When thinking about installing a fixed sound reinforcement system, many contractors thought of live music venues, where they used conversion mixing control technology, large speaker systems in the front hall, monitoring systems, and many microphones and lines. Although some of the elements do help the music; the playback system has achieved good results, but there are some differences between live music and echo systems. Familiarity with the differences and differences between DJs as performers and DJs as recording fine-tuning controls will facilitate the design and implementation of appropriate club playback systems.
1. Conical horn and horn
When it comes to the commercial terminal of the sound system (ie the speaker system), many of the techniques commonly used in small and medium-sized systems in clubs have small differences. The main argument seems to be around whether the individual uses a cone or a horn in the middle range. The compression actuator/taper combination provides an effective, high output, slightly controllable mid-range frequency coverage mode that works well in any application of a sound system with good performance.
For a combination of live sound systems with vocals, the mid-range compression actuator/taper combination will be in standard form, as in most orchestra or band applications, if there is output and collapsing when competing with other instruments, the sound will There are some special output requirements. However, most listeners believe that the mid-range cone speakers are not so harsh and pleasing to the music. Usually the location size, output level requirements, and the indication of the sound event will determine which of the two medium range is the best choice.
Many of the seemingly natural horn design changes are now commercially viable. If the space is large, the drive/horn will be a cost-effective option. However, the reality requires that most must achieve a level of comparable sound output compression actuator/taper combination. Additional costs are not only used to control and power a large number of horn components, electronics and amplifiers.
Considering the large number of errors in the system, the cost of maintenance – and the potential downtime – it is economical to choose a tapered horn mid-range component for larger systems. The most important thing is to always check with people who are very sensitive to mid-range sounds, including the owner, the device music guide or the main DJ.
2. Subwoofer <br> In a typical music playback system, the subwoofer is often used indiscriminately. There are often a few reasons for these uses. The idea of ​​"bigger is better" is most prominent. Although in some dance halls, the bass is suspended or placed below the stage in space design, more dance halls like to put them on. Above the dance floor, it is intended to create a sound wall. This looks very eye-catching - for most dance halls, visual effects are very important - but too much can cause a lot of trouble, such as machine failure, sound damage, turbidity, harshness, etc. . To understand how to control these situations, it is important to know what kind of bass these people want. DJs only want very simple: deep and loud bass, can touch your heart.
For many dance music, bass is very important. The bass makes people can't help but stand up and dance, but the low audio has a big impact on the dance floor, often spreading to the whole building. It is conceivable that the bass produced by many bass bubbles can cause various vibration problems, such as noise from buildings. Due to the long wavelength, it may harass the nearby area far from the dance hall. So when your client asks his or her ideas, be sure to check the local voice code and surrounding environment before you need to implement it to avoid problems. In view of the above problems, many dance halls are only selected in industrial areas or other dark and cold places in the city. If you don't have all these bass bubbles, can you get a solid clear bass? no doubt. In many cases, you can help your customers save a lot of money. Remind your customers that as long as the bass is placed properly, he or she will have more bass bubbles. If the customer feels that the visual impact is more important and insists on placing a large number of bass bubbles, he or she can only bear legal or economic consequences. Some dance halls try to use two legs to do, that is, put a lot of fake bass bubbles on the dance floor to create a strong visual effect. If you make this suggestion, make sure your customers know that the bass is silent, so you won't be accused of saying that you are cheating on customers.
3. Strengthen ELF
Want to get into the problem quickly? Make sure that the DJ can be used with any major low frequency debug device, such as an image equalizer or subsonic booster. Although image equalizers are widely used in dance halls, excessive bass load and excessive low-end parts are indeed dangerous. An unrestricted low frequency burns the soundboard because it is too far from the bass zone. Similarly, if the amplifier does not have enough reserved output power, the sound quality board will be destroyed by the chopped waveform. These are very common mistakes, so be sure to carefully test the system limits and everything can be controlled. Please use a security cover or software to control the equalizer instead of testing the DJ.
In the past decade or so, the machine function on the DJ mixing board has been greatly increased, reflecting the creativity of the DJ and the unique performance of the scratching technology. Battleboards uses two phono input channel strip mixers with a single cross fader designed specifically for scratching DJ competitions. Although not all DJs use scratching techniques, this approach has penetrated into the environment of a dance hall. This small and practical mixer should be included in the list of all DJ dance hall equipment.
4. Is the rotary button or attenuator?
The DJ system has some mixers with a variety of different features, but the main thing is whether to choose a rotary knob or an attenuator. The first mixer for music reverberation uses a rotary knob for easy control, and the rest goes back to the earlier Bozak and Bogen designs. The rotary controls on the mixers are extremely durable because they are well protected, they are not worn out, and dust can't get in, so there is no attenuator damage. Many mixers also like to use the rotary button. UREI picked up Bozak and made a new 1620 mixer, which has been the industry standard for many years before it was decommissioned.
Obviously, the 1620 doesn't really have a cross attenuator. It requires the use of two volume potentiometers at the same time, and the program is cumbersome and does not prevent the spread of the mixer. Rane now makes a mixer called MP for 2016, which is the nostalgic version of UREI1620. Other companies have also made additional spin buttons, but the 1620G is still in the lead. Whether it's on the auction or through a veteran trader, its asking price is high. The advantage of the attenuator is that the cross-fade between the two-way program source can smoothly convert the operation, which is the most important part of the spur mixer. The attenuator's ability to resist dust has been improved, and many are easy to replace, even when the mixer is open between the two discs. Most mixers on the market today have attenuators, but it's important to make sure there are no knobs. Often, designers use two methods, putting a scratch mixer into the effect circle or adding a stage free channel to a large mixer. When receiving the mixer input phase, there will be a preamplifier scale line sound when the signal reappears, so care must be taken to align or scale the scale to avoid excessive preamplifier load.
Many mixers vary in price and performance, but mid- to high-end mixers have multiple channels that can be selected between microphones, cords, and record players. These arrangements can meet the needs of DJs. The higher-priced mixer function is more specialized. For example, each channel has an overload indicator 100mm high-quality attenuator, field effects and standard component channel strips, making it easier for users to use, easier to get service, and low noise. The output specifications are of high quality.
However, after all, you still have to pay for what you want. There are a large number of standard mixers on the market, so be sure to understand the configuration before deciding to purchase. A new generation of products for the DJ mixer market and disc players. Where is the new one? It is the addition of crossover and controllability in the control link between the two machines. Thanks to this progress, the media can be better controlled and new creativity added.
5. Use a CD or a phonograph?
So what about these two things? Any good dance hall system design must have a record player and a CD player for playing CDs; you can't miss them.
