..3、频率的音感特征：30~60Hz沉闷如没有相当大的响度;人耳很难感觉..60~100Hz沉重80Hz附近能产生极强的“重感”效果;响度很高也不会给人舒服的感觉;可给人以强烈的刺激作用..100~200Hz丰满200~500Hz力度易引起嗡嗡声的烦闷心理..500~1KHz明朗800Hz附近如提升10dB;会明显产生一种嘈杂感;狭窄感..1K~2KHz透亮2800Kz附近明亮感关系最大..2K~4Kz尖锐6800Hz形成尖啸;锐利的感觉..4K~8Kz清脆3400Hz易引起听觉疲劳..8K~16Kz纤细＞7.5KHz音感清彻纤细..均衡器的发展趋势运用数字滤波器组成的均衡器称为数字均衡器;数字均衡器即可作成图示EQ;有可做成参量EQ;还可以做成两者兼有的EQ;它不仅各项性能指标优异;操作方便;而且还可同时储存多种用途的频响均衡特性;供不同节目要求选用;可多至储存99种频响特性曲线..SONY的SRP-E300是一款多功能2通道的数字均衡器具有10段参量均衡和29段图示均衡;可同时或独立工作;带有限制器和噪声门功能;高精度的48kHz取样;20比特线性模数/数模转换；带有模拟和数字输入/输出；RS-232CC接口;可用于外部遥控;;它的出现会逐步淘汰普通的模拟均衡器;是一款专业音频扩声领域具有极高性价比的产品..P.S.1、20～40Hz这个频段声音的大部分感觉是松软的低音;而不是强劲有力;通过试验就可以知道..看看给地鼓提升这个频段会有什么效果..2、40～150Hz是声音的基础没错;但是绝占不到70％;而且人声的鼻音也不在这个频段;大概在250左右..3、150～500Hz这频段;是个要在处理的时候非常小心的频段;绝不能靠提升这频段来获得人声的力度..稍不小心就会一团遭..4、“300Hz处过度提升3-6dB;如再加上混响;则会严重影响声音的清晰度..”应该说只要在低频部分加混响;都会影响声音的清晰度..当然;在现在的混音技巧中;这个规则已经不是很重要了..因为;我们经常会在欧美及港台的录音室里见到他们为地鼓和贝司加超短程混响..以上均是参考的数值;实际上还是要根据制作的实际情况而定希望能提供给大家参考的帮助上篇文章里简单介绍了调音台的使用技巧;这篇文章我想同大家交流一下关于专业均衡器的使用技巧..众所周知均衡器的主要功能就是调整音色、调整声场和抑制声反馈了;如何调整音色的文章很多了;在这里我想着重介绍的是如何使用专业多段图式房间均衡器调整声场和调整声反馈..现在的专业音响系统中使用的图示均衡器一般都是31段左右;其推拉电位器的Q值是恒定的;一般为1/3倍频程;所以无论是提升或衰减某频率;滤波器的带宽始终是不变的;而频率提升和衰减的程度一般为6－18dB;最常用的是12dB..图式均衡器通过面板上推拉键的分布位置;可以非常直观地反映出各频率的提升和衰减情况..常用的专业图示均衡器频率调节范围一般是20Hz~20kHz;频率调整点一般从低到高分为：20Hz、25Hz、32Hz、40Hz、50Hz、63Hz、80Hz、100Hz、125Hz、160Hz、200Hz、250Hz、315Hz、400Hz、500Hz、630Hz、800Hz、1kHz、1.25kHz、1.6kHz、2kHz、2.5kHz、3.15kHz、4kHz、5kHz、6.3kHz、8kHz、10kHz、12.5kHz、16kHz、20kHz等共31个频点;因其有一项主要功能是用来调整室内声场的;故又称其为：专业多段图式房间均衡器..下面我就把自己多年来使用均衡器的心得写一下;谨供大家参考：一、使用均衡器调整声场：在专业均衡器的三大主要功能当中;调整音色应该是最基本最经常用到的功能了;甚至于目前好多音响师只知道均衡器可以调整音色;而不知道专业图式房间均衡器更重要的功能是用来调整声场和抑制声反馈的..用房间均衡器来调整声场;非常专业的方法是要借助粉红噪声发生器和实时频谱仪来调整..但我们现在大多数的音响师是不可能有这些设备的;只能就地取材;利用现有的设备想办法进行声场调整了;最简单最实用的办法就是用话筒调节了;其实如何利用话筒来调整声场和调整声反馈也有一些文章介绍过;但我觉得介绍的不够详细或者不够通俗易懂;在多年的工作中;我总结了一套简单、实用、通俗易懂的调整方法;具体调整步骤如下：A、首先找一只频响曲线较为平直、频响范围较宽的话筒;最好是电容话筒;也可以是质量比较好的动圈有线、无线话筒..把这个话筒固定在话筒架上;放在一个声场的最佳听音区内;高度1.2米左右;话筒拾音头的水平位置与主音箱的中轴线平;基本上就是和主音箱成等腰三角型..B、调整时要将除房间均衡器外的其它周边设备旁路直通;再把均衡器所有调节点清零;调音台上话筒所在通道的均衡器也要直通不做调整;功放打开并把音量开到合适的位置;然后打开调音台的总音量;开始慢慢往上推话筒音量推子;听到轻微的回输声时;再把话筒音量推子往下拉6—9个dB左右..C、然后用房间均衡器从50Hz—16kHz每个点逐步进行提升;一般50Hz以下;16kHz以上的频率是不会产生声反馈的..具体调整步骤如下：1、找出回输最厉害的频率点：对声场影响最大的回输点一般有2个左右;假如在一个代号为：W的舞厅里;当我们对400Hz和4kHz这两点进行大幅度提升时产生了回输;而其它频率点即使做了大幅度的提升一般提升12dB左右也没有产生声回输;那么我们就确定在这个声场中回输最厉害的有两个点;就是：400Hz和4kHz;此时我们要先把这两个点衰减6个dB左右;这样可以方便下一步的操作..当然不同的声场回输的频率也不可能一样..2、找出回输比较厉害的频率点：这样的点一般有3个左右;此时我们再把调音台上的话筒音量开大些;再重新对均衡器上除了400Hz和4kHz以外的频点逐一进行大幅度提升;假如又发现了200Hz、1KHz、5KHz产生了回输;那第二步的调整也完成了..3、对找出的回输频率进行处理：通过以上的调整;我们共找出了5个回输点;我们可以把回输最厉害的400Hz和4kHz这两个点衰减6—9个dB左右；再把回输比较厉害的200Hz、1KHz、5KHz这3个频率点衰减3-6个dB;此时这个声场基本上就是调整好了..二、使用均衡器调整声反馈：很多音响师都会有一个困惑：调整声场和调整声反馈难道不是一回事吗为什么还要把两者区分开来呢实际上两者当然有区别;虽然调整步骤和方法是一样的;但其达到的目的和效果是不一样的..调好声场只是找到了这个声场的不足并予以优化;而没有办法解决大部分的话筒声反馈;我这里说的声反馈通俗来说也叫：回输..还是以那个代号为：W的舞厅为例;这个舞厅音响系统中使用了6只话筒;然后这个舞厅又有三个舞台供演员演出;设想下假如这6只话筒又不是同一个品牌;且它们的参数又各不相同;想想在这种情况下要完全避免回输会有多么困难..但再困难也要想办法解决吧;我们可以通过以下的方法尽量减少和避免声反馈：首先把所有的话筒分类;选出经常使用的几只话筒;假如我们选了2只AKG的话筒;2个SHURE的话筒;然后用像调整声场一样的方法来调整声反馈：1、比如我们可以先拿一只SHURE的话筒;把它固定在话筒架上;分别在三个舞台范围内寻找回输点;假如我们在a舞台区域内找到了一个500Hz的主要回输点；在b舞台区域内又找到了一个630Hz的主要回输点；在c舞台区域内还找到了一个800Hz主要回输点..2、然后再拿一只AKG的话筒;把它固定在话筒架上;再分别在三个舞台范围内寻找回输点;假如我们在a舞台区域内找到了一个1.25KHz的主要回输点；在b舞台区域内又找到了一个2.5KHz的主要回输点；在c舞台区域内还找到了一个3.15KHz主要回输点..这样就是用两种话筒在3个舞台区域内就一共找到了：500Hz、630Hz、800Hz、1.25kHz、2.5kHz、3.15kHz这6个回输点;然后再在均衡器上把这些点按照回输大小的程度;衰减3-9个dB..当然这三个舞台区域内在同等话筒音量情况下;可能a舞台回输最厉害发现3个点;而b舞台和c舞台连一个回输点都没有;所以要根据情况灵活调整..3、用主要话筒在主要表演区内逐一搜索完回输点后;然后再到演员不经常去;但有可能去的区域搜索一下;看看还有没有回输点；然后再用不经常使用的话筒按照以上顺序重头搜索一遍回输点;这样这个舞厅的声反馈就会得到很好的控制;当然不可能无节制的衰减均衡器;如果把均衡器衰减的面目全非;千疮百孔;那样就会连声音的连续性和基本音色都得不到保证..三、使用均衡器调整音色：当声场和回输点一旦调整好后;专业图示房间均衡器最经常用的功能就是调整音色了;当然在调整音色时候要兼顾回输点所在的频率;有条件的话可以再增加一台均衡器专门作为调整音色用..实际上不同的音响设备和不同的声场对均衡器的调整当然也会不同;因此根本不可能有一个相对标准和固定的调整方法;但在我十几年的工作当中;我总结了一套相对来说适用于大多数场所的调整方法;大家可以试一下：A、低频段的调整——调好各种音源的基音部分及丰满度、结实度：我习惯把20Hz到315Hz的频率范围划分成低频段;这一段调整的重点是注意各种音源的主要基音部分;就像一座金字塔;没有基础部分也就不会有塔尖部分;所以低音频率的调整是很重要的..在具体操作上：1、20Hz、32Hz这两个频率基本上都是完全衰减的;因为现在很多音箱的低音频率还没有下潜至这个频段..2、40Hz、50Hz这两个频率恰好是目前我国220V交流电的频率;为了减少电源部分的干扰我们一般也把这两个频率衰减5个dB左右..3、63Hz、80Hz、100Hz这三个频率决定了音源的丰满度;一般不要做大的提升和衰减..4、125Hz、160Hz、200Hz、250Hz这四个点决定了音源的力度和结实度;提升太多声音生硬;衰减太多则声音模糊、发虚;因此这几个点在低频段最为关键..5、整个低频段需要着重注意一点的就是低音部分增加3个dB;功放的负载就增加了一倍;所以调节时候一定要慎重;既要注重音色;又要兼顾声场;还要兼顾功放的承受力..B、中频段的调整——调好各种音源的二、三次泛音及圆润度、明亮度：我习惯把400Hz到2.5KHz的频率范围划分成中频段;大家知道大部分音源的主要基音部分都会在低音部分;那么它们的2次泛音、3次泛音、4次泛音……就会在中音频段；当然也有一些音源由于频率较高;其主要基音部分也会在中频段..总之这一段调整的重点是调好大部分音源的二、三次泛音及音色的圆润度、明亮度..在具体操作上：1、315Hz、400Hz、500Hz、630Hz、800Hz、这五个频率影响着音源的力度和圆润度;这一段频率一般很少提升;因为提升后会影响音质;比如315Hz—500Hz段提升太多时;声音就会变得像从井底发出来一样；对630Hz 和800Hz段提升太多时;音质就会变得像电话里的声音一样..2、而1kHz、1.25kHz、1.6kHz、2kHz、2.5kHz这五个频点影响着音源的明亮度;这几个频率是人耳听觉最灵敏的;因此对整体的音色影响也最大;有时在这一段频率内稍微提升或衰减1、2个dB;都会改变整体的听音感觉..整个中频段也是声反馈最容易产生的频率范围;因此对中频段频率点的调整时要非常灵活、仔细..C、高频段的调整——调好各种音源的多次泛音及色彩感和穿透力：我习惯把3.15kHz到20kHz的频率范围划分成高频段;这一段调整的重点是注意各种音源的泛音部分及色彩感和穿透力..在具体操作上：1、3.15kHz、4kHz、5kHz、6.3kHz是高音段的主要部分;这些频点如果提升过度;声音容易产生毛刺感或产生高音声反馈;衰减过度声音会显得呆板;没有磁性;没有活力..因此要小心、仔细操作..2、8kHz、10kHz、12.5kHz这三个点影响声音的层次感和色彩..3、16kHz、20kHz由于目前很多音箱的高频还达不到20kHz;再加上人耳很少能听见这么高的频率;所以我们一般把20kHz这个点进行大幅度的衰减;而16kHz这个频率点实际上很重要;如果把它衰减了;那么高音里的那种金光四射感觉就会没有了..整个高频段需要注意的是在这个频段产生回输时;由于其频率很高;虽然人耳听觉上不会觉得太明显;但持续的回输会对高音造成严重的损害;所以不要掉以轻心;要认真处理..讲到这里大家应该清楚均衡器很难有一个较为固定、傻瓜化的调整模式了;虽然这样;我还是觉得有一定规律可寻;这里我就说一个我自己总结的一个通用模式;大家可以试下下列频率中+代表提升;如+3表示提升了3个dB；-代表衰减;如-12代表衰减了12个dB；0就表示没有提升或衰减：A、大多数综合性演出音响系统中均衡器的调整：20Hz-12、25Hz-12、32Hz-10、40Hz-8、50Hz-4、63Hz-2、80Hz0、100Hz0、125Hz0、160Hz-2、200Hz-3、250Hz-3、315Hz-3、400Hz0、500Hz0、630Hz-2、800Hz-1、1kHz0、1.25kHz0、1.6kHz-2、2kHz-3、2.5kHz-3、3.15kHz-2、4kHz-2、5kHz-2、6.3kHz-3、8kHz0、10kHz+2、12.5kHz+3、16kHz0、20kHz-9..B、大多数的士高和慢摇吧音响系统中均衡器的调整：20Hz-12、25Hz-12、32Hz-8、40Hz-5、50Hz-2、63Hz0、80Hz0、100Hz0、125Hz+2、160Hz+2、200Hz+3、250Hz+1、315Hz-1、400Hz0、500Hz0、630Hz-2、800Hz-1、1kHz0、1.25kHz0、1.6kHz-2、2kHz-4、2.5kHz-2、3.15kHz+2、4kHz-2、5kHz-2、6.3kHz-3、8kHz-2、10kHz0、12.5kHz0、16kHz-3、20kHz-9..专业均衡器使用时注意的问题1、通常声反馈都集中在100Hz—10kHz的范围内;调整时要有针对性..2、在调整声场时;要将除房间均衡器外的其它周边设备旁路直通;调音台上话筒所在通道的均衡器也要直通不做调整..3、使用均衡器调整声反馈时;只是将压限器直通;其它周边设备如激励器等都要调整到最佳演出状态;调音台上话筒所在通道的均衡器也要调整到最佳演出状态;这一点是和调整声场的方法有明显区别的..4、不管是用均衡器调整声场还是调整声反馈;如果系统中有压限器;都要把它直通;否则话筒在一开始回输时;会受到压限器的压限处理；等到回输信号很大;压限器压不住时;回输就会冲破压限器的限制一下子变得很厉害;这样容易损坏设备..5、经过我多年的实践;在调整声场和调整声反馈时;可以在调整同时播放一点背景音乐;这样可以使声场活跃;更方便调整..说了这么多不知对大家有没有帮助;最后我想说的是;在现场演出中;如果声场没有调整好;那么整体的音色、平衡就得不到保证；如果声反馈没有调整好;出现了哪怕是一声回输;那也是很严重的问题;我的一贯原则就是：整场演出只要有一次声反馈就是失败所以我经常形容我们演出时推调音台推子就像推一个定时炸弹一样;不知道什么时候它就会爆炸回输;因此在现场操作时真的需要非常小心;要有如履薄冰的感觉所以现场音响师的压力是很大的;如果录音时候录不好了我们可以重新录或者经过编辑修改;但在现场演出中如果产生了哪怕是一声声反馈;就像泼出去的水一样;是没办法收回来的;所以好多高水平的录音师都不想做现场的音响师..音响工程设计调试你说的是参量均衡器吧大型的参量均衡器是在调音台上;图示均衡器有双31段双15段双十段他是接在系统中的;由于建声不好;起到房间的均衡..而达到好的声音分布..介绍一下十段均衡器的设置和参数第一章.EQ的基本定义EQ是Equalizer的缩写;大陆称为均衡器;港台称为等化器..作用是调整各频段信号的增益值..10段均衡器表示有10个可调节节点..节点越多;便可以调节出更精确的曲线;同时难度更大..从左到右的顺序是从低频到高频100Hz;200Hz;400Hz;600Hz;1KHz;3KHz;6KHz;12KHz;14KHz;16KHz..第二章.EQ各频段的基本知识1.20－60Hz影响音色的空间感;因为乐音的基音大多在这段频率以上;这段很难表现;powermp3没有这段均衡..2.60-100Hz影响声音的混厚感;是低音的基音区..如果这段频率很丰满;音色会显得厚实、混厚感强;如果不足;音色会变得无力;而如果过强;音色会出现低频共振声;有轰鸣声的感觉..有大鼓、定音鼓;还有钢琴、大提琴、大号等少数存在极低频率的乐器多表现在此段..3.80－160Hz主要表现音乐的厚实感;音响在这部分重放效果好的话;会感到音乐厚实、有底气..这部分表现得好的话;在80Hz以下缺乏时;甚至不会感到缺乏低音..如表现不好;音乐会有沉闷感;甚至是有气无力许多低音炮音箱的重放上限;具此可判断您的低音炮音箱频率上限..4.150－300Hz影响声音的力度;尤其是男音的力度..这段频率是男声声音的低频基音频率;同时也是乐音中和弦的根音频率..5.300－500Hz表现人声的唱歌、朗诵;这个频段上可以表现人声的厚度和力度;好则人声明亮、清晰;否则单薄、混浊..6.800Hz影响音色的力度..如果这个频率丰满;音色会显得强劲有力;如果不足;音色将会显得松弛;也就是800Hz以下的成分特性表现突出了;低频成分就明显;而如果过多;则会产生喉音感..如果喉音过多了;则会失掉语音的个性;适当的喉音则可以增加性感;因此;音响师把这个频率称为"危险频率";人声;打击乐多表现于此..7.1kHz是音响器材测试的标准参考频率;通常在音响器材中给出的参数是在1kHz下测试..这是人耳最为敏感的频率..8.1.2kHz可以适当多一点;不宜太多;可以提高声音的明亮度;过多会使声音发硬..9.2k-4kHz穿透力很强..人耳耳腔的谐振频率是1∽4KHz;所以人耳对这个频率也是非常敏感的..2-4kHz对声音的亮度影响很大;这段声音一般不宜衰减..这段对音乐的层次影响较大..如果空虚频率成分过少;听觉能力会变差;语音显得模糊不清了..如果过强了;则会产生咳声的感觉..;有适当的提升可以提高声音的明亮度和清晰度;但是在4kHz时不能有过多的突出;否则女声的齿音会过重..10.4k－8kHz这段频率最影响语音的清晰度、明亮度、如果这频率成分缺少;音色则变得平平淡淡;如果这段频率成分过多;音色则变得尖锐;人声可能出现齿音..这段频率通常通过压限器来美化..部分女声、以及大部分吹奏类乐器..11.8k-12kHz这段是音乐的高音区;对音响的高频表现感觉最为敏感..适当突出一点即可对音响的的层次和色彩有较大帮助;也会让人感到高音丰富..但是;太多的话会增加背景噪声;同时也会让人感到声音发尖、发毛..如果这段缺乏的话;声音将缺乏感染力和活力..12.12k－16kHz能够影响整体的色彩感;这段过于黯淡会导致乐器失去个性;过多则会产生毛刺感..13.16k－20kHz可能很多人都听不到;听不到并不意味着器材无法回放;只有很少人可以听到20kHz..这段频率可以影响高频的亮度;以及整体的空间感;过少会让人觉得有点闷;太多则会产生飘忽感;容易产生听觉疲劳..电子合声、古筝钢琴等乐器的泛音多表现于此..第三章.EQ各频段调节效果每段频率分为过低、半满、过高;效果以~隔开..120Hz-60Hz过低空虚~半满空间感良好~过高低频共振声显现"嗡"的声音..260Hz-100Hz过低无力~半满混厚感强~过高低频共振声显现"轰"的声..3100Hz-150Hz过低单薄~半满丰满度增强;浑浊~过高显现"哼"声音..4150Hz-300Hz过低软绵绵~半满声音力度强~过高生硬..5300Hz-500Hz过低空洞~半满语音有力度~过高有电话声音色..6800Hz过低松驰感~半满强劲感~过高喉音重..7500Hz--1KHz过低有收缩感~半满声音的轮廓明朗~过高声音向前凸出..81-2KHz过低松散;使音色脱节~半满通透感强~过高跃感..92-3KHz过低朦胧~半满明亮度增强~过高呆板..104KHz过低模糊~半满穿透力强~过高咳音量..114-5KHz过低音源变远~半满响度感强~过高声音变近..125-6KHz过低含糊~半满清晰度强~过高尖利..136-8KHz过低暗淡~半满透明~过高齿音重..148-10K过低平淡~半满S音明显;通透感~过高尖锐..1510-12KHz过低乏味;失去光泽~半满金属声强烈~过高尖噪..1612-16KHz过低失掉光彩~半满金光四溅~过高刺耳..1716-20KHz过低韵味失落;色彩失落缺乏音色表现力~半满靠人体颅骨传导感受声音的韵味;色彩富于音色表现力~过高宇宙声感和不稳定感..简单的说1、100Hz属于温暖段;如果使这部分加强能使低音部分更加的柔和温暖2、200Hz属于混浊低沉;调音色时可适当减弱本段3、300Hz~1KHz属于大多数音乐中的主要频段;突出这一频带可以加强音色的骨骼;但有时突出这一区域会使音乐显得有些“粘”;主要是在300Hz~800Hz 之间4、1KHz~2KHz这一频段很容易有“嗡嗡”的声音;削弱该频带会使声音干净;但同时也失去一部分效果5、2KHz~4KHz属于温暖而又不失亮度;非常适合吉他类的乐器6、4KHz~5KHz属于音质比较粗糙的频段;这部分的过高会导致整体音量的上升7、7KHz或7KHz以上;就属于高频段;音质上显得尖锐很有攻击性;很容易产生嘶嘶声音8、8KHz~10KHz范围属于钗片的音色范围;如有“嚓嚓”音可适当降低改频段专业音响调音员操作要点下面是佰亿的功放;不知道怎么设置这两个扭..功放上面就是均衡器;我说错了;是双15的..请求各位师傅给两个详细的设置方案就行;一个是讲话用的方案;一个是唱歌用的方案..先拜目前国内歌舞厅所使用的专业音响;多数为进口设备;应该说可靠性较高..主要问题是操作者专业素质不齐;真正配备合格调音师的单位很少..所以;经常出现因操作不当造成音响效果不佳;甚至导致设备损坏..本文针对中、小型歌舞厅音响设备操作要点进行解说;可做为制订操作规程的参考..另外;在中小型歌舞厅由于话筒声反馈造成的自激啸叫现象;是常见的令使用者头疼的问题;因为经常出现啸叫会令宾客扫兴;音响效果无从谈起;严重者会造成设备损坏..所以;自激啸叫现象是歌舞厅音响使用中的一个重要问题;下面分别叙述..。
均衡器参数详解
均衡器参数详解2009-10-17 09:171、均衡器的调整方法：超低音： 20Hz-40Hz，适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音： 40Hz-150Hz，是声音的基础部份，其能量占整个音频能量的70%，是表现音乐风格的重要成份。
适当时，低音张弛得宜，声音丰满柔和，不足时声音单薄，150Hz，过度提升时会使声音发闷，明亮度下降，鼻音增强。
中低音： 150Hz-500Hz，是声音的结构部分，人声位于这个位置，不足时，演唱声会被音乐淹没，声音软而无力，适当提升时会感到浑厚有力，提高声音的力度和响度。
提升过度时会使低音变得生硬，300Hz处过度提升3-6dB，如再加上混响，则会严重影响声音的清晰度。
中音： 500Hz-2KHz，包含大多数乐器的低次谐波和泛音，是小军鼓和打击乐器的特征音。
适当时声音透彻明亮，不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音： 2KHz-5KHz，是弦乐的特征音（拉弦乐的弓与弦的摩搡声，弹拔乐的手指触弦的声音某）。
不足时声音的穿透力下降，过强时会掩蔽语言音节的识别。
高音： 7KHz-8KHz，是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出，语言的齿音加重和音色发毛。
极高音： 8KHz-10KHz合适时，三角铁和立*的金属感通透率高，沙钟的节奏清晰可辨。
过度提升会使声音不自然，易烧毁高频单元。
2、平衡悦耳的声音应是：150Hz以下（低音）应是丰满、柔和而富有弹性；150Hz-500Hz（中低音）应是浑厚有力百不混浊；500Hz-5KHz（中高音）应是明亮透彻而不生硬；5KHz以上（高音）应是纤细，园顺而不尖锐刺耳。
整个频响特性平直时：声音自然丰满而有弹性，层次清晰园顺悦耳。
频响多峰谷时：声音粗糙混浊，高音刺耳发毛，无层次感扩声易发生反馈啸叫。
3、频率的音感特征：30~60Hz 沉闷如没有相当大的响度，人耳很难感觉。
EQ300系列图形均衡器用户指南说明书
