KUDO水平垂直线源阵列音箱技术白皮书

Avalon -- 娱乐场所系列DC系列DC 系列是为舞厅、夜总会等娱乐场所扩声而度身定制的高水准固定安装型扬声器系统。

低频部分采用双重或四重低音单元设计,产生了激荡轰鸣、震撼人心的节奏和效果，充分拓展并彰显了厚重的低音；中高频部分采用性能卓著的中频和高频单元，呈现同样出色的中高音音质，确保在整个中高频段、最大长期声压级情况下纯净、自然、水晶般清澈透明的音色。

DCS子系列为装载有号筒的超低频扬声器系统，用来强有力地增强低音效果.DCT子系列为用来进一步增强高音效果的超高频扬声器系统。

DC1全频三分频扬声器系统；4x15”低频单元, 10”号筒中频单元，2 ”高频单元；非对称下倾式涵盖；包括3/8”-16螺纹安装/吊装点;双路功放驱动 (采用数字信号处理)频响范围: . . . . . . 46Hz－16 kHz覆盖角度 : . . . . . 90°x 40°(+10°－ -30°垂直) 功率/最大长期声压级/阻抗低频1: . . . . . . . . 1600W/129dB/4Ω低频2: . . . . . . . . 1600W/129dB/4Ω低频1+ 低频2: . .3200W/135dB/2Ω中频/高频: . . . . .350 W/133dB/8Ω连接: . . . . . . . . . . NL4和NL8 Speakon尺寸(mm): . . . . . 1016高x1770前/1133后宽x652深重量(kg): . . . . . . .182.3产品编号: . . . . . . .999968选件DC1系统悬吊杆将低频部分与中/高频部分固定为一体 , 每一DC1系统需要2个产品编号 . . . . . . . 179114DC2全频三分频扬声器系统；2x15”低频单元, 10”号筒中频单元，1.4 ”高频单元；配有3/8”-16螺纹安装/吊装点; 双路功放驱动 (采用数字信号处理)频响范围: . . . . . . 45 Hz － 18 kHz覆盖角度 : . . . . . .90° x 40°功率/最大长期声压级/阻抗低频: . . . . . . . . . 1600W/132dB/4Ω中频/高频: . . . . 350 W/133dB/8Ω连接: . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . 572前高/489后高x1449宽x483 深重量(kg): . . . . . . 86.4产品编号 . . . . . . . 999969DC3全频三分频扬声器系统；2x12”低频单元, 8”号筒中频单元，1”高频单元；配有3/8”-16螺纹安装/吊装点;双路功放驱动 (采用数字信号处理)频响范围: . . . . . . 50 Hz － 18 kHz覆盖角度 : . . . . . 90°x 40°功率/最大长期声压级/阻抗低频: . . . . . . . . . 800W/128dB/4Ω中频/高频: . . . . 250W/128dB/8Ω连接: . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . 476前/406后高x 1321宽 x406 深重量(kg): . . . . . . 54.5产品编号 . . . . . . .999970DC4全频三分频扬声器系统；2x12”低频单元, 8”中频单元1 ”高频单元；配有3/8”-16螺纹安装/吊装点;双路功放驱动 (采用数字信号处理)频响范围: . . . . . . . 45 Hz － 17.5kHz覆盖角度 : . . . . . . 90° x 40°功率/最大长期声压级/阻抗低频: . . . . . . . . . . .800W/128dB/4Ω中频/高频: . . . . . .220W/120dB/8Ω连接: . . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . . 486前/354后高 x959宽 x 508 深重量(kg): . . . . . . . .45产品编号 . . . . . . . . 999937DC5全频二分频扬声器系统；12”低频单元；1.4 ”高频单元；配有3/8”-16螺纹安装/吊装点;单路功放驱动频响范围: . . . . . . . .50 Hz － 18 kHz覆盖角度 : . . . . . . .90°x 45°功率/最大长期声压级/阻抗全频: . . . . . . . . . . 500W/124dB/8Ω连接: . . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . . 395前/306后高 x 762宽 x 346深重量(kg): . . . . . . . .29.5产品编号 . . . . . . . . 999972DC6全频二分频扬声器系统；2x8”低频单元, 1”高频单元；包括3/8”-16螺纹安装/吊装点;单路功放驱动频响范围: . . . . . . .50 Hz － 19 kHz覆盖角度 : . . . . . . 90° x 60°功率/最大长期声压级/阻抗全频: . . . . . . . . . . . 400W/121dB/4Ω连接: . . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . . 270前高/189后高x762宽x297深重量(kg): . . . . . . . .25.5kg产品编号 . . . . . . . . 997207D C S 系列EAW工程师发现，现代舞厅音乐的频谱具有这样一个特点：50Hz至60Hz低频段的声压级要比其他频段高出10-20dB。

会议室采购会议系统及安装工程（纯方案，15页）目录三、设备的技术指标....................................................................................................2 五、工程技术保障........................................................................................................4 1、项目实施进度计划 (4)2、设备安装及调试方案......................................................................................4 3、质量保障体系及保证措施..............................................................................8 六、验收保障及质保期..............................................................................................11 1、验收指标及方法............................................................................................11 2、质保承诺.. (12)七、售后服务承诺......................................................................................................14 1、售后服务体系................................................................................................14 2、售后服务承诺 (14)3、人员培训计划 (14)三、设备的技术指标序号产品名称设备技术指标 1.1 柱形阵列扬声器频率响应(-10 dB): 75 Hz-13 kHz 可计算的最大声压级 @ 1m: 109 dB 额定输入功率(连续 / 峰值): 150W/600W 轴向灵敏度(SPL/1W @ 1m): 87 dB 标称水平扩散角(-6 dB): 160° 标称垂直扩散角(-6 dB): 20° 标称阻抗(旁路变压器): 8Ω 换能器: 扬声器单元12 只2.25 英寸(57mm)大冲程,全天候单元尺寸(高 x 宽 x 深): 986mm x 104mm x 140mm 2.1 低音扬声器频率响应：40Hz-250Hz(±3dB)功率阻抗：(带EQ)，400W，8Ω 灵敏度：91dB-SPL,1w,1m 最大声输出：117dB-SPL,1m(平均值)；123dB-SPL,1m(峰值)辐射角度：可控辐射角度外形尺寸：368(H)x508(W)x646(D)mm 重量：30.0Kg 3.1 辅助扬声器频率范围：90Hz-16kHz +/-3dB 灵敏度：91dB-SPL@ 1W,1m(粉红噪声）最大声学输出：111dB SPL@1m(粉红噪声）115dB SPL@1m（IEC 噪声）持续功率处理能力：连续 120W 尺寸及接驳规格：尺寸：23.25"高 X 8.1"宽 X 7.25"深重量：15 磅（7 公斤）插头：2 个并联的 Speakon NL4 插头覆盖角度：120° X 60° 4.1 返听扬声器频率响应(-10 dB): 70Hz-16 kHz 可计算的最大声压级 @ 1m: 109 dB 额定输入功率(连续 / 峰值): 150W/600W 标称水平扩散角(-6 dB): 160° 标称垂直扩散角(-6 dB): 20° 标称阻抗(旁路变压器): 8Ω 换能器: 扬声器单元 3 只 2.25 英寸,1 只 5.25 英寸单元尺寸(高 x 宽 x 深): 361mm x 318mm x 211mm 1.5 功率放大器2*600W 8 欧，2*1050W4 欧，2*1400W2 欧，桥 170W8 欧，桥 4 欧 2300W 1.5 功率放大器2*600W 8 欧，2*1050W4 欧，2*1400W2 欧，桥170W8 欧，桥 4 欧 2300W1.6 功率放大器 2*400W 8 欧，2*700W4 欧，2*1000W2 欧，桥1250W8 欧，桥 4 欧 1700W 1.7 调音台 16 路调音台 1.8 数字音频矩阵 8 路可切换式平衡话筒/线路电平输入；带高低通波器、FIR 滤波器、图示均衡器及反馈消除及自动混音； 8 路切换式平衡线路电平输出，4 路逻辑输入（可用 2 组电位器或 4 组开关）和 4 路逻辑输出；所有信号处理，混音，路由功能（包括输入增益）均可通过软件控制；通过下载的应用程序，可为特定场所和系统的优化提供整套音频处理解决方案；预先设计的应用程序可极大的缩短安装、调试时间；采样频率:48 kHz；频率响应:20Hz-20kHz,+/-0.5dB；动态范围:>110 dB(A 声压级)，输入到输出；总谐波失真+噪声:<-85 dB(无负重声压级)，1kHz @ +22 dBu，0dB；增益交叉通道对讲:<90 dB @ 1kHz，典型；延迟:<1.6 毫秒，输入到输出； 1.9 会议话筒鹅颈会议话筒，话筒杆长 42cm 1.10 无线手持话筒双手持无线手持话筒 1.11 话筒底座 1.12 自动混音台 10 路自动混音管理器五、工程技术保障 1 1、项目实施进度计划 1、施工准备阶段：施工准备阶段主要是熟悉、审查图纸，了解业主和设计意图，结合国家规范、行业及雇主要求，进行深化设计。

