First, the application of feedback suppressor in sound reinforcement system
In the sound reinforcement system, if the microphone volume is greatly increased, the sound from the speaker will be transmitted to the whistling caused by the microphone. This phenomenon is the acoustic feedback. The existence of acoustic feedback not only destroys the sound quality, but also limits the sound of the microphone. The sound picked up by the microphone cannot be reproduced well; the deep sound feedback can also make the system signal too strong, thus burning the amplifier or the speaker (generally burning the speaker) Treble head), causing losses.
Therefore, once the acoustic feedback phenomenon occurs in the sound reinforcement system, we must find ways to stop it. Otherwise, it will endlessly harm. Whether or not the acoustic feedback can be eliminated is an important indicator to measure the technical level of a sound engineer. Before the emergence of the feedback suppressor, the sounder often uses the equalizer pull point (attenuation feedback frequency) to suppress the acoustic feedback. The reason why the acoustic feedback phenomenon occurs in the sound reinforcement system is mainly because the sound of some frequencies is too strong, and the excessive frequency is attenuated to solve this problem, but the equalizer pull-down will produce the following insurmountable deficiencies: It is very demanding for the sound level of the sound engineer. After the feedback, the sound engineer must judge the feedback frequency and degree in a timely and accurate manner, and immediately attenuate the frequency of the equalizer accurately, which is not rich in experience. The sound engineer is hard to do. The second is to have a certain impact on the playback quality. The existing 31-band equalizer has a bandwidth of 1/3 octave, and some of the acoustic feedback needs to be attenuated. The bandwidth is sometimes far less than 1/3 octave. In this case, many useful frequency components are removed. Off, causing irreparable damage to these frequency sounds. Third, it is possible to burn equipment during the adjustment process. It takes a certain time to judge the howling frequency with the human ear. If this time is too long, the device will be damaged due to the strong signal state for a long time. The above problem can be completely solved by using a feedback suppressor, that is, the feedback can be effectively eliminated without affecting the sound quality of the playback, so the superiority is obvious.
The feedback suppressor is a device that automatically feeds the point. When the acoustic feedback occurs, it immediately finds and calculates its frequency and attenuation, and executes the command to suppress the acoustic feedback according to the calculation result.
Second, the feedback suppressor in the sound reinforcement system several connection methods
After a brief introduction to the feedback suppressor, let's take a look at the sound technology knowledge to see the feedback suppressor connection. The feedback suppressor also uses the balanced line of the XLR connector in terms of device connection, so his connection mode can be roughly divided into the following three types: First: it is serially connected in the sound system like peripheral devices such as equalizers.

Knowing how he is connected, let's take a look at the advantages of this connection: connection and operation are simple and suitable for simpler systems. However, there are also disadvantages. The disadvantage is that this connection method also affects other source signals passing through the feedback suppressor when suppressing the microphone sound feedback. Second: You can also use the INS in the mixer channel to insert the plug-in interface, and connect the feedback suppressor separately in the corresponding channel. The advantage of this connection is that the feedback suppressor can be adjusted to the maximum extent, regardless of the Affect other sources. However, its disadvantage is that a feedback suppressor can only control up to 2 channels of the mixer, and the device utilization is too low.
Third: using the mixer to group the output interface, connecting the feedback suppressor in the corresponding grouping channel and returning from the feedback suppressor to the mixer. One of the stereo input ports has the advantage of being able to be programmed. The microphones in this group are processed centrally and do not affect other sources. In summary, because this method can make full use of the feedback suppressor, it is also the most widely used connection method.
Note: The signals from the feedback back to the mixer channel can no longer be grouped and output, and need to be output from the main line.

Fourth: If there are some mixers without the marshalling channel output interface, we don't want to connect the feedback suppressor in the main output channel, and want to centrally control the microphone, then we can use a kind of look Too standard, not in the textbook: 1-8 channels of a mixer are all microphones, we can send the volume of these 8 channels to the feedback suppressor through the corresponding AUX, if it is AUX1-2 channel. After being processed by the feedback suppressor, it flows back to the corresponding channel of the mixer, if it is 11-12 channels. This connection method is similar to the connection effect. It is required that the AUX should be set to be sent after the fader. It is also required that the AUX1-2 in the 11-12 channel cannot be turned on again, otherwise a signal loop will be generated; but the difference is this time. The volume of the 1-8 channel cannot be directly entered into the main channel, that is, the corresponding buttons of the LR of the main channel are not pressed, so that the volume of these 8 channels is transmitted only through AUX1-2, and then mixed into the tuning through 11-12 channels. The station is finally output to the main channel through the corresponding signal channel. This can also play a very good role, but I feel that this method is a bit deviant, but my point of view has always been emphasized: flexible and practical.

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