EQ300 Series Graphic EqualizersEQ341DUAL CHANNEL 15-BAND 2/3 OCTAVE EQUALIZER EQ351 SINGLE CHANNEL 31-BAND 1/3 OCTAVE EQUALIZER EQ355 DUAL CHANNEL 31-BAND 1/3 OCTAVE EQUALIZERUSER'S GUIDEIMPORTANT SAFETY INSTRUCTIONS – READ FIRSTThis symbol, wherever it appears, This symbol, wherever it appears, alerts youalerts you to the presence of uninsulated to important operating and maintenancedangerous voltages inside the enclosure that instructions in the accompanying literature.may be sufficient to constitute a risk of shock. Please read the manual.Read instructionsRetain these safety and operating instructions for future reference. Heed all warnings printed here and on the equipment. Follow the operating instructions printed in this user guide.Do not openThere are no user serviceable parts inside. Refer any service work to qualified technical personnel only. Power sourcesOnly connect the unit to mains power of the type described in this user guide or marked on the rear panel. The power source must provide a good ground connection.Power cordUse the power cord with sealed mains plug appropriate for your local main supply as provided with the equipment. If the provided plug does not fit into you outlet consult your service agent. Route the power cord so that it is not likely to be walked on, stretched or pinched by items placed upon or against.GroundingDo not defeat the grounding and polarization means of the power cord plug. Do not remove or tamper with the ground connection on the power cord.MoistureTo reduce the risk of fire or electrical shock, do not expose the unit to rain, moisture or use in damp or wet conditions. Do not place container of liquid on it, which may spill into any openingsHeatDo not locate the unit in a place close to excessive heat or direct sunlight, as this could be a fire hazard. Locate the unit away from any equipment, which produces heat such as: power supplies, power amplifiers and heaters.EnvironmentProtect from excessive dirt, dust, heat, and vibration when operating and storing. Avoid tobacco ash, drink spillage and smoke especially that associated with smoke machines.HandlingProtect the controls from damage during transit. Use adequate padding if you need to ship the unit. To avoid injury to yourself or damage to the equipment take care when lifting, moving or carrying the unit.ServicingSwitch off the equipment and unplug the power cord immediately if it is exposed to moisture, spilled liquid or the power cord or plug becomes damaged during a lightning storm or if smoke odor or noise is noted. Refer servicing to qualified technical personnel only.InstallationInstall the unit in accordance with the instruction printed in the user guide.IMPORTANT SAFETY INSTRUCTIONS – READ FIRST (2)OVERVIEW (4)GENERAL INFORMATION (5)INSTALLATION (5)POWER CONNECTORS (5)INPUT/OUTPUT CONNECTIONS (5)SIGNAL LEVELS (5)CHASSIS GROUNDING (6)INITIAL SETUP (6)OPERATION (7)FRONT PANEL CONTROLS (7)POWER SWITCH (7)FILTER LEVEL CONTROLS (7)FILTER RANGE SWITCH & INDICATORS (7)BYPASS SWITCH & CLIP INDICATOR LED (7)HI PASS FILTER (LOW-CUT FREQUENCY CONTROL) (EQ351 and EQ355 only) (8)LOW PASS FILTER (HIGH-CUT FREQUENCY CONTROL) (EQ351 and EQ355 only) (8)LEVEL CONTROL (8)REAR PANEL CONNECTORS & CONTROLS (9)POWER CORD (9)FUSE HOLDER, LINE VOLTAGE SWITCH & GROUNDING SCREW (9)GROUND LIFT SWITCH (9)INPUT/OUTPUT CONNECTORS (10)APPLICATIONS (12)WARRANTY INFORMATION (13)Limited Warranty (13)Exclusions (13)SERVICE (14)SPECIFICATIONS (15)OVERVIEWThe ART EQ300 Series of graphic equalizers have been designed and engineered to extremely high standards for audio performance and functionality. These innovative, high-quality equalizers are perfect for virtually any audio application where precision frequency tailoring, reliable performance, rugged design and extremely silent processing is important.Active Filter SectionsThe EQ300 Series of graphic equalizers feature active filter sections, which incorporate a constant-Q design. This constant-Q design, with accurate precision center frequencies), ensures that the bandwidth of every individual filter will be narrow enough to prevent unnecessary interaction between filters, yet still create an equalization curve wide enough to produce the exact and precise processing of audio frequencies the user seeks. Precision Slide PotentiometersThe EQ300 Series of graphic equalizers utilize20mm precision slide potentiometers. These center-detented, precision faders are graphically positioned on ISO center frequencies between25Hz-16kHz for the EQ341, 20Hz to 20kHz for the EQ351 and EQ355.Independent Variable Hi and Low Pass FilteringIn order to deliver superlative performance and control, the EQ351 and EQ355 graphic equalizers incorporate independent variable Hi Pass (low cut) and Low Pass (high cut) filters. Having separate and variable precision control for both the Hi Pass and Low Pass filters, allows the user to custom tailor the audio signal to perfection.Many competing products only feature shelving switches which have a fixed frequency point. Others do not have separate filtering for both high and low frequencies. These designs do not offer the precision or control of the ART EQ300 Series. Additional Controls and IndicatorsThe EQ300 Series of graphic equalizers utilize a variable output level control, clip level indicator, ground lift switch, and selectable line voltage. Additional features include selectable scale switching - high slider resolution (±12dB) or normal resolution (±6dB), active balanced and unbalanced input/output connectors, and RFI filtering. A passive bypass switch allows for direct comparison between the equalized and non-equalized signal for each channel.Multiple ConnectivityThe EQ300 Series of graphic equalizers can be connected with a wide variety of audio devices. Each unit has three sets of input and output connectors wired in parallel. These connections include XLR connectors, 1/4" phone jacks and RCA phono jacks.Durability by DesignThe EQ300 Series of graphic equalizers are designed and engineered to be durable and rugged. They are an ideal choice when the need for a robust equalizer is of paramount concern. They are designed for mounting in a standard 19" equipment rack or one of the many rack-type portable cases in existence. The vertical height is 1.75 inches for the EQ341 and EQ351, and 3.5 inches for the EQ355. The depth is 7 inches, exclusive of power cord.Rugged construction and solid audio performance make these equalizers particularly well suited to fixed installation as well as touring live sound systems.Precision and QualityWhen considering quality equalization, the ART EQ300 Series of graphic equalizers are an excellent choice. They deliver extremely precise, powerfully flexible and simply great sounding equalization, with the quality features and reliable design necessary for top-level audio performance.GENERAL INFORMATIONYour ART equalizer is a professional quality unit perfect for virtually any audio application where frequency tailoring is needed. It’s features include: constant-Q circuitry with accurate center frequencies, selectable ±6dB or ±12dB range, active balanced and unbalanced input and output connectors, RFI filters, independent variable Hi Pass (low cut) and Low Pass (high cut) filters (for the EQ351 and EQ355), variable input level control, passive bypass switch, clip level indicator, ground lift switch, and selectable line voltage. Rugged construction and solid audio performance make these equalizers particularly well suited to fixed installation as well as touring live sound systems. INSTALLATIONThis series of equalizers are designed for mounting in a standard 19” equipment rack or one of the many rack-type portable cases available on the market. The vertical height is 1.75 inches for theEQ351 and EQ341, and 3.5 inches for the EQ355. The depth is 7 inches, exclusive of the power cord.POWER CONNECTORSThese equalizers have internal power supplies and are designed for operation with 120 or 240 volt (as determined by the rear panel line voltage switch), 50-60Hz mains supply. In new installations and portable sound systems, or any situation where the mains power is in question, it is wise to confirm the voltage and select the appropriate line voltage setting BEFORE connecting the equalizer to power sources.INPUT/OUTPUT CONNECTIONSThe EQ300 series graphic equalizers have three sets of input and output connectors wired in parallel: 1/4" phone, XLR, and RCA connectors. Only one of the three inputs should be used per channel. Any combination of output connectors may be used.1/4" phone jack connections may be used balanced or unbalanced. When balanced, the tip is High (+), the ring is Low (-) and the sleeve is Ground. To use unbalanced, use a mono 1/4” phone cable, which will automatically ground the ring to the sleeve.XLR connections are balanced where pin 2 is High (+), pin 3 is Low (-), and pin 1 is Ground.RCA jack connections are unbalanced.SIGNAL LEVELSSignal levels from -10dBm to +4dBm are considered normal with maximum levels of approximately+18dBm balanced or +22dBm unbalanced. Do not connect microphones directly to the equalizer. Most microphones, as well as instrument pickups, require a preamp to get the signal level up to a line level. The outputs of the equalizer are also designed to connect into line level inputs and should not be connected into sensitive microphone or instrument Inputs for best results.CHASSIS GROUNDINGThe equalizers are equipped with a rear panel grounding screw and Ground Lift switch. The Ground Lift switch should normally be set to the GND position. After set up, if your system exhibits excessive hum or buzzing, the problem may be a due to a ground differential between your equalizer and other equipment in the same system. The Ground Lift switch lets you try several combinations to minimize system hum.NOTE: ALWAYS TURN YOUR AMPLIFIERS DOWN BEFORE CHANGING GROUNDS.Try different combinations of lifting grounds on units that are supplied with ground lift switches or make sure all chassis are connected to earth ground, either through the AC Power cord grounds or by the rear panel grounding screws.If the EQ300 series equalizer is mounted in a grounded rack of equipment, the ground to the ground-ing screw of the equalizer may be lifted to prevent multiple ground paths, which may cause a ground loop to occur.INITIAL SETUPBefore starting to equalize your sound system there is some information you should know and procedures you should follow. Your equalizer is equipped with a bypass switch. The BYPASS switch, when activated, lights the bypass LED and cancels all equalization settings while allowing signal to flow directly through the unit at unity gain.Also included is a RANGE selection switch with LED indicators, ±6dB (green), ±12dB (yellow). This switch changes how much effect the slide controls have. In addition to the RANGE selection switch there is an output LEVEL control potentiometer. The LEVEL control operates between off and +6dB. Note: If there is too much gain, your equalizer has a red LED CLIP indicator that illuminates when signals are within 6dB of clipping. If the CLIP LED flashes occasionally, this is okay, but if this LED is on steadily you should reduce the level control.Here are some tips to help you with the initial set up:1. Set channel output LEVELs to the center detent (0dB) on the front panel.2. Select the BYPASS switch to bypass the equalizer. (Note: The red LED is on)3. Set the frequency slide controls to the center detent (0dB).4. If applicable, set the HI PASS filter to 10Hz and the LOW PASS filter to 40kHz.5. Select the ±6dB RANGE. (Note: The green LED is on)6. Apply a signal to the system and if the CLIP LED is on, reduce your signal to the unit.7. Unselect the BYPASS switch (Note: The red LED is off)8. If the CLIP LED is on, turn down the Output LEVEL control.9. You may now start equalizing your system.10. If you do not have enough equalization control, switch the range switch to the ±12dB setting.OPERATIONFRONT PANEL CONTROLSPOWER SWITCHTo turn the equalizer on or off, press the upper or lower portion of the POWER switch. CAUTION: Always turn on your equalizer BEFORE your power amplifiers are turned on, and always turn off your equalizer AFTER your power amplifiers have been turned off.FILTER LEVEL CONTROLSEach of these sliders controls the signal level of each of the 31 (or 15) bandpass filters. A detent at the center position helps center the controls for a flat response.FILTER RANGE SWITCH & INDICATORSThe gain