Rumble-KU212Stainless steel linearray bass elementDescriptionThe Rumble-KU212 is an ultra-thin, highpower passive subwoofer designed as the perfect companion to the K-array’s Installed Sound speakers. A combination of extended frequency response with prodigious output and a discreet form factor make the KU212 an ideal solution for complex medium and large-format projects like clubs, lounges and live concerts. The largest of K-array’s Rumble subwoofer line, the KU212 is comprised of a 12” neodymium transducer combined with a 12” passive transducer. The KU212 is made entirely up of steel, making it extremely resistant, even when deployed outside in tough weather conditions. This makes it ideal foraquatic environments where ordinary bass speakers would corrode. It is impenetrable by foreign objects such as dust, sand or water, which over time can ruin a speaker. KA series amplifiers have presets specifically optimized for KU212 applications. Measuring at 33 x 65.5 x 20 cm and weighing 18kg, the KU212 is available in elegant black or subtle while and can be customized in any RAL color as well as brushed, polished or 24 K gold-plated finishes, making it easy to blend in or grab attention depending on your aim, in a variety of spaces.Technical SpecificationsNotes for data:1. Maximum RMS applicable power for a musical signal. The reference signal is the one proposed by EIAJ standard.New materials and design are introduced into existing products without previous notice.Present systems may differ in some respects from those presented in this catalogue.26,2in 665,5mm 25,8in 655mm13,0in 330mm7,9in 200mmGeneralType Point source subwooferDrivers1x 12” Neodymium magnet with 2” voice coil 1x 12” passive transducer Frequency Response 35 Hz – 150 Hz (-6 dB) (1)Sensitivity 100 dB (2)Rated Power 700WMaximum SPL 124 dB (cont.) – 130 dB (peak) (3)Nominal Impedance 4 / 16 Ω selectableCrossover External crossover required Low-pass @ 150 Hz CoverageOmniControls and ConnectivityConnectivityPhoenix MSTB 2,5/ 4-ST-5,08 BK - 17588431+ 1- / 2+ 2- serial or parallel configuration (see manual)Handling and FinishIP RatingIP54 (Improved water protection with K-KUIP accessory)Dimensions & Weight 65,0 cm x 33,0 cm x 20,0 cm (25.8“ x 13.0” x 7.9“) 18,5 kg (40.8 lbs)FinishBalck, White, Custom RAL color Premium brushed, polished stainless steel/gold finishesAccessoriesRecommended Amplifier KA24, KA84AccessoriesK-2SPK, K-FLY22, K-FLY2B, K-JOINT2B, K-PMOUNT, K-WALL2, K-WF212。

