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084f2db8c6 Vasey, John (1999), Concert Sound and Lighting Systems (3rd ed.), Boston: Focal Press, ISBN0-240-80364-7 Wallace, Ric, ed. High-pass (low-cut) and low-pass (high-cut) filters restrict a given channel's bandwidth extremes. Audio visual (AV) rental systems have to be able to withstand heavy use, and even abuse from renters. Large music productions often use a separate stage monitor mixing console which is dedicated to creating mixes for the performers' on-stage or in-ear monitors. Parametric equalizers are often built into each channel in mixing consoles and are also available as separate units. Large-scale sound reinforcement systems are designed, installed, and operated by audio engineers and audio technicians. In-ear monitors are headphones that have been designed for use as monitors by a live performer. The 1980s also saw the start of loudspeaker companies focused on the sound reinforcement market. ^ Eargle & Foreman 2002, p.62.
An example of artistic compression is the typical heavy compression used on the various components of a modern rock drum kit. These are typically used to equalize output signals going to the main loudspeaker system or the monitors on stage. Routing the low-frequency energy to a separate amplifier and subwoofer can substantially improve the bass-response of the system. The solution is to use fill-in speakers to obtain good coverage, using a delay to ensure that the audience does not hear the same sound at different times. Wente, E. A noise gate's function is in a sense the opposite to that of a compressor. They also need to use "field-replaceable" components such as speakers, horns, and fuses, which are easily accessible for repairs during a tour. ^ Concert Sound and Lighting Systems, Ch.