range of the filter sliders is switchable (as a group) from ±6dB to ±12dB for maximumboost/cut capability. At ±6dB the green LED will illuminate, and at ±12dB the yellow LED will illuminate.BYPASS SWITCH & CLIP INDICATOR LEDWhen the red BYPASS LED is illuminated, this indicates that the unit or channel is in the bypass mode. Signal is routed directly from the input to the output without passing through any circuitry (often referred to as ”hard-wire bypass”). Use this switch to compare equalized and unequalized material, or to bypass the EQ section in the event of total unit failure.The red CLIP LED illuminates if any section of the equalizer is near clipping. Occasional flickering of this LED is acceptable, but if it remains on more than intermittently, you should reduce the output level of the preceding equipment or, if that is not possible, turn down the equalizer’s LEVEL control to avoid audible distortion.HI PASS FILTER (LOW-CUT FREQUENCY CONTROL) (EQ351 and EQ355 only)To cut down on unwanted low frequency signals, this control determines the roll-off frequency of the Hi-Pass Filter (HPF). The roll-off frequency can be adjusted from 10Hz to 250Hz by turning this knob. Because of its high roll-off slope, the HPF can be efficiently used to cut down hum and low frequency noise from preceding instruments, or to reduce low frequency resonances, when speakers are installed in an enclosed acoustic environment. It is also very effective at removing power robbing and potentially destructive rumble.LOW PASS FILTER (HIGH-CUT FREQUENCY CONTROL) (EQ351 and EQ355 only)To cut down on unwanted high frequency signals, this control determines the roll-off frequency of the Low-Pass Filter (LPF). The roll-off frequency can be adjusted from 3kHz to 40kHz by turning the knob. Because of its high roll-off slope, the LPF can be effectively used to cut down the high frequency noise from preceding instruments, or roll-off excessive high frequency sounds to obtain a more natural sound in some acoustic situations.LEVEL CONTROLThis controls the output signal level from the equalizer. Turn this control down if the CLIP LED illuminates steadily (meaning too strong an input signal). Unity gain can be set by adjusting this knob so that as you toggle the BYPASS switch the overall level sounds the same.Signal levels should be kept normalized through the equalizer. That is, the signal level, when bypassed, should be the same (or a little lower) than when active.REAR PANEL CONNECTORS & CONTROLSPOWER CORDThis cord is used to connect the AC power source to your equalizer. CAUTION: Equipment for USA installation includes a power cord with a three-pin polarized plug. DO NOT REMOVE THE CENTER GROUNDING PIN.FUSE HOLDER, LINE VOLTAGE SWITCH & GROUNDING SCREWThis fuse holder contains the AC primary fuse. This fuse should be replaced with the same type fuse if it is blown. If they continuously blow, stop replacing fuses and refer servicing to qualified personnel. CAUTION: After checking the AC supply voltage, be sure that the correct fuse is in the fuse holder - 0.5Amp (500mA) for 95-125VAC, as well as for 220-240VAC. When changing the fuse, make sure that the holder is seated securely. The position of the line voltage switch determines the line voltage range and is labeled on the switchGROUND LIFT SWITCHThis switch is used to disconnect signal ground from the mains and chassis earth ground. You may set the switch to the LIFT position if ”Hum”, caused by a ground loop, can be heard at the speakers.INPUT/OUTPUT CONNECTORSEQ341EQ351EQ3551/4" TRS Phone JacksThe TRS (Tip Ring Sleeve) connectors are balanced and wired as Tip = High (+), Ring = Low (-), and Sleeve = Ground.For balanced connections using 1/4" TRS phone plugs, wire them as follows:tip = High (+)ring = Low (-)sleeve = GroundFor unbalanced connections using 1/4" TRS or mono (tip/sleeve) phone plugs, wire them as follows: tip = High (+)ring = no connectionsleeve = GroundXLR ConnectorsThe XLR input connectors are balanced and wired as Pin 2 = High (+), Pin 3 = Low (-), and Pin 1 = Ground.RCA JacksThe RCA jacks are unbalanced, with the pin High (+) and the outside Low (-).APPLICATIONSGraphic equalizers may be used wherever modification of the frequency contour of a sound system is needed. A graphic equalizer is a solution to any number of sound problems or creative urges.WARRANTY INFORMATIONLimited WarrantyApplied Research and Technology will provide warranty and service for this unit in accordance with the following warrants:Applied Research and Technology, (ART) warrants to the original purchaser that this product and the components thereof will be free from defects in workmanship and materials for a period of three years from the date of purchase. Applied Research and Technology will, without charge, repair or replace, at its option, defective product or component parts upon prepaid delivery to the factory service department or authorized service center, accompanied by proof of purchase date in the form of a valid sales receipt.ExclusionsThis warranty does not apply in the event of misuse or abuse of the product or as a result of unauthorized alterations or repairs. This warranty is void if the serial number is altered, defaced, or removed.ART reserves the right to make changes in design or make additions to or improvements upon this product without any obligation to install the same on products previously manufactured.ART shall not be liable for any consequential damages, including without limitation damages resulting from loss of use. Some states do not allow limitations of incidental or consequential damages, so the above limitation or exclusion may not apply to you. This warranty gives you specific rights and you may have other rights, which vary from state to state.For units purchased outside the United States, an authorized distributor of Applied Research and Technology will provide service.SERVICEThe following information is provided in the unlikely event that your unit requires service.1. Be sure that the unit is the cause of the problem. Check to make sure that the unit has powersupplied, that all cables are connected correctly, and that the cables themselves are in working condition. You may want to consult with your dealer for assistance in troubleshooting or testing your particular configuration.2. If you believe that the ART unit is at fault, go to . You may contact CustomerService for more assistance, or directly request a Return Authorization for service in the“resources” area of the website.3. If you are returning the unit for service, pack the unit in its original carton or a reasonablesubstitute. The original packaging may not be suitable as a shipping carton, so consider putting the packaged unit in another box for shipping. Print the RA number clearly on the outside of the shipping box. Print your return shipping address on the outside of the box.4. Include with your unit: a note with the RA number and your contact information, including a returnshipping address (we cannot ship to a P.O. box) and a daytime phone number, and a description of the problem, preferably attached to the top of the unit. Also include a copy of your purchase receipt.Fill in the following information for your reference:Date of purchase ___________________Purchased from ___________________Serial number ___________________SPECIFICATIONSEQUALIZERBands 2 x 15, 2/3 octave, ISO spacing (EQ341)1 x 31, 1/3 octave, ISO spacing (EQ351)2 x 31, 1/3 octave, ISO spacing (EQ355)Type / Accuracy Constant-Q / 3% center frequencyTravel 20mm w/ positive center detentRange ±6dB or ±12dB, selectableOverall Gain Range Off to +6dB (unbalanced out) sliders centeredOff to +12dB (balanced out) sliders centered INPUTSType Active balanced/unbalancedConnectors 3-Pin XLR, 1/4” TRS (balanced), RCA (unbalanced) Impedance 20k Ohms balanced; 15k Ohms unbalancedMaximum Level +22dBm (level control at center)OUTPUTSType Active balanced/unbalancedConnectors 3-Pin XLR, 1/4” TRS (balanced), RCA (unbalanced) Impedance <150 Ohms, typicalMaximum Level +18dBm (balanced) (600 Ohm load)+22dBm (unbalanced) (2k Ohm load)Passive Bypass Switches YesOverload LED Threshold 6 dB below clipping, (all filters set to flat)High Pass Filter (EQ351,EQ355) 10-250Hz, 12dB/octaveLow Pass Filter (EQ351, EQ355) 3k-40kHz, 12dB/octaveFrequency Response 20-20kHz, ±0.5dBTHD + Noise .01%Signal to Noise Ratio -94dBChannel Separation >50dBPOWER (switchable)95-130VAC, 50/60Hz190-250VAC, 50HzPOWER CONSUMPTION 12 WattsSIZE 1.75” H *19” W *7” D (1U) (EQ351 and EQ341)(4.45cm * 48.3cm * 17.8cm)3.5” H *19” W *7” D (2U) (EQ355)(8.9cm * 48.3cm * 17.8cm)WEIGHT7.1 Ibs (3.2 kg) (EQ351 and EQ341)11.6 Ibs (5.2 kg) (EQ355)E-mail:**********************© 2010 Applied Research & TechnologyEQ341, EQ351, EQ355V1.0。
【精品】均衡器的调整方法(专业音响师必修).docx
均衡器的调整方法1.均衡器的调整方法：超低音：20Hz-40Hz,适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音：40Hz-150Hz,是声音的基础部份，英能量占整个音频能量的70%,是表现音乐风格的重要成份。
适当时，低音张弛得宜，声音丰满柔和，不足时声音单薄，150脱，过度提升时会使声音发闷，明亮度下降，鼻音增强。
屮低音：15011旷5001【7,,是声音的结构部分，人声位于这个位置，不足时，演唱声会被音乐淹没，声音软而无力，适当提升时会感到浑片有力，提高声音的力度和响度。
提升过度时会使低音变得生硬，300Hz处过度提升3-6dB,如再加上混响，则会严重影响声音的淸晰度。
屮音：500Hz-2KHz,包含人多数乐器的低次谐波和泛音，是小军鼓和打击乐器的特征音。
适当时声音透彻明亮，不足时声音朦胧°过度提升时会产生类似电话的声音。
屮高音：2KHz-5KHz,是弦怎的特征音（拉弦怎的弓与弦的摩扌桑声，弹拔乐的手指触弦的声音某）。
不足时声音的穿透丿J下降，过强时会掩蔽语言音节的识别。
高音：7KIIZ-8KHZ,是影响声背层次感的频率。
过度提升会使短苗、长苗声音突出，语言的齿音加重和音色发毛。
极高音:SKHz-lOKIIz合适时，三角铁和立叉的金属感通透率高,沙钟的节奏清晰可辨。
过度提升会使声音不自然, 易烧毁高频单元。
2.平衡悦耳的声音应是：150Hz以下（低音）应是丰满、柔和而富有弹性;150Hz-30Hz （屮低音）应是浑厚有力百不混浊；500Hz-5KHz 高音）应是明亮透彻而不生硬；5KHz以上（高音）应是纤细，园顺而不尖锐刺耳。
整个频响特性平直时：声音白然丰满而有弹性，层次清晰园顺悦耳。
频响多峰谷时：声音粗糙混浊，高音刺耳发毛，无层次感扩声易发生反馈啸叫。
3.频率的音感特征：30〜60Hz沉闷如没有相当大的响度，人耳很难感觉°60~100Hz沉重80Hz附近能产生极强的“重感”效果，响度很高也不会给人舒服的感觉, 可给人以强烈的刺激作用。
先驱818功放机说明书
先驱818功放机说明书一、面板布置:1、本功放由功放、播放器、电平指示器、扬声器四个模块组成。
其中功放有放大音频信号的功能，可把播放器音频、外接音频、话简音频信号放大，通过调节旋钮可改变信号的大小。
播放器有读取内存卡里的音频文件并转化成音频信号(另有收音机功能）的功能。
电平指示模块是通过计算音频信号，获取音频里音调的高低信号，再通过led灯显示出来，具有装饰的功能。
扬声器是把音频信号转化成声音信号的作用。
1、使用前检查电源线和变压器线是否完好，外层绝缘皮是否有破损，若有破损则需要用电胶布粘住，防止皮肤接触而触电。
2、通电时最好不要触碰变压器和变压线。
3、使用时禁止触碰散热器、变压器，防止因温度过高而烫伤。
4、当使用耳机听音频时，只需把耳机插入耳机插孔，但要注意，在使用耳机之前要控制好音量，防止音量过大而损坏耳机。
一般操作是先把音量调为最小，插入耳机后再慢慢增大。
二、使用步骤:1、打开电源:在打开电源前先把音乐音量，话筒音量④调为最小，并确定自带播放器开关⑥处于关闭状态。
然后把电源线接电，则电源指示灯会亮1。
2、接音频:音频有两种，一种是外接音频输入②，另外一种是自带播放器输入，其优先级是外接音频输入高于白带播放器音频输入。
(1）外接音频输入需用一根3.5mm 音频线与外界播放器连接，另外一端必须接到功放的外接“音频输入”②插孔，注意播放器的音量③应适当,否则将会烧坏功放芯片和损坏喇叭。
(2)自带播放器输入:首先把优盘或sd卡插入相应位置2、13，然后把播放器开关打开⑥，启动自带播放器。
利用红外线遥控或播放器上的按钮进行操作。
Pioneer 平衡器说明书
