一、音色調校技巧
1、 Tone tuning skills
音色可謂是聲音的靈魂，對于音響系統的調校，音色是關重要的環節。如果音色沒有調校到位，不僅會讓演唱者的聲音變得單調乏味，還會導致樂器音、背景音產生失真。
Timbre can be said to be the soul of sound, for the tuning of sound system, timbre is a crucial link. If the timbre is not adjusted in place, it will not only make the singer's voice monotonous, but also lead to the distortion of instrument sound and background sound.
對于音色的調校要注意區分男聲和女聲。男性的聲音普遍以中低音為主，調校思路是對3000Hz左右的頻率分量進行適當地提升，能有用提升演唱的清晰度；女性的聲音多以中高音為主，調校思路是對400Hz左右的頻率分量進行適當地提升，保證聲音既洪亮又不會太過刺耳。
For the tone adjustment, we should pay attention to distinguish male voice and female voice. Male voice is generally dominated by middle and low tones, and the tuning idea is to appropriately improve the frequency component of about 3000hz, which can effectively improve the clarity of singing; Women's voices are mainly mid and high pitched, and the tuning idea is to appropriately enhance the frequency component of about 400Hz, so as to ensure that the voice is both loud and not too harsh.
二、混響時間調校技巧
2、 Technique of adjusting reverberation time
音響的混響時間，決定了余音的長短，對聲音的色彩和清晰度有直接的影響。
The reverberation time of the sound determines the length of the aftertone and has a direct impact on the color and clarity of the sound.
常用的混響時間調校技巧是：男聲，特別是男低音的混響時間應該調的相對短一些，以此來提高聲音的清晰度；女聲，特別是女高音的混響時間應該調的相對長一些，以增強聲音的色彩。
The common skills of reverberation time adjustment are: the reverberation time of male voice, especially bass, should be relatively short, so as to improve the clarity of the voice; The reverberation time of female voice, especially soprano, should be adjusted longer to enhance the color of voice.
演唱場所的不同，混響時間的調校標準也不一樣。如果身處木制結構這種本身就存在混響效果的環境中，混響時間應該調短，以免聲音模糊不清；如果是玻璃結構這種有吸聲效果的環境中，混響時間則應該調長，避免聲音干澀。
The adjustment standard of reverberation time is different with different singing places. If you are in the environment of wooden structure which has reverberation effect, the reverberation time should be shortened to avoid blurring; If it is a glass structure with sound absorption effect, the reverberation time should be increased to avoid dry sound.
三、直達聲和混響聲處理技巧
3、 Direct and reverberation processing techniques
在音響系統中，直達聲和混響聲之間存在著相互影響效果，如果處理不合理，就容易出現“浴室效應”——聲音像在浴室里的聲音，含混不清。
In the sound system, there are mutual effects between direct sound and reverberation sound. If the treatment is not reasonable, it is easy to appear "bathroom effect" - the sound is like the sound in the bathroom, ambiguous.
常規的處理方法是，直達聲分量和混響聲分量的比例為1:1，這樣聲音不會產生失真現象，同時還能兼顧一定的混響效果。
The conventional processing method is that the ratio of the direct sound component and the reverberation component is 1:1, so that the sound will not produce distortion, but also give consideration to certain reverberation effect.
四、話筒音量與伴奏音量處理技巧
4、 Microphone volume and accompaniment volume processing skills
話筒音量與伴奏音量該如何 平衡也是音響系統調校的重要環節，直接影響了能否擁有良好的唱K體驗。
How to balance the microphone volume and accompaniment volume is also an important part of the sound system tuning, which directly affects whether you can have a good k-singing experience.
一般來說，二者的音量分配采用4：6的方式，即伴奏音樂占40%，話筒聲音占60%。
Generally speaking, the volume distribution of the two is 4:6, that is, 40% of the accompaniment music and 60% of the microphone sound.
如果演唱者唱得不錯，音色也好，可以適當減小伴奏音量；如果演唱者容易唱走調、找不到拍子，則可以通過增 大伴奏音量的方式進行掩飾。
If the singer sings well and the timbre is good, the accompaniment volume can be reduced appropriately; If the singer is easy to sing out of tune and can't find the beat, he can cover it up by increasing the accompaniment volume.
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