The Inverter Principle for Electrostatic LoudspeakersIntroductionElectrostatic speaker systems have been considered the absolute state of the art in audio reproduction since the 1960’s, when the legendary KLH 9 first made its debut. Shortly after, Infinity Systems introduced the Servo Static One, a full range electrostatic design that was considered the best speaker of all time and led to Infinity’s current position as one of the leading speaker brands in the world. In the early 1990’s, Martin Logan popularized the concept of “hybridization”, the process of blending dynamic and electrostatic technologies to deal with some of the technological difficulties of electrostatic loudspeakers.Electrostatic speakers are known for there clarity and transparency of sound, as well for the low distortion because amongst others the very low mass of the moving diaphragm. Besides the very high sound quality, traditional electrostatic speakers had also a number of principle disadvantages such as a very low impedance as soon as the frequency goes above 1000hz even as low as 1Ohm(need for expensive and powerful amplifiers). Another known disadvantage for traditional electrostatic speakers is the beamy pattern of the sound distribution resulting in a narrow spot of the listening place. Because of the very principle of the sound reproduction, electrostatic speakers need very large surfaces to reproduce Bass tones (expensive)In case of a traditional electrostatic loudspeaker elements a thin film, permanently charged by means of a high voltage , is suspended between two perforated plates. The audio signal from the amplifier is transformed into a high voltage by means of an audio transformer and delivered to the perforated plates as an alternating current. The alternating electrical field caused by the two perforated plates (the stators) will push and pull the film (the membrane). The membrane itself will move the air and therefore produce sound waves.The Final Sound Inverter’s unique selling pointsLow distortion Transparency and life-like sound High-definition sound (a lot of detail)High Impedance resulting in lower power and lower-cost amplifiers Broad Stereo Image Excellent sensitivity on normal listening distance Much less affected by room reflections (against walls, ceiling and floor) resulting in a lower-cost for the Home Theatre Installation.The Inverter principle results in a high degree of safety allowing the design to comply with the UL and CE requirements The Inverter also needs smaller electronics, resulting in a flat and digital lifestyle design.Final Sound Solutions modular design allows applying manufacturing technologies that allow for much lower manufacturing cost prices and as such more attractive end-user prices.•••••••••The Inverter Principle for Electrostatic LoudspeakersThe inverter: the Final Sound solutionFinal Sound developed the Inverter Electrostat over the last two years in order to solve a number of the disadvantages of electrostats while keeping the benefits.Additionally FSS has improved the diaphragm technology substantially, so it will last much longer than traditional electrostats.audio signal diaphragm stator platesThe Inverter Principle for Electrostatic LoudspeakersThe Inverter Principle for Electrostatic Loudspeakers The Final Sound electrostatic conceptThe Final electrostatic loudspeakers consist of the following basic components:The electrostatic transducer.This element is a sandwich of two perforated plates. In between these plates a thin film (the membrane) is suspended. The plates are coated with special epoxy polyester to obtain a proper insulation. The membrane is made electrically conductive by means of a coating process. Final uses VHB (very high bonding) tapes to build the sandwiches.The audio transformer.Final has developed its own state of the art audio transformers. Special core materials and insulation techniques are applied. The audio transformer is for a major part responsible for the performance of the speaker. On today’s market suitable audio transformers for electrostatic panels are not available.The high-voltage unit.A high voltage unit powers each electrostatic element. This unit delivers the polarization voltage to the membrane. The power consumption of the electrostatic loudspeakers is very low. Also here Final Sound developed it’s own patented technology.The frame.The electrostatic elements are fixed in a rigid framework. The newest generation Final speakers have a beautiful framework made of extruded alloy tubes. The satin finished framework gives the speaker a unique cool look. Final sound also can deliver any RAL color as an option. On the other hand the extrusion profiles enable large volume production. A unique feature of the HT systems is that the electrostatic panels can be delivered in a wall-mounted version and a floor standing version.Its unique technology of electrostatic speakers allows a superb sound quality combined with an excellent price /performance ratio. Its extreme flat design allows not only floor standing but also wall mounting. Its patent protected and patent pending electrostatic technology allows a far better price performance than competing systemsWhy does an electrostatic loudspeaker (ESL) sound louder?When characterizing the sensitivity of loudspeakers in general it is common practice to express this magnitude in dB/1 meter/1 watt or 2,83 volts. This works fine as a measure for dynamic speakers as these are point sources, but asks for some more detailed explanation for line sources. Final Sound electrostatic loudspeakers are line sources and also dipoles.Both aspects will be treated here.A conventional cone-type loudspeaker is a point source, moreover it usually only radiates in the forward direction. A Final electrostatic panel is a line source and it radiates as much at the front as at the rear.The Inverter Principle for Electrostatic LoudspeakersWhen a long line source is measured at 1-meter distance, the microphone usually receives its sound from a limited part of the total sounding surface. Therefore the figures obtained by such a measurement do not rightly reflect the listener’s impression of the sound level.Acoustical theory shows that the sound level of a point source diminishes –naturally- with 6 dB per doubling of the measuring distance, while long line sources like Final electrostats show a decrease of 3dB per doubling of the distance. When seated at a distance of typically 4 meters in a room, the sound intensity out of a point source is 12 dB lower than at the usual but not very practical measuring distance of 1 meter.From a line source like a large electrostatic loudspeaker, when auditioned at 4 meters, the loss is not 12dB but 6 dB only.An example may clarify this phenomenon:A good cones loudspeaker, behaving as a point source has a “sensitivity of 86dB/watt/1 meter”. At the usual 4-meter distant listening position, the sound level has dropped to 86-12 = 74 dB. A big ESL, when auditioned at the same distance will produce a sound level of 86-6=80dB. A 6 dB difference.The second property of ESL’s is its dipole character. A conventional speaker only radiates to the front, as the back is usually closed by the box.An ESL radiates its sound energy both to the front as to the rear and this rear sound energy will be reflectedto the walls and added to the waves coming from the front. This will contribute to the overall sound level impression of the listener. Were these two waves in phase, it would lead to an increase of 6dB. But generally this is not the case of course. An estimation of a 3dB difference is realistic.Let us sit down again at our listening position at 4 meters of our 86dB/1meter/1watt loudspeaker and add the two phenomena as described above together.The point source will yield (see above) a sound level of 86-12=74 dB at 4 meters distance.This is an important 9 dB of difference at the listening position. Smaller ESL’s are not an ideal line source, but still are dipoles with their 3 dB advantage. A smaller ESL/86dB in this context, will yield a sound level at 4 meters of some 86-9+3 dB = 80dB, still 6dB ahead of a point source with the same measured 86db/1 meter/ 1 watt/2,83 volts.When Final specifies 86dB/1 meter/1 watt, it is measured with the standardized method. For large ESL’s one has to add 9db to that figure: it effectively becomes 95 dB equivalent as compared to a point source: a normal cone loudspeaker. For small ESL’s one has to add 6dB to that figure: this effectively becomes 92dB equivalent in order to get the right impression of the capabilities of ESL’s versus cone loudspeakers.The last pitfall in interpreting the measurement results of ESL’s, has –again- to do with its long, mostly vertical- dimensions.The Inverter Principle for Electrostatic LoudspeakersWhen assessing the frequency characteristic at the usual distance of 1 meter, there maybe considerable differences in distances between the microphone and the different parts of the ESL: from the middle the distance, of course, is 1 meter. But from the extremities of a 56 cm high ESL the distance is, Root ( 100^2+26^2) = 103,9 cm. This is a half wavelength at approx. 4000 Hz. At this frequency the waves from the extremes of the ESL will more or less cancel out the waves emanating from the centre. The curve will lead an uninformed experimenter to believe that the frequency characteristic falls with 3 dB per octave beyond this first cancellation frequency! Measuring however at 4-meter distance, this first canceling-frequency will be at 16000 Hz. A 120 cm long ESL like the FINAL model 400 will experience its “first cancellation frequency” at around 3600 Hz. For a listener in a room with some reverberation –not being a “dead” room- this phenomenon is quite unimportant, as all waves coming back to him from all walls and the floor and ceiling will smooth out the undulations experienced in the measuring set-up in a non-reverberating room with software canceling all reflections.When judging the measurements of an ESL in a non-reverberating set-up, one can, for a quick assessment of the qualities of an ESL, accept the following rules: measuring the behavior at low frequencies can be done at the usual 1 meter distance, high frequencies can best be measured at a distance of 4 meter or more.Electrostatic versus dynamic loudspeakerComparisons between electrostatic (ESL) and dynamic (Cones) loudspeakers and descriptions of the operation of ESL’s have been made in all shapes and forms, enough to fill a small library. So this introduction is limited to a short enumeration of the most salient differences between the two systems, hoping this subject is well known to readers.Electromagnetic or dynamic loudspeakers have cones driven by some form of a coil moving in a magnetic field –flat or circular. These cones are usually excited at the center for bass and middle tone speakers or at the perimeter in the case of tweeters and are hoped to move exactly in accordance with the electrical current through the coil. In practice however, cones move more or less like shaking a rug, than like an ideal stiff surface. See the diagram below just to excite your imagination. One may hope the mean value of the movement over the total surface is neat enough to give an acceptable and musical representation of our beloved sound material.•The Inverter Principle for Electrostatic LoudspeakersESL diaphragms have considerably less weight than cones: the diaphragm of an 90i weighs less than 1 gram. As much as 100 liter of air weighing 1 kg per m3. In an ESL such a diaphragm is 12 micron thick and it weighs as little as a layer of air of 12 mm thick: 6 mm on both sides. In an ESL the diaphragm is driven simultaneously and homogeneously over the entire surface. Dampened as it is by its surrounding air this thin and ultra light foil does not get the tiniest chance to invent movements of its own.Cones have the advantage of a long stroke, so the surface of an ESL diaphragm should be many times larger than that of a cone to move the same number of air molecules. But be aware: the ESL moves air at both sides as explained above. Low frequency output from ESL’s is admittedly nice and clean, but usually no too strong, unless the ESL’s surface is huge and at the same token it gets quite expensive.Final’s finest model 1.4, now baptized 1400i, has a surface per loudspeaker of 0,54 square meters. If this were a round cone it’s radiating diameter should be 95cm or 37 inch! Our smallest model (model 90) today has one tenth of the surface of the 1000 and that is 0,07 square meter. Its equivalent diameter should be 12 inch, still the measurement of a very respectable cone-speaker.Dynamic loudspeakers are usually housed in not dumb-and-dead boxes, which –these boxes too, alas- have their own contribution to the sound of music. ESL’s have no such boxes, at the expense of the performance in the bass frequencies.Dynamic loudspeakers require the frequency spectrum to be divided into two, three or more sub-bands. This brings about the use of LC-filters with their own influence on the sound.ESL’s, due to their large radiating surface, tend to exhibit bundling of the higher end of the audio spectrum, reducing the dimensions of the so-called sweet spot. FINAL has found out how to fight this phenomenon.Most ESL’s on the market require high end amplifiers because of their weird impedance over frequency: values can be found as low as 1 ohm at 20kHz. And very capacitive too as this 1 ohm is the equivalent of 8 microfarad. This in itself is a strange phenomenon because theoretically the sensitivity of an ESL increases with frequency and one would, based on electrical energy in versus audio energy out, expect some sort of inverse behavior.Full range electrostatic loudspeakers usually have a limited sensitivity. 86 dB is commonly found whereas dynamic loudspeakers exhibit sensitivity more like 86 to 92 dB without recurring the use of exponential horns and other additional means (measured at 2,83 volt in and at a distance of 1 meter). This has been discussed thoroughly above. The sound is louder than you would conclude from the specs.••••••••The Inverter Principle for Electrostatic LoudspeakersFull range electrostatic loudspeakers usually have a limited sensitivity. 86 dB is commonly found whereas dynamic loudspeakers exhibit sensitivity more like 86 to 92 dB without recurring the use of exponential horns and other additional means (measured at 2,83 volt in and at a distance of 1 meter). This has been discussed thoroughly above. The sound is louder than you would conclude from the specs.The industry in the past decennia has predominantly made large and expensive Electrostatic Loudspeakers in rather small quantities mainly for the high-end market, and not yet addressed the middle segment. Part of this is due to a vicious circle whereas small quantities do not lead to a quick decrease of the cost of manufacturing, nor a quick run down the learning curve. Dynamic loudspeakers on the contrary, are made in huge quantities and varieties worldwide and so are cheaply available.The application of the high voltages necessary in an ESL presents a challenge as to the safety as laid down for instance in ETL and UL-requirements related to human safety and fire hazard. Finals Inverter solution has solved this.ESL’s are sensitive to dust, smoke and moisture: these particles tend to shorten their lifetime. However Final has developed a new type of diaphragm with a protective coating to enable a long lifetime. Nevertheless, it’s recommended to clean the panels ate least once a quarter, using a vacuum cleaner.ESL’s are line sources and so behave in a completely different manner as point sources in the build-up of the acoustic field. •••••。