Pioneer™Balance sInstruction ManualEN-1Pioneer™1. INTRODUCTION1.1Safety PrecautionsPlease follow these safety precautions:• Verify that the AC Adapter input voltage matches the local AC power supply.• Use the balance only in dry locations.• Do not operate the balance in hostile environments.• D o not drop loads on the platform.• Do not place the balance upside down on the platform or platform mounting cone.• Service should be performed only by authorized personnel.1.2 ControlsButton: Functions:O/T - On Short Press: Turns balance on, sets display to zeroOff Long Press: Turns balance offYes Short press (Menu): Selects or accepts settingUnit Short Press: Steps through active units and modesMenu Long Press: Enters MenuNo Short press (Menu): Steps through available settingsLong press (Menu): Exit menu or abort out of menu itemPrint Short Press: Sends dataCal Long Press: Initiates Span Calibration2. INSTALLATION2.1 Package Contents0.1g and 0.01g Models 0.001g and 0.0001g ModelsInstruction Manual Instruction ManualPower Adapter Power AdapterBalance BalancePan PanPan Support Glass Doors and PanelsWind-Ring (InCal models only) Warranty CardWarranty CardPioneer ™EN-22.2 Install Components0.1g and 0.01g Models1) Install Wind-Ring (InCal only)2) Install Pan Support3) Install Pan0.001g and 0.0001g Models1) Install Side Doors - Insert fully into Top Frame then down over retainer.2) Install Panels - Insert bottom edge in groove then press until locked.3) Install Top Door4) Install PanEN-3Pioneer ™2.3 Level BalanceLevel the balance on a firm, steady surface. Avoid locations with excessive air current, vibrations, heat sourcesor rapid temperature changes.2.4 Connect Power2.5 Initial CalibrationWithout InCal – Power on the balance by pressing 0/T. Press and hold Print/Cal until [CAL ] is displayed. The display flashes the calibration mass needed. To select the alternate calibration weight press No . Put the calibration mass on the pan. The display flashes [BUSY ], then [CLEAr Pan ]. Remove the mass. When calibration is complete, [DONE ] is displayed.InCal – Press and hold Print/Cal until [CAL ] is displayed. The display flashes [BUSY ], when calibration is complete, [DONE ] is displayed.Note: Calibrations should be performed after a warm up time of 60 minutes.3. OperationCount, APW Optimization, Percentage or specific units of measure must be activated in the MODE or UNIT menus if they are not initially available.3.1 Weighing ModeRepeatedly press Unit until the desired unit icon is displayed.Press 0/T to zero the balance and then place objects to be weighed on the pan.3.2 Count Mode – Use the Count mode to count parts of uniform weight. To access Count Mode, press Unit until the display shows [Count ].Establish an Average Piece Weight (APW) – Each time a new type of part is to be counted, the nominal weight of one piece (APW) must be established using a small quantity of pieces.With [CLr.APwW ] displayed, press No to use the previously saved APW, or press Yes to establish a new APW. The display indicates the number of pieces to be used to establish the new APW. If a different sample size is preferred, press No until the desired sample size is displayed (5, 10, 20, 50 or 100). Put the specified number of pieces on the pan. Press Yes to accept new APW or No to abort. Count – Place the quantity to be counted on the pan.APW Optimization – Since the weight of each piece varies slightly, APW Optimization may be used to increasetheFor use with CSA Certified (or equivalent approved) power source, which must have a limited circuit output.Pioneer™EN-4 accuracy of the count. The balance automatically recalculates the Average Piece Weight when the number of parts on the pan is less than three times the original sample size. The display shows [APwW.OPT] each time the APW is optimized.3.3 Percent Mode–Use this mode to measure the weight of a sample as a percentage of a reference weight. To access the Percent Mode, press Unit until the display shows [PErCEnt].Establish a new Reference Weight - With Clear reference [CLr.rEF] displayed, Press No to use the previously saved Reference Weight. Press Yes to establish a new Reference Weight. Put the reference sample on the pan and press Yes to accept or No to abort.Percent – Place the object(s) to be compared to the reference weight on the pan.3.4Weigh Below FeatureRemove Weigh Below Cover Attach wire or string to Hook Suspend sample4. SETTINGSEnter Menu – When the balance is on, press and hold Unit/Menu until [mMENU] appears.Release the button and the Calibrate [.CAL.] menu will display.Menu Navigation – Select menus, menu items and settings through use of the Yes and No buttons.Solid arrows point to the content displayed when Yes is pressed, Dashed lines when No is pressed. Changing Settings – To select the displayed Setting, press Yes. To move to the next Setting, press No.Exit Menu – When [.END.] is displayed, press Yes to exit the menu function, or press No to return to the Cal menu. Note: Press and hold No at any time to exit quickly.EN-5Pioneer™4.2 Calibration Menu[.CAL.]InCal or Span calibration should be performed daily and when the room temperature changes.InCal [InCal] calibrates the balance using an internal mass.Span Calibration [SpaN] uses two weight values: zero and a weight between 50% and 100% of the capacity of the balance.Linearity calibration [LIN] uses three weight values zero, 50% of capacity and full capacity. Generally this calibration is not required unless testing shows that the linearity error exceeds the Linearity tolerance in the Specification table. (Not available in InCal models)Calibration Adjust [CAL Adj] allows adjustment to the result of the internal calibration by +/- 99 divisions. (InCal models only)4.3 Setup Menu [.setup.]Automatic Zero-Setting [azsmM] –Environmental changes can cause the display to drift. The Automatic Zero-Setting Mechanism (AZSM) is designed to keep the balance set at zero, despite these slight changes. (OFF, SET.5d, SET 1d, SET 2d, SET 5d)Filter [filter] –Use the low setting (SET LO) when environmental disturbances are not present. Use the medium setting (SET MED) for normal environments. Use the high setting (SET HI) when vibrations or air currents are present.Auto Tare [A-tare] –The initial item placed on the balance is assumed to be a container so it is zeroed out. The next item is then weighed. When the pan is cleared the balance resets, waiting for a container. (SET OFF, SET ON)Grad [Grad] – Select the readability displayed. Reducing the readability may be needed for approval. (SET 1d, SET [1]d, SET 10d)Global Reset [Gbl rst] – Resets all settings to factory default values. (RESET)4.4 Mode Menu[.mMode.]Count Mode [Count] - [SET ON or OFF]Average Piece Weight (APW) Optimization [aPwW.OPT] - (SET ON, SET OFF)Percent Mode [PerCent] - (SET ON, SET OFF)4.5 Unit Menu[.Unit.]The Unit menu is used to enable or disable a specific unit. (SET ON, SET OFF) The unit is indicated by a small character next to Unit in the display (g = grams). The default setting is Grams SET ON and all other units SET OFF.T-Units – When unit [t] displays; press Yes to show the T-Unit settings; SET OFF, SET TT (Taiwan Tael), SET TH (Hong Kong Tael), SET TS (Singapore Tael), SET TO (Tola) or SET TI (Tical).M-Units – When unit [m] is displayed, press Yes to show the M-Unit settings; SET OFF, SET MO (Momme) or SET ME (Mesghal).Custom Unit – Custom Unit (C) is used to create a unit of measure not provided with the balance. The Custom Unit is defined by a factor, a multiplier (E) and a least significant digit (LSD). The balance will use this to convert grams to a custom unit of measure. (Example: 1 gram = 0.257206 Avoirdupois Dram, using a 4100g x 0.01g balance)To create a custom unit, press Yes when unit [c] is displayed.Factor – The Factor (F) is a value from 0.1000000 to 1.999999. When the Factor is displayed, the first digit is flashing. Press Yes to accept its value and activate the next digit, or No to edit. When editing, press No until the desired value appears, then press Yes to accept. Repeat until all digits have been accepted. When the Factor flashes on the display, press Yes to accept or No to re-edit. (Example: F = 0.257206)Multiplier (E) – The settings are, [E 0] (Fx1), [E 1] (Fx10), [E 2] (Fx100), [E 3] (Fx1000), [E-3] (F/1000),[E-2] (F/100), and [E-1] (F/10). Press No to display the next setting, Yes to accept. (Example: E = 0).Note: The multiplier selections are limited when the capacity in grams is exceeded.Pioneer ™ EN-6LSD – The Least Significant Digit (LSD) is the number of displayed divisions (d) by which the weight isincremented. The values are 1d, 2d, 5d, 10d, 100d or 0.5d. Press No to go to the next setting, press Yes to accept. (Example LSD = 1d) Note: LSD options are limited if the readability in grams is exceeded. The example custom unit will display [0.26 C ] when 1g is placed on the pan.4.6 Print Menu [.Print.]Output Stable [Out.Stab ] – Data will only be sent when the Stable indicator is on. This setting works with manual button pressing or continuous and interval Auto Print. (SET ON, OFF)Auto Print [A.Print ] – Data will be continuously sent when [Continu ] is set. Interval [Inter ] sends data every 1 to 3600 seconds. When Stable [Stable ] will send data when the balance detects a new stable reading. This can be a weight value only [LOad ] or it can also include a stable zero [L+zero ]. [OFF ] disables automatic printing. Content [CONteNt ] – The content in the data transmission can be modified. Each of the following settings can be set on or off. Number Only [numMber ] will only send the numeric result. Balance ID [Bal. ID ] will add the Balance serial number for traceability purposes. Reference [refer ] will add reference information relevant to the current mode. GLP [GLP ] will send additional items to allow proper documentation of laboratory results.Line Format [LinE Fo ] – Single line format [single ] will put all the data in one line separating each output with a comma (,). Multi line format [mMulti ] will put each data output on a new line. Multi +4 [mM-4LF ] will add 4 line spaces between each output.4.7 RS232 Menu [.rs232.]Baud [BAUD ] – The RS232 baud rate can be set to 600, 1200, 2400, 4800, 9600 and 19200. Parity [Parity ] – Parity can be sent to 7 bits-even parity [7 eveN ], 7bits-odd parity [7 odd ], 7bits-no parity [7 No ] or 8bit-no parity [8 No ].Handshake [Handsh ] – Handshake can be set to off [Off ], X on – X off [on-off ], or hardware [HardwWr ].4.8 Lock Menu [.LOC.]When a Lock Menu item is SET ON the indicated menu cannot be changed.[Loc Cal ] – Calibration, [Loc SEt ] – Setup, [Loc.mMod ] – Mode, [Loc.Unit ] – Unit, [Loc Prt ] – Print, [Loc 232] – RS232.4.9 Sealing Access to the Balance SettingsThe Menu Lock switch prevents changes to the Lock Menu. The switch can be secured using paper seals, wireseals or plastic ties.Un-LockedLocked with Plastic Tie^^^^^^^^^^^^^^^^^^^^^Multi Line Format with 4 line feeds Line Feed-2 Line Feed-3Line Feed-4 User ID: ………………........ GLP (ON)Bal ID: 123456789Balance ID (ON) Proj ID: …………………… GLP (ON) Time: ……:…….:……. GLP (ON) Date: …../ ….. / ….. GLP (ON) 120.01 gResult ^^^^^^^^^^^^^^^^^^^^^EN-7Pioneer™5.0 MAINTENANCE5.1 Troubleshooting5.2 Service InformationIf the troubleshooting section does not resolve or describe your problem, contact your authorized Ohaus service agent. Please visit our web site, to locate the Ohaus office nearest you.5.3 AccessoriesSecurity device 76288-01Auxiliary Display PAD7Density Determination Kit Contact Ohaus (0.1mg and 1mg models only)Printer – Thermal Contact OhausPrinter - Impact Contact OhausCable Kit – Thermal Printer Contact OhausCable Kit - Impact Printer Contact OhausData collection Software SW12WPioneer ™ EN-86. TECHNICAL DATAAmbient conditions – The technical data is valid under the following ambient conditions: Ambient temperature: 10°C to 30°CRelative humidity: 15 % to 80 % at 31°C non-condensing, decreasing linearly to 50% at 40°C Height above sea level: Up to 2000 mOperability is assured at ambient temperatures between 5°C and 40°CPower – AC adapter, Balance power input 8-14.5 VAC, 50/60Hz 4VA or 8-20 VDC, 4WProtection – Protected against dust and water, Pollution degree: 2, Installation category: Class II6.1 Drawings0.01g and 0.1g Models0.0001g and 0.001g ModelsEN-9Pioneer ™6.2 Specifications6.3 Communication6.3.1 CommandsThe RS232 Interface allows a computer to control the balance as well as receiving data such as the displayed weight. The balance will return “ES” for invalid commands.6.3.2 RS232 (DB9) Pin Connections Pin 2: Balance transmit line (TxD)Pin 3: Balance receive line (RxD) Pin 5: Ground signal (GND)Pin 7: Clear to send (hardware handshake) (CTS)Pin 8: Request to send (hardware handshake) (RTS)Pioneer™EN-10 6.4 ComplianceFCC NoteThis equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.Industry Canada NoteThis Class A digital apparatus complies with Canadian ICES-003.ISO 9001 RegistrationISO 9001 Registration In 1994, Ohaus Corporation, USA, was awarded a certificate of registration to ISO 9001 by Bureau Veritus Quality International (BVQI), confirming that the Ohaus quality management system is compliant with the ISO 9001 standard’s requirements. On June 21, 2012, Ohaus Corporation, USA, was re-registered to the ISO 9001:2008 standard.LIMITED WARRANTYOhaus products are warranted against defects in materials and workmanship from the date of delivery through the duration of the warranty period. During the warranty period Ohaus will repair, or, at its option, replace any component(s) that proves to be defective at no charge, provided that the product is returned, freight prepaid, to Ohaus.This warranty does not apply if the product has been damaged by accident or misuse, exposed to radioactive or corrosive materials, has foreign material penetrating to the inside of the product, or as a result of service or modification by other than Ohaus. In lieu of a properly returned warranty registration card, the warranty period shall begin on the date of shipment to the authorized dealer. No other express or implied warranty is given by Ohaus Corporation. Ohaus Corporation shall not be liable for any consequential damages.As warranty legislation differs from state to state and country to country, please contact Ohaus or your local Ohaus dealer for further details.Ohaus Corporation7 Campus DriveSuite 310Parsippany, NJ 07054 USATel: +1 (973) 377-9000Fax: +1 (973) 944-7177With offices worldwide / Con oficinas alrededor del mundo / Avec des bureaux dans le monde entier / Weltweite Geshäftsstellen / Con uffici in tutto il mondo.*80251619*PN 80251619 E © 2013 Ohaus Corporation, all rights reserved / todos los derechos reservados / tous droits reserves.Printed in China / Impreso en la China / Imprimé en Chine。
Rek-O-Kut 重音响均衡器操作指南说明书
OPERATING MANUALFORREK-O-KUTRE-EQUALIZERPRICE: $5.00INSTRUCTIONS FOR OPERATION OF REK-O-KUT RE-EQUALIZER INTRODUCTION:Modern preamps are designed solely for today's microgroove, RIAA equalized recordings. In the 1950's, they included switches providing several different RECORD COMPENSATIONS. The more expensive units had two switches labeled TURNOVER and ROLLOFF. Turnover refers to the bass boost that must be applied to compensate for the diminishment of bass during record cutting to avoid crosscutting of the grooves. Rolloff refers to the treble loss to compensate for high frequency boost applied during record cutting. The benefit of the latter is a reduction of surface noise during play.Before 1954, there were a variety of recording characteristics, such as AES, LP, NAB and FFRR. Most were used for a brief period, say between 1940 and 1954. Before 1940, most records were cut flat with only a low frequency turnover below from 300 Hz to 800 Hz. This also applied to broadcast transcriptions and Vitaphone-type recordings used before sound-on-film. So, if you play a pre-WWII 78 rpm record through a modern preamp, you are actually effectively playing it with a scratch filter whose cutoff begins at 2200 Hz. This accounts for the lack of highs and slightly muffled voices experienced with these records. One way of dealing with the equalization problem is to use a graphic equalizer, but it is very difficult to get accurate results by this method. Another way of dealing with the record compensation problem is to modify your modern stereo preamp with an equalization switch for both RIAA and other compensations, but it may spoil the cosmetics of your $1800 preamp.There is also the problem of what to do with recordings of vintage discs made off of modern RIAA phono amplifiers. They will suffer from the frequency response distortion caused by the RIAA amplifier and they cannot be played through the phono input of a properly equalized preamp.The RE-EQUALIZER solves this. It is used after the RIAA phono stage, and connects to the system like a common graphic equalizer. It will then compensate any signal source for proper equalization. The RE-EQUALIZER allows the use of any phono amplifier and will not degrade the performance of any audiophile unit.CONNECTION:The RE-EQUALIZER should be connected tothe stereo system just like any other auxiliarysound processing component. De-clickers,such as the Packburn 323 or Esoteric SoundSURFACE NOISE REDUCER, must alwaysprecede the RE-EQUALIZER. If taperecording is not used, connect the RE-EQUALIZER in the tape monitor path. If taperecording is desired, connect the RE-EQUALIZER in the tape monitor path (Fig. 1)and use a "Y" connector to feed its (orassociated equipment's) output to an unused"Aux" input. Tape playback will be via this"Aux" input. With the tape monitor switchedin, you will hear via your speakers the soundthat is being processed.If your preamp/amp/receiver does not have aseparate "Aux" input, eliminate the "Y"Page #1connectors and connect directly into the recorder, and connect the recorder's output to the amp's "Tape In." Then for normal listening of Re-Equalized or otherwise processed sound monitor the tape recorder. If the tape recorder has a "Monitor" switch, it must be in "Source" to do this.CONTROLS:The front panel has three controls: Turnover, Rolloff, and Bypass. The Turnover has eight positions: FLAT, 300 Hz, 400 Hz, RIAA, Lp, 629 Hz, 800 Hz, and 1000 Hz. The Rolloff also has eight positions: FLAT, -5 db, BBC, -8 dB, -10 db, -12 db, RIAA, and NAB. The BYPASS switch provides a hard wire connection from input to output with no intervening circuitry. When switched to “IN,” the two inputs are connected together providing mono operation. This reduces some noise and facilitates recording.Turnover (FLAT) - Can be used with acoustical 78 rpm records and cylinders. Then use graphic EQ for best sounding bass. Acoustic recording bass compensation is highly subjective. Suggest you use 300.Turnover (300 Hz) - This is used for Columbia brand and manufactured electrical 78 records, London FFRR 78s, BBC broadcast transcriptions, many pre-WWII records & transcriptions, early Western Electric products. Also, it is useful for improving bass on acoustical records.Turnover (400 Hz))(AES) - Some post-WWII 33s, 45s, 78s using the AES characteristic.Turnover (500 Hz)(RIAA) - Most post-1935 US 78s, broadcast transcriptions and also for Orthoacoustic and NAB transcriptions.Turnover (500 Hz, modified)(LP) - For early Columbia and some other LPs. 100Hz rumble shelf.Turnover (629 Hz) - Used with some early electrical 78s, some 1931 vintage Victor LPs.Turnover (800 Hz) - Used mostly by RCA for early RCA-Victor 1950s LPs and 45s.Turnover (1000 Hz) - Used with many old 78s, 45s, BBC microgroove LPs, provided there is a sharp rumble filter.Rolloff (0dB)(FLAT) - For acoustical records and all early (pre-1938) electrical 78s and transcriptions. A low-pass (scratch) filter is useful in conjunction with this setting.Rolloff (-5 dB) - This is for a -5 db drop at 10 KHz. Used for some post-1938 78's, FFRR 78s, or to soften noise on early recordings.Rolloff (BBC) - A setting for late 1940s, early 1950s BBC transcriptions. Approx. 2 dB per octave.Rolloff (-8dB) - This is for a -8 db drop at 10 KHz. Mostly for early RCA-Victor LPs.Rolloff (-10 dB) - Used for some post-1938 78s, early LPs, such as London.Rolloff (-12 dB)(AES) - This is used for some post WWII records employing the AES characteristic.Rolloff (-13.7 dB)(RIAA) - For most modern records.Rolloff (-16 dB)(NAB) - For early Columbia LPs and all NAB and Orthoacoustic transcriptions.Page #2RECOMMENDED SETTINGS (see tables):These are recommendations, but not written in stone. As documentation of recording curves is difficult to track down, some experimentation may be called for. Be particularly observant of matrix numbers surrounding the label area and record labels for dating records.Tables for record compensation settings were published in most early hifi magazines (“Dialing You Discs”in High Fidelity) but are often fallacious. These turn up occasionally and may be consulted. In "Conversations With Toscanini," by B. H. Haggin, many subjective suggestions are given for playback of Toscanini discs.HINTS ON USE:One advantage of the RE-EQUALIZER is the ability to use it on tape recordings of vintage records made with RIAA equalized preamps. Do not trust all transcription and record labels. Also, many small recording company and radio station engineers seemingly didn't understand the technology and often employed no pre-emphasis on recordings labeled as NAB. This has been found to occur even on discs cut in the1960's! Many pre-WWII radio shows which were recorded with flat highs were re-syndicated again in the late 40's and 50's. As original masters were normally used, the re-release will require a flat Rolloff even though the label states NAB or Orthoacoustic! This is also true for post-WWII 78s. Play LP reissues of 78s, as on RCA Bluebird, with the Flat Rolloff position and you will be in for a pleasant surprise.You may find many discs that do not fit the tables or are ambiguous. For these, you will have to let your ear be your guide. Western Electric, Columbia, and non-US companies tended to use 300 Hz Turnover. Listening to the material will often suffice to impress you whether to use 300 Hz or 500 Hz. Once the low end is determined, try various Rolloffs. Almost all early electrical recordings were recorded with flat response. If noise proves a problem try more than the recommended Rolloff.When playing older or abused records that require less Rolloff, i.e., Flat, -5, -8, a significant increase in noise level will often be noticed due to surface noise. In these cases, a high frequency, lo-pass, hi-cut, or "scratch" filter is recommended. Don't forget that when playing a flat cut record with an RIAA preamp, you are actually effectively using a scratch filter that is some 13.7 db down at 10 KHz. With these types of records, with let's say a 7.5 KHz scratch filter and the RE-EQUALIZER set to FLAT, you will be gaining in highs between 2.2 KHz and 7.5 Khz. Although the scratch filter is employed, its use with the RE-EQUALIZER may result in significantly more highs than with a standard RIAA preamp and no filter.When playing vertical-cut records, such as Edison or Pathe, switch one pair of leads (non-earth ground) of a stereo cartridge used for play. If not done, the channels will largely cancel when the RE-EQUALIZER is switched to “IN,” resulting in very low volume.Most commercial, pre-RIAA records had matrix numbers that were of larger, often cursive fonts, and were raised from the surface. Their characters appeared to be made with punches. Most RIAA discs had smaller, more Arial fonts and appeared to be etched into the surface. You can use a toothpick and magnifying glass to help determine this.LONDON/DECCA