提起舞台音响设备中的调音台，会有很多种形容法，贴切的莫过于把调音台当成一个音响系统的心脏了，这个心脏血液循环的如何，直接影响到整个系统的稳定性。血为液体，水也是液体，这两种物质同样重要。那么对调音台的操作有哪些技巧呢？
There are many ways to describe the mixer in stage audio equipment. The most appropriate way is to regard the mixer as the heart of an audio system. The blood circulation of this heart directly affects the stability of the whole system. Blood is a liquid and water is also a liquid. These two substances are equally important. So what are the skills for the operation of the mixer?
1.调音台的信号输入。
1. Signal input of mixer.
调音台的输入信号大体上分为低阻话筒信号输入和高阻线路信号输入两种。每一路输入都可以把它看成一条水管，也就是如果一个调音台有多路信号输入就好像是有多条水管的水流到调音台里进行处理一样。可以把低阻和高阻的区分看成是水压力或流水速度的不同。
The input signal of the mixer is generally divided into low resistance microphone signal input and high resistance line signal input. Each input can be regarded as a water pipe, that is, if a mixer has multiple signal inputs, it is like the water flow of multiple water pipes to the mixer for processing. The distinction between low resistance and high resistance can be regarded as the difference of water pressure or water velocity.
2.调音台通道增益的调整。
2. Adjustment of channel gain of mixer.
要输入到调音台里的音源，要分清它是低阻还是高阻，然后用标准的信号线正确的连接到调音台上。如果要让每一路音源都达到音质，就需要仔细的调整了。调音台每个输入通道的增益是很重要很关键的，但好多音响师好像只是把增益简单的看成了是一个音量旋钮而已，这样就大错特错了。其实增益主要是用来控制输入信号动态范围的，一般增益调到大不失真时就是大的有效动态范围了，也是好的效果状态了。
To input the sound source into the mixer, first distinguish whether it is low resistance or high resistance, and then correctly connect it to the mixer with a standard signal line. If you want every sound source to achieve sound quality, you need to adjust it carefully. The gain of each input channel of the mixer is very important and critical, but many sound engineers seem to simply regard the gain as a volume knob, which is a big mistake. In fact, the gain is mainly used to control the dynamic range of the input signal. Generally, when the gain is adjusted to large without distortion, it is a large effective dynamic range and a good effect state.
3.调音台通道均衡组的调整。
3. Adjustment of mixer channel equalization group.
当增益调好后，一般接下来就要调整调音台通道的均衡组了，调整的顺序应该是先从低音部分调起，再调中高音部分。因为只有保证了声音的基础音，才能保证声音良好的多次泛音。
After the gain is adjusted, it is generally necessary to adjust the equalization group of the mixer channel next. The adjustment sequence should be from the bass part to the treble part. Because only by ensuring the basic sound of the sound can we ensure a good multiple overtones of the sound.
现在调音台的均衡组一般都带有选频调整，好比如说在放的士高音乐时，感觉低音力度不够，可以把的士高音乐所在通道均衡组的低音频率选在200贬锄左右，然后用调节旋钮进行适度的提升，这样低音力度就出来了。
Now, the equalization group of professional mixer is generally equipped with frequency selection adjustment. For example, when playing disco music, I feel that the bass strength is not enough. You can select the bass frequency of the equalization group of the channel where the disco music is located at about 200Hz, and then use the adjustment knob to appropriately improve the bass strength.
如果运用灵活了，还可以用均衡组的选频功能来抑 制声反馈，比如一般舞厅内300Hz左右都会有个共振峰，往往这个频率容易产生声反馈，可以把话筒输入通道的频率选在300Hz左右，然后用调节旋钮进行适度的衰减，这样就可以有效的减少声反馈了。
If the application is flexible, you can also use the frequency selection function of the equalization group to suppress the acoustic feedback. For example, there will be a formant at about 300Hz in the general ballroom. Often, this frequency is easy to produce acoustic feedback. You can select the frequency of the microphone input channel at about 300Hz, and then use the adjustment knob for moderate attenuation, so as to effectively reduce the acoustic feedback.
当然每个声场产生声反馈的频率是不一样的，但不管是什么频率的声反馈，都可以用这种方法简单控制下，当然这个需要根据经验来灵活控制。而且要调整声场和避免声反馈是需要用多段均衡器或反馈抑 制器来调整的。
Of course, the frequency of acoustic feedback generated by each sound field is different, but no matter what frequency the acoustic feedback is, it can be simply controlled in this way. Of course, it needs to be flexibly controlled according to experience. Moreover, to adjust the sound field and avoid acoustic feedback, professional multi-stage equalizer or feedback suppressor is needed to adjust.