线阵列音箱知识线阵列音箱知识以往为了解决大场地(如大型体育馆、体育场和广场)扩声的需要，常采用几十只或上百只音箱组成大型的“音箱阵”或“音墙”，来满足场地扩声声压级和声场覆盖的要求。

这种方式沿用了许多年，直至今天仍有使用。

只是随着时间的延续，组阵的单元音箱在不断地进步与更替。

后来人们逐渐发现，这种传统的组阵方式虽然在总体上可以满足大场地扩声的需要，但是有两个突出的问题暴露出来：一是大型组阵现场搭建繁杂，使用不便;二是扩声声场存在明显的声干涉现象。

显然这些问题的存在对某些使用场合，特别是对重放音质要求高的场所将不能满足使用要求。

1. 线阵列扬声器系统的提出为了能解决这些问题，近十几年来，声学家和扬声器厂商又开始“重温”美国著名声学家H.F奥尔森(Olson)在1957年出版的《声学工程》(AcousticalEngineering) -书中关干线阵列的论述，即“线阵列系统具有良好的垂直指向性覆盖和远距离声辐射的特点”。

但是如何能完成宽音域声音的重放?只有伴随扬声器新技术、新的设计与加工工艺的进步才能得以实现。

法国L-ACOUSTICS公司于1993年首先推出了V-DOSC系统。

在随后的几年里，一些国际著名的扬声器生产厂商也陆续推出了各自品牌的线阵列扬声器系统。

自2002年起。

一些国内扬声器生产厂商也相继研发出自己的线阵列扬声器系统。

2. 什么是线阵列扬声器系统简单来说，可以把线阵列扬声器系统看成是一个“大型的全频扬声器”。

它是借助线阵列( Line Array)的基本理论，在一定条件下予以近似而开发出的扬声器系统。

需要注意的是，不能简单地把“线阵列”等同于实际的线阵列扬声器系统。

线阵列基本上是由一组排列戍直线、间隔紧密的辐射单元构成。

这些辐射单元的声辐射应具有相同的振幅和相位。

2.1 形成线阵列的基本条件线阵列要实现一个近似理想的“线声源”或“连续带状声源”其基本点是：①阵列的每个声辐射器以一个同相位平面形波阵面工作;②阵列的声辐射器的声中心之间的间距应小于最高辐射频率波长的一半。

Bass音乐厅升级音响系统华汇【摘要】@@ 2009年底,美国德克萨斯州大学奥斯汀演艺中心为其2 924座的Bass音乐大厅(Bass Concert Hall)新增一套L-ACOUSTICS音响系统.对于既要扩声又要保持可懂度,并要体现交响效果的音乐厅来说,灵活性是运营成功的关键因素.此次,音乐厅安装了KUDO、KIVA和ARCS多个阵列音箱,弥补了音乐厅颇具挑战性的声学损失.此前,该会场缺少语言可懂度,中频临界状态下有混响时间过长、丢失现场音乐的现象.【期刊名称】《演艺科技》【年(卷),期】2010(000)003【总页数】1页(P74)【作者】华汇【作者单位】【正文语种】中文2009年底，美国德克萨斯州大学奥斯汀演艺中心为其2 924座的Bass音乐大厅（Bass Concert Hall）新增一套L-ACOUSTICS音响系统。

