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Owner's Manual
Calibration
3
Calibrating Speaker Levels 3.3
5. 对连接到TRS 2 和 Aux 输入的次级/提示音源重复步骤1至3。
Calibrating Speaker Levels 校准扬声器音量
3.3
Themainpurposeofspeakercalibrationistoensurethataspecific,metered
audio level (typically 0 dBVU) equals a certain acoustic level
(measured in dB SPL) in your studio environment. Depending upon
the method and reference levels used during calibration, proper
calibration can help reduce unwanted noise, minimize the risk of
damage to your speakers and your ears, maximize the reference
capabilities of differentspeaker types,and ensurethat you
and your listeners are hearing the audio as the engineer intended.
扬声器校准的主要目的是确保在你的演播室环境中，一个特定的、计
量的音频电平（通常为0 dBVU）等于某个声学电平（以dB SPL为
单位）。根据校准过程中使用的方法和参考电平，正确的校准可以帮助
减少不必要的噪音，最大限度地减少对扬声器和耳朵的损害风险，最大
限度地提高不同类型扬声器的参考能力，并确保你和听众听到的音
频是你希望的。
Therearemanydifferentmethods forcalibrating studio monitors.
Themethods discussedhere arenot the only methods.Various
studioenvironmentswithdifferentgear,clientele,andaudiomixes
may ultimately benefit more from other calibration methods.
有许多不同的方法来校准演播室监视器。这里讨论的方法并不
是唯一的方法。不同的演播室环境，不同的设备，不同的客户，
不同的音频组合，最终可能会从其他校准方法中受益更多。
All calibration methods, including those discussed in this manual, have
something in common: test tones. The most commonly used test tones are
100 Hz, 1 kHz, and 10 kHz sine waves; 40 to 80 Hz and 500 Hz to 2.5 kHz,
bandwidth-limited pink noise; and 20 Hz to 20 kHz pink noise and white noise.
Test-tone CDs can be purchased from your loca music retailer or
downloaded off the Internet from a variety of Web sites. As a less
technical and more subjective alternative, the chorus of your favorite modern,
commercially produced song can be substituted for full-bandwidth pink noise.
所有的校准方法，包括本手册中讨论的那些，都有一个共同点：测试音。最常用
的测试音是100 Hz、1 kHz和10 kHz 的正弦波；40至80 Hz和500 Hz 至 2.5 kHz
的带宽限制的 Pink （粉红）噪声；以及20 Hz 至 20 kHz 的Pink 噪声和 White
（白） 噪声。测试音 CD 可以从当地的音乐零售商处购买，或从互联网上的各
种网站下载。作为一个技术含量较低、主观性较强的选择，可以用你最喜欢的热
门歌曲的副歌来代替全带宽 Pink 噪声。
When calibrating reference monitors in a studio, the acoustic level, or
sound- pressure level (SPL), should be measured from the proper mix
position. Ideally, this position will place the monitors at ear-level while you
are seated at your mixing desk. The monitors should be equidistant from
your ears and from each other, forming an equilateral triangle, with your
head at the point. The SPL meter should be held at arm's length, with the
microphone pointed at the center point between the left and right speakers,
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