OLDER MATRIX LONDON/DECCA NEWER MATRIXPage #3The photos above are of British London/Decca LPs made circa 1954. The left matrix number has the raised, large font commonly associated with RIAA/-10 dB equalization. The right matrix number, ARL-1425, would ordinarily indicate an earlier equalization; however, it has the engraved into font associated with RIAA/RIAA equalization. Also, note the “R.” That signifies remastered for RIAA.US DECCA OLDER MATRIX US DECCA NEWER MATRIXUS Decca has a similar distinctive matrix identification. Also note the higher “Take Number,” or “Stamper Number.” Usually, smaller Take Numbers are associated with pre-RIAA records. The record on the left requires 800/-8 dB equalization in order to make it sound like the RIAA on the right.US COLUMBIA OLDER MATRIX US COLUMBIA NEWER MATRIXUS Columbia follows similarly. Note that both matrix numbers are the same. The RIAA issue, however, has smaller Arial font, and also larger Take Numbers.US COLUMBIA OLDER MATRIX (Version 2) US COLUMBIA NEWER MATRIXSometimes font characterization is not enough. Above, only the take number and label are different.Labels can tell a lot about a record’s age.These US Decca labels are from thesame recording of show music. On theleft is the earlier, pre-RIAA version. Onthe right is the later, RIAA version.However, this is not a guarantee of arecords age, but one of severalindicators. It was the Matrix Numbersthat confirmed this equalization choice.Page #4Although the label on the left is the olderlabel, only one side of this record is pre-RIAA. The matrix number font and TakeNumber was the give away. With USDecca, one can expect pre-RIAA only upto and including T3.Below are two common Columbia LPlabels. Both of these labels haveappeared on records that were either “LPcurve” or RIAA. The blue label was almostexclusively used during the pre-RIAA era.The “6-Eyes” label appeared as Columbiaswitched to RIAA. Almost all are RIAA.You will sometimes find records with LPEQ on one side and RIAA on the other.You must check thematrix number forabsolute certainty.During the Columbiatransition to RIAA, theyreissued records with a“HIFI Plus” stickerto indicate an RIAA release. The labelswere often the old blue at the left.Lastly, are a pre-RIAA RCA label on the leftand an RIAA label on the right. However,you must check matrix numbers. Theremaining records in this Beethoven setwere all RIAA. This set was issued duringRCA’s transition to RIAA. Try to findpreponderance of EQ indicators.SPECIFICATIONS:Max input signal level: 3.5 volts (+12 dbm)THD at max output :0.02%Frequency Response (RIAA compensation):20 - 20 KHz + .5 dbGain:1Signal-to-Noise relative max out:85 dbHELP SET THE RECORD STRAIGHTIf you have any additional equalization information, please bring it to our attention so that it can be included in future updates.**** WARRANTY ****This unit is warranted to perform properly for one year from date of purchase. All parts and labor are covered. Should the unit malfunction, return it properly packed, and with payment of $12.00 to cover return postage, and it will be repaired and returned as soon as possible.Foreign purchasers are requested to remove the RE-EQUALIZER from its cabinet (if purchased) and return the unit along with payment of $40.00 via surface shipping. We will return the unit via the same process.PHONOGRAPH RECORD EQUALIZATION COMPENSATION SETTINGS MANUFACTURER SPEED BASS (TURNOVER)TREBLE (ROLLOFF)============================================================================================== Acoustic records* All 300 FLATAFRS Transcriptions 33 RIAA FLAT1944 Some or if NAB Stated RIAA NAB12" Transcriptions 1000 FLATAllegro 33 Lp NAB Allied 33 RIAA NAB American Recording Society (<E2KP9607) 33 RIAA -12 Angel (2XEA213-392/XAX561-817)(1N,2N) 33 RIAA FLAT Arizona (up till 1955) 33 400 -12 Artist 78 RIAA NAB Atlantic 33 RIAA NAB Audiophile 33 RIAA -1278 400 FLATAutograph (Marsh electrical) 78 1000 FLAT Audio Fidelity (901-903) 33 RIAA NAB Bach Guild (501-529) 33 Lp NABBalkan 78 500 -5 Banner (up to 10002) 33 Lp NAB Bartok 33 Lp NAB(301-307, 309, 906-920) 33 629 NAB Berliner* 71.29 300 FLAT BBC Transcriptions (1930-1949)(<50000) All 300 FLAT(1949-1953)(>70000) All 300 BBC(“P” matrix) (1954-1956) 33 400 -10(“R”matrix)(<1961)(<105403)LP-cut 33 1000 FLAT Bluebird All See RCA-Victor See RCA-VictorBlue Note 33 400 -12 Boston (up to B202) 33 Lp NAB Brunswick (1925) 78 300 FLAT(1946-1954) 78 629 -12(up to MG4400)(w/raised matrix)** 33 800 -8Caedmon 33 629 -12(1001-1022) 33 629 NABCanyon (to C6160) 33 400 -12Capitol<1954 78 800 -10<1954 45 800 -12(FDS) (up to P8155) 33 400 -12(1953,FDS>8156) All RIAA RIAACapitol-Telefunken 78 RIAA FLAT Capitol-Cetra (up to A-50155)(9/53)# 33 400 -12Cetra-Soria 33 Lp NABColosseum 33 400 -12Some Long Operas 33 1000 -5Columbia-1925 78 300 FLATColumbia-1938 78 300 -5Columbia-1948 78 300 NABColumbia-1948* 45 RIAA NABColumbia-1948 (up to ML4895, XLP3200)# 33 Lp NABColumbia-1954 (after XLP3200 matrix)# All RIAA RIAAColumbia with “HIFI+” sticker ** All RIAA RIAAColumbia(English) (1925-53) 78 300 FLAT1949-1953 (XA561-XAX817-1N,2N only) 33 RIAA FLAT Contemporary 33 400 -12Concert Hall 78 RIAA -5(XTV matrix to 20383)(low take nos) 33 Lp NAB(E0 matrix) 33 800 -8(E1KP/E2KP matrix) 33 RIAA -12(CH matrix?) 33 RIAA -10(E2RP>4095/E2KP>9607) 33 RIAA RIAA Contemporary (3501, 2501/2/5/7, 2001/2 33 400 -12(2504) 33 RIAA NAB(after AP121) 33 RIAA RIAACook 33 RIAA -12(binaural-inside band) 33 RIAA FLAT Coral (1946-1954) 78 629 -12(up to MG4400)(w/raised matrix)** 33 800 -8 Cylinder records* All FLAT FLATDecca (US)(pre 1946) 78 300 FLAT(1946-1954) 78 629 -12(up to MG4400)(w/raised matrix)** 33 800 -8Decca-English 78 300 FLATFFRR(1944)(<DR8485-2) 78 300 -5FFRR (after 6/50)*** 33 RIAA FLAT(>ARL1186-1B)*** 33 RIAA -10(>ARL2530-2A)***# 33 RIAA RIAADGG (Deutsche Grammophone) 33 Lp -1078 300 -5Dial 33 Lp NAB45/78 Lp NAB Edison 80 FLAT FLAT Electra (2-15, 18-20, 24-26) 33 629 NAB(17, 22) 33 400 -12(16, 21, 23, 24) 33 RIAA RIAAElectrical 78's (general) (1925-1938) 78 300 FLAT 1932-1938 78 300/RIAA FLAT 1938-1946 78 300/RIAA FLAT, -5 1947-1954 78 300/RIAA NABElectrola 78 800 -10EMI (1931-53) 78 300 FLAT1949-53(2XEA213-392/XAX561-817)(1N,2N) 33/45 RIAA FLAT7/17/53 33/78 RIAA RIAA EMS 33 400 -12Epic 33 Lp NABEsoteric (ES500, 517, EST5, 6) 33 400 -12(E2KP to 9607) RIAA -12 European 78's (general) 78 300 -5 Festival 33 Lp NABFolkways 33 Lp NABFraternity Records (up to F-1013) 33 RIAA FLATGood Time Jazz (3, 9-19) 33 400 -12 (1, 5-8) 33 RIAA -16 Gramophone Company 78 300 FLAT Handel Society 33 Lp NAB Haydn Society (<XTV20383, HS3062, HS80)# 33 Lp NABHit Of The Week 78 RIAA -5 Home recordings 33/78 RIAA -5 HMV(English)1925-1953 78 300 FLAT1949-1953 (2XEA213-392 -1N,2N only) 33 RIAA FLAT HMV(American-1951) 33 RIAA -12 Improved Record (Eldridge R. Johnson)* 71.29 FLAT FLAT Kapp (100-103,1000,1001) 33 800 NAB Kendall 33 RIAA NABKeynote 78 RIAA FLATKing 78 RIAA NAB Linguaphone 78 300 FLATL'Oiseau-Lyre (up to OL50018)# 33 Lp -10 London (pre 1944) 78 300 FLATFFRR(1944)(<DR8485-2) 78 300 -5FFRR (after 6/1950)*** 33 RIAA FLAT(>ARL1186-1B)*** 33 RIAA -10(>ARL2530-2A)***# 33 RIAA RIAALyricord (before 1953)(E0-E3 matrix) 33 400 -12(XTV matrix) 33 Lp NAB(If 629 listed on jacket) 33 629 NABMajestic 78 RIAA NABMANUFACTURER SPEED BASS (TURNOVER)TREBLE (ROLLOFF)Marsh Laboratories (electrical) 78 1000 FLATMercury (MG10000 series-approx fit) 33 500 -10(thru 10/54, <MG50026, 7000)# ALL 400 -12 MGM (up to E3071)# All RIAA -12 Montilla 33 RIAA -12Musicraft 78 800 RIAANAB/NARTB transcriptions 33/78 RIAA NABvertical transcriptions 33/78 400 NABNew Records 33 RIAA -12Nocturne (LP 1-3, 5, XP 1-10) 33 400 -12 Oceanic (up to XTV20383)(low take nos) 33 Lp NABOdeon 33 300 -10some early electrical 78 800 FLATpre-1953) 78 300 FLATOkeh(electrical) 78 300 FLAT Orthoacoustic transcriptions 33/78 RIAA NAB Overtone (up to XTV20383)(low take nos) 33 Lp NAB Oxford 33 Lp NAB Pacific Jazz (1-13) 33 400 -12Parlophone1925-1953 78 300 FLAT1949-1953 33 500 FLAT Period (up to 576)# 33 RIAA NAB Philharmonia 33 400 -12 Polydor 33 300 -1078 300 -10 Polymusic 33 RIAA NABbinaural-inside band 33 RIAA FLAT Rachmaninoff Society 33 Lp NAB RCA-VictorEarly Acoustics* 71.29 300 FLATLater Acoustics* 76.59-78 300 FLAT1925 78 300 FLAT1931(Program Transcription) 33 800 FLAT1935 78 300/RIAA -51938-1954 78 RIAA -81954 (New Ortho only) 78 RIAA RIAA1930-50 (European) 78 300 FLAT1949 (D9 to EOLRC3980)# 33/45 800 -81950-8/52 (>E0LRC3981)# 33/45 RIAA -128/52(New Orthophonic)(>E2RP4094) 33/45/78 RIAA RIAARemington (up to 199-135)# 33 RIAA NABMANUFACTURER SPEED BASS (TURNOVER)TREBLE (ROLLOFF)================================================================================================= Riverside 33 400 -12 Renaissance 33 Lp -12 Stradivari 33 Lp NAB Supraphone 78 400 FLAT Technicord 78 800 -12 Telefunken 78 400 -5 Tempo 33 RIAA NAB Transcriptions(many pre-WWII) 33/78 RIAA FLAT(vertical-old) 33 300 -5(vertical-NAB) 33 400 NAB Transradio 33 Lp NAB Ultraphone 33/78 400 FLATUrania-old (up to XTV20383)(low take nos) 33 Lp NABlater (<E2KP9607) 33 RIAA -12late 1954 (>E2KP9607) 33 RIAA RIAA Vanguard (411-422, 6000-6018, 7001-7011, 33 Lp NAB8000-8004,(up to XTV20383) Vox (up to XTV20386), PL8400)# 33 Lp NABWar Department-Special Services - 12" 33 800 -5 Westminster (EO matrix) 33 800 -8(up to E2KP9607) 33 RIAA -12(up to XTV20383)(low take nos) 33 Lp NAB Victor All See RCA-Victor See RCA-Victor Vitaphone(motion picture) 33 300 FLAT Vocalion(electrical) 78 300 FLAT Western Electric(early transcripions) 33 300 FLAT Zonophone 78 300 FLAT(early)* 71.29 300 FLAT RIAA, Ortho, New Ortho, New NARTB, New All RIAA RIAAAES used on recordings since 1955Notes:*On some recordings with very thin bass, such as 45 rpm EP's and acoustics, 800 or 1000 Hz Turnover may be used with appropriate rumble filter.**Sometimes, one side has old matrix number, the other new. There are two Eqs.***Only for non-“R” matrix with punched, large-font, raised matrix numbers.#These are approximate record numbers circa adoption of RIAASources:Letter from E.C. Forman to John M. Kaar, 1935.Drawing KRD-1384, from letter of H. I. Reiskind of RCA to John M. Kaar, 12-10-49.Personal correspondence from Emery Cook, 1987.Letter from V. C. Houk of RCA to John M. Kaar, 10-26-48.Letter from H. I. Reiskind of RCA to John M. Kaar, 4/11/50.Personal correspondence and articles from Peter Copeland, 2002.Evolution of a Recording Curve, R. C. Moyer, Audio, 1953.McIntosh Laboratory, C-8, C-22 Manuals.High Fidelity Magazine, Dialing Yor Discs, 1953-57.Fisher Master Audio Control 80-C operating manual.Pickering Record Compensator manual.Packburn 323A operating manual.Source Engineering Specialist Preamplifier operating manual.Western Electric 9A reproducer manual.RCA Universal Tone Arm And Filter Kit MI-11870 manual.Radiotron Designer’s HandbookARSC Journal, Vol 37, No.1, article by Powell, Stehle, Powell.The Recording and Reproduction of Sound, Oliver Read, 1952.Radio & Television News, Charles Boegli, 1953.Getting the Best from Records, Wireless World, February, 1940, P. G. A. H. Voigt.Preamplifier Switching and Equalizing Unit for Critical Listening, M. V. Kiebert, Audio, 1952. Professional Equalizing-Preamp Suitable for Home Use, K. W. Betsh, Audio, 1957.FREQUENCY RESPONSE OF RE-EQUALIZER FOR VARIOUS SETTINGS OF TURNOVER AND ROLLOFFEsoteric Sound1608 Hemstock Ave.Wheaton, IL 60189630-933-9801E-Mail:******************。