对于既要扩声又要保持可懂度，并要体现交响效果的音乐厅来说，灵活性是运营成功的关键因素。

此次，音乐厅安装了KUDO、KIVA和ARCS多个阵列音箱，弥补了音乐厅颇具挑战性的声学损失。

此前，该会场缺少语言可懂度，中频临界状态下有混响时间过长、丢失现场音乐的现象。

该中心的音响主管亚当·达德利（Adam Dudley）说：“我们选择的产品要得到演出团体的认可。

它还要帮我们省去租赁费用。

我们希望它在必要时可用艺术家的巡回演出单元扩声，是一个切实可行的室内音响系统。

灵活性是我们的主要标准。

由于Bass音乐厅高度很高，我们需要确保从中心组群发出的声音能够覆盖整个观众区域并可到达后部楼厅。

8个KUDO音箱单元组成中央声道，固定安装在离舞台大约40英尺高，延伸20英尺进入观众席的位置。

”一个较低的中心阵列安装在舞台的角落（中心组群下面大约10英尺处）。

它包括6只超紧凑的KIVA单元和一对ARCS恒曲率水平线声源阵列。

它们角度朝下，覆盖整个前部观众席区域。

两边各有一对ARCS单元组成两个上部阵列，与中心阵列等高，离中心线26英尺。

DICK （迪克）L 线性阵列演出音箱DICK （迪克）L 系列恒定曲率线阵列扬声器率统，单元采用进口材料制作，钕铁硼单元，纯铝扁线圈技术应用；低频强劲有力，中频饱满厚实，高频清脆甜美、穿透力强，复杂的多路倾斜型号角设计，能重播25HZ-20KHZ 频率范围，是你演出的完美拍档。

主要特点：1、可靠性：稳定性好，产品均经过严格的检测与试听，演出现场绝不怠工。

2、灵活性：可任意拆卸组合，多种指向性吊装快捷可调。

3、易用性：箱体铝合金吊装件设计科学，吊装方便，30分钟可安装好一组。

4、重量轻：箱体采用优质多层桦木夹板，硬度好重量轻，便于运输、安装。

5、美观性：箱体表面经过防水防尘处理，喷耐磨点漆，始终亮丽如新。

L-4基本参数单元配置（System Type ）............................... ...4"×2+2"×1 频率响应（Frequency Range ）............................ 45Hz-20KHz 灵敏度 (1W/1M)........................ ..........................110dB平均功率（Power Capacity ）.............................. 150W/300 &8Ω 最大声压级（Max SPL ）................................ ....121dB指向性（Nominal Dispersion ）............................ 120°×( 30°-90°) 尺寸（Dimensions ）................ ............................ 380×160×190mm净重/毛重(NW/GW))........................... ..................8 Kg /9.5 Kg 应用范围。

专业扬声器系统介绍T he B est S ound C omes F rom O ne S ource!最好声音来自没有干涉的单一声源!2009年04月20日广东·上海研究与创新物理的科学方法！创新的解决方案！使用不同场地的产品！完善的技术支持！全球专利技术！线声源阵列扬声器的“鼻祖”和“首造厂”!法国制造的优质产品L-ACOUSTICS 水平、垂直线声源阵列扬声器和同轴扬声器等高Q值扬声器组成剧院的扩声系统。

L-ACOUSTICS 扬声器以其特有的纯正音色和纯物理的高技术含量活跃在当今世界演出舞台上，被国内、外许多重点剧场工程、电视台和大型演唱会所选用。

L-ACOUSTICS的简要历程:1989年–第一只专业同轴＂点声源＂扬声器: MTD115 1992年–波阵面纠正技术标准(WST)的全球第一次公开发表–DOSC 全球波导管专利技术1993年–世界第一个拥有波阵面纠正技术(WST)的垂直线声源阵列扬声器系统: V-DOSC1995年–世界第一个拥有波阵面纠正技术(WST)的水平线声源阵列扬声器系统: ARCS1999年–第一只紧凑型大功率线声源阵列扬声器系统: dV-DOSC2004年–第一个拥有波阵面纠正技术(WST)的水平／垂直线声源阵列扬声器系统（可变指向性）：KUDO2007年–紧凑型线声源阵列扬声器系统: KIVA线声源系列超低音系列ARCS dV -DOSC 115XT HiQ12XT8XT dV -SUB 3x15寸超低频SB28 2x18寸超低频同轴点声源系列KUDO V -DOSC处理器及功放SB118超低频KIVAXT 系列XT 系列同轴系列小体积高效率、二分频同轴“点声源”扬声器，将高音驱动器与低音单元同轴安装，以消除相位失真、形成“点声源”，提供低频/高频重叠的扩散特性，而没有那些对于传统的号筒和低频扬声器单元组合来说典型的极性波瓣效应，保证扬声器既有平滑的频率响应，又有优秀的相位响应特性。

