【 Weak current College 】 on voice recorded seven things

1, 200 ear on the frequency of detection between 400Hz ~ ability is strong, the ability to detect high relative weak. Therefore, the human voice recording cannot trouble, that defects will be able to make people aware.
2. takes note of the different characteristics of different voices, you should only the largest possible pick best vocal, early may resolve the matter, don't expect late.
3, should be aware of teeth tone: when air flow through the teeth of time quickly produces friction sound, high-frequency: mouth of the nasal flow path is blocked, soft palate, airflow through the nasal cavity. About 250Hz location. The nasal overweight, clearly affect overall, so try to avoid in the recording. If you have a niche of sound recording cream out of a large number of nasal sound, that is not qualified. Saliva: saliva at the sound of the oral cavity flows, the most efficient approach is to let the singer to drink water.
4, there is no standard microphone selection, only fit. Not all human voice recording are suitable for large earthquake film capacitor microphone. For example, the lack of high frequency or low frequency of singers.
5. the nature of the problem. The lower the frequency of the less obvious, the higher the more obvious. Highest frequency directivity is forward along the mouths of a line.
6. about microphone selection and set-up: voice recording, typically select microphone distance around singer 20CM microphone shock film and singer of highly parallel mouth, according to the actual situation can up above or below the mouth nose parallel 5CM. Left off center can be up to 2 ~ 3 cm. Large earthquakes membrane microphone has a warm and generous characteristics, if the response is good. The heart-shaped point to effectively cut off from all the room acoustic (sound is the reflection of sound room). Weaknesses are, for the high-frequency performance in stressed singer, high frequency performance if it is not sufficient to cause the singer's voice is characteristic. Usually you can prepare three microphone, including warm tube microphone, neutral universal microphone (for example U87), as well as high-frequency response of small earthquake film capacitor microphone is outstanding. You can then prepare SM58 Microphone circle. Such prepared basic can work. Neutral microphone to hit more than 70 per cent of singers, especially without any voice of singer. Also for the advantages and disadvantages too prominent singer, but also not a good solution to use (such as high-frequency special limited tooth sound so sad). Electron tube microphone one-sided understanding is warm and generous, transient, sound slightly distorted and blurred. But upscale tube microphone sound distortion is very small, still very clear crystal clear, but with a relatively strong sweet taste. Therefore, if a suitable sound you can select. Small earthquakes membrane microphone frequency response is usually very good, but in the low-frequency response is not very good. And low frequency sound relatively bleak, resulting in a rather cold too bright. Additionally it on Jet tone and sound very sensitive teeth. For high-frequency very distinctive singer, you can try. Dynamic microphone, in a number of singers have loud, want to retain this dynamic, the capacitor microphone will be difficult, at this time to consider moving-coil. But it should be noted that nearly stresses effect, that is, the closer the sound from microphone, the more significant low frequency. Near stresses effect can increase the voice of warmth, but too much will give people a sense of sound isolation, sounds uncomfortable. So should the degree you want to have control.
7, acoustic environment: for the acoustic environment of the Studio, for example, some of the family. Low-frequency processing is very bad, in this way, the sound will not clean and has a more serious response or even the "overlap". In such an environment, the best choice is heart-shaped point to. If you are concerned about positive reflection sound, you can use the bedding material, in the back wall, this reflex can also be reduced. For acoustical environment good shelter, you can use Omni microphones, sound more natural and wide, all point to the benefits of is that there was no significant effect of nearly stresses, singer location changes do not affect the sound. Alternatively use the lap record at multiple levels and multiple voices, the effect is very good.

