90% of the performers have stepped on these five fatal misunderstandings (I), such as frequency cut, howling and noise source dismantling.

People who do Shang Yan, KTV singing and stage parties have almost encountered the same nightmare: the singer suddenly lost his voice when he sang to the climax; When you open your voice, it is harsh and screaming; The whole process is accompanied by current noise and rustling noise. Many people first blame the poor quality of microphones, frequently changing equipment and adding money to buy high-end models, but the problems still recur. In fact, 80% of the noise, off-frequency and howling are not the failure of the microphone itself at all, but the basic misunderstanding when building, debugging and using. Today, we dismantled five high-frequency pits in the industry, and explained the root causes and solutions at one time. The sound engineer, performance team and KTV boss suggested collecting them.
Myth 1: Frequency bands are randomly selected, and multiple wheat in the same space are connected in series and disconnected (the most common source).
Root of the problem
The frequency range of cheap wireless microphone is narrow, and when multiple microphones are turned on at the same time, the frequencies overlap and interfere with each other, resulting in intermittent sound and direct frequency cut-off.
There are WiFi routers, stage lighting consoles, LED large screens, walkie-talkies and mobile phone base stations around the site, and RF signals occupy the microphone frequency band, and the long-distance transmission directly interrupts the sound;
The old and new microphones are mixed, and the frequency bands of ordinary diversity and true diversity equipment are incompatible, so it is easy to conflict when using on the same platform.
Typical scene
Many KTV boxes are open at the same time, there are more than 8 handfuls of wheat for large-scale parties, and outdoor weddings are close to high-power lighting screens, which frequently cause intermittent wheat.

Radical plan
The true diversity wireless microphone is preferred, and the two antennas receive independently, which greatly improves the anti-interference and long-distance transmission stability;
Sweep the frequency in advance before the performance to avoid the idle clean frequency band of the venue, and stagger the frequency of multiple wheat by more than 20MHz;
The receiving host is far away from the big screen, lighting power supply and router, and keeps a distance of more than 1.5 meters from the stage equipment;
Outdoor mobile performances should avoid areas with dense base stations, and if necessary, they should be equipped with signal extension antennas.

Myth 2: The antenna is placed incorrectly, the signal reception is incomplete, and the frequency will be cut off at a long distance.
Root of the problem
Most people put the receiving host antennas vertically side by side, and the two antennas overlap in parallel, which greatly reduces the RF receiving range; Or the antenna is shielded by metal cabinet, stage steel frame and LED screen, and the signal shielding loss is serious. The core advantage of true diversity microphone is that two antennas receive separately, and the wrong placement directly nullifies the diversity function, which is equivalent to ordinary cheap single antenna microphone.

Typical scene
The singer walked to the side of the stage, the backcourt and the audience, and the microphone was instantly broken and stuck.

Radical plan
The two antennas of the host are placed at a 90-degree right angle, one vertical and one horizontal, to maximize the signal receiving range;
When the main engine is installed in the metal cabinet, an extension antenna is externally connected, and the antenna is extended to an open position outside the cabinet;
Avoid metal brackets, high-power power supplies and data cables, and do not tie wires with power cables.