Sound Blaster ROARSR20AWhite PaperEvolution, Concept andTechnology OverviewVersion 1.12July 2014Corporate HeadquartersCreative Technology Ltd.31 International Business ParkCreative ResourceSingapore 609921Tel: +(65) 6895 4000Fax: +(65) 6895 4999Creative website: This document is provided for background reference. It may not be reproduced© 2014 Creative Technology Ltd. All rights reserved. Creative and the Creative Logo are trademarks or registeredtrademarks of Creative Technology Ltd in the United States and/or other countries. The Bluetooth® word mark andlogos are owned by the Bluetooth SIG, Inc. and any use of such marks by Creative Technology Ltd is under license.aptX® is a trademark of CSR plc. microSDHC Logo is a trademark of SD-3C, LLC. All other trademarks are theproperty of their respective owners and are hereby recognized as such. All specifications are subject to change withoutnotice. Actual contents may differ slightly from those pictured. Use of this product is subject to a limited warranty.Sound Blaster Roar: A Study in Purpose-built PerfectionWhen it comes to designing the perfect music system -- be it a sound system for the living room, speakers for a mixing studio, or a near-field desktop system -- the most important thing is its musicality.This means that the speaker is faithful to the original source and reproduces audio where Timbre and Tonality is not altered from the original source in any way. Ultimately musicality is not dissecting, nor changing the sound, but a total cohesive presentation that puts every element of the sonic fabric together as it was reproduced originally.Simply put, a good speaker system – due to its ability to accurately reproduce the original source – enables listeners to achieve oneness with the music being played. That in a nutshell is what we have set-out to achieve with the Sound Blaster Roar SR20A.Main Design ConsiderationsThrough our many years of research in one-piece speaker systems, and countless in-house research projects in our sound laboratories and listening rooms, Creative has identified key usage patterns in the portable speaker category. We have also narrowed down some major pitfalls in the design of today’s portable speaker.Here are our findings:1.Portable speakers are used both ‘near-field’ (meaning at the desk or on a bed) and‘mid-far field’ (when used as a main stereo system in a studio apartment or at aparty or on a picnic)2.Portable speakers are used when the listener is (most of the time) NOT at theacoustical axis, meaning they are either standing up or walking around or using it mostly for ambient or background music.3.Portable speakers are often used and listened to (played back) at mid to softvolume levels. In this case most designs lack “bass” when played at these levels.4.Portable speakers are often impulse purchases (via heavy discount, brand hype orfor its industrial design), with sound quality being the lowest consideration. Most portables have such poor fidelity; they hardly suffice to provide decent sound fora bedroom.As a result of these observations, we set out to configure and incorporate the following design elements into a portable speaker that would excel in the portable speaker category: 1.Bi-Amplified Design-- Two Amps, Not OneMost portable speakers have a passive radiator -- meaning, it is not powered.With this approach the passive system’s single amplifier must reproduce thewhole audio spectrum; low frequencies rapidly “use up” the amp’s headroom.As higher frequencies ride along on lower frequency waveforms, they can bedistorted even when the high frequencies themselves will not be clipping. Having two amps as opposed to one, the amp is free to drive each speaker to its safemaximum limit and efficiency. It also allows greater power management of highand low frequency. At lower volume playback bass is still evident. System alsoplays louder without losing too much bass (common in many other portables).Passive conventional vs. Active or Bi-Amplified2. ‘Boxer-Style’ Low Centre of Gravity DesignUnlike top-heavy, front/rear-designed speakers that vibrate and move out of position at high volumes, the Sound Blaster Roar is designed to be remarkablystable with its low centre of gravity.The dual opposing radiators produces equivalent counter-forces, this symmetry of force prevents the unit from moving during extreme driver excursions.The top firing “active” driver which incidentally also moves the “most” is backed by the base of the unit and by the surface on which the unit is resting. The rear forces of the active driver are then distributed to the dual radiators. This three-action” pisotonic approach provides a very stable platform for a bass module.Conventional active/passive approach has the active driver firing is one direction with passive drivers firing to the rear produces uneven forces. This together with the “top-heavy” and small footprint design causes the speaker system to move. On bass heavy or loud playback the product may tend to “move”.Boxer Bass Module Conventional Design3. Space-Filling DispersionDispersion which refers the throw of sound into its acoustic space is a veryimportant factor in reproducing spacious sound for a loudspeaker system. For aone-piece speaker system, it is always a challenge to deliver a convincing “stereo”stage, width, depth and even height of conventional 2-piece speakers. Most one-piece speakers systems tend to sound “boxed –in “, and point-sourced” therebylacking in stereo width and depth.With SR20A‘s five driver approach, the front left /right drivers dispersefrequencies forward, the active bass unit disperses less sweet spot-dependantmidrange upwards for height while both side firing radiators delivers “space-filling” bass, this creates a holosonic soundscape enabling improved width, height and depth while preserving the stereo focus.Components and Supporting TechnologiesThe Sound Blaster Roar SR20A comes with the following components and technologies that allow the loudspeaker to punch well above its weight in the wireless speaker category:Far-field Dual Left-Right Channel Satellite DriversThe Sound Blaster Roar SR20A delivers highly detailed highs. This is due to the inclusion of dual 1.5” high frequency drivers that are made for ‘Far-field’ high-frequency dispersion. These drivers feature a Kapton voice coil former with excellent dielectric properties for improved thermal handling.‘Far-field’ here refers to the driver’s ability to “throw” sound further than competing portable speaker systems (not on the context of a full blown professional monitor).Bass/Midbass DriverThe Long-throw 2.5” heavy duty midrange/bass driver – that features rubber surrounds with ideal flex properties -- is used for midbass bass duties for the SR20A.Bluetooth 3.0The SR20A features Bluetooth 3.0 wireless technology. This has all to do with the new way we live, work and play. Bluetooth wireless technology is aimed at allowing users to make effortless and fast connections between various devices.Bluetooth wireless technology’s adaptive frequency hopping (AFH) capability was designed to reduce interference between wireless technologies sharing the 2.4GHz spectrum. AFH works within the spectrum to take advantage of the available frequency. This is done by detecting other devices in the spectrum and avoiding the frequencies they are using.Range:Operating range is typically 10 meters or 30 feet.Data rates:Up to 3Mbps.Also Bluetooth’s high adoption rate enables very wide compatibility.What is aptX? Originally developed for use in the professional audio and broadcastingsectors, aptX is a real-time digital audio data reduction system that compresses linearaudio samples by a factor of 4:1 with no perceptible audible degradation and withnegligible delay.Why aptX? To manage the transfer of stereo audio, the Bluetooth Special Interest Group(SIG) has ratified a profile known as A2DP (Advanced Audio Distribution Profile).Bluetooth stipulates maximum available bandwidth for A2DP at 768kbps. So for highquality stereo music, it is necessary to use some form of audio coding to reduce therequired data rates.Take for example, a 16-bit stereo (regarded as entry level for audio systems) with aminimum sample rate of 44.1 kHz to match the venerable audio CD:Dynamic Range:16 Bit Digital Audio = 20Log10 (216) = 96.32 dB20 Bit = 120.4 dB etc….Taking CD quality as the benchmark, 16-bit, 44.1 kHz has a dynamic range of 96dB.To achieve this level of dynamic range in bandwidth limited applications, it will benecessary to use at least 16-bit audio as the raw input and then a compression technologythat can reproduce virtually all the dynamic range at the output.Uncompressed audio utilizes a bandwidth of 1.411Mbps for CD quality and for the vastmajority of wireless applications, full bandwidth is simply impractical. Issues of design, efficiency, power optimization and error resilience will all put pressure on available datarates.AptX uses advanced ADPCM principles which encode the entire frequency range of theaudio. MP3 uses psychoacoustic techniques, which throw away audio they deemunimportant, SBC reproduces limited audio bandwidth.So what is the bandwith of aptX? Here’s the breakdown:CD 16 bit /44.1kHz 20Hz- 22kHzaptX 20Hz-22kHz SBC 20Hz-17kHzAAC (Advanced Audio Coding) is the default file format on the iPhone, iPod TM and the iTunes TM software, and for downloads from the Apple iTunes store. The compression scheme it uses is better than that of MP3, and AAC can better render the higher frequencies produced by certain musical instruments and by the human voice. With AAC, you get richer audio.Sound Tuning or Voicing -- It’s All about Sound QualityMost Portable loudspeakers today are “clones”. Cheap plastic knock-offs that share the same generic design and are re-badged, re-shelled from a common