【 Weak current College 】 KTV room audio system tuning techniques

1. adjust the sound quality and volume. Due to the KTV singing karaoke, no trained person's voice, the sound quality isn't very good but lack of brightness, men prone guttural and Husky, girls prone to breath noise and fault code. Therefore, the need for high-frequency 500MHz above, on the low-frequency 100Hz following also need to be removed, at the same time in the band promotion 3-6dB to increase luminance, the sound is clear and bright. General singer voice is low and the lack of loudness, volume to increase the number and frequency of the 2000MHz nearby paragraph be promoted so that treatment can increase the sound loudness.
2. adjust the sound volume with the accompaniment of microphone volume. In General, a good amount of songs, you are assigned, the accompanying music is roughly 40%, 60% of the singing voice. If the singer on the song melody is not familiar, easy to sing out of tune, or not taken on, then appropriately increase the number of accompaniment of the volume.
3. use reverb beautification. KTV song characteristics, is in the song plus electronic reverb, can cover up the throat sound and defect in some of the sound. Male vocal, generally low to reduce reverberation time shorter, and soprano singing time may be appropriate to extend the reverberation time in order to increase the sound of color. As for singing with regard to the environment, if the room surrounding wall is made of wooden planks, itself a reverb effect, then you should adjust the reverb time, so as to avoid short some obscure; in sound without special requirements, you can adjust the reverb knob in the middle position, which is a direct sound component and the proportion of reverberation component of roughly 1: 1.
4.KTV rooms sound tuning of Whistler. High-frequency if you are prone to howl? it's not a tuning is not in place is decorated with more obvious defect of acoustical or both. Then you can try the microphone bass, treble attenuation due to maintain the 12 o'clock position or right ascension, and then--slow-slow-to-increase microphone volume begins with high frequency whistle appears and then the appropriate callback is to secure the volume location. Attention to two microphones at the opening of the FBI, at least one shall be placed on the table to the speakers. Believe should be performed easily sound clear and relatively safe microphone effect (provided that the complete device including the microphone has a flat frequency response, actually means to have a better quality. If the hardware is natural enough won't bother. Device to change again).

【 Weak current College 】 audio equipment operational pitfalls and safe use of points

