The speakers that provide ground return sound reinforcement for bands and choirs on stage are generally referred to as stage monitoring speakers or stage return speakers
Why is optimizing the gain before feedback before graphic equalization the most commonly misunderstood part of sound reinforcement systems? The return speaker can be placed anywhere on the stage, and the following tips can help you overcome misunderstandings and gain more feedback before returning
Even if your microphone hasn't screamed yet, you may still hear a deep "hollow" sound. Although the acoustic environment of the building itself can also cause this problem, it is highly likely that the microphone has picked up too many signals and fed them into the system signal chain, and then you will hear a very harsh feedback howl
Before we start discussing system optimization, there are some knowledge points that you must master. To understand the placement of stage monitoring speakers, you must have an understanding of the type of microphone you are using
According to the polar pattern of microphones, they are generally divided into omnidirectional microphones and single directional microphones. Omnidirectional microphones pick up sound evenly from all directions, so they are generally rarely used for live performances. A single directional microphone only picks up sound from a specific direction
When we point the microphone towards the stage monitoring speaker, there is a high possibility of feedback howling, so pointing the microphone away from the stage monitoring speaker seems to be the best choice. But the prerequisite is that you are using a cardioid microphone. The heart pointing is named after its polar range, which is very similar to a heart
Next, let's take a look at the polar pattern of a supercardioid microphone. You will find that pointing the microphone away from the monitoring speaker is not necessarily the best method, as the sensitivity of a supercardioid microphone to sound from the front and rear is almost the same. You will find that the best placement method for supercardioid microphones is to slightly deviate from the axial direction of the monitoring speaker. Using two stage monitoring speakers, or adjusting the angle of the microphone to face the performer as closely as possible, will have a better effect.
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