国产成人无码AA精品一区,少妇人妻陈艳和黑人教练,黄金网站APP观看大全夸克,国产精品毛片久久久久久久

1. Through debugging for the host's voice

在舞臺(tái)表演時(shí)，人的聲音是主要因素，包括主持人的主持，表演者的演唱，都是舞臺(tái)表演的重要部分，對(duì)此，需要做到的便是突出人的主體地位。例如在婚禮現(xiàn)場(chǎng)，司儀的聲音以及新人的聲音是婚禮的，是婚禮進(jìn)行過(guò)程的方向指導(dǎo)。在舞臺(tái)演唱表演過(guò)程中，演唱者是主題，觀眾欣賞的是演唱者的演唱內(nèi)容。

In stage performance, human voice is the main factor, including the host's hosting and the performer's singing, which are all important parts of stage performance. For this, the first thing to do is to highlight people's dominant position. For example, at the wedding scene, the voice of the master of ceremonies and the voice of the new couple are the focus of the wedding and the direction guidance of the wedding process. In the process of stage performance, the singer is the theme, and the audience appreciates the singer's singing content.

對(duì)此，需要舞臺(tái)的音響調(diào)試要針對(duì)人來(lái)進(jìn)行。在人發(fā)聲時(shí)需要保證現(xiàn)場(chǎng)人員能夠清晰地聽(tīng)到，當(dāng)無(wú)人發(fā)生時(shí)，需要音樂(lè)保證現(xiàn)場(chǎng)氣氛。不能出現(xiàn)雜音干擾現(xiàn)場(chǎng)效果。為此，需要以下兩點(diǎn)來(lái)保證現(xiàn)場(chǎng)效果。是在進(jìn)行調(diào)試時(shí)需要了解場(chǎng)地的大小、觀眾的人數(shù)以及現(xiàn)場(chǎng)的擴(kuò)音特點(diǎn)，是否有回聲，舞臺(tái)上的表演者與觀眾的距離是多少。第二，需要現(xiàn)場(chǎng)調(diào)試時(shí)讓工作人員坐在觀眾席進(jìn)行現(xiàn)場(chǎng)感受，通過(guò)表演反饋來(lái)進(jìn)行實(shí)際的調(diào)試。

In this regard, the sound debugging of the stage needs to be carried out for people. When people make a sound, it is necessary to ensure that the on-site personnel can hear it clearly. When no one happens, music is needed to ensure the on-site atmosphere. There shall be no noise to interfere with the field effect. Therefore, the following two points are needed to ensure the on-site effect. The first is to understand the size of the venue, the number of spectators and the characteristics of the site, whether there is echo and the distance between the performers on the stage and the audience. Second, when on-site debugging is needed, let the staff sit in the audience to feel the scene, and carry out the actual debugging through performance feedback.

2、現(xiàn)場(chǎng)樂(lè)器的調(diào)試

2. Debugging of on-site musical instruments

在舞臺(tái)的音響調(diào)試過(guò)程中，樂(lè)器調(diào)試是非常重要的一點(diǎn)。在目前的現(xiàn)場(chǎng)表演中，人們對(duì)于表演效果十分重視，都希望能夠的展現(xiàn)出活動(dòng)的特點(diǎn)，并且觀眾的審美越來(lái)越，因此，在實(shí)際的調(diào)試過(guò)程中選用的樂(lè)器也要越來(lái)越。在使用樂(lè)器時(shí)需要考慮現(xiàn)場(chǎng)的環(huán)境，例如在室內(nèi)的舞臺(tái)中，需要考慮回聲、觀眾的距離等要素，在露天的表演中，需要考慮自然因素，如風(fēng)聲的影響或者是其他聲音的影響。在樂(lè)器的調(diào)試選用中，還要加入降干擾裝置以達(dá)到良好的效果。

In the process of stage sound debugging, musical instrument debugging is a very important point. In the current live performance, people attach great importance to the performance effect, hoping to perfectly show the characteristics of the activity, and the audience's aesthetics is more and more professional. Therefore, the musical instruments selected in the actual debugging process should be more and more professional. When using musical instruments, we need to consider the on-site environment. For example, in the indoor stage, we need to consider the echo, the distance of the audience and other factors. In the outdoor performance, we need to consider natural factors, such as the influence of wind sound or other sounds. In the debugging and selection of musical instruments, interference reduction devices should be added to achieve good results.

3、伴奏的調(diào)試

3. Style debugging

對(duì)伴奏而言，不僅僅是設(shè)備的問(wèn)題，而是需要調(diào)音師的現(xiàn)場(chǎng)工作經(jīng)驗(yàn)，需要把握住現(xiàn)場(chǎng)觀眾的情緒，在能夠表達(dá)出感情的基礎(chǔ)上進(jìn)行聲音大小的調(diào)節(jié)，這一過(guò)程需要十分細(xì)膩的處理，否則現(xiàn)場(chǎng)效果將難以達(dá)到。伴奏的過(guò)程不僅僅是進(jìn)氛的烘托，還能夠進(jìn)行表演者的感情指引，但是在伴奏的過(guò)程中一定要注意聲音的變化過(guò)程，不能長(zhǎng)期讓聽(tīng)眾聽(tīng)一個(gè)音調(diào)的聲音，否則會(huì)出現(xiàn)聽(tīng)覺(jué)疲勞。音樂(lè)效果應(yīng)該達(dá)到兼具力量與美感的要求，不能之側(cè)重于一個(gè)方面。

For accompaniment, it is not just a matter of equipment, but the on-site work experience of the tuner. It is necessary to grasp the emotions of the on-site audience and adjust the sound size on the basis of expressing feelings. This process needs very delicate treatment, otherwise the on-site effect will be difficult to achieve. The process of accompaniment is not only to set off the atmosphere, but also to guide the performer's feelings. However, in the process of accompaniment, we must pay attention to the change process of sound. We can't let the audience listen to the sound of a tone for a long time, otherwise there will be auditory fatigue. The music effect should meet the requirements of both strength and beauty, and should not focus on one aspect.

對(duì)于現(xiàn)場(chǎng)音響的調(diào)試，需要多個(gè)方面的有效把握才能夠保證準(zhǔn)確性。本文對(duì)現(xiàn)場(chǎng)調(diào)試的意義進(jìn)行介紹，其次討論了現(xiàn)場(chǎng)調(diào)試的兩種原則，以提高現(xiàn)場(chǎng)調(diào)試的準(zhǔn)確性;對(duì)現(xiàn)場(chǎng)調(diào)試的實(shí)際策略進(jìn)行闡述，掌握現(xiàn)場(chǎng)調(diào)試相關(guān)經(jīng)驗(yàn)，保證現(xiàn)場(chǎng)的表演效果。

For the debugging of on-site sound, it needs effective grasp in many aspects to ensure the accuracy. This paper first introduces the significance of on-site debugging, and then discusses two principles of on-site debugging to improve the accuracy of on-site debugging; Finally, it expounds the actual strategy of on-site debugging, grasps the relevant experience of on-site debugging, and ensures the on-site performance effect.