First, add the power outlet FireWire (L) and zero line (N) reversed.
Second, unacknowledged power good he hurried received power or power-on.
III. electrical switches also open is connected to power.
Explanation:
Many electric is the location of the FireWire on fuse, connected backwards may cause the fuse after electric still live. It is best to use double fuse and double knife switch, you can also cut the FireWire and zero line. Type socket is directly attached to the electrical equipment, connected to the regulator and other protection devices determine without exception to the closed state from each device connected. Note that row is inserted and the power of good exposure. Post at least to confirm that the power amplifiers switch is closed and the smallest volume position. Some have a microphone input of the amplifier to the microphone volume down.
Important: wiring standard specifications; look over the device status, do not hurry to turn on the system.
4. power cord exposed vulnerable to tread on playing.
5, wire winding messy, signal cables and power cord is too close.
6. forget to confirm the wiring is correct to laminate.
Explanation:
The power cord when the add-in is going to take into account, you should remember to do make it difficult to be pulled out of work, leave some length instead reluctantly extension, avoid great perspective on the subject pull, as far as possible, avoid the smooth lines of the slit and angle; wire wrapped around a would not, however, will line up into use. Conductor power like antenna, neatly folded and parallel wires in each snap is better than mutually perpendicular wire interference. In particular, signal and power cables from entanglement of the worst; wiring is incorrect and unstable is a professional application of taboo, reliable wire may make the work of an unexpected opportunity to reduce significantly.
Important: do not ignore the connection.
7. do not confirm each device isthe volume off to the minimum position.
8. power-on sequence error. If you open the power amplifier.
Volume nine, when debugging too much at once.
Explanation:
A too large for the current General Assembly, the moment it is possible to get rid of equipment. Although professional equipment has a fairly comprehensive protection, but also do not gamble. Equipment sometimes protection circuit moves ago first damage. The above three types of negligence and error may be audio equipment in particular speaker burn out.
Important: exercise caution at every level.
10. use in an attempt to move, change of equipment.
11. working time to the effect that forget to monitor the status of the equipment.
12. equipment working exception not calmly pulled.
Explanation:
The equipment is working to make it not to move, not even try to feidong pause time; to monitor the status of observation equipment means any exception, there is the main note volume overload. There are exceptions to calmly take action quickly and accurately. [fenye]
How to use audio equipment
How to use audio equipment? this article here provides some useful recommendations for your reference:
1. takes note of the conditions for the use of the machine:
General instruction of the machine are listed in the conditions of use of the machine, such as:
1. ambient temperature:-10 ¡æ-40 ¡æ-+
2. relative humidity: 50%-80%
3. power voltage: 198V-242V
4. the power supply frequency: 50Hz — 60Hz
Specifically, requirements:
1. avoid temperature very low or very high environment machine, avoiding the direct rays of sunlight has the surface of the machine.
2. avoid damp environment using the machine in order to avoid premature failure within components or machine premature rusting.
3. use the front must confirm the local supply voltage corresponds with the machine.
Second, note the use of the environment of the machine:
1. avoid dust and vibration environment usingthe machine.
2. in the machine's surroundings should leave enough empty space to facilitate heat dissipation of the machine.
3. for power amplifier, should pay special attention to maintain cooling channel flow.
3. machine use of note:
1. in the audio system, you should be aware of the power-on, shutdown sequence. Power-on, you should first open sources, open in front of the device, and then power amplifiers; shutdown, you should close the power amplifier, and then close the audio sources, and other leading devices. Audio equipment if the volume knob, power on, power off before the volume knob off to a minimum. The aim is to reduce the power on, power off the impact of the speaker.
2. pull the plug is charged, plug the signal. Avoid the resulting shocks and damage to machines or speakers.
3. the machine to work if making an abnormal sound, immediately turn off the power to stop using. And please experienced qualified maintenance personnel maintenance. Its not on the machine, so the machines suffer more damage or cause electric shock accident.
Fourth, pay attention to the maintenance of the machine:
1. do not use volatile solvent-cleaning machines, such as gasoline, alcohol, etc, wipe the surface of the machine, dust with a soft cloth. But when the clean machine Shell to unplug the power supply.
2. the machine is generally not waterproof, water in case of wet, wipe with a dry cloth, and water stains dry before startup work.
3. do not place heavy objects on the machine to machine.
5. safe use of the machine:
1. never wet hands pulling, plug in the power plug to avoid electric shock.
2. the long-term when not in use, move the power plug from the power supply.
3. do not let the iron pins, clips, coins and other metal conductive material falling into the tank, so as not to damage the machine.
4. replace the fuse of the machine, you should strictly follow the requirements change, is strictly prohibited the use of non-requirement of substitutes.
5. machine in use, should be the case then place safety grounding.
6. the machine is strictly prohibited in the case of overload or short-circuit.
7. General in the civil power amplifierBack panel there are auxiliary power outlet, not through its connection, hair dryer, iron, electric appliances, it can only be used to connect to the audio device.
8. at constant pressure power amplifier, its output will have a high output voltage and the output pin is generally longer, therefore in use, it is important to ensure that the output pin of the safe and reliable.
6. Note the power line protection:
1. to avoid the power cord is treading, was a heavy squeeze.
2. do not pull the plug and brute force perverted, and power cords.
3. pull the plug from the socket, you should seize the plug and unplug it.
In short, modern audio equipment is a high-tech products, be sure to carefully maintained, safe use, and correct operation. For beauty, and avoid unexpected losses.

【 Weak current College 】 digital mixing console function keys and the signal process

