How to use the echo speaker: the difference between stage echo, ground echo and ear echo, and the key points of debugging and placement.

In stage performances, conference hosts, event scenes and other scenes, the listening equipment is the core equipment to ensure that performers and hosts can clearly monitor their own voices and control the performance rhythm. Many novices often confuse the purpose of returning to the stage, returning to the ground and returning to the ear, and are prone to misunderstanding in debugging and placement, which leads to problems such as vague sound, howling and disordered rhythm during the performance. In this paper, the differences between the three will be dismantled in detail, and the main points of debugging and placement will be explained in combination with practical experience, so as to help you use the listening equipment accurately and improve the performance effect on site.
First, the core cognition: the function and classification of listening devices
The core function of the echo device is to feed back the live sound (including human voice, instrumental sound, accompaniment sound, etc.) to the performer or host in real time, so that they can clearly hear their own voice and the overall sound effect of the scene, thus accurately controlling the singing rhythm, speech speed and intonation, and avoiding mistakes caused by not hearing their own voice. According to the different use forms and scenes, it is mainly divided into three categories: stage return, ground return and ear return, each of which has its own emphasis and adapts to different performance needs.
The core differences between the second and third types of listening devices
1. Stage Return Listening (Main Return Listening)
Stage echo is a fixed speaker placed on the stage, usually facing the performer, covering the whole stage area or a specific performance area. It is characterized by wide coverage and strong sound penetration, and is suitable for multi-person performances and large-scale stage scenes, so that all performers can clearly hear the unified echo sound. It is often used in concerts, large-scale parties, dramas and other scenes. Generally, the mixer outputs signals independently, and the volume and sound effects can be adjusted independently to avoid interference with the main sound box.
2. Ground return (floor return)
Ground return is a special form of stage echo, which is placed directly on the stage floor with a slightly upward angle, facing the performer's feet or waist. Compared with the common stage echo, the echo is smaller in size, more flexible in placement and more targeted. It can accurately transmit the sound to a single or a few performers and reduce the interference to other areas. It is often used in band performances, solos, small performances and other scenes, especially suitable for musicians and singers who need to monitor their own instruments or voices accurately, which can effectively avoid the noise caused by sound reflection.
3. Ear return (in-ear return)
Ear echo is a small listening device worn in the ear. It is connected to the mixer by wireless or wired way, and the echo sound is directly transmitted to the performer's ear. Its biggest advantage is that it is private, not disturbed by the noise of the scene environment, and it can make the performers clearly hear the exclusive listening content (the ratio of human voice and instrumental sound can be customized separately), and at the same time avoid the problems of sound reflection and howling on the stage. It is often used in professional singers, hosts, lead singers and other scenes that require high monitoring accuracy, especially for large-scale outdoor performances and performances in noisy environments.
Third, the debugging points of the listening equipment (practical operation must be seen)
1. Signal connection and volume adjustment
First of all, connect the signal input end of the listening device to the independent output channel of the mixer (it is recommended to use the auxiliary output channel to avoid conflict with the main sound reinforcement signal) to ensure stable signal transmission. When debugging, first adjust the volume of the main sound box to an appropriate level, and then gradually adjust the volume of the listening equipment, so that the performer can clearly hear his own voice without howling. Remember not to turn back the listening volume too high, otherwise it will easily lead to sound overload and distortion, and may also interfere with the main sound reinforcement effect.
2. Sound balance adjustment
Adjust the EQ parameters according to the type of echo equipment and performance requirements. For vocal feedback, the intermediate frequency (1kHz-4kHz) can be appropriately raised to make people's voice clearer and more prominent; For musical instrument listening, the low frequency and high frequency can be adjusted according to the type of musical instrument. For example, guitar can enhance the brightness of high frequency timbre, and bass can enhance the heavy feeling of low frequency. At the same time, it is necessary to avoid excessively raising a certain frequency band to prevent howling or timbre distortion. If there is howling at the scene, it can be solved by feedback suppressor or reducing the volume of the howling-prone frequency band.
3. Delay synchronous debugging
Because the sound propagation takes time, there may be a delay between the sound of the echo equipment and the main sound reinforcement on the spot, which leads to the unsynchronized sound heard by the performer and the actual performance, which affects the rhythm control. When debugging, the delay time of the returning sound can be adjusted to be consistent with the main sound reinforcement through the delay function of the mixer. Generally, it is appropriate to control the delay time at 10ms-30ms, which can be fine-tuned according to the actual field effect, subject to the performer's feeling of sound synchronization.
Four, back to listen to the main points of the equipment (to avoid interference, improve the effect)
1. Stage echo placement
The stage echo should be placed at the front of the stage, at a distance of 1.5m-2m from the performer, with a slightly upward angle (at an angle of 30-45 with the ground), so as to ensure that the sound can be directly transmitted to the ear of the performer and avoid being blocked or reflected by the stage. At the same time, it is necessary to stay away from the coverage of the main amplification sound box to avoid mutual interference between the two sounds, resulting in turbid timbre. If the stage is large, multiple echo speakers can be set according to the performance area to ensure that the performers in each area can clearly hear the echo sound.
2. Return to the ground.
The ground return should be placed directly on the floor in front of the performer, at a distance of 0.5m-1m from the performer, with an upward angle, facing the waist or chest of the performer, so as to ensure that the sound can be accurately transmitted to the ears of the performer. When placing, it should avoid being blocked by musical instruments, equipment, etc., and at the same time, it should not be close to the edge of the stage to prevent the sound from reflecting to the audience area, which will affect the live hearing effect. For the band performance, according to the position of the musicians, the ground return can be placed separately, and each ground return corresponds to one or a group of musicians to realize accurate monitoring.
3. Matters needing attention in the use of auricular return
The core of the auricular return is to wear and fit, to ensure that the earplug fits closely with the ear canal to avoid sound leakage or external noise. When wearing, adjust the position of the auricle to ensure clear sound and no noise, and avoid discomfort caused by wearing it too tightly. If wireless ear return is used, it is necessary to check the stability of signal connection in advance to avoid problems such as signal interruption and sound jamming during the performance. The signal coverage can be tested in advance to ensure that the whole stage area can receive signals stably.
V. Common Problems and Solutions
-Question 1: The echo sound is fuzzy and unclear. Solution: Check whether the signal connection is stable, adjust the echo volume and EQ parameters, and raise the intermediate frequency; Check whether the listening device is blocked, and adjust the placement position to ensure that the sound transmission is unobstructed.
-Question 2: There is howling in the return listening. Solution: Reduce the volume of the return listening to avoid excessive volume; Adjust the EQ parameters to reduce the volume of the squeaky frequency band; Check the position of the echo equipment and the main amplifier box to avoid mutual interference; Use feedback suppressor to help solve the howling problem.
-Question 3: The echo sound is not synchronized with the performance. Solution: Adjust the delay parameters of the mixer to synchronize the delay time of the echo sound with the main sound reinforcement; Check the signal transmission line to avoid delay caused by too long line.