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Professional audio equipment should be equipped. Sound equipment is an important foundation for ensuring stage sound effects, which directly affects the success or failure of stage art presentation. The stage sound system is composed of signal source equipment, signal processing equipment, power amplifiers, speakers, and other equipment connected. Stage performances have many specific technical requirements for sound debugging, speaker placement, and system installation. This requires the tuner to not only master the use of sound equipment, but also master certain tuning skills, through their own hearing and understanding of the sound source, Adjust audio equipment and process audio signals to achieve true audio reproduction. It can be said that the configuration and debugging of audio equipment are important foundations for the blooming of stage art.

在對人聲的美化、修飾上，可以通過調(diào)音臺(tái)上面的輸入通道中的四段均衡器，對音色進(jìn)行頻率處理來提高音色的藝術(shù)表現(xiàn)力。根據(jù)德車柏林音樂研究所資料介紹，調(diào)音臺(tái)中的四段均衡器分為四個(gè)頻段：

In terms of beautifying and embellishing the voice, we can use the four section equalizer in the input channel above the Mixing console to process the voice frequency to improve the artistic expression of the voice. According to the introduction of the German Music Research Institute, the four band equalizer in the mixer is divided into four frequency bands:

6~16千赫茲。影響音色的表現(xiàn)力、解析力;第二，MID高音。600~6000赫茲，影響音色的明亮度、清晰度;第三，MID高音。200~600赫茲，影響音色和力沖和結(jié)實(shí)度;第四，低音。20~200赫茲，影響音色的混厚度和豐滿度。

6-16 kHz. Affects the expressive and analytical power of timbre; Secondly, MID treble. 600-6000 Hz, affecting the brightness and clarity of the sound; Thirdly, MID treble. 200-600 Hz, affecting timbre, impact, and firmness; Fourth, bass. 20-200 Hz, affecting the mixed thickness and fullness of the timbre.

如果高頻段頻率過弱，其音色就變得富有色彩、韻味;如果高頻段頻率過強(qiáng)，音色就會(huì)變得尖噪、嘶啞、刺耳。如果中頻段的頻率過弱，音色就變得暗淡、朦朧;如果中頻段的頻率過強(qiáng)，其音色就會(huì)變得呆板。如果中低頻段的頻率過弱，音色會(huì)變得空虛、無力;如果中低頻段的頻率過強(qiáng)，音色會(huì)變得生硬，失去活力。如果低頻段的頻率過弱，音色會(huì)變得單薄、蒼白;如果低頻段的過強(qiáng)，音色會(huì)變得渾濁不清。

If the high-frequency frequency is too weak, its timbre becomes rich in color and charm; If the high-frequency frequency is too strong, the sound will become sharp, hoarse, and harsh. If the frequency in the middle frequency band is too weak, the sound will become dim and hazy; If the frequency in the mid range is too strong, its tone will become dull. If the frequency in the mid to low frequency range is too weak, the timbre will become empty and powerless; If the frequency in the mid to low frequency range is too strong, the tone will become stiff and lose vitality. If the frequency in the low frequency range is too weak, the sound will become thin and pale; If the low-frequency band is too strong, the sound will become cloudy and unclear.

要使音色有美感，就要泛音豐富、有層次，使歌聲有音響美，聽眾聽起來才會(huì)悅耳動(dòng)聽。低音過量，聲音會(huì)渾濁不清;高音過量，聲音會(huì)尖噪刺耳。提升某一頻段后，還應(yīng)考慮其他頻段的影響，要從總體上考慮歌聲的清晰度和豐滿度。

To make the sound beautiful, it is necessary to have rich and layered overtones, and make the song sound beautiful, so that the audience can hear it pleasantly. Excessive bass can make the sound cloudy and unclear; Excessive treble can cause sharp and harsh sounds. After upgrading a certain frequency band, the impact of other frequency bands should also be considered, and the overall clarity and fullness of the song should be considered.

論人聲、歌聲，還是樂器的聲音，它們都不是一個(gè)單音，而是一個(gè)復(fù)合音，也就是由聲音的基音和一系列的泛音所構(gòu)成。這些泛音都是基音頻率的位數(shù)，物理學(xué)中稱其為分音，電聲學(xué)中稱其為諧波，音樂中稱泛音。它對音色的特性有非常重要的影響。這些泛音的數(shù)量和泛音幅茺的不同構(gòu)成音色的頻率特性曲線。這條曲線就體現(xiàn)了音色的表現(xiàn)力。例如，鋼琴的低音頻率是 27.5赫茲，高音頻率是4186赫茲，而鋼琴有10多個(gè)泛音，它的高頻可達(dá) 10~20千赫茲，一般可測到 16 個(gè)泛音或 24 個(gè)泛音。這些泛音可分為低頻泛音、中頻泛音和高頻泛音。如果低頻泛音的幅度較強(qiáng)，音色就表現(xiàn)得混厚;中頻泛音的幅度比較強(qiáng)，音色就表現(xiàn)得圓潤、自然、和諧;高頻泛音的幅度比較強(qiáng)，音色就表現(xiàn)得明亮、清透、解析力強(qiáng)。