Digital mixer of low noise, low distortion, support for MIDI routing and easy to fulfill automatic control and remote control. The following spoke: a case study of Japan YAMAHAO2R its function and the signal flow.
1. Enter the channel section
(1) enter the simulation control:
① + 48V press: to provide the illusion voltage capacitor microphone.
② Select keys A/B: A popup, you plug the card, press B, then big three-prong plug.
③ P A d key: value decay, pressing this key, the input signal attenuation 20dB.
④ G a I n knob: adjust the input signal on a lot.
⑤ P e a k light: lit, indicates the input signal is too large to enter after distortion sound mixer.
⑥ S I g n a l lights: instructions of the input signal.
Analog signal after these components, A/D conversion into digital status, within the digital phase, digital attenuator, digital delay and digital dynamic handling unit circuit.
(2) the attenuation level control:
① Knob: control the size of the tape returns.
② S E L key (option key): to select the input channels.
③ O n keys (up arrow): select the channel open.
④ F a d e r (fader): input channel attenuator.
⑤ f l I p keys (alternating) key: pressing it, above the knob, SEL, On keys with the following faders, SEL and On mutual reversed.
2. the straps, control and display section
(1) display receive:
① structure keys:
SceneMemory — scene memory keys for the scene to edit, store, transfer out.
DigitalI/O-data input, output, key, used to set the word synchronous clock connection structure and clock frequency.
Setup — sets the key that is used to define the incentive solo listening and priority system operations.
Utility — multifunctional keys, check the oscillator settings, battery and channel status.
AutoMix — automatically mix keys for incentive tuning automation.
Group — the Group keys, used to enter the channel faders marshalling and dumb code grouping.
MIDI — electronic music digitalinterface for MiDi channel settings and feature settings.
Pair-pairing key for input channels of a stereo pair.
② mixing key
F/T A T-down phase/attenuation key that is used to enter the channel down phase and level adjustment.
Delay: delay key, the access road signal delay, used to compensate for the delayed signal transmission.
PAN — sound like key and adjust each channel's sound like.
Routing — — hybrid bus-select keys for entering into the mix bus connections.
Meter-header indicates that the channel level indication.
View — the channel overview key that is used to adjust the selected channel all parameters indicate.
EQ — balancing key that is used to select channel equalization curve display and adjustment.
DynamICs – dynamic handling of keys for channel pressure, expanding dynamic processing.
③ secondary key: AUX1 ~ AUX8, used to adjust the channel level auxiliary, AUX1 bus «AUX6 can be used to add effects or listening, AUX7 ~ AUX8 is two sets of built-in effects bus.
(2) of the selected channel control:
① Enter bus selection: the selected channel into 1 ~ 8 group buses and stereo bus (ST) or 1 ~ 16-channel direct output.
② entering secondary bus selection: the selected channel into secondary bus, (not selected two auxiliary), with a secondary bus send level adjustment. Connected to its switches.
③ audio-visual control: the right knob knobs for sound and image location, next to the led display distribution location. Left for the allocation to the grouped Busbar 1 ~ 8, as well as left and right channels of amplitude values on a bus of the key. When used in sections 17 to 24 channels, you must use these keys to separate regulation, because it left and right channels are independent of the PAN.