Although many DJs often include phonographs and mixers in the entire mixing system, they just want a lot of people, only their own program materials, still need to use the equipment in the dance hall. The CD player for DJ has been improved with a special pause system to avoid tab or vibration problems. There are also some sample loop options and a unique on-site scratch effect. Although many DJs still like to use the record player because of the freedom of the hand and the actual performance of the vinyl, the DJ-based CD player actually has more functions and features than the original designed record player, which is its advantage. Many DJs like to use both, but for the old and the DJs who use scratch technology, just the phonograph can be the Techinics 1200 which is probably the most famous phonograph in business. 1200 is a standard, everything else is measured by it, of course it becomes a legend, but it is certainly not the only choice. Many new phonograph designs are better than 1200 in setting speed, applicability, function and price.
Perhaps the most important part of the record player is the needle and the turntable, so it is important to protect those fine parts, even at all costs. Because the turntable is easily damaged, it is usually necessary to store the excess in the dance hall so that it can be quickly replaced if necessary. A StantonMagnetics product called "Final Scratch" has been able to manually scrape into Vinyl when using digital files on a laptop. This advancement may be the first example of using high technology to incorporate art into scratching techniques. - As long as you think you have calculated everything.
6. Headphones
Headphones are an integral part of a good DJ setting. Without them, you might not hear the next song when you use the phonograph, and you can't listen to what you want to broadcast on the CD player. Everyone wants to have a stylish headset; some people like the Walkman-style light music mode, while others like to be alone, surrounded by sly music. Headphones, like stylus and turntable, also have a tendency to deviate from all this. It's best to calculate the cost of these things after each performance (or you can also look at the cost of replacing meteor fireworks). If you use a set of good-looking headphones on your ear and a good lock connector, they will of course not be removed.
7. Drum and electronic synthesizer
The market has become more and more mature, and many of the previously produced equipment and music equipment are favored by the DJ mixing association, and the music is directly added to the groove when recording. Because effective control during mixing is important, some devices are added to the console effect loop, some are placed on the channel path, and some are returned to the attenuator on the console. The DJ market has only created a new world for some old-fashioned drums (called Roland808 and 909, theLinnDrum, and theE-muDrumulator). Adding music to the drums or adding additional drumming patterns has become an important part of the sound enhancement and is now an industry standard.
When thinking about installing a fixed sound reinforcement system, many contractors thought of live music venues, where they used conversion mixing control technology, large speaker systems in the front hall, monitoring systems, and many microphones and lines. Although some of the elements do help the music; the playback system has achieved good results, but there are some differences between live music and echo systems. Familiarity with the differences and differences between DJs as performers and DJs as recording fine-tuning controls will facilitate the design and implementation of appropriate club playback systems.
1. Conical horn and horn
When it comes to the commercial terminal of the sound system (ie the speaker system), many of the techniques commonly used in small and medium-sized systems in clubs have small differences. The main argument seems to be around whether the individual uses a cone or a horn in the middle range. The compression actuator/taper combination provides an effective, high output, slightly controllable mid-range frequency coverage mode that works well in any application of a sound system with good performance.
For a combination of live sound systems with vocals, the mid-range compression actuator/taper combination will be in standard form, as in most orchestra or band applications, if there is output and collapsing when competing with other instruments, the sound will There are some special output requirements. However, most listeners believe that the mid-range cone speakers are not so harsh and pleasing to the music. Usually the location size, output level requirements, and the indication of the sound event will determine which of the two medium range is the best choice.
Many of the seemingly natural horn design changes are now commercially viable. If the space is large, the drive/horn will be a cost-effective option. However, the reality requires that most must achieve a level of comparable sound output compression actuator/taper combination. Additional costs are not only used to control and power a large number of horn components, electronics and amplifiers.
Considering the large number of errors in the system, the cost of maintenance – and the potential downtime – it is economical to choose a tapered horn mid-range component for larger systems. The most important thing is to always check with people who are very sensitive to mid-range sounds, including the owner, the device music guide or the main DJ.
2. Subwoofer <br> In a typical music playback system, the subwoofer is often used indiscriminately. There are often a few reasons for these uses. The idea of ​​"bigger is better" is most prominent. Although in some dance halls, the bass is suspended or placed below the stage in space design, more dance halls like to put them on. Above the dance floor, it is intended to create a sound wall. This looks very eye-catching - for most dance halls, visual effects are very important - but too much can cause a lot of trouble, such as machine failure, sound damage, turbidity, harshness, etc. . To understand how to control these situations, it is important to know what kind of bass these people want. DJs only want very simple: deep and loud bass, can touch your heart.
For many dance music, bass is very important. The bass makes people can't help but stand up and dance, but the low audio has a big impact on the dance floor, often spreading to the whole building. It is conceivable that the bass produced by many bass bubbles can cause various vibration problems, such as noise from buildings. Due to the long wavelength, it may harass the nearby area far from the dance hall. So when your client asks his or her ideas, be sure to check the local voice code and surrounding environment before you need to implement it to avoid problems. In view of the above problems, many dance halls are only selected in industrial areas or other dark and cold places in the city. If you don't have all these bass bubbles, can you get a solid clear bass? no doubt. In many cases, you can help your customers save a lot of money. Remind your customers that as long as the bass is placed properly, he or she will have more bass bubbles. If the customer feels that the visual impact is more important and insists on placing a large number of bass bubbles, he or she can only bear legal or economic consequences. Some dance halls try to use two legs to do, that is, put a lot of fake bass bubbles on the dance floor to create a strong visual effect. If you make this suggestion, make sure your customers know that the bass is silent, so you won't be accused of saying that you are cheating on customers.
3. Strengthen ELF
Want to get into the problem quickly? Make sure that the DJ can be used with any major low frequency debug device, such as an image equalizer or subsonic booster. Although image equalizers are widely used in dance halls, excessive bass load and excessive low-end parts are indeed dangerous. An unrestricted low frequency burns the soundboard because it is too far from the bass zone. Similarly, if the amplifier does not have enough reserved output power, the sound quality board will be destroyed by the chopped waveform. These are very common mistakes, so be sure to carefully test the system limits and everything can be controlled. Please use a security cover or software to control the equalizer instead of testing the DJ.
In the past decade or so, the machine function on the DJ mixing board has been greatly increased, reflecting the creativity of the DJ and the unique performance of the scratching technology. Battleboards uses two phono input channel strip mixers with a single cross fader designed specifically for scratching DJ competitions. Although not all DJs use scratching techniques, this approach has penetrated into the environment of a dance hall. This small and practical mixer should be included in the list of all DJ dance hall equipment.
4. Is the rotary button or attenuator?
The DJ system has some mixers with a variety of different features, but the main thing is whether to choose a rotary knob or an attenuator. The first mixer for music reverberation uses a rotary knob for easy control, and the rest goes back to the earlier Bozak and Bogen designs. The rotary controls on the mixers are extremely durable because they are well protected, they are not worn out, and dust can't get in, so there is no attenuator damage. Many mixers also like to use the rotary button. UREI picked up Bozak and made a new 1620 mixer, which has been the industry standard for many years before it was decommissioned.