contract manufacturer. So as long as it looks good, nobody cares.Tuning: From the Sonic Soul of our In House reference systemsBuilt as a research project, our in-house reference systems are benchmarked to some of the most exotic playback systems. With a key goal of attaining accuracy with musicality, the system is continuously tuned and tweaked for best objective accuracy and subjective “musical” results.Our high performance Gigaworks T3 and the latest Signature series T4 Wireless lineup shares similar intrinsic tonal characteristics with striking accuracy AND musicality.Though the SR20A is a portable wireless system, the in-house system serves to provide a guiding “voice”. Smooth tonal balance with detailed vocals, tight rhythmic midbass and full spectral bassThere were multiple iterations before we could get the right tuning for the SR20A.Catch every word in any music with full warm midrange and detailed tight bass.HM-8 FRONT VIEW HM-8 REAR VIEWIn-House reference Powered High resolution Active speaker HM-8PA-1 FRONT VIEWPA-1 REAR VIEWIn House reference Pre-Amplifier PA-1TeraBassWhat is it?TeraBass is a feature that intelligently compensates the loss of perceived loudness in bass during low level playback without artificially over accentuating bass levels. TeraBass processing will intelligently increase the loudness of bass at low to medium levels and this processing will decrease as master volume level increases until near or at maximum output where no processing will be applied.Why the need for TeraBass?Because of the dynamic nature of use. Outdoor? Bedroom? Nearfield? Midfield? or simply personal preference.Like our in-house reference systems, the Roar is tuned to be accurate, balanced, and well defined while delivering full spectral output at maximum levels with minimal or no compression. (NOT common in many battery operated portables).Like a professional loudspeaker, the SR20A is designed to go low and accurate. Most loudspeakers in this class tend to artificially boost low frequencies making the playback boomy and lacking midrange. Bass from the SR20A is tight, deep and uncolored. Midrange is neutral and full bodied.The SR20A is designed for use just about anywhere. However, when it is played back at low to medium levels for Eg late night listening, the listener may not perceive bass that well and needs that improved subjective musicality. TeraBass will help add excitement to the playback.TeraBass will also compensate for the loss in bass when the loudspeaker is placed in-less-than ideal acoustical environments.Our research has shown that due to these dynamic usage conditions, the need to be able to turn ON and OFF TeraBass is critical.When do I use TeraBass?TeraBass is best used when:•The Roar SR20A is listened to at low to medium volume levels (Eg Near-field use)•The Roar SR20A is placed in an environment where there is an absence of boundary walls for bass re-enforcement. (Eg , Outdoor)•The Roar SR20A is placed on very dense material like marble or granite or in mid-far field listening conditions. (Eg : Dance Hall, in-door gatherings) When do I turn off TeraBass?Unlike many competing designs in the portable segment, which has no option to turn off any bass “enhancement” processing feature, this often ends up with the loudspeaker sounding boomy, and tiring to listen to when placed in a corner.Do not use TeraBass when:•The unit is placed in an enclosed environment when there is sufficient bass from boundary walls. (Eg, Bathroom counter top, small bedrooms or dorms) •When the unit is sounding boomy and having a bloated midrange, this will affect the transparency of the overall playback.Link Security : LS MODEThere are many ways to maintain Bluetooth connectivity; The SoundBlaster Roar SR20A has just about the most comprehensive and versatile connection security options available.Three Options are available. Default (LS2), Friendly (LS1) and Free-For-All (LS OFF). LS Mode 2 : (Default) Creative Bluetooth Multipoint mode:Allows you to connect up to 2 Bluetooth devices at the same time while playing music on one device at any one time. Requires music to stop playing for another device to pair or connect.Great for single user with 2 or less Bluetooth devices who may not want to share the Sound Blaster Roar.LS Mode 1: ”Friendly” access mode:Allows Bluetooth devices that have been paired to the speaker before to takeover control of the Sound Blaster Roar by simply initiating connect on their Bluetooth device.Great for single or multiple users with 2 or more Bluetooth devices who may want to wirelessly connect to the Sound Blaster Roar and share music.LS OFF mode: “Free For All” access mode:Leaves the Sound Blaster Roar in discoverable mode even with 1 device connected via Bluetooth.Great for sharing music with a group of friends anywhere, even in the meeting room for discussion and presentation without touching the speaker.Anyone can take over control of the Sound Blaster Roar instantly.Note:-Multipoint is only available in LS mode 2 only.Other FeaturesThe Sound Blaster Roar also comes with the following other features that enhance its usabilityHigh-Performance Built-In MicrophoneThe microphone of the SR20A is located right above the Creative badge behind the metal grille. This allows hands-free calls via your smart phone.Monocoque Endo-skeletal ChassisThis construction allows for maximum rigidity and stiffness, and translates all created energy into clean audio output. The lack of separate individual parts joined together also means that the speaker chassis doesn’t rattle when bass-heavy audio tracks are pumped out at high volume.Dual-Charge FunctionalityThe SR20A supports high powered consumer electronics-class 15V DC charging.The built-in dual 3000mAh high capacity battery also charges your smartphone at DC 5V 1A.Integrated MicroSD WMA and MP3 PlayerThe Sound Blaster Roar SR20A conveniently features an integrated MicroSD WMA and MP3 Player that allows users to play audio directly from a MicroSD card, so users do not need to always commit their smartphone to play music.Type of files playable from the inserted SD Card are; MP3, WMA, WAV.Playback features:- Repeat Shuffle mode for all music on microSD Card- Play from last location- Skip Fwd and back track while playing a track (Press FW/RW button)- Quick Skip Fwd and back folder when playback is paused- RecordingRecord from Bluetooth, Mic, and Line in- Bedtime mode:Playback volume will gradually reduce to a minimum and playback stop after 15 minute.(Press/hold the REC/Voice Play button while playing a track to activate this function)- USB Micro SD card readerWhen connected to PC via USB cable, PC can access the Micro SD card inserted into the Micro SD slot (up to 32GB)- USB AudioAble to switch between USB SD Card reader and USB Audio modeNFC (Near–Field Communication)Located on the top right corner, the SR20A features a NFC receptor; simply establish Bluetooth connection to any NFC-enabled smart device without needing to access setup. NFC builds upon Radio-Frequency identification systems by allowing two-way communication between endpoints.Smart devices featuring NFC allows a simple contactless connection (about 3-5cm) to pair and establish a bluetooth connection. This eliminates the needs to access the Bluetooth menu within the smart device. This makes setup and the Bluetooth connection extremely easy.Manual Pairing is still available by using the Bluetooth button.ROARUseful for parties or where “public address” is required. ROAR “boost” overall loudness and uses the in-built Digital Signal Processor to provide more spaciousness and depth to address a wider audience.USB Host Audio for access to SoundBlaster control panel.Connect the SR20A to a PC or Mac and it will function as a host audio device- like a powerful external Sound Blaster. PC users can also utilize the downloadable Sound Blaster Control Panel software to access SBX Pro Studio technologies -- such as SBX Bass and SBX Dialog Plus -- that intelligently enhance PC audio in real time.MegaStereo FeatureThe Sound Blaster Roar SR20A is already a stereo speaker system, with left and right signals routed via the respective left and right high frequency drivers.Left Right(Normal mode, plays respective left and right channels) MegaStereo modeAn option is provided for dual Sound Blaster Roar SR20As to be connected together to deliver “MegaStereo” where the left SR20A’s high frequency drivers both deliver the left channel while the right SR20A’s high frequency drivers both deliver the right channel. This enables for a much wider stereo soundstage one would normally associate with in a typical home stereo system.(MegaStereo Mode, where the left loudspeakers delivers the left channel and right loudspeaker delivers the right channel. )The following is achieved by inserting the Propietary MegaStereo’s cable white jack (master) to the left Sound Blaster Roar’s Auxlliary Input and the red jack (slave) to the right SoundBlaster Roar’s Auxillairy Input.The left (Sound Blaster Roar SR20A) detects the MegaStereo cables’ white jack (master) and its built-in processor configures it to play only the left channels on both drivers, configures the Auxiliary socket as an output and sends out the right channel signal to red jack (slave) on the right Sound Blaster Roar to play only the right channels on both drivers.Below shows a schematic of the Propietary MegaStereo cable.3.5mm Analog Aux-in Cable usageMegaStereo cable also doubles as an Aux-In analog cable. Where the White (Master) 3.5mm jack connects to the source device and the Red (Slave) 3.5mm jack connects to the loudspeaker.The MegaStereo cable can be purchased separately at Note:- Aux-in for both speakers are disabled when the MegaStereo cable is connected.- May not work with audio devices using the OMTP standard.。