先驱功放c-078说明书
先驱功放c—078说明书
一、面板布置：
1、本功放由功放、播放器、电平指示器、扬声器四个模块组成。
其中功放有放大音频信号的功能，可把播放器音频、外接音频、话筒音频信号放大，通过调节旋钮可改变信号的大小。
播放器有读取内存卡里的音频文件并转化成音频信号的功能。
电平指示模块是通过计算音频信号，获取音频里音调的高低信号，再通过led灯显示出来，具有装饰的功能。
扬声器是把音频信号转化成声音信号的作用。
注意：
1、使用前检查电源线和变压器线是否完好，外层绝缘皮是否有破损，若有破损则需要用电胶布粘住，防止皮肤接触而触电。
2、通电时最好不要触碰变压器和变压线。
3、使用时禁止触碰散热器、变压器，防止因温度过高而烫伤。
4、当使用耳机听音频时，只需把耳机插入耳机插孔，但要注意，在使用耳机之前要控制好音量，防止音量过大而损坏耳机。
一般操作是先把音量调为最小，插入耳机后再慢慢增大。
二、使用步骤：
1、打开电源：
在打开电源前先把音乐音量，话筒音量④调为最小，并确定自带播放器开关⑥处于关闭状态。
然后把电源线接电，则电源指示灯会亮①。
2、接音频：
音频有两种，一种是外接音频输入②，另外一种是自带播放器输入，其优先级是外接音频输入高于自带播放器音频输入。
均衡器的调整方法（专业音响师必修）
均衡器的调整方法（专业音响师必修）第一篇：均衡器的调整方法(专业音响师必修)均衡器的调整方法1．均衡器的调整方法：超低音：20Hz-40Hz，适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音：40Hz-150Hz，是声音的基础部份，其能量占整个音频能量的70%，是表现音乐风格的重要成份。
适当时，低音张弛得宜，声音丰满柔和，不足时声音单薄，150Hz，过度提升时会使声音发闷，明亮度下降，鼻音增强。
中低音：150Hz-500Hz，是声音的结构部分，人声位于这个位置，不足时，演唱声会被音乐淹没，声音软而无力，适当提升时会感到浑厚有力，提高声音的力度和响度。
提升过度时会使低音变得生硬，300Hz处过度提升3-6dB，如再加上混响，则会严重影响声音的清晰度。
中音：500Hz-2KHz，包含大多数乐器的低次谐波和泛音，是小军鼓和打击乐器的特征音。
适当时声音透彻明亮，不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音：2KHz-5KHz，是弦乐的特征音（拉弦乐的弓与弦的摩搡声，弹拔乐的手指触弦的声音某）。
不足时声音的穿透力下降，过强时会掩蔽语言音节的识别。
高音：7KHz-8KHz，是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出，语言的齿音加重和音色发毛。
极高音：8KHz-10KHz合适时，三角铁和立叉的金属感通透率高，沙钟的节奏清晰可辨。
过度提升会使声音不自然，易烧毁高频单元。
2．平衡悦耳的声音应是：150Hz以下（低音）应是丰满、柔和而富有弹性；150Hz-50Hz（中低音）应是浑厚有力百不混浊；500Hz-5KHz（中高音）应是明亮透彻而不生硬；5KHz以上（高音）应是纤细，园顺而不尖锐刺耳。
整个频响特性平直时：声音自然丰满而有弹性，层次清晰园顺悦耳。
频响多峰谷时：声音粗糙混浊，高音刺耳发毛，无层次感扩声易发生反馈啸叫。
3．频率的音感特征：30~60Hz 沉闷如没有相当大的响度，人耳很难感觉。
均衡器GEQ3102说明
Version 1.1 May 2000Tech. Specifications®GEQ3102ULTRA-GRAPH PRO Ultra-musical 31-Band Stereo Graphic Equalizer s Delivers outstanding equalization both in live applications and in the studio s For gentle contouring and audio sweetening in audio post-production and recording studios s Perfectly suited for room equalization and extreme corrective surgery e.g. notching out unwanted frequencies(feedback etc.)s2 x 31 ISO frequencies controllable via slide controls with boost/cut range switchable from 12 dB to 6 dB s Additional sweepable High and Low Cut filters remove unwanted frequencies e.g. floor rumble and tape hiss etc.s Servo-balanced inputs and outputs on gold-plated XLR and 1/4" jack connectors s Relay-controlled hard-bypass with an auto-bypass function during power failure (failsafe relay)s Ultra-low noise audio operational amplifiers offer outstanding sound performance s High-precision illuminated Alps faders s Accurate 12-segment LED input/output metering for easy level setting s High-quality detented potentiometers and illuminated switches s High-grade toroidal transformer for a minimum of interference s High-quality components and exceptionally rugged construction ensures long life s Manufactured under ISO9000 certified management system 2SPECIFICATIONSAUDIO INPUTConnectors XLR and 1/4" jackType RF filtered, servo-balanced inputImpedance50 kOhm balanced, 25 kOhm unbalancedMax. input level+21 dBu balanced and unbalancedCMRR typ. 40 dB, > 53 dB @ 1 kHzAUDIO OUTPUTConnectors XLR and 1/4" jackType electronically servo-balanced output stageImpedance60 Ohms balanced, 30 Ohms unbalancedMax. output level+21 dBu balanced and unbalancedSYSTEM SPECIFICATIONSFrequency response10 Hz to 35 kHz, +/- 3 dBNoise> 92.3 dBu, unweighted, 22 Hz to 22 kHzTHD0.004 % typ. @ +4 dBu, 1 kHz, Gain 1Crosstalk< -85 dB, 22 Hz to 22 kHzROLL-OFF FILTER SECTIONType12 dB/oct., butterworthInput variable (-15 dB to +15 dB)Low cut variable (10 Hz to 400 Hz)High cut variable (2.5 kHz to 30 kHz)GRAPHIC EQUALIZERType analog 1/3-octave equalizerFrequency range20 Hz to 20 kHz in 31 1/3-octave bands (ISO frequencies)Bandwidth1/3 octaveControl range+/- 6 dB or +/- 12 dB (switchable)FUNCTION SWITCHESAudio in/out switch to bypass the equalizer functionsI/O meter in/out switches the meter display from input to outputRange shift of the maximum cut/boost range for all 31 bands INDICATORSInput/output level12-segment LED display: -30/-24/-18/-12/-6/-3/0/+3/+6/+9/+12/+18 dB Function switch LED indicator for every switchPOWER SUPPLYMains voltages USA/Canada120 V ~, 60 HzU.K./Australia240 V ~, 50 HzEurope230 V ~, 50 HzGeneral export model100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz Power consumption max. 20 WattsFuse100 - 120 V ~: T 400 mA H200 - 240 V ~: T 200 mA HMains connection standard IEC receptaclePHYSICALDimension app. 3 1/2" (89 mm) * 19" (482.6 mm) * 5.3" (135 mm)Weight app. 2.5 kgBEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.3The information contained in this sheet is subject to change without notice. No part of this sheet may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH.BEHRINGER and ULTRA-GRAPH are registered trademarks. ALL RIGHTS RESERVED.© 2000 BEHRINGER Spezielle Studiotechnik GmbH.BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, GermanyTel. +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-304。
均衡器参数详解及操作指南
均衡器参数详解及操作指南1、均衡器的调整方法：超低音： 20Hz-40Hz,适当时声音强而有力;能控制雷声、低音鼓、管风琴和贝司的声音;过度提升会使音乐变得混浊不清;低音： 40Hz-150Hz,是声音的基础部份,其能量占整个音频能量的70%,是表现音乐风格的重要成份;适当时,低音张弛得宜,声音丰满柔和,不足时声音单薄,150Hz,过度提升时会使声音发闷,明亮度下降,鼻音增强;中低音： 150Hz-500Hz,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度;提升过度时会使低音变得生硬,300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度;中音： 500Hz-2KHz,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音;适当时声音透彻明亮,不足时声音朦胧;过度提升时会产生类似电话的声音;中高音： 2KHz-5KHz,是弦乐的特征音拉弦乐的弓与弦的摩搡声,弹拔乐的手指触弦的声音某;不足时声音的穿透力下降,过强时会掩蔽语言音节的识别;高音： 7KHz-8KHz,是影响声音层次感的频率;过度提升会使短笛、长笛声音突出,语言的齿音加重和音色发毛;极高音： 8KHz-10KHz 合适时,三角铁和立的金属感通透率高,沙钟的节奏清晰可辨;过度提升会使声音不自然,易烧毁高频单元;2、平衡悦耳的声音应是：150Hz以下低音应是丰满、柔和而富有弹性；150Hz-500Hz中低音应是浑厚有力百不混浊；500Hz-5KHz中高音应是明亮透彻而不生硬；5KHz以上高音应是纤细,园顺而不尖锐刺耳; 整个频响特性平直时：声音自然丰满而有弹性,层次清晰园顺悦耳;频响多峰谷时：声音粗糙混浊,高音刺耳发毛,无层次感扩声易发生反馈啸叫;3、频率的音感特征：30~60Hz沉闷如没有相当大的响度,人耳很难感觉;60~100Hz沉重 80Hz附近能产生极强的“重感”效果,响度很高也不会给人舒服的感觉,可给人以强烈的刺激作用;100~200Hz丰满200~500Hz力度易引起嗡嗡声的烦闷心理;500~1KHz明朗 800Hz附近如提升10dB,会明显产生一种嘈杂感,狭窄感;1K~2KHz透亮 2800Kz附近明亮感关系最大;2K~4Kz尖锐 6800Hz形成尖啸,锐利的感觉;4K~8Kz清脆 3400Hz易引起听觉疲劳;8K~16Kz纤细＞音感清彻纤细;均衡器的发展趋势运用数字滤波器组成的均衡器称为数字均衡器,数字均衡器即可作成图示EQ,有可做成参量EQ,还可以做成两者兼有的EQ,它不仅各项性能指标优异,操作方便,而且还可同时储存多种用途的频响均衡特性,供不同节目要求选用,可多至储存99种频响特性曲线;SONY的SRP-E300是一款多功能2通道的数字均衡器具有10段参量均衡和29段图示均衡,可同时或独立工作,带有限制器和噪声门功能,高精度的48kHz取样,20比特线性模数/数模转换；带有模拟和数字输入/输出；RS-232C C接口,可用于外部遥控,,它的出现会逐步淘汰普通的模拟均衡器,是一款专业音频扩声领域具有极高性价比的产品;.1、20～40Hz这个频段声音的大部分感觉是松软的低音,而不是强劲有力,通过试验就可以知道;看看给地鼓提升这个频段会有什么效果;2、40～150Hz是声音的基础没错,但是绝占不到70％,而且人声的鼻音也不在这个频段,大概在250左右;3、150～500Hz这频段,是个要在处理的时候非常小心的频段,绝不能靠提升这频段来获得人声的力度;稍不小心就会一团遭;4、“300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度;”应该说只要在低频部分加混响,都会影响声音的清晰度;当然,在现在的混音技巧中,这个规则已经不是很重要了;因为,我们经常会在欧美及港台的录音室里见到他们为地鼓和贝司加超短程混响;以上均是参考的数值,实际上还是要根据制作的实际情况而定希望能提供给大家参考的帮助上篇文章里简单介绍了调音台的使用技巧,这篇文章我想同大家交流一下关于专业均衡器的使用技巧;众所周知均衡器的主要功能就是调整音色、调整声场和抑制声反馈了,如何调整音色的文章很多了,在这里我想着重介绍的是如何使用专业多段图式房间均衡器调整声场和调整声反馈; 现在的专业音响系统中使用的图示均衡器一般都是31段左右,其推拉电位器的Q值是恒定的,一般为1/3倍频程,所以无论是提升或衰减某频率,滤波器的带宽始终是不变的,而频率提升和衰减的程度一般为6－18 dB,最常用的是12dB;图式均衡器通过面板上推拉键的分布位置,可以非常直观地反映出各频率的提升和衰减情况;常用的专业图示均衡器频率调节范围一般是20Hz~20kHz,频率调整点一般从低到高分为：20Hz、25Hz、32Hz、40Hz、50Hz、63Hz、80Hz、100Hz、125Hz、160Hz、200Hz、250Hz、315Hz、400Hz、500Hz、630Hz、800Hz、1kHz、、、2kHz、、、4kHz、5kHz、、8kHz、10kHz、、16kHz、20kHz等共31个频点,因其有一项主要功能是用来调整室内声场的,故又称其为：专业多段图式房间均衡器; 下面我就把自己多年来使用均衡器的心得写一下,谨供大家参考：一、使用均衡器调整声场：在专业均衡器的三大主要功能当中,调整音色应该是最基本最经常用到的功能了,甚至于目前好多音响师只知道均衡器可以调整音色,而不知道专业图式房间均衡器更重要的功能是用来调整声场和抑制声反馈的;用房间均衡器来调整声场,非常专业的方法是要借助粉红噪声发生器和实时频谱仪来调整;但我们现在大多数的音响师是不可能有这些设备的,只能就地取材,利用现有的设备想办法进行声场调整了,最简单最实用的办法就是用话筒调节了,其实如何利用话筒来调整声场和调整声反馈也有一些文章介绍过,但我觉得介绍的不够详细或者不够通俗易懂,在多年的工作中,我总结了一套简单、实用、通俗易懂的调整方法,具体调整步骤如下：A、首先找一只频响曲线较为平直、频响范围较宽的话筒,最好是电容话筒,也可以是质量比较好的动圈有线、无线话筒;把这个话筒固定在话筒架上,放在一个声场的最佳听音区内,高度1.2米左右,话筒拾音头的水平位置与主音箱的中轴线平,基本上就是和主音箱成等腰三角型;B、调整时要将除房间均衡器外的其它周边设备旁路直通,再把均衡器所有调节点清零,调音台上话筒所在通道的均衡器也要直通不做调整,功放打开并把音量开到合适的位置,然后打开调音台的总音量,开始慢慢往上推话筒音量推子,听到轻微的回输声时,再把话筒音量推子往下拉6—9个dB左右;C、然后用房间均衡器从50Hz—16kHz每个点逐步进行提升,一般50Hz以下,16kHz以上的频率是不会产生声反馈的;具体调整步骤如下： 1、找出回输最厉害的频率点：对声场影响最大的回输点一般有2个左右,假如在一个代号为：W的舞厅里,当我们对400Hz和4kHz这两点进行大幅度提升时产生了回输,而其它频率点即使做了大幅度的提升一般提升12dB左右也没有产生声回输,那么我们就确定在这个声场中回输最厉害的有两个点,就是：400Hz和4kHz,此时我们要先把这两个点衰减6个dB左右,这样可以方便下一步的操作;当然不同的声场回输的频率也不可能一样; 2、找出回输比较厉害的频率点：这样的点一般有3个左右,此时我们再把调音台上的话筒音量开大些,再重新对均衡器上除了400Hz和4kHz以外的频点逐一进行大幅度提升,假如又发现了200Hz、1KHz、5KHz产生了回输,那第二步的调整也完成了; 3、对找出的回输频率进行处理：通过以上的调整,我们共找出了5个回输点,我们可以把回输最厉害的400Hz和4kHz这两个点衰减6—9个dB左右；再把回输比较厉害的200Hz、1KHz、5KHz这3个频率点衰减3-6个dB,此时这个声场基本上就是调整好了;二、使用均衡器调整声反馈：很多音响师都会有一个困惑：调整声场和调整声反馈难道不是一回事吗为什么还要把两者区分开来呢实际上两者当然有区别,虽然调整步骤和方法是一样的,但其达到的目的和效果是不一样的;调好声场只是找到了这个声场的不足并予以优化,而没有办法解决大部分的话筒声反馈,我这里说的声反馈通俗来说也叫：回输;还是以那个代号为：W的舞厅为例,这个舞厅音响系统中使用了6只话筒,然后这个舞厅又有三个舞台供演员演出,设想下假如这6只话筒又不是同一个品牌,且它们的参数又各不相同,想想在这种情况下要完全避免回输会有多么困难;但再困难也要想办法解决吧,我们可以通过以下的方法尽量减少和避免声反馈：首先把所有的话筒分类,选出经常使用的几只话筒,假如我们选了2只AKG的话筒,2个SHURE的话筒,然后用像调整声场一样的方法来调整声反馈： 1、比如我们可以先拿一只SHURE的话筒,把它固定在话筒架上,分别在三个舞台范围内寻找回输点,假如我们在a舞台区域内找到了一个500Hz的主要回输点；在b舞台区域内又找到了一个630Hz的主要回输点；在c舞台区域内还找到了一个800Hz主要回输点; 2、然后再拿一只AKG的话筒,把它固定在话筒架上,再分别在三个舞台范围内寻找回输点,假如我们在a舞台区域内找到了一个的主要回输点；在b舞台区域内又找到了一个的主要回输点；在c舞台区域内还找到了一个主要回输点;这样就是用两种话筒在3个舞台区域内就一共找到了：500Hz、630Hz、800Hz、、、这6个回输点 ,然后再在均衡器上把这些点按照回输大小的程度,衰减3-9个dB;当然这三个舞台区域内在同等话筒音量情况下,可能a舞台回输最厉害发现3个点,而b舞台和c舞台连一个回输点都没有,所以要根据情况灵活调整; 3、用主要话筒在主要表演区内逐一搜索完回输点后,然后再到演员不经常去,但有可能去的区域搜索一下,看看还有没有回输点；然后再用不经常使用的话筒按照以上顺序重头搜索一遍回输点,这样这个舞厅的声反馈就会得到很好的控制,当然不可能无节制的衰减均衡器,如果把均衡器衰减的面目全非,千疮百孔,那样就会连声音的连续性和基本音色都得不到保证;三、使用均衡器调整音色：当声场和回输点一旦调整好后,专业图示房间均衡器最经常用的功能就是调整音色了,当然在调整音色时候要兼顾回输点所在的频率,有条件的话可以再增加一台均衡器专门作为调整音色用;实际上不同的音响设备和不同的声场对均衡器的调整当然也会不同,因此根本不可能有一个相对标准和固定的调整方法,但在我十几年的工作当中,我总结了一套相对来说适用于大多数场所的调整方法,大家可以试一下：A、低频段的调整——调好各种音源的基音部分及丰满度、结实度：我习惯把20Hz到315Hz的频率范围划分成低频段,这一段调整的重点是注意各种音源的主要基音部分,就像一座金字塔,没有基础部分也就不会有塔尖部分,所以低音频率的调整是很重要的; 在具体操作上： 1、20Hz、32Hz这两个频率基本上都是完全衰减的,因为现在很多音箱的低音频率还没有下潜至这个频段; 2、40Hz、50Hz 这两个频率恰好是目前我国220V交流电的频率,为了减少电源部分的干扰我们一般也把这两个频率衰减5个dB左右; 3、63Hz、80Hz、100Hz这三个频率决定了音源的丰满度,一般不要做大的提升和衰减; 4、125Hz、160Hz、200Hz、250Hz这四个点决定了音源的力度和结实度,提升太多声音生硬,衰减太多则声音模糊、发虚,因此这几个点在低频段最为关键; 5、整个低频段需要着重注意一点的就是低音部分增加3个dB,功放的负载就增加了一倍,所以调节时候一定要慎重,既要注重音色,又要兼顾声场,还要兼顾功放的承受力;B、中频段的调整——调好各种音源的二、三次泛音及圆润度、明亮度：我习惯把400Hz到的频率范围划分成中频段,大家知道大部分音源的主要基音部分都会在低音部分,那么它们的2次泛音、3次泛音、4次泛音……就会在中音频段；当然也有一些音源由于频率较高,其主要基音部分也会在中频段;总之这一段调整的重点是调好大部分音源的二、三次泛音及音色的圆润度、明亮度; 在具体操作上： 1、315Hz、400Hz、500Hz、630Hz、 800Hz、这五个频率影响着音源的力度和圆润度,这一段频率一般很少提升,因为提升后会影响音质,比如315Hz—500Hz 段提升太多时,声音就会变得像从井底发出来一样；对630Hz和800Hz 段提升太多时,音质就会变得像电话里的声音一样; 2、而1kHz、、、2kHz、这五个频点影响着音源的明亮度,这几个频率是人耳听觉最灵敏的,因此对整体的音色影响也最大,有时在这一段频率内稍微提升或衰减1、2个dB,都会改变整体的听音感觉; 整个中频段也是声反馈最容易产生的频率范围,因此对中频段频率点的调整时要非常灵活、仔细;C、高频段的调整——调好各种音源的多次泛音及色彩感和穿透力：我习惯把到20kHz的频率范围划分成高频段,这一段调整的重点是注意各种音源的泛音部分及色彩感和穿透力; 在具体操作上： 1、、4kHz、5kHz、是高音段的主要部分,这些频点如果提升过度,声音容易产生毛刺感或产生高音声反馈,衰减过度声音会显得呆板,没有磁性,没有活力;因此要小心、仔细操作; 2、8kHz、10kHz、这三个点影响声音的层次感和色彩; 3、16kHz、20kHz由于目前很多音箱的高频还达不到20kHz,再加上人耳很少能听见这么高的频率,所以我们一般把20kHz这个点进行大幅度的衰减,而16kHz这个频率点实际上很重要,如果把它衰减了,那么高音里的那种金光四射感觉就会没有了; 整个高频段需要注意的是在这个频段产生回输时,由于其频率很高,虽然人耳听觉上不会觉得太明显,但持续的回输会对高音造成严重的损害,所以不要掉以轻心,要认真处理; 讲到这里大家应该清楚均衡器很难有一个较为固定、傻瓜化的调整模式了,虽然这样,我还是觉得有一定规律可寻,这里我就说一个我自己总结的一个通用模式,大家可以试下下列频率中 + 代表提升,如 +3表示提升了3个dB；- 代表衰减,如 -12代表衰减了12个dB；0就表示没有提升或衰减：A、大多数综合性演出音响系统中均衡器的调整： 20Hz-12、25Hz-12、32Hz-10、40Hz-8、50Hz-4、63Hz-2、80Hz0、100Hz0、125Hz0、160Hz-2、200Hz-3、250Hz-3、315Hz-3、400Hz0、500Hz0、630Hz-2、800Hz-1、1kHz0、0、-2、2kHz-3、-3、-2、4kHz-2、5kHz-2、-3、8kHz0、10kHz+2、+3、16kHz0、20kHz-9;B、大多数的士高和慢摇吧音响系统中均衡器的调整： 20Hz-12、25Hz-12、32Hz-8、40Hz-5、50Hz-2、63Hz0、80Hz0、100Hz0、125Hz+2、160Hz+2、200Hz+3、250Hz+1、315Hz-1、400Hz0、500Hz0、630Hz-2、800Hz-1、1kHz0、0、-2、2kHz-4、-2、+2、4kHz-2、5kHz-2、-3、8kHz-2、10kHz0、0、16kHz-3、20kHz-9;专业均衡器使用时注意的问题 1、通常声反馈都集中在100Hz—10kHz的范围内,调整时要有针对性; 2、在调整声场时,要将除房间均衡器外的其它周边设备旁路直通,调音台上话筒所在通道的均衡器也要直通不做调整; 3、使用均衡器调整声反馈时,只是将压限器直通,其它周边设备如激励器等都要调整到最佳演出状态,调音台上话筒所在通道的均衡器也要调整到最佳演出状态,这一点是和调整声场的方法有明显区别的; 4、不管是用均衡器调整声场还是调整声反馈,如果系统中有压限器,都要把它直通,否则话筒在一开始回输时,会受到压限器的压限处理；等到回输信号很大,压限器压不住时,回输就会冲破压限器的限制一下子变得很厉害,这样容易损坏设备; 5、经过我多年的实践,在调整声场和调整声反馈时,可以在调整同时播放一点背景音乐,这样可以使声场活跃,更方便调整; 说了这么多不知对大家有没有帮助,最后我想说的是,在现场演出中,如果声场没有调整好,那么整体的音色、平衡就得不到保证；如果声反馈没有调整好,出现了哪怕是一声回输,那也是很严重的问题,我的一贯原则就是：整场演出只要有一次声反馈就是失败所以我经常形容我们演出时推调音台推子就像推一个定时炸弹一样,不知道什么时候它就会爆炸回输,因此在现场操作时真的需要非常小心,要有如履薄冰的感觉所以现场音响师的压力是很大的,如果录音时候录不好了我们可以重新录或者经过编辑修改,但在现场演出中如果产生了哪怕是一声声反馈,就像泼出去的水一样,是没办法收回来的,所以好多高水平的录音师都不想做现场的音响师;音响工程设计调试你说的是参量均衡器吧大型的参量均衡器是在调音台上,图示均衡器有双31段双15段双十段他是接在系统中的,由于建声不好,起到房间的均衡;而达到好的声音分布;介绍一下十段均衡器的设置和参数第一章.EQ的基本定义EQ是Equalizer的缩写,大陆称为均衡器,港台称为等化器;作用是调整各频段信号的增益值;10段均衡器表示有10个可调节节点;节点越多,便可以调节出更精确的曲线,同时难度更大;从左到右的顺序是从低频到高频100Hz, 200Hz, 400Hz, 600Hz, 1KHz, 3KHz, 6KHz, 12KHz, 14KHz, 16KHz;第二章.EQ各频段的基本知识1.20－60Hz影响音色的空间感,因为乐音的基音大多在这段频率以上,这段很难表现,powermp3没有这段均衡;2.60-100Hz影响声音的混厚感,是低音的基音区;如果这段频率很丰满,音色会显得厚实、混厚感强,如果不足,音色会变得无力;而如果过强,音色会出现低频共振声,有轰鸣声的感觉;有大鼓、定音鼓,还有钢琴、大提琴、大号等少数存在极低频率的乐器多表现在此段;3.80－160Hz主要表现音乐的厚实感,音响在这部分重放效果好的话,会感到音乐厚实、有底气;这部分表现得好的话,在80Hz以下缺乏时,甚至不会感到缺乏低音;如表现不好,音乐会有沉闷感,甚至是有气无力许多低音炮音箱的重放上限,具此可判断您的低音炮音箱频率上限;4.150－300Hz影响声音的力度,尤其是男音的力度;这段频率是男声声音的低频基音频率,同时也是乐音中和弦的根音频率;5.300－500Hz表现人声的唱歌、朗诵,这个频段上可以表现人声的厚度和力度,好则人声明亮、清晰,否则单薄、混浊;6.800Hz影响音色的力度;如果这个频率丰满,音色会显得强劲有力;如果不足,音色将会显得松弛,也就是800Hz以下的成分特性表现突出了,低频成分就明显;而如果过多,则会产生喉音感;如果喉音过多了,则会失掉语音的个性,适当的喉音则可以增加性感,因此,音响师把这个频率称为"危险频率",人声,打击乐多表现于此;7.1kHz是音响器材测试的标准参考频率,通常在音响器材中给出的参数是在1kHz下测试;这是人耳最为敏感的频率;8.