Obviously, the 1620 doesn't really have a cross attenuator. It requires the use of two volume potentiometers at the same time, and the program is cumbersome and does not prevent the spread of the mixer. Rane now makes a mixer called MP for 2016, which is the nostalgic version of UREI1620. Other companies have also made additional spin buttons, but the 1620G is still in the lead. Whether it's on the auction or through a veteran trader, its asking price is high. The advantage of the attenuator is that the cross-fade between the two-way program source can smoothly convert the operation, which is the most important part of the spur mixer. The attenuator's ability to resist dust has been improved, and many are easy to replace, even when the mixer is open between the two discs. Most mixers on the market today have attenuators, but it's important to make sure there are no knobs. Often, designers use two methods, putting a scratch mixer into the effect circle or adding a stage free channel to a large mixer. When receiving the mixer input phase, there will be a preamplifier scale line sound when the signal reappears, so care must be taken to align or scale the scale to avoid excessive preamplifier load.
Many mixers vary in price and performance, but mid- to high-end mixers have multiple channels that can be selected between microphones, cords, and record players. These arrangements can meet the needs of DJs. The higher-priced mixer function is more specialized. For example, each channel has an overload indicator 100mm high-quality attenuator, field effects and standard component channel strips, making it easier for users to use, easier to get service, and low noise. The output specifications are of high quality.
However, after all, you still have to pay for what you want. There are a large number of standard mixers on the market, so be sure to understand the configuration before deciding to purchase. A new generation of products for the DJ mixer market and disc players. Where is the new one? It is the addition of crossover and controllability in the control link between the two machines. Thanks to this progress, the media can be better controlled and new creativity added.
5. Use a CD or a phonograph?
So what about these two things? Any good dance hall system design must have a record player and a CD player for playing CDs; you can't miss them.
Although many DJs often include phonographs and mixers in the entire mixing system, they just want a lot of people, only their own program materials, still need to use the equipment in the dance hall. The CD player for DJ has been improved with a special pause system to avoid tab or vibration problems. There are also some sample loop options and a unique on-site scratch effect. Although many DJs still like to use the record player because of the freedom of the hand and the actual performance of the vinyl, the DJ-based CD player actually has more functions and features than the original designed record player, which is its advantage. Many DJs like to use both, but for the old and the DJs who use scratch technology, just the phonograph can be the Techinics 1200 which is probably the most famous phonograph in business. 1200 is a standard, everything else is measured by it, of course it becomes a legend, but it is certainly not the only choice. Many new phonograph designs are better than 1200 in setting speed, applicability, function and price.
Perhaps the most important part of the record player is the needle and the turntable, so it is important to protect those fine parts, even at all costs. Because the turntable is easily damaged, it is usually necessary to store the excess in the dance hall so that it can be quickly replaced if necessary. A StantonMagnetics product called "Final Scratch" has been able to manually scrape into Vinyl when using digital files on a laptop. This advancement may be the first example of using high technology to incorporate art into scratching techniques. - As long as you think you have calculated everything.
6. Headphones
Headphones are an integral part of a good DJ setting. Without them, you might not hear the next song when you use the phonograph, and you can't listen to what you want to broadcast on the CD player. Everyone wants to have a stylish headset; some people like the Walkman-style light music mode, while others like to be alone, surrounded by sly music. Headphones, like stylus and turntable, also have a tendency to deviate from all this. It's best to calculate the cost of these things after each performance (or you can also look at the cost of replacing meteor fireworks). If you use a set of good-looking headphones on your ear and a good lock connector, they will of course not be removed.
7. Drum and electronic synthesizer
The market has become more and more mature, and many of the previously produced equipment and music equipment are favored by the DJ mixing association, and the music is directly added to the groove when recording. Because effective control during mixing is important, some devices are added to the console effect loop, some are placed on the channel path, and some are returned to the attenuator on the console. The DJ market has only created a new world for some old-fashioned drums (called Roland808 and 909, theLinnDrum, and theE-muDrumulator). Adding music to the drums or adding additional drumming patterns has become an important part of the sound enhancement and is now an industry standard.
When thinking about installing a fixed sound reinforcement system, many contractors thought of live music venues, where they used conversion mixing control technology, large speaker systems in the front hall, monitoring systems, and many microphones and lines. Although some of the elements do help the music; the playback system has achieved good results, but there are some differences between live music and echo systems. Familiarity with the differences and differences between DJs as performers and DJs as recording fine-tuning controls will facilitate the design and implementation of appropriate club playback systems.
1. Conical horn and horn
When it comes to the commercial terminal of the sound system (ie the speaker system), many of the techniques commonly used in small and medium-sized systems in clubs have small differences. The main argument seems to be around whether the individual uses a cone or a horn in the middle range. The compression actuator/taper combination provides an effective, high output, slightly controllable mid-range frequency coverage mode that works well in any application of a sound system with good performance.
For a combination of live sound systems with vocals, the mid-range compression actuator/taper combination will be in standard form, as in most orchestra or band applications, if there is output and collapsing when competing with other instruments, the sound will There are some special output requirements. However, most listeners believe that the mid-range cone speakers are not so harsh and pleasing to the music. Usually the location size, output level requirements, and the indication of the sound event will determine which of the two medium range is the best choice.
Many of the seemingly natural horn design changes are now commercially viable. If the space is large, the drive/horn will be a cost-effective option. However, the reality requires that most must achieve a level of comparable sound output compression actuator/taper combination. Additional costs are not only used to control and power a large number of horn components, electronics and amplifiers.
Considering the large number of errors in the system, the cost of maintenance – and the potential downtime – it is economical to choose a tapered horn mid-range component for larger systems. The most important thing is to always check with people who are very sensitive to mid-range sounds, including the owner, the device music guide or the main DJ.
2. Subwoofer <br> In a typical music playback system, the subwoofer is often used indiscriminately. There are often a few reasons for these uses. The idea of ​​"bigger is better" is most prominent. Although in some dance halls, the bass is suspended or placed below the stage in space design, more dance halls like to put them on. Above the dance floor, it is intended to create a sound wall. This looks very eye-catching - for most dance halls, visual effects are very important - but too much can cause a lot of trouble, such as machine failure, sound damage, turbidity, harshness, etc. . To understand how to control these situations, it is important to know what kind of bass these people want. DJs only want very simple: deep and loud bass, can touch your heart.