中天信视听LA线阵列音箱的独特设计2008/6/18/09:20 来源：投影时代线阵列依托于线性声源的突出优点，在专业扩声系统中得到愈来愈多的应用。

IBO历经三年，与欧美多间试验机构合作，开发出了CTR高频平面波发生器，PPI中频相位塞，PredictionSoftware声场模拟软件等多项专用技术，应用于LA系列。

随着LA系列在国内、国际市场的诸多应用，其精准的指向性控制，均匀的声场覆盖，以及突出体积/声压，均得到了业界的认可。

该系列包含LA315/LA312/LA208/LA108等多个型号，适用于各种声场的应用。

LA线阵列点击此处查看全部新闻图片IBO在线阵列系统高频部分使用自己成熟的压缩单元。

解决压缩单元间距离问题的方法是开发一个出口转换器。

考虑到号筒长度与失真成正比关系。

首先不会使用拉长号筒的方式。

经过半年多的实验，最终确定使用多通道的方式，将出口等分为若干个通道入口，在三维空间中以最短的相等声学路经分别到达长方形的出口。

中天信视听科技（深圳）有限公司将这项试验成果命名为CTR(Compressiontransformribbon)意为压缩转带式。

LA-315的低、中、高频采用号筒负载（HORNLOADED）而且是轴向非对称设计。

LA-208箱体的设计和特点：根据线阵列的原则，上下相邻音箱的单元之间的距离应尽量靠近，以达到其单元间的距离，不大于重放信号的波长，箱体一定要设计得扁平，高度比所用的低频单元高不了多少。

此外，为了使音箱与音箱之间的间隙最小，减少无效发声区，箱体的侧面前部为矩形（见侧面图a及正面图a）后部反梯形，如侧面为梯形（见侧面图b及下面图b），倒相式箱体在相同低频重放下限的情况下，箱体较小，箱体的高频部份的设计是号筒式。

LA-208箱体的设计图点击此处查看全部新闻图片压缩转带式（CTR）平面波产生器和号筒结合,声辐射阻抗进一步增加，转变效率进一步提高。

适当的号筒开口角和几何形状，可控制其指向性（见LA-208俯视图）箱体以15mm（9层）防水夹板制成，所有接口处以中国的传统工艺榫接外加拉钉和黏合胶（见右下图）保证牢固，很多国产和进口音箱都采用中纤板，取其成本低廉，但中纤板有一致命弱点。

P R O F E S S I O N A L技术数据ArenaMatch AM10 DeltaQ 阵列扬声器产品概述Bose Professional ArenaMatch 扬声器为体育馆、体育场、户外娱乐中心等户外场所带来 DeltaQ 的优秀音质和应用灵活性。

ArenaMatch DeltaQ 模块适用于直接暴露室外安装，可轻松创建户外扬声器阵列，为每位听众带来一致、清晰的声音。

共有 9 种覆盖模式。

从 10°、20°或 40°垂直覆盖的模块中进行选择，轻松地在 60°、80°或 100° 的水平导波管之间进行切换，以构建更轻、安装更快的阵列，而且更少的模块就能带来全面覆盖效果， 可以降低系统成本。

关键特性使用 DeltaQ 阵列技术改善音质、一致性和人声清晰度，通过改变阵列中每个模块中的指向性或“Q ”值，可以更精确地将覆盖范围与听众区域匹配使用可更换的导波管可轻松自定义水平覆盖范围，这样您便能进一步自定义覆盖范围，甚至能够形成不对称模式，从而改善左/右阵列的声学性能采用 14 英寸钕磁低音单元和 6 个 Bose EMB2S 钛膜钕磁压缩单元，可提供高声压级，可长距离传输的音乐重放和人声清晰度 可直接暴露在户外安装，带三层不锈钢网罩、低音纸盆防水涂层、工业聚氨酯外涂层和模塑输入防护罩用更少的模块提供全面覆盖- 10°、20°和 40°模块允许您创建这样一种阵列，比传统阵列使用更少的模块来改善视线、减轻重量和降低系统成本40°模块可用于点声源应用，10°、20° 和 40° 模块可用于阵列应用，可以缩短调试时间，所有模块都具有相同的扬声器单元， 可轻松实现一致的音色平衡适应各种配置，所有型号均支持双功放驱动、内置分频和 70/100V 输入通过与互补的 Bose Professional 产品相结合简化设计流程，这些产品包括 ArenaMatch Utility 区域补声扬声器、PowerMatch 功放和 ControlSpace DSP在安装过程中节省时间，使用 Bose 安装硬件配件，或使用标准 M12 螺纹插件与定制阵列吊架相连接EN 54-24 认证：EN 54-24: 2008，适用于火灾探测和建筑物火灾报警系统的语音报警系统的扬声器拆下网罩的视图脚注(1) 频率响应和频率范围是在消声环境中，使用建议的带通和 EQ 在轴上测得。

技术白皮书2004 年10月L-ACOUSTICS KUDO主要特性：z主动3分频音箱（2×12″低频，4×5″中频，2×1″高频）z基于WST（波阵面耦合技术）的垂直或水平线声源设计z指向性可调（50°或100°对称覆盖；25°/55°或55°/25°非对称覆盖）z垂直线声源阵列（相邻音箱之间的角度调整范围为0°～10°，单位调整角度为1°）z模块化水平线声源阵列（每增加一个音箱，水平覆盖角度增加10°），垂直覆盖角度可调z专门为对音箱性能要求较高的固定安装和巡回演出而设计z符合人体工程学的吊装系统垂直WST线声源阵列水平WST线声源阵列前言L-ACOUSTICS KUDO（KUDO=K-LOUVER Modular Directivity U nited with D OSC Waveguide T echnology）是新一代的线性声源阵列扬声器，提供比目前其它线性阵列更灵活、更适合实际使用的功能。

KUDO标志着L-ACOUSTICS 领先的波阵面耦合技术（Wavefront Sculpture Technology，简称WST）又一次得到了重大的发展，因为WST技术让我们可以对扬声器阵列的垂直、水平面同时进行调整（指向角可调，即Q值可调）！在KUDO线性声源阵列扬声器中以包含了二个获得专利技术的DOSC波导管，允许WST技术在垂直及水平方向上同时应用，在垂直面上通过正在申请专利的K-Louver 技术，从而可以对其覆盖角进行调整。

机械地调整K-Louvers活动波导结构，实现对KUDO扬声器中/高频部分的指向性控制，并允许KUDO随时设置成4种不同的指向性模式。

KUDO联合集中了可变曲率的垂直线声源扬声器阵列（如V-DOSC、dV-DOSC）及恒定曲率的水平线声源扬声器阵列（如ARCS）的优点。

两大技术共冶一炉的新派发烧典范 Kudos Audio Titan系列佚名
【期刊名称】《视听前线》
【年(卷),期】2024()3
【摘要】英国Kudos Audio Titan系列的出现,可算是将等压式(Isobaric)与低音反射式(Bass Reflex)箱体优点共冶一炉的发烧级扬声器,既能为用家缔造快如闪电的敏捷瞬变,还具备得天独厚的大能量输出,优秀的下潜幅度远远超越了体积相若同类型产品所制定的参考基准。

【总页数】3页(P74-76)
【正文语种】中文
【中图分类】TN9
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