④ balance adjustment: EQOn to reach equilibrium keys, EQ adjustment has four frequency bands and three filters. Low/HPF keys are used to low frequency balance or high pass filtering; L-Mid key is used for low-band equalization; H-Mid keys are used to balance the high frequency band; High/LPF keys for the same band equalizer or low-pass filter. The knob for the upper-right corner on the quality factor Q value adjustment range is 10 to adjust the values by 0.1, next to the 3-digit led display. Corner for gain adjustment knob, range from adjustable 21Hz ~ 20.1kHz, three-digit number by the value of the light-emitting diode next to the show. Corner for gain adjustment knob, range-18dB to + 18dB, consists of three next to the light-emitting diode shows. Four frequency bands parameter range of values is the same, but in the low and high frequency band Q value adjustment optional on peaking and rack mount two balanced character, gain knob then go to filter on and off.
(3) parameter selection and control:
SceneMemory (scene memory) – ▲ and ▼ keys change the scene memory pages.
Store (store) — sets the current tuning parameter group of deposited scene store.
Recall (call) — the scene memory of parameters, and restore it to a mixer.
Cursor (cursor) — for LCD screen cursor movement (its role as a mouse).
DataWheel (data wheel) — for modulation parameter value.
Enter (return) — use to verify the input options and parameters
From getting started to master Florida mixer [fenye]
(4) display section:
① S c e n e M e m o r y (scene memory) – with two light-emitting diode display number.
② F a d e r S t a t u s (faders status) — Is used to display the status input faders. AUX signal and, 2, 3, 4, 5, 6, 7, 8 light means the faders and controls into the secondary bus 1, 2, 3, 4, 5, 6, 7, 8 's level.
③ S e l e c t e d C h a n n e l (selected passage) — three lights indicate the status of the selected channel. MIC/Line input to the microphone line. Returns the status for tape TapeRTN; Output to output status.
④ LCD screen — to adjust the control parameters and various graphical display.
⑤ left and right channel master output level display.
⑥ C o n t r a s t (contrast) — for the LCD contrast adjustment.
3. monitoring and output section (including talk, listen on output):
Solo (solo listening) — listen to the General switch. It and the channel On the key.
ControlRoom (control room press) — for sound control room sound control.
T/BLevel (intercom-level): adjust the volume on the speakers.
PhonesLevel (headphone level) — adjust the headphone volume.
StudioLevel (Studio-level) – adjust Studio key group level.
C-RLevel (control level) – control room key group level.
2TR-D1┐
2TR-D2 │-2-track tape digital information.
2TR-D3┘
2TR-A1┐
? │-2-track tape emulation information.
2TR-A2┘
Slate (credited) — Talkback microphone sound recorded in the beginning of the tape recording to show identification.
Mono (monophonic) — listen on Mono.
Dim (Digitalinputmode) — — digital input mode.
4. instructions
(1) Japan's analog output have YAMAHAO2R: stereo output, Studio Monitor output, control room monitor output and auxiliary output. Digital output: digital stereo output, MIDI input and output and interposer.
(2) on the input and output channel for dynamic addressing, the amplitude of the sound signal processing technology, including: compression, extension, noise gate, used to improve the quality of the sound signal.
(3) set of secondary bus 7 and 8 as built-in effects processing, its built-in effects with commonly used effects machines.
(4) can automate tuning operations, by enter and the cursor keys combination. As long as the show receive some press AutoMix key, select the LCD display automatically mix AutomixMain page.
(5) auto tuning recording system needs time code, make the scene recording and tape recorders to go with synchronization. Native support for three types of time code synchronization system, namely the SMPTE timecode, MIDI (MTC) and internal timecode (INT).
(6) digital input channels have increased state handling, recording on tape recorders have to deal with pre-emphasis.
(7) equipped with MIDI control system, sound mixer for tele-modern and data signal transmission. MiDi parameter settings are 3: MiDi MiDi program change setting, allocation and MiDi data processing.
(8) if it is confusing, some or all of the functions of control, can be initialized. Press the Cursor left on powering the LCD screen gives you a confirmation of information dialog box, use the Cursor keys, select Execute (implementation), press ENTER to finish.