In terms of human voice, singing voice, or musical instrument sound, they are not a single tone, but a composite tone, which is composed of the fundamental tone of the sound and a series of overtones. These overtones are the digits of the fundamental frequency, referred to as partials in physics, harmonics in electroacoustics, and overtones in music. It has a very important impact on the characteristics of timbre. The number and amplitude of these overtones form the frequency characteristic curve of the timbre. This curve reflects the expressive power of timbre. For example, the bass frequency of a piano is 27.5 Hz, the treble frequency is 4186 Hz, and the piano has more than 10 overtones, with a high frequency of 10-20 kHz. Generally, 16 overtones or 24 overtones can be measured. These overtones can be divided into low-frequency overtones, intermediate overtones, and high-frequency overtones. If the amplitude of low-frequency overtones is strong, the timbre will appear mixed and thick; The amplitude of mid frequency overtones is relatively strong, resulting in a rounded, natural, and harmonious tone; The amplitude of high-frequency overtones is relatively strong, resulting in a bright, clear, and analytical tone.

噪音指的是從音箱發(fā)出的與演出無關(guān)、觀眾并不希望聽到的而又聽到聲音。噪聲出現(xiàn)在演出當(dāng)中將會(huì)極大地影響演出的質(zhì)量，嚴(yán)重時(shí)也會(huì)妨礙演出的正常進(jìn)行。

Noise refers to the sound emitted from the speaker that is unrelated to the performance and the audience does not want to hear. The appearance of noise during a performance will greatly affect the quality of the performance, and in severe cases, it can also hinder the normal progress of the performance.

一般而言，交流聲是因?yàn)閿U(kuò)聲系統(tǒng)中的音頻設(shè)備濾波電容元件老化或是失效電容量減少而產(chǎn)生的。同時(shí)，連接音頻設(shè)備的插件損壞或接觸不良都可能產(chǎn)生低頻噪聲。為了避免這種噪音的產(chǎn)生，應(yīng)該定期對設(shè)備進(jìn)行檢查和維護(hù)，以便能及時(shí)排除故障。目前還不能排除的是擴(kuò)聲系統(tǒng)中的音頻設(shè)備固有的本底噪聲，只能想辦法減弱。這就需要在選用音頻設(shè)備時(shí)考慮信噪較高的設(shè)備，另外，還可以在擴(kuò)聲系統(tǒng)中使用噪聲門。調(diào)光設(shè)備中的可控硅也會(huì)對音頻設(shè)備產(chǎn)生干擾，特別是在調(diào)光后壓光時(shí)可控硅會(huì)生產(chǎn)高次諧波干擾音頻設(shè)備。解決這一干擾，可將燈光設(shè)備和音響設(shè)備用不同的變壓器分別供電，割離通過變壓器內(nèi)阻的偶合，將硅柜燈具的供電線路進(jìn)行屏蔽、減弱供電線路通過空中的電磁干擾。

Generally speaking, communication sound is generated due to the aging or reduced capacitance of the filtering capacitor components of audio equipment in the sound reinforcement system. At the same time, damage or poor contact of the plug-in connecting the audio device may cause low-frequency noise. In order to avoid the generation of such noise, the equipment should be regularly inspected and maintained in order to promptly troubleshoot. What cannot be ruled out at present is the inherent background noise of audio devices in the sound reinforcement system, and we can only find ways to reduce it. This requires considering devices with higher signal-to-noise when selecting audio devices, and noise gates can also be used in sound reinforcement systems. The controllable silicon in the dimming device can also cause interference to the audio device, especially when the dimming is pressed, the controllable silicon will produce high-order harmonic interference to the audio device. To solve this interference, different transformers can be used to power the lighting equipment and audio equipment separately. The coupling through the internal resistance of the transformer can be cut off, and the power supply line from the silicon cabinet to the lighting fixtures can be shielded to reduce electromagnetic interference from the power supply line through the air.

音響效果是舞臺(tái)藝術(shù)的重要表現(xiàn)手段，觀眾在劇院里除了用眼睛觀看，還要用耳朵去傾聽。音響效果是聽覺上的點(diǎn)染，是輔助演出的另一種藝術(shù)手段，從這種意義上來說，音響效果是藝術(shù)中的另一種語言手段。 音響效果的綜合作用，就是把舞臺(tái)上具有音響性質(zhì)的各個(gè)部分綜合起來，樹立一個(gè)完整的音響形象，在納入到舞臺(tái)氣氛的整體形象之中，使觀眾能獲得一個(gè)可感的立體形象。

Sound effects are an important means of expression in stage art, and audiences in theaters not only watch with their eyes, but also listen with their ears. Sound effects are auditory embellishments and another artistic means of assisting performance. In this sense, sound effects are another language means in art. The comprehensive effect of sound effects is to integrate various parts of the stage with sound properties, establish a complete sound image, and incorporate it into the overall image of the stage atmosphere, so that the audience can obtain a perceptible three-dimensional image.