可以适当多一点,不宜太多,可以提高声音的明亮度,过多会使声音发硬;9.2k-4kHz穿透力很强;人耳耳腔的谐振频率是1∽4KHz,所以人耳对这个频率也是非常敏感的;2-4kHz对声音的亮度影响很大,这段声音一般不宜衰减;这段对音乐的层次影响较大;如果空虚频率成分过少,听觉能力会变差,语音显得模糊不清了;如果过强了,则会产生咳声的感觉;,有适当的提升可以提高声音的明亮度和清晰度,但是在4kHz时不能有过多的突出,否则女声的齿音会过重;10.4k－8kHz 这段频率最影响语音的清晰度、明亮度、如果这频率成分缺少,音色则变得平平淡淡;如果这段频率成分过多,音色则变得尖锐,人声可能出现齿音;这段频率通常通过压限器来美化;部分女声、以及大部分吹奏类乐器;11.8k-12kHz这段是音乐的高音区,对音响的高频表现感觉最为敏感;适当突出一点即可对音响的的层次和色彩有较大帮助,也会让人感到高音丰富;但是,太多的话会增加背景噪声,同时也会让人感到声音发尖、发毛;如果这段缺乏的话,声音将缺乏感染力和活力;12.12k－16kHz能够影响整体的色彩感,这段过于黯淡会导致乐器失去个性,过多则会产生毛刺感;13.16k－20kHz可能很多人都听不到,听不到并不意味着器材无法回放,只有很少人可以听到20kHz;这段频率可以影响高频的亮度,以及整体的空间感,过少会让人觉得有点闷,太多则会产生飘忽感,容易产生听觉疲劳;电子合声、古筝钢琴等乐器的泛音多表现于此;第三章.EQ各频段调节效果每段频率分为过低、半满、过高,效果以~隔开;120Hz-60Hz过低空虚~半满空间感良好~过高低频共振声显现"嗡"的声音;260Hz-100Hz过低无力~半满混厚感强~过高低频共振声显现"轰"的声;3100Hz-150Hz过低单薄~半满丰满度增强,浑浊~过高显现"哼"声音;4150Hz-300Hz过低软绵绵~半满声音力度强~过高生硬;5300Hz-500Hz过低空洞~半满语音有力度~过高有电话声音色;6800Hz过低松驰感~半满强劲感~过高喉音重;7500Hz--1KHz过低有收缩感~半满声音的轮廓明朗~过高声音向前凸出;81-2KHz过低松散,使音色脱节~半满通透感强~过高跃感;92-3KHz过低朦胧~半满明亮度增强~过高呆板;104KHz过低模糊~半满穿透力强~过高咳音量;114-5KHz 过低音源变远~半满响度感强~过高声音变近;125-6KHz过低含糊~半满清晰度强~过高尖利;136-8KHz过低暗淡~半满透明~过高齿音重;148-10K过低平淡~半满S音明显,通透感~过高尖锐;1510-12KHz过低乏味,失去光泽~半满金属声强烈~过高尖噪;1612-16KHz过低失掉光彩~半满金光四溅~过高刺耳; 1716-20KHz过低韵味失落,色彩失落缺乏音色表现力~半满靠人体颅骨传导感受声音的韵味,色彩富于音色表现力~过高宇宙声感和不稳定感;简单的说1、100Hz属于温暖段,如果使这部分加强能使低音部分更加的柔和温暖2、200Hz属于混浊低沉,调音色时可适当减弱本段3、300Hz~1KHz属于大多数音乐中的主要频段,突出这一频带可以加强音色的骨骼,但有时突出这一区域会使音乐显得有些“粘”,主要是在300Hz~800Hz之间4、1KHz~2KHz这一频段很容易有“嗡嗡”的声音,削弱该频带会使声音干净,但同时也失去一部分效果5、2KHz~4KHz属于温暖而又不失亮度,非常适合吉他类的乐器6、4KHz~5KHz属于音质比较粗糙的频段,这部分的过高会导致整体音量的上升7、7KHz或7KHz以上,就属于高频段,音质上显得尖锐很有攻击性,很容易产生嘶嘶声音8、8KHz~10KHz范围属于钗片的音色范围,如有“嚓嚓”音可适当降低改频段专业音响调音员操作要点下面是佰亿的功放,不知道怎么设置这两个扭;功放上面就是均衡器,我说错了,是双15的;请求各位师傅给两个详细的设置方案就行,一个是讲话用的方案,一个是唱歌用的方案;先拜目前国内歌舞厅所使用的专业音响,多数为进口设备,应该说可靠性较高;主要问题是操作者专业素质不齐,真正配备合格调音师的单位很少;所以,经常出现因操作不当造成音响效果不佳,甚至导致设备损坏;本文针对中、小型歌舞厅音响设备操作要点进行解说,可做为制订操作规程的参考;另外,在中小型歌舞厅由于话筒声反馈造成的自激啸叫现象,是常见的令使用者头疼的问题,因为经常出现啸叫会令宾客扫兴,音响效果无从谈起,严重者会造成设备损坏;所以,自激啸叫现象是歌舞厅音响使用中的一个重要问题,下面分别叙述;一、音响设备开、关机顺序应按由前到后顺序开机,即由音源设备CD机、LD机、DVD机、录音机、录像机、音频处理设备压限器、激励器、效果器、分频器、均衡器等到音频功率放大器到电视机、投影机、监视器;关机时顺序相反,应先关功放;这样操作可以防止开、关机对设备的冲击,防止烧毁功放和扬声器;二、演唱前的准备——调试1．功放的音量控制电位器一律调到最大位置；调音台上伴奏音乐和话筒分路推子应置于0dB；调音台上各分路GAIN输入增益均放在已调好的位置；调音台总音量推子先置于最小位置下端；调音台音质补偿旋钮均放在中间位置;2．试验伴奏通道,也就是说,用CD盘或LD盘放歌曲音乐、将调音台急彦跳子峻馒眺土,境到—6dB附近,此时歌声和伴奏音乐大致是正常工作时的音量；但要注意音量要适度悦耳,响度过大易使人疲劳和难以忍受;调音员应到厅内不同位置聆听效果;如立体声音像、乐曲音质等;所放的曲目应是自已熟悉的曲子,可反复调整音量调分路GAIN增益和分路音质补偿,直到音效满意为止;对。
Fredenstein F603A高性能四带均衡器操作手册说明书
F603A High-Q four Band EQUALIZEROperating ManualThe F603A is a high performance High-Q four band equalizer for tracking and mixing (Q = 2). The F603A features passive LC (Inductor / Capacitor) filters combined with a very short signal pass. The low and high frequency filters are shelving types, while the mid frequencies are band pass filters. Each shelving filter has four different frequencies while the band pass filters offer six. The active filter range is indicated by LEDs. To facilitate sound comparisons, a true “hard” bypass is available. The gain range for each filter is +- 16 dB. All filters are switched by relays to guaranty the highest possible sound quality. The F603A exhibits unrivaled silkiness , but at the same time an extremely detailed sound stage. The high power output stage with an impedance of less than 20 Ohms and a driving capability of up to +- 200mA ensures no loss of performance with even the most demanding complex loads.As all Fredenstein products, the F603 is designed by a German-American team and manufactured in Taiwan.Overview:Clip IndicatorThreshold + 24 dBuRotary Controls:HI:High Frequency GainHI MID: High Mid GainLOW MID : Low Mid GainLOW: Low Frequency GainSwitches:HI:up/down to select High Frequencyshelving filter bandHI MID:up/down to select Hi Mid band passfilter frequencyLOW Mid : up/down to select Low Mid band passfilter frequencyLOW:up/down to select Low Frequencyshelving filter bandBYPASS:Hard Bypass function when litInstallation:Please power down your rack or box first, before inserting the F603A. The power requirements are maximum +/-16V, +/-200mA. In case you don't use a Fredenstein Bento, please make sure your box or rack can support the current. Please consult your third party documentation in case of any doubt.User Controls:High Frequency Control:Select the desired corner frequency for the high frequency shelving filter by flipping the switch up or down:7000 Hz, 9000 Hz, 10 kHz and 12 kHzHigh Frequency Gain:Apply +/- 16 dB of high frequency gain.Hi Mid Frequency Control:Select the desired frequency for the hi mid frequency band pass filter by flipping the switch up or down:1000 Hz, 1500 Hz, 2000 Hz, 3000 Hz, 4000 Hz, Hz and 5000 HzHi Mid Frequency Gain:Apply +/- 16 dB of hi mid frequency gain.Low Mid Frequency Control:Select the desired frequency for the low mid frequency band pass filter by flipping the switch up or down:200 Hz, 250 Hz, 330 Hz, 450 Hz, 600 Hz, and 800 HzLow Mid Frequency Gain:Apply +/- 16 dB of low mid frequency gain.Low Frequency Control:Select the desired corner frequency for the low frequency shelving filter by flipping the switch up or down:35 Hz, 60 Hz, 80 Hz, and 120 HzLow Frequency Gain:Apply +/- 16 dB of low frequency gain.Bypass:Hard Bypass function if switch is lit. Signal on the output is the input signal, no amplifiers are in the signal path (Filter Frequency LEDs will turn off).The F603A automatically stores all parameters when turned off and reloads them on the next power up, no need to fill out recall sheets. If inserted in a Bento D box, all parameters are displayed on the LCD display.Technical Data:Frequency Response:20 Hz – 20,000 Hz, +/- 0.2dB Distortion:< 0.01%S/N Ratio :> 90 dB at 0dB gainInput Impedance:> 10KOhmMax. Input Level:+ 24 dBu balancedOutput Impedance:20 OhmMax. Output Current:+/- 200 mAMax. Output Level:+ 26 dBu balancedHigh Shelving Filter:9 KHz – 12 kHz in 4 stepsHigh Shelving Gain:+/- 16 dBHi Mid Band Pass Filter:1000 Hz – 5000 Hz in 6 stepsHi Mid Band Pass Gain:+/- 16 dBHi Mid Filter Q:2Low Mid Band Pass Filter:200 Hz – 800 Hz in 6 stepsLow Mid Band Pass Gain:+/- 16 dBLow Mid Filter Q:2Low Shelving Filter:35 Hz – 120 Hz in 4 stepsLow Shelving Gain:+/- 16 dBPower Consumption:+/- 16 V, +/- 200 mA (600 Ohm load)Contact Info:Fredenstein Professional Audio by Orion Communication7F-1, No. 582, Ruei Guang Rd.Neihu DistrictTaipei 114TaiwanPhone: + 886-2-2657-2618 Email:******************** Web: 。
均衡器参数详解
均衡器参数详解2009-10-17 09:171、均衡器的调整方法：超低音： 20Hz-40Hz，适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音： 40Hz-150Hz，是声音的基础部份，其能量占整个音频能量的70%，是表现音乐风格的重要成份。
适当时，低音张弛得宜，声音丰满柔和，不足时声音单薄，150Hz，过度提升时会使声音发闷，明亮度下降，鼻音增强。
中低音： 150Hz-500Hz，是声音的结构部分，人声位于这个位置，不足时，演唱声会被音乐淹没，声音软而无力，适当提升时会感到浑厚有力，提高声音的力度和响度。
提升过度时会使低音变得生硬，300Hz处过度提升3-6dB，如再加上混响，则会严重影响声音的清晰度。
中音： 500Hz-2KHz，包含大多数乐器的低次谐波和泛音，是小军鼓和打击乐器的特征音。
适当时声音透彻明亮，不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音： 2KHz-5KHz，是弦乐的特征音（拉弦乐的弓与弦的摩搡声，弹拔乐的手指触弦的声音某）。
不足时声音的穿透力下降，过强时会掩蔽语言音节的识别。
高音： 7KHz-8KHz，是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出，语言的齿音加重和音色发毛。
极高音： 8KHz-10KHz合适时，三角铁和立*的金属感通透率高，沙钟的节奏清晰可辨。
过度提升会使声音不自然，易烧毁高频单元。
2、平衡悦耳的声音应是：150Hz以下（低音）应是丰满、柔和而富有弹性；150Hz-500Hz（中低音）应是浑厚有力百不混浊；500Hz-5KHz（中高音）应是明亮透彻而不生硬；5KHz以上（高音）应是纤细，园顺而不尖锐刺耳。
整个频响特性平直时：声音自然丰满而有弹性，层次清晰园顺悦耳。
频响多峰谷时：声音粗糙混浊，高音刺耳发毛，无层次感扩声易发生反馈啸叫。
3、频率的音感特征：30~60Hz 沉闷如没有相当大的响度，人耳很难感觉。
均衡器的调整方法
均衡器的调整方法1.均衡器的调整方法：超低音：20Hz-40Hz，适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音：40Hz-150Hz，是声音的基础部份，其能量占整个音频能量的70%是表现音乐风格的重要成份。
适当时，低音张弛得宜，声音丰满柔和，不足时声音单薄，150Hz,过度提升时会使声音发闷，明亮度下降，鼻音增强。
中低音：150Hz-500Hz，是声音的结构部分，人声位于这个位置，不足时，演唱声会被音乐淹没，声音软而无力，适当提升时会感到浑厚有力，提高声音的力度和响度。
提升过度时会使低音变得生硬，300Hz处过度提升3-6dB，如再加上混响，则会严重影响声音的清晰度。
中音：500Hz-2KHz，包含大多数乐器的低次谐波和泛音，是小军鼓和打击乐器的特征音。
适当时声音透彻明亮，不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音：2KHz-5KHz,是弦乐的特征音（拉弦乐的弓与弦的摩搡声，弹拔乐的手指触弦的声音某）。
不足时声音的穿透力下降，过强时会掩蔽语言音节的识别。
高音：7KHz-8KHz,是影响声音层次感的频率。
过度提升会使短笛、长笛声音突岀，语言的齿音加重和音色发毛。
极高音：8KHz-10KHz合适时，三角铁和立叉的金属感通透率高，沙钟的节奏清晰可辨。
过度提升会使声音不自然，易烧毁高频单元。
2. 平衡悦耳的声音应是：150Hz以下（低音）应是丰满、柔和而富有弹性；150Hz-50Hz （中低音）应是浑厚有力百不混浊；500Hz-5KHz （中高音）应是明亮透彻而不生硬；5KHz以上（高音）应是纤细，园顺而不尖锐刺耳。
整个频响特性平直时：声音自然丰满而有弹性，层次清晰园顺悦耳。
频响多峰谷时：声音粗糙混浊，高音刺耳发毛，无层次感扩声易发生反馈啸叫。
3 .频率的音感特征：30〜60Hz沉闷如没有相当大的响度，人耳很难感觉。
60〜100Hz沉重80Hz附近能产生极强的“重感”效果，响度很高也不会给人舒服的感觉, 可给人以强烈的刺激作用。
【均衡器】EQ均衡器的调试方法
EQ均衡器的调试方法以前我发过31段均衡器调整方法详细说明,也发过KX效果调节之(Graphic EQ-麦克风十段均衡器调节方法说明,现在我在发一次EQ均衡器的调试方法,希望大家能更深入的学习.1．均衡器的调整方法:超低音:20Hz-40Hz,适当时声音强而有力.能控制雷声.低音鼓.管风琴和贝司的声音.过度提升会使音乐变得混浊不清.低音:40Hz-150Hz,是声音的基础部份,其能量占整个音频能量的70%,是表现音乐风格的重要成份.适当时,低音张弛得宜,声音丰满柔和,不足时声音单薄,150Hz,过度提升时会使声音发闷,明亮度下降,鼻音增强.中低音:150Hz-500Hz,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度.提升过度时会使低音变得生硬,300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度.中音:500Hz-2KHz,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音.适当时声音透彻明亮,不足时声音朦胧.过度提升时会产生类似电话的声音.中高音:2KHz-5KHz,是弦乐的特征音(拉弦乐的弓与弦的摩搡声,弹拔乐的手指触弦的声音某).不足时声音的穿透力下降,过强时会掩蔽语言音节的识别.高音:7KHz-8KHz,是影响声音层次感的频率.过度提升会使短笛.长笛声音突出,语言的齿音加重和音色发毛.极高音:8KHz-10KHz合适时,三角铁和立*的金属感通透率高,沙钟的节奏清晰可辨.过度提升会使声音不自然,易烧毁高频单元.2．平衡悦耳的声音应是:150Hz以下(低音)应是丰满.柔和而富有弹性；150Hz-500Hz(中低音)应是浑厚有力百不混浊；500Hz-5KHz(中高音)应是明亮透彻而不生硬；5KHz以上(高音)应是纤细,园顺而不尖锐刺耳.整个频响特性平直时:声音自然丰满而有弹性,层次清晰园顺悦耳.频响多峰谷时:声音粗糙混浊,高音刺耳发毛,无层次感扩声易发生反馈啸叫.3．频率的音感特征:30~60Hz 沉闷如没有相当大的响度,人耳很难感觉.60~100Hz 沉重80Hz附近能产生极强的"重感"效果,响度很高也不会给人舒服的感觉,可给人以强烈的刺激作用.100~200Hz 丰满200~500Hz 力度易引起嗡嗡声的烦闷心理.500~1KHz 明朗800Hz附近如提升10dB,会明显产生一种嘈杂感,狭窄感.1K~2KHz 透亮2800Kz附近明亮感关系最大.2K~4Kz 尖锐6800Hz形成尖啸,锐利的感觉.4K~8Kz 清脆3400Hz易引起听觉疲劳.8K~16Kz 纤细＞7.5KHz音感清彻纤细.均衡器的发展趋势运用数字滤波器组成的均衡器称为数字均衡器,数字均衡器即可作成图示EQ,有可做成参量EQ,还可以做成两者兼有的EQ,它不仅各项性能指标优异,操作方便,而且还可同时储存多种用途的频响均衡特性,供不同节目要求选用,可多至储存99种频响特性曲线.SONY的SRP-E300是一款多功能2通道的数字均衡器具有10段参量均衡和29段图示均衡,可同时或独立工作,带有限制器和噪声门功能,高精度的48kHz取样,20比特线性模数/数模转换；带有模拟和数字输入/输出；RS-232C C接口,可用于外部遥控,它的出现会逐步淘汰普通的模拟均衡器,是一款专业音频扩声领域具有极高性价比的产品.P.S.20～40这个频段声音的大部分感觉是松软的低音,而不是强劲有力,通过试验就可以知道.看看给地鼓提升这个频段会有什么效果.2.40～150是声音的基础没错,但是绝占不到70％,而且人声的鼻音也不在这个频段,大概在250左右.3.150～500这频段,是个要在处理的时候非常小心的频段,绝不能靠提升这频段来获得人声的力度.稍不小心就会一团遭.4."300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度."应该说只要在低频部分加混响,都会影响声音的清晰度.当然,在现在的混音技巧中,这个规则已经不是很重要了.因为,我们经常会在欧美及港台的录音室里见到他们为地鼓和贝司加超短程混响.。