【 Weak current College 】 school athletic field broadcast sound reinforcement system design

School outdoor track and field-field sound reinforcement, mainly to meet the meeting, the games, broadcasting gymnastics, language and music sound reinforcement, it is different from normal room sound reinforcement, and from outdoor concerts, sound reinforcement, but instead has its own characteristics. Here to talk about this issue.
To design an outdoor athletic field of broadcasting sound reinforcement system, we must first understand its venue size and choose a viable sound field layout scheme, to a lesser extent, depending on the sound field layout scheme to choose the right speaker, to the extent possible, select low attenuation of long-range sound kinds. Because as the school athletic field sound reinforcement systems, investment limited, technical standards will not be too high, we are here not to discuss the network audio system also does not discuss using line array speaker sound reinforcement systems.
An amplification system, namely by sources, sound mixer, peripherals, power amplifier and speakers, school athletic field broadcast sound reinforcement system is no exception. In the system, the preceding sources, sound mixer, peripheral equipment, etc., can be matching (the more technical articles, you are free to access). This article is primarily on the amplifier and speaker selection, a theory of inference, then the speaker layout and matching discussions.
Because it is outside, its acoustic properties comply with the conditions of a free sound field and the law, it and venues, such as indoor acoustics are quite different. Accordingly, we are considering options for sound reinforcement sound field mostly consider two aspects, one is the sound field characteristics of the layout; the second is based on usage requirements and price/performance ratio, etc.
The following explains:
A sound field characteristics:
General track as lumbar circle, and is standard comparison site, surrounded by spacious and larger. Consider a uniform distribution of the acoustic field should be based on distributed speaker layout, single account General site is not doing speaker rack and pipeline embedded, not have distributed sound reinforcement of conditions, the use of the rostrum on the side of the centralized form of the more common sound reinforcement. This form is in place on both sides of the rostrum, the full-frequency sound box 4-8, speaker arrays, the various speakers separately adjust the radiation angle and does not do stereo sound reinforcement, to ensure that the entire track and field uniform distribution of the sound field.
Under the freedom of acoustic characteristics of sound field, regardless of the speaker repeat coverage be somewhere from the rostrum of the sound pressure level: LP = Ls + 10lgW + 10lg (Q/4 l r 2)
-Ls: speaker sound sensitivity W: drive power
R: the distance from the speaker: speaker volume n
Assuming that, select a fine speaker, its technical parameters are as follows, using the formula to calculate the distance of 100 metres at the rostrum of the sound pressure level: Q = 180 °/arcsin (sin45 ° * sin25 °) = 10.34 out Ls = 99dBW = 500Wn = 4
LP=99+10lg500+10lg(10.34/(4*3.14*1002))
=99+27-41=85dB
As the rostrum on both sides of the layout of a set of speaker arrays, and not as a stereo mode sound reinforcement, do not coincide and even covers the entire athletic field, the sound pressure level to meet the language and General music sound reinforcement.
Second, the speaker configuration
Speaker selection, it is first necessary to consider its radiation angle. General speaker of the specification will provide its horizontal and vertical radiation angle, such as 60 ° x 40 °, 90 ° x 60 °, where the first number represents the level of radiation angle, the second number represents the vertical radiation angle. According to the foregoing requirements, as the track field in the centralized sound reinforcement programme, you must use the small radiation angle of thespeaker, on the one hand, as far as possible reduce multiple speaker sound interference between, on the other hand, can make the sound radiation distance increases, the so-called remote speakers.
In actual use, the author recommended 60 ° x 40 ° or smaller radiation angle. Shall consult the speaker information, there are a number of tube amps, for example, the United States C brand speakers R series box.
In addition, the speaker set-up, to take full advantage of geometric acoustic mapping methods, on the speaker's voice and radiation angle for simulation, by adjusting, final speakers of hanging height, angle and so on.
Select the speaker has a metric is the input power. This indicator reflects the speaker units affordable electric power input driver. It is assumed that the conversion efficiency of certain circumstances, of course, the greater the power, radiation sound energy is also bigger, meet sound pressure value can be reduced by the number of speakers, which reduces multiple speaker stack of acoustic interference phenomena, to improve the sound quality is good.
Also, with regard to the determination of the sound pressure value. Meet to hear clearly the conditions, sound pressure value at 70-80dB, as system margin to 85dB meets most schools athletic field broadcast sound reinforcement requirements. There is no need to set a high standard, this can significantly reduce the system cost.
3. Select power amplifier
The power amplifier and speaker of the match, not necessarily to the conclusion that the author is not prepared to discuss in the article. Here only the amplifier and speaker of the connection mode. As we all know, the power amplifier and speaker of the connection mode stereo (Stero), monaural (mono) parallel and bridge (Bridge) method. As mentioned above, in order to meet the sound field in full uniform coverage, the system will work in mono mode, the same reason, the power amplifier and speaker also works in the latter two connection methods. As for the amplifier is working to bridge the output mode, it is first necessary to consider the reliability of the power amplifier, a second to consider load (speakers with an impedance of series-parallel) size. The general principle is that the amplifier's reliability, load impedance in 4-8 Ω, select the type of output mode, it can also reduce the cost of some power amplifier, the other may in his discretion select Mono parallel output mode.