For many dance music, bass is very important. The bass makes people can't help but stand up and dance, but the low audio has a big impact on the dance floor, often spreading to the whole building. It is conceivable that the bass produced by many bass bubbles can cause various vibration problems, such as noise from buildings. Due to the long wavelength, it may harass the nearby area far from the dance hall. So when your client asks his or her ideas, be sure to check the local voice code and surrounding environment before you need to implement it to avoid problems. In view of the above problems, many dance halls are only selected in industrial areas or other dark and cold places in the city. If you don't have all these bass bubbles, can you get a solid clear bass? no doubt. In many cases, you can help your customers save a lot of money. Remind your customers that as long as the bass is placed properly, he or she will have more bass bubbles. If the customer feels that the visual impact is more important and insists on placing a large number of bass bubbles, he or she can only bear legal or economic consequences. Some dance halls try to use two legs to do, that is, put a lot of fake bass bubbles on the dance floor to create a strong visual effect. If you make this suggestion, make sure your customers know that the bass is silent, so you won't be accused of saying that you are cheating on customers.
3. Strengthen ELF
Want to get into the problem quickly? Make sure that the DJ can be used with any major low frequency debug device, such as an image equalizer or subsonic booster. Although image equalizers are widely used in dance halls, excessive bass load and excessive low-end parts are indeed dangerous. An unrestricted low frequency burns the soundboard because it is too far from the bass zone. Similarly, if the amplifier does not have enough reserved output power, the sound quality board will be destroyed by the chopped waveform. These are very common mistakes, so be sure to carefully test the system limits and everything can be controlled. Please use a security cover or software to control the equalizer instead of testing the DJ.
In the past decade or so, the machine function on the DJ mixing board has been greatly increased, reflecting the creativity of the DJ and the unique performance of the scratching technology. Battleboards uses two phono input channel strip mixers with a single cross fader designed specifically for scratching DJ competitions. Although not all DJs use scratching techniques, this approach has penetrated into the environment of a dance hall. This small and practical mixer should be included in the list of all DJ dance hall equipment.
4. Is the rotary button or attenuator?
The DJ system has some mixers with a variety of different features, but the main thing is whether to choose a rotary knob or an attenuator. The first mixer for music reverberation uses a rotary knob for easy control, and the rest goes back to the earlier Bozak and Bogen designs. The rotary controls on the mixers are extremely durable because they are well protected, they are not worn out, and dust can't get in, so there is no attenuator damage. Many mixers also like to use the rotary button. UREI picked up Bozak and made a new 1620 mixer, which has been the industry standard for many years before it was decommissioned.
Obviously, the 1620 doesn't really have a cross attenuator. It requires the use of two volume potentiometers at the same time, and the program is cumbersome and does not prevent the spread of the mixer. Rane now makes a mixer called MP for 2016, which is the nostalgic version of UREI1620. Other companies have also made additional spin buttons, but the 1620G is still in the lead. Whether it's on the auction or through a veteran trader, its asking price is high. The advantage of the attenuator is that the cross-fade between the two-way program source can smoothly convert the operation, which is the most important part of the spur mixer. The attenuator's ability to resist dust has been improved, and many are easy to replace, even when the mixer is open between the two discs. Most mixers on the market today have attenuators, but it's important to make sure there are no knobs. Often, designers use two methods, putting a scratch mixer into the effect circle or adding a stage free channel to a large mixer. When receiving the mixer input phase, there will be a preamplifier scale line sound when the signal reappears, so care must be taken to align or scale the scale to avoid excessive preamplifier load.
Many mixers vary in price and performance, but mid- to high-end mixers have multiple channels that can be selected between microphones, cords, and record players. These arrangements can meet the needs of DJs. The higher-priced mixer function is more specialized. For example, each channel has an overload indicator 100mm high-quality attenuator, field effects and standard component channel strips, making it easier for users to use, easier to get service, and low noise. The output specifications are of high quality.
However, after all, you still have to pay for what you want. There are a large number of standard mixers on the market, so be sure to understand the configuration before deciding to purchase. A new generation of products for the DJ mixer market and disc players. Where is the new one? It is the addition of crossover and controllability in the control link between the two machines. Thanks to this progress, the media can be better controlled and new creativity added.
5. Use a CD or a phonograph?
So what about these two things? Any good dance hall system design must have a record player and a CD player for playing CDs; you can't miss them.
Although many DJs often include phonographs and mixers in the entire mixing system, they just want a lot of people, only their own program materials, still need to use the equipment in the dance hall. The CD player for DJ has been improved with a special pause system to avoid tab or vibration problems. There are also some sample loop options and a unique on-site scratch effect. Although many DJs still like to use the record player because of the freedom of the hand and the actual performance of the vinyl, the DJ-based CD player actually has more functions and features than the original designed record player, which is its advantage. Many DJs like to use both, but for the old and the DJs who use scratch technology, just the phonograph can be the Techinics 1200 which is probably the most famous phonograph in business. 1200 is a standard, everything else is measured by it, of course it becomes a legend, but it is certainly not the only choice. Many new phonograph designs are better than 1200 in setting speed, applicability, function and price.
Perhaps the most important part of the record player is the needle and the turntable, so it is important to protect those fine parts, even at all costs. Because the turntable is easily damaged, it is usually necessary to store the excess in the dance hall so that it can be quickly replaced if necessary. A StantonMagnetics product called "Final Scratch" has been able to manually scrape into Vinyl when using digital files on a laptop. This advancement may be the first example of using high technology to incorporate art into scratching techniques. - As long as you think you have calculated everything.
6. Headphones
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1. Conical horn and horn
When it comes to the commercial terminal of the sound system (ie the speaker system), many of the techniques commonly used in small and medium-sized systems in clubs have small differences. The main argument seems to be around whether the individual uses a cone or a horn in the middle range. The compression actuator/taper combination provides an effective, high output, slightly controllable mid-range frequency coverage mode that works well in any application of a sound system with good performance.
For a combination of live sound systems with vocals, the mid-range compression actuator/taper combination will be in standard form, as in most orchestra or band applications, if there is output and collapsing when competing with other instruments, the sound will There are some special output requirements. However, most listeners believe that the mid-range cone speakers are not so harsh and pleasing to the music. Usually the location size, output level requirements, and the indication of the sound event will determine which of the two medium range is the best choice.
Many of the seemingly natural horn design changes are now commercially viable. If the space is large, the drive/horn will be a cost-effective option. However, the reality requires that most must achieve a level of comparable sound output compression actuator/taper combination. Additional costs are not only used to control and power a large number of horn components, electronics and amplifiers.
Considering the large number of errors in the system, the cost of maintenance – and the potential downtime – it is economical to choose a tapered horn mid-range component for larger systems. The most important thing is to always check with people who are very sensitive to mid-range sounds, including the owner, the device music guide or the main DJ.