【 Weak current College 】 basic principles of stage design

1. single port area
(1) sets the height of the mouth region in General, but from around 7m development expected to 8 ~ 9m, especially for popular music and dance performances, the desk edge design requirements than traditional high performance. End-stage cannot form the stage, its integration with the Auditorium.
(2) sets the width of the mouth is normally around 16 ~ 18m 18m you have is the limit. This is subject to restrictions, and performances by the actors in the two estuary near side will produce echo sound feeling. The traditional approach is to small to medium 10 ~ 12m, 12 ~ 14m, usually half the width of the Auditorium. In order to adapt to modern techniques and the plot of the film, you can increase the station's Deputy extraoral.
(3) sets of lips. Out of the arena box section of not less than 1.5m.
2. stage
(1) the width of the stage as one mouth width of two times (28 ~ 32m). Side table should be in the front of the stage and performance area on one side or both sides.
(2) the stage of depth is generally 12 ~ 15m, medium 16 ~ 18m (adaptability strongest), large as 19 ~ 21m.
Sky and run field aisle should have partition, partition, run field must not be less than the width of the door, door high 1.5m shall not be lower than 2.4m. In the side of the stage should be sound absorption treatment to prevent the stage space reverberation time is too long and have other defect and prevent of acoustic performances. End-stage can be 9m.
General stage on the second floor, flyover first layer bridges from table about the stage of the high combined with 0.5m and side curtain separated lm. Flyover wide 1.8 ~ 2.5m.
3. stage equipment
Stage of Suspender usually 3 ~ 5m/root, in the performance area arranged relatively dense. Each weighing about 400kg hangers. Stage curtain for the curtains, other former curtain and side-curtain, the former second curtain on curtain, curtain, lights, screens, screen, sky, and so on electric boom movements.
Large stage generally have a fake one, and there are the turntable, car computers, lift tables, fashion show, with expansion stage.
4. vision
(1) vision. According to the vision of resolution features 20 ~ 25m distance, you can clearly see the actor's expressive. Because of the actor's performance is in the mouth 3 ~ 5m Department, so the maximum range of validity is 18 ~ 20m, but practice shows that range in 29 ~ 30m Office can see the actor's subtle movements and facial expressions, this is the result of Lenovo. Therefore, the Auditorium of the length is approx..
(2) the stereoscopic effect. The larger the apparent distance of actor walking changes (that is, on the distance of) the more obtuse. For example, from the stage the audience 30m stage actor's location changes, only when the change is greater than you can feel the 0.65m, if the actor to the audience a small step forward (less than 0.65m), you didn't feel the variation, the stereoscopic effect is greatly affected.
(3) perspective. In having to turn the eyes, the most comfortable level angle of 30 degrees, then dip angle to 15 degree; in turn, eye level angle is 60 degrees, dip angle of 30 degrees, over this range is not suitable.
(4) section. Due to limitations of overlooking the corner blocks must not be too high, and pick the audience opening height nor too small.

【 Weak current College 】 performance stage lighting design of a few key points

1, Conference speech, lecture
① podium near than elsewhere, but could not make the speaker feels but.
② Open ceiling and ceiling lamp part, so that the audience Hall maintain a certain brightness.
③ with just the right amount of light, so that the audience can see the platform personnel face.
2, instrumental concerts
① Open ceiling, surface light so that the audience can see musicians, musical instruments and playing techniques.
② outstanding under the plot command and solo.
③ When equipped with the lamp, necessary so that the players can see scores.
④ Auditorium maintain appropriate brightness, so that the audience can see the program.
3, drama and art
① use white or pale light that highlights the bright and colorful costumes and make-up.
② with surface light highlighting actor expressions and gestures, but not too strong to face paint resulting reflective.
4, national dance
① background light to strongly gorgeous.
② the top light and surface light to white or pale, costume, facial expression, posture.
③ appropriate selection of chasing light, prominent dancer.
5, modern dance
① increase computer lamp, strobe light, smoke, and other special effects equipment.
② timely use of chasing light highlight the lead dancer, polyphony and accompaniment.
③ singing classes:
A, according to the plot and apparel determines the background color, not often change in performance.
B, the top surface of the lamp light, easy-to-use tints.
C, the low number of participating, with the lights out stage profile.