2. Subwoofer <br> In a typical music playback system, the subwoofer is often used indiscriminately. There are often a few reasons for these uses. The idea of ​​"bigger is better" is most prominent. Although in some dance halls, the bass is suspended or placed below the stage in space design, more dance halls like to put them on. Above the dance floor, it is intended to create a sound wall. This looks very eye-catching - for most dance halls, visual effects are very important - but too much can cause a lot of trouble, such as machine failure, sound damage, turbidity, harshness, etc. . To understand how to control these situations, it is important to know what kind of bass these people want. DJs only want very simple: deep and loud bass, can touch your heart.
For many dance music, bass is very important. The bass makes people can't help but stand up and dance, but the low audio has a big impact on the dance floor, often spreading to the whole building. It is conceivable that the bass produced by many bass bubbles can cause various vibration problems, such as noise from buildings. Due to the long wavelength, it may harass the nearby area far from the dance hall. So when your client asks his or her ideas, be sure to check the local voice code and surrounding environment before you need to implement it to avoid problems. In view of the above problems, many dance halls are only selected in industrial areas or other dark and cold places in the city. If you don't have all these bass bubbles, can you get a solid clear bass? no doubt. In many cases, you can help your customers save a lot of money. Remind your customers that as long as the bass is placed properly, he or she will have more bass bubbles. If the customer feels that the visual impact is more important and insists on placing a large number of bass bubbles, he or she can only bear legal or economic consequences. Some dance halls try to use two legs to do, that is, put a lot of fake bass bubbles on the dance floor to create a strong visual effect. If you make this suggestion, make sure your customers know that the bass is silent, so you won't be accused of saying that you are cheating on customers.
3. Strengthen ELF
Want to get into the problem quickly? Make sure that the DJ can be used with any major low frequency debug device, such as an image equalizer or subsonic booster. Although image equalizers are widely used in dance halls, excessive bass load and excessive low-end parts are indeed dangerous. An unrestricted low frequency burns the soundboard because it is too far from the bass zone. Similarly, if the amplifier does not have enough reserved output power, the sound quality board will be destroyed by the chopped waveform. These are very common mistakes, so be sure to carefully test the system limits and everything can be controlled. Please use a security cover or software to control the equalizer instead of testing the DJ.
In the past decade or so, the machine function on the DJ mixing board has been greatly increased, reflecting the creativity of the DJ and the unique performance of the scratching technology. Battleboards uses two phono input channel strip mixers with a single cross fader designed specifically for scratching DJ competitions. Although not all DJs use scratching techniques, this approach has penetrated into the environment of a dance hall. This small and practical mixer should be included in the list of all DJ dance hall equipment.
4. Is the rotary button or attenuator?
The DJ system has some mixers with a variety of different features, but the main thing is whether to choose a rotary knob or an attenuator. The first mixer for music reverberation uses a rotary knob for easy control, and the rest goes back to the earlier Bozak and Bogen designs. The rotary controls on the mixers are extremely durable because they are well protected, they are not worn out, and dust can't get in, so there is no attenuator damage. Many mixers also like to use the rotary button. UREI picked up Bozak and made a new 1620 mixer, which has been the industry standard for many years before it was decommissioned.
Obviously, the 1620 doesn't really have a cross attenuator. It requires the use of two volume potentiometers at the same time, and the program is cumbersome and does not prevent the spread of the mixer. Rane now makes a mixer called MP for 2016, which is the nostalgic version of UREI1620. Other companies have also made additional spin buttons, but the 1620G is still in the lead. Whether it's on the auction or through a veteran trader, its asking price is high. The advantage of the attenuator is that the cross-fade between the two-way program source can smoothly convert the operation, which is the most important part of the spur mixer. The attenuator's ability to resist dust has been improved, and many are easy to replace, even when the mixer is open between the two discs. Most mixers on the market today have attenuators, but it's important to make sure there are no knobs. Often, designers use two methods, putting a scratch mixer into the effect circle or adding a stage free channel to a large mixer. When receiving the mixer input phase, there will be a preamplifier scale line sound when the signal reappears, so care must be taken to align or scale the scale to avoid excessive preamplifier load.
Many mixers vary in price and performance, but mid- to high-end mixers have multiple channels that can be selected between microphones, cords, and record players. These arrangements can meet the needs of DJs. The higher-priced mixer function is more specialized. For example, each channel has an overload indicator 100mm high-quality attenuator, field effects and standard component channel strips, making it easier for users to use, easier to get service, and low noise. The output specifications are of high quality.
However, after all, you still have to pay for what you want. There are a large number of standard mixers on the market, so be sure to understand the configuration before deciding to purchase. A new generation of products for the DJ mixer market and disc players. Where is the new one? It is the addition of crossover and controllability in the control link between the two machines. Thanks to this progress, the media can be better controlled and new creativity added.
5. Use a CD or a phonograph?
So what about these two things? Any good dance hall system design must have a record player and a CD player for playing CDs; you can't miss them.
Although many DJs often include phonographs and mixers in the entire mixing system, they just want a lot of people, only their own program materials, still need to use the equipment in the dance hall. The CD player for DJ has been improved with a special pause system to avoid tab or vibration problems. There are also some sample loop options and a unique on-site scratch effect. Although many DJs still like to use the record player because of the freedom of the hand and the actual performance of the vinyl, the DJ-based CD player actually has more functions and features than the original designed record player, which is its advantage. Many DJs like to use both, but for the old and the DJs who use scratch technology, just the phonograph can be the Techinics 1200 which is probably the most famous phonograph in business. 1200 is a standard, everything else is measured by it, of course it becomes a legend, but it is certainly not the only choice. Many new phonograph designs are better than 1200 in setting speed, applicability, function and price.
Perhaps the most important part of the record player is the needle and the turntable, so it is important to protect those fine parts, even at all costs. Because the turntable is easily damaged, it is usually necessary to store the excess in the dance hall so that it can be quickly replaced if necessary. A StantonMagnetics product called "Final Scratch" has been able to manually scrape into Vinyl when using digital files on a laptop. This advancement may be the first example of using high technology to incorporate art into scratching techniques. - As long as you think you have calculated everything.
6. Headphones
Headphones are an integral part of a good DJ setting. Without them, you might not hear the next song when you use the phonograph, and you can't listen to what you want to broadcast on the CD player. Everyone wants to have a stylish headset; some people like the Walkman-style light music mode, while others like to be alone, surrounded by sly music. Headphones, like stylus and turntable, also have a tendency to deviate from all this. It's best to calculate the cost of these things after each performance (or you can also look at the cost of replacing meteor fireworks). If you use a set of good-looking headphones on your ear and a good lock connector, they will of course not be removed.
7. Drum and electronic synthesizer
The market has become more and more mature, and many of the previously produced equipment and music equipment are favored by the DJ mixing association, and the music is directly added to the groove when recording. Because effective control during mixing is important, some devices are added to the console effect loop, some are placed on the channel path, and some are returned to the attenuator on the console. The DJ market has only created a new world for some old-fashioned drums (called Roland808 and 909, theLinnDrum, and theE-muDrumulator). Adding music to the drums or adding additional drumming patterns has become an important part of the sound enhancement and is now an industry standard.
When thinking about installing a fixed sound reinforcement system, many contractors thought of live music venues, where they used conversion mixing control technology, large speaker systems in the front hall, monitoring systems, and many microphones and lines. Although some of the elements do help the music; the playback system has achieved good results, but there are some differences between live music and echo systems. Familiarity with the differences and differences between DJs as performers and DJs as recording fine-tuning controls will facilitate the design and implementation of appropriate club playback systems.
1. Conical horn and horn
When it comes to the commercial terminal of the sound system (ie the speaker system), many of the techniques commonly used in small and medium-sized systems in clubs have small differences. The main argument seems to be around whether the individual uses a cone or a horn in the middle range. The compression actuator/taper combination provides an effective, high output, slightly controllable mid-range frequency coverage mode that works well in any application of a sound system with good performance.
For a combination of live sound systems with vocals, the mid-range compression actuator/taper combination will be in standard form, as in most orchestra or band applications, if there is output and collapsing when competing with other instruments, the sound will There are some special output requirements. However, most listeners believe that the mid-range cone speakers are not so harsh and pleasing to the music. Usually the location size, output level requirements, and the indication of the sound event will determine which of the two medium range is the best choice.
Many of the seemingly natural horn design changes are now commercially viable. If the space is large, the drive/horn will be a cost-effective option. However, the reality requires that most must achieve a level of comparable sound output compression actuator/taper combination. Additional costs are not only used to control and power a large number of horn components, electronics and amplifiers.
Considering the large number of errors in the system, the cost of maintenance – and the potential downtime – it is economical to choose a tapered horn mid-range component for larger systems. The most important thing is to always check with people who are very sensitive to mid-range sounds, including the owner, the device music guide or the main DJ.
2. Subwoofer <br> In a typical music playback system, the subwoofer is often used indiscriminately. There are often a few reasons for these uses. The idea of ​​"bigger is better" is most prominent. Although in some dance halls, the bass is suspended or placed below the stage in space design, more dance halls like to put them on. Above the dance floor, it is intended to create a sound wall. This looks very eye-catching - for most dance halls, visual effects are very important - but too much can cause a lot of trouble, such as machine failure, sound damage, turbidity, harshness, etc. . To understand how to control these situations, it is important to know what kind of bass these people want. DJs only want very simple: deep and loud bass, can touch your heart.
For many dance music, bass is very important. The bass makes people can't help but stand up and dance, but the low audio has a big impact on the dance floor, often spreading to the whole building. It is conceivable that the bass produced by many bass bubbles can cause various vibration problems, such as noise from buildings. Due to the long wavelength, it may harass the nearby area far from the dance hall. So when your client asks his or her ideas, be sure to check the local voice code and surrounding environment before you need to implement it to avoid problems. In view of the above problems, many dance halls are only selected in industrial areas or other dark and cold places in the city. If you don't have all these bass bubbles, can you get a solid clear bass? no doubt. In many cases, you can help your customers save a lot of money. Remind your customers that as long as the bass is placed properly, he or she will have more bass bubbles. If the customer feels that the visual impact is more important and insists on placing a large number of bass bubbles, he or she can only bear legal or economic consequences. Some dance halls try to use two legs to do, that is, put a lot of fake bass bubbles on the dance floor to create a strong visual effect. If you make this suggestion, make sure your customers know that the bass is silent, so you won't be accused of saying that you are cheating on customers.
3. Strengthen ELF
Want to get into the problem quickly? Make sure that the DJ can be used with any major low frequency debug device, such as an image equalizer or subsonic booster. Although image equalizers are widely used in dance halls, excessive bass load and excessive low-end parts are indeed dangerous. An unrestricted low frequency burns the soundboard because it is too far from the bass zone. Similarly, if the amplifier does not have enough reserved output power, the sound quality board will be destroyed by the chopped waveform. These are very common mistakes, so be sure to carefully test the system limits and everything can be controlled. Please use a security cover or software to control the equalizer instead of testing the DJ.
In the past decade or so, the machine function on the DJ mixing board has been greatly increased, reflecting the creativity of the DJ and the unique performance of the scratching technology. Battleboards uses two phono input channel strip mixers with a single cross fader designed specifically for scratching DJ competitions. Although not all DJs use scratching techniques, this approach has penetrated into the environment of a dance hall. This small and practical mixer should be included in the list of all DJ dance hall equipment.
4. Is the rotary button or attenuator?
The DJ system has some mixers with a variety of different features, but the main thing is whether to choose a rotary knob or an attenuator. The first mixer for music reverberation uses a rotary knob for easy control, and the rest goes back to the earlier Bozak and Bogen designs. The rotary controls on the mixers are extremely durable because they are well protected, they are not worn out, and dust can't get in, so there is no attenuator damage. Many mixers also like to use the rotary button. UREI picked up Bozak and made a new 1620 mixer, which has been the industry standard for many years before it was decommissioned.
Obviously, the 1620 doesn't really have a cross attenuator. It requires the use of two volume potentiometers at the same time, and the program is cumbersome and does not prevent the spread of the mixer. Rane now makes a mixer called MP for 2016, which is the nostalgic version of UREI1620. Other companies have also made additional spin buttons, but the 1620G is still in the lead. Whether it's on the auction or through a veteran trader, its asking price is high. The advantage of the attenuator is that the cross-fade between the two-way program source can smoothly convert the operation, which is the most important part of the spur mixer. The attenuator's ability to resist dust has been improved, and many are easy to replace, even when the mixer is open between the two discs. Most mixers on the market today have attenuators, but it's important to make sure there are no knobs. Often, designers use two methods, putting a scratch mixer into the effect circle or adding a stage free channel to a large mixer. When receiving the mixer input phase, there will be a preamplifier scale line sound when the signal reappears, so care must be taken to align or scale the scale to avoid excessive preamplifier load.
Many mixers vary in price and performance, but mid- to high-end mixers have multiple channels that can be selected between microphones, cords, and record players. These arrangements can meet the needs of DJs. The higher-priced mixer function is more specialized. For example, each channel has an overload indicator 100mm high-quality attenuator, field effects and standard component channel strips, making it easier for users to use, easier to get service, and low noise. The output specifications are of high quality.
However, after all, you still have to pay for what you want. There are a large number of standard mixers on the market, so be sure to understand the configuration before deciding to purchase. A new generation of products for the DJ mixer market and disc players. Where is the new one? It is the addition of crossover and controllability in the control link between the two machines. Thanks to this progress, the media can be better controlled and new creativity added.
5. Use a CD or a phonograph?
So what about these two things? Any good dance hall system design must have a record player and a CD player for playing CDs; you can't miss them.
Although many DJs often include phonographs and mixers in the entire mixing system, they just want a lot of people, only their own program materials, still need to use the equipment in the dance hall. The CD player for DJ has been improved with a special pause system to avoid tab or vibration problems. There are also some sample loop options and a unique on-site scratch effect. Although many DJs still like to use the record player because of the freedom of the hand and the actual performance of the vinyl, the DJ-based CD player actually has more functions and features than the original designed record player, which is its advantage. Many DJs like to use both, but for the old and the DJs who use scratch technology, just the phonograph can be the Techinics 1200 which is probably the most famous phonograph in business. 1200 is a standard, everything else is measured by it, of course it becomes a legend, but it is certainly not the only choice. Many new phonograph designs are better than 1200 in setting speed, applicability, function and price.
Perhaps the most important part of the record player is the needle and the turntable, so it is important to protect those fine parts, even at all costs. Because the turntable is easily damaged, it is usually necessary to store the excess in the dance hall so that it can be quickly replaced if necessary. A StantonMagnetics product called "Final Scratch" has been able to manually scrape into Vinyl when using digital files on a laptop. This advancement may be the first example of using high technology to incorporate art into scratching techniques. - As long as you think you have calculated everything.
6. Headphones
Headphones are an integral part of a good DJ setting. Without them, you might not hear the next song when you use the phonograph, and you can't listen to what you want to broadcast on the CD player. Everyone wants to have a stylish headset; some people like the Walkman-style light music mode, while others like to be alone, surrounded by sly music. Headphones, like stylus and turntable, also have a tendency to deviate from all this. It's best to calculate the cost of these things after each performance (or you can also look at the cost of replacing meteor fireworks). If you use a set of good-looking headphones on your ear and a good lock connector, they will of course not be removed.
7. Drum and electronic synthesizer
The market has become more and more mature, and many of the previously produced equipment and music equipment are favored by the DJ mixing association, and the music is directly added to the groove when recording. Because effective control during mixing is important, some devices are added to the console effect loop, some are placed on the channel path, and some are returned to the attenuator on the console. The DJ market has only created a new world for some old-fashioned drums (called Roland808 and 909, theLinnDrum, and theE-muDrumulator). Adding music to the drums or adding additional drumming patterns has become an important part of the sound enhancement and is now an industry standard.
When thinking about installing a fixed sound reinforcement system, many contractors thought of live music venues, where they used conversion mixing control technology, large speaker systems in the front hall, monitoring systems, and many microphones and lines. Although some of the elements do help the music; the playback system has achieved good results, but there are some differences between live music and echo systems. Familiarity with the differences and differences between DJs as performers and DJs as recording fine-tuning controls will facilitate the design and implementation of appropriate club playback systems.
1. Conical horn and horn
When it comes to the commercial terminal of the sound system (ie the speaker system), many of the techniques commonly used in small and medium-sized systems in clubs have small differences. The main argument seems to be around whether the individual uses a cone or a horn in the middle range. The compression actuator/taper combination provides an effective, high output, slightly controllable mid-range frequency coverage mode that works well in any application of a sound system with good performance.
For a combination of live sound systems with vocals, the mid-range compression actuator/taper combination will be in standard form, as in most orchestra or band applications, if there is output and collapsing when competing with other instruments, the sound will There are some special output requirements. However, most listeners believe that the mid-range cone speakers are not so harsh and pleasing to the music. Usually the location size, output level requirements, and the indication of the sound event will determine which of the two medium range is the best choice.
Many of the seemingly natural horn design changes are now commercially viable. If the space is large, the drive/horn will be a cost-effective option. However, the reality requires that most must achieve a level of comparable sound output compression actuator/taper combination. Additional costs are not only used to control and power a large number of horn components, electronics and amplifiers.
Considering the large number of errors in the system, the cost of maintenance – and the potential downtime – it is economical to choose a tapered horn mid-range component for larger systems. The most important thing is to always check with people who are very sensitive to mid-range sounds, including the owner, the device music guide or the main DJ.
2. Subwoofer <br> In a typical music playback system, the subwoofer is often used indiscriminately. There are often a few reasons for these uses. The idea of ​​"bigger is better" is most prominent. Although in some dance halls, the bass is suspended or placed below the stage in space design, more dance halls like to put them on. Above the dance floor, it is intended to create a sound wall. This looks very eye-catching - for most dance halls, visual effects are very important - but too much can cause a lot of trouble, such as machine failure, sound damage, turbidity, harshness, etc. . To understand how to control these situations, it is important to know what kind of bass these people want. DJs only want very simple: deep and loud bass, can touch your heart.
For many dance music, bass is very important. The bass makes people can't help but stand up and dance, but the low audio has a big impact on the dance floor, often spreading to the whole building. It is conceivable that the bass produced by many bass bubbles can cause various vibration problems, such as noise from buildings. Due to the long wavelength, it may harass the nearby area far from the dance hall. So when your client asks his or her ideas, be sure to check the local voice code and surrounding environment before you need to implement it to avoid problems. In view of the above problems, many dance halls are only selected in industrial areas or other dark and cold places in the city. If you don't have all these bass bubbles, can you get a solid clear bass? no doubt. In many cases, you can help your customers save a lot of money. Remind your customers that as long as the bass is placed properly, he or she will have more bass bubbles. If the customer feels that the visual impact is more important and insists on placing a large number of bass bubbles, he or she can only bear legal or economic consequences. Some dance halls try to use two legs to do, that is, put a lot of fake bass bubbles on the dance floor to create a strong visual effect. If you make this suggestion, make sure your customers know that the bass is silent, so you won't be accused of saying that you are cheating on customers.
3. Strengthen ELF
Want to get into the problem quickly? Make sure that the DJ can be used with any major low frequency debug device, such as an image equalizer or subsonic booster. Although image equalizers are widely used in dance halls, excessive bass load and excessive low-end parts are indeed dangerous. An unrestricted low frequency burns the soundboard because it is too far from the bass zone. Similarly, if the amplifier does not have enough reserved output power, the sound quality board will be destroyed by the chopped waveform. These are very common mistakes, so be sure to carefully test the system limits and everything can be controlled. Please use a security cover or software to control the equalizer instead of testing the DJ.
In the past decade or so, the machine function on the DJ mixing board has been greatly increased, reflecting the creativity of the DJ and the unique performance of the scratching technology. Battleboards uses two phono input channel strip mixers with a single cross fader designed specifically for scratching DJ competitions. Although not all DJs use scratching techniques, this approach has penetrated into the environment of a dance hall. This small and practical mixer should be included in the list of all DJ dance hall equipment.
4. Is the rotary button or attenuator?
The DJ system has some mixers with a variety of different features, but the main thing is whether to choose a rotary knob or an attenuator. The first mixer for music reverberation uses a rotary knob for easy control, and the rest goes back to the earlier Bozak and Bogen designs. The rotary controls on the mixers are extremely durable because they are well protected, they are not worn out, and dust can't get in, so there is no attenuator damage. Many mixers also like to use the rotary button. UREI picked up Bozak and made a new 1620 mixer, which has been the industry standard for many years before it was decommissioned.
Obviously, the 1620 doesn't really have a cross attenuator. It requires the use of two volume potentiometers at the same time, and the program is cumbersome and does not prevent the spread of the mixer. Rane now makes a mixer called MP for 2016, which is the nostalgic version of UREI1620. Other companies have also made additional spin buttons, but the 1620G is still in the lead. Whether it's on the auction or through a veteran trader, its asking price is high. The advantage of the attenuator is that the cross-fade between the two-way program source can smoothly convert the operation, which is the most important part of the spur mixer. The attenuator's ability to resist dust has been improved, and many are easy to replace, even when the mixer is open between the two discs. Most mixers on the market today have attenuators, but it's important to make sure there are no knobs. Often, designers use two methods, putting a scratch mixer into the effect circle or adding a stage free channel to a large mixer. When receiving the mixer input phase, there will be a preamplifier scale line sound when the signal reappears, so care must be taken to align or scale the scale to avoid excessive preamplifier load.
Many mixers vary in price and performance, but mid- to high-end mixers have multiple channels that can be selected between microphones, cords, and record players. These arrangements can meet the needs of DJs. The higher-priced mixer function is more specialized. For example, each channel has an overload indicator 100mm high-quality attenuator, field effects and standard component channel strips, making it easier for users to use, easier to get service, and low noise. The output specifications are of high quality.
However, after all, you still have to pay for what you want. There are a large number of standard mixers on the market, so be sure to understand the configuration before deciding to purchase. A new generation of products for the DJ mixer market and disc players. Where is the new one? It is the addition of crossover and controllability in the control link between the two machines. Thanks to this progress, the media can be better controlled and new creativity added.
5. Use a CD or a phonograph?
So what about these two things? Any good dance hall system design must have a record player and a CD player for playing CDs; you can't miss them.
Although many DJs often include phonographs and mixers in the entire mixing system, they just want a lot of people, only their own program materials, still need to use the equipment in the dance hall. The CD player for DJ has been improved with a special pause system to avoid tab or vibration problems. There are also some sample loop options and a unique on-site scratch effect. Although many DJs still like to use the record player because of the freedom of the hand and the actual performance of the vinyl, the DJ-based CD player actually has more functions and features than the original designed record player, which is its advantage. Many DJs like to use both, but for the old and the DJs who use scratch technology, just the phonograph can be the Techinics 1200 which is probably the most famous phonograph in business. 1200 is a standard, everything else is measured by it, of course it becomes a legend, but it is certainly not the only choice. Many new phonograph designs are better than 1200 in setting speed, applicability, function and price.
Perhaps the most important part of the record player is the needle and the turntable, so it is important to protect those fine parts, even at all costs. Because the turntable is easily damaged, it is usually necessary to store the excess in the dance hall so that it can be quickly replaced if necessary. A StantonMagnetics product called "Final Scratch" has been able to manually scrape into Vinyl when using digital files on a laptop. This advancement may be the first example of using high technology to incorporate art into scratching techniques. - As long as you think you have calculated everything.
6. Headphones
Headphones are an integral part of a good DJ setting.如果没有它们的è¯ï¼Œå¯èƒ½ä¼šåœ¨ä½¿ç”¨å”±æœºæ—¶å¬ä¸åˆ°ä¸‹ä¸€é¦–æŒï¼Œä¹Ÿæ²¡æ³•å…ˆå¬å¬CDæ’放机上è¦æ’的是什么。大家都希望拥有有型的耳机；一些人喜欢éšèº«å¬å¼çš„轻音ä¹æ¨¡å¼ï¼Œå¦ä¸€äº›äººå–œæ¬¢ç‹¬åœ¨ä¸€éš…，被喧嚣的音ä¹åŒ…围。耳机，如åŒå”±é’ˆå’Œå”±ç›˜ä¸€èˆ¬ï¼Œä¹Ÿæœ‰å离这一切的趋势。最好在æ¯æ¬¡è¡¨æ¼”之åŽç®—算这些东西的æˆæœ¬ï¼ˆæˆ–è€…ä½ è¿˜å¯ä»¥çœ‹çœ‹æ›´æ¢æµæ˜ŸçƒŸç«çš„æˆæœ¬ï¼‰ã€‚如果在室内用到的是一套效果好，放在耳朵上的耳机和一个好的é”定连接器，它们当然ä¸ä¼šè¢«åŽ»æŽ‰ã€‚
7.击鼓和电ååˆæˆå™¨
市场已越æ¥è¶Šæˆç†Ÿï¼Œè®¸å¤šä»¥å‰ç”Ÿäº§çš„器æ和音ä¹è®¾å¤‡å—到DJ混音å会的é’ç，音ä¹å½•åˆ¶æ—¶ç›´æŽ¥åŠ å…¥äº†å‡¹æ§½ã€‚å› ä¸ºåœ¨æ··éŸ³æ—¶æœ‰æ•ˆçš„æŽ§åˆ¶å分é‡è¦ï¼Œæ‰€ä»¥æœ‰ä¸€äº›è®¾å¤‡è¢«åŠ 入控制å°æ•ˆæžœåœˆé‡Œï¼Œä¸€äº›æ”¾åœ¨é¢‘é“路径上，一些回归æˆä¸ºæŽ§åˆ¶å°ä¸Šçš„è¡°å‡å™¨ã€‚DJ市场åªæ‰‹ä¸ºä¸€äº›è€å¼çš„鼓（å«Roland808å’Œ909，theLinnDrum，和theE-muDrumulator）打出了一片新的天地。击鼓的åŒæ—¶åŠ 进音ä¹æˆ–æ˜¯å¢žåŠ é¢å¤–的击鼓模å¼å·²æˆä¸ºåŠ 强声音的é‡è¦éƒ¨åˆ†ï¼ŒçŽ°åœ¨è¿˜æˆä¸ºäº†ä¸€é¡¹è¡Œä¸šæ ‡å‡†ã€‚
Juicers are machines that can quickly squeeze fruit and vegetable into juices. Juicers including Power Juicers, Slow Juicers and citrus juiers. The working principle of the juicer is to start the machine so that the motor drives the knife net to rotate at a high speed, pushing the fruits and vegetables from the feeding port to the knife net, and the spike of the knife net will cut the fruit and vegetables. Under the action of the centrifugal force, juicer produced by the high speed operation of the knife net, the pomace flies out of the knife net into the slag box, and the juice penetrates the knife net into the juice cup.
Juicers
Juicer Machine,Slow Juicer,Juice Extractor,Electric Juicers
Flying Electronic Co., Ltd , http://www.flyingelectronic.com