扬声器设计指导书剖析

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扬声器系统设计手册第七版

扬声器系统设计手册第七版
《扬声器系统设计手册（第7版）》是人民邮电出版社出版的图书，作者是迪卡森（Vance Dickason）。

《扬声器系统设计手册（第7版）》是对国外扬声器系统设计最新技术的一个概括。

全书紧密围绕高性能扬声器系统设计，结合大量图表深入浅出地介绍了扬声器的基本特性、密闭式、倒相式和传输线式扬声器箱的原理与设计要点、扬声器箱结构与障板效应，以及被动和主动式分频网络的设计。

书中特别介绍了最新的扬声器及扬声器系统测量技术与软件工具，以及扬声器系统和声重放环境的计算机辅助模拟设计软件与技术，并将这些最新技术的应用贯穿全书。

最后还介绍了家庭影院和汽车音响的扬声器设计以及两个扬声器系统的设计制作实例。

扬声器设计手册1

第一章扬声器材料的认识第一节各部品材料的认识一、扬声器材料的构成喇叭厂属材料组装型企业，故开发的关键就是原材料的选择。

原材料的好坏很大程度上决定的产品品质，同时直接决定了产品的成本。

因此产品开发设计是决定产品品和企业经济效益的关键做认识。

（一）、支架（FRAME）亦称BASKET，是安装振动部分零件，磁气回路和其它零件的母体。

小型SPK的支架都是钢板，材质为SPCC（S：STEEL钢铁P：板钢C：COLD冷锻C：硬度区分）。

钢板的材质厚度为0.5~1.2MM冲压成型，表面通常处理有五彩电镀，烤黑、电黑，加以防锈。

大口径的磁气回路特别强劲笨重，钢板材质会使用1.0MM甚至更厚。

但高级HI-FI SPK也有用铝铸的支架，此外用塑料成型的支架亦很多, 防水喇叭及头机最常用。

塑料框的材质多为ABS或ABS加纤以增高耐热及强度。

有些游艇上使用的塑料框的材质为ASA料，可以延长塑料框受紫外线照射而变颜色的时间。

铁框材质的厚度除对SPK承受压力有影响外，同时对SPK的安装后能否承受一定的振动不致变形亦有影响。

此外，SPK工作频繁振动时，支架可能会在某些频率产生共振而影响音质。

中高音SPK的支架多为密闭的，故也有音箱的性能。

如有为中音时，通常要求有必要的内在容积及在振动的背面不产生定在波的形状，通常为了防止定在波的发生和调整FO与Qo值之需，要在支架内部填入吸音的材料。

开发设计选用支架时，应注意三点：1.平面度：鼓纸EDGE，弹波EDGE与框接着处需平坦，充分严密才安全。

对于鼓纸EDGE为凹边时，还需考虑SPK工作振动时EDGE是否碰着框面。

2.高度设配：结合弹波、鼓纸有效高来设计或选用合适之铁框，三点接着处鼓纸与弹波间需有少许空隙，一般为0.3~0.8MM为宜，过紧穿鼓纸后使颈部胶外分，与音圈不能很好接着，严重者使压鼓纸困难造成CI、B声、胴体翘高度不一、弹波下陷、A声不良机率增加等诸多不良。

另外弹波面到底部的高度及内部空间，对于功率大，振幅大的SPK，若此高度不够，振动时弹波颈部会碰着铁片或铆接浮凸点，而造成一种类似AB不良的致命缺点。

扬声器音腔设计

优秀案例二：影院扬声器音腔设计
总结词
沉浸式音效
详细描述
影院扬声器音腔设计注重营造沉浸式的音效体验，通过大型低音喇叭、环绕立体声技术以及特殊音腔结构，实现宽广的音场和深沉的低音效果，让观众仿佛置身于电影场景之中。
优秀案例三：便携式扬声器音腔设计
总结词
轻便与音质兼备
详细描述
便携式扬声器音腔设计追求轻便与音质的高度结合，通过采用先进的材料和音腔结构优化技术，减小体积和重量，同时保持出色的音质表现，方便用户在外出时随时随地享受
扬声器音腔设计
目录 CONTENT
• 扬声器音腔设计概述 • 音腔结构设计 • 材料选择与声学特性 • 优化与改进 • 案例分析
01
扬声器音腔设计概述
设计概念与目标
设计概念
扬声器音腔设计是指对扬声器内部结构的规划和优化，旨在提高扬声器的声音品质和性能。
设计目标
通过合理的音腔设计，实现更清晰、更纯净的声音输出，同时减小失真和噪音，提升扬声器的整体表现。
实验测试
通过实验测试，验证仿真结果的准确性，并对音腔设计进行进一步分析，找出差异原因，提高仿真精度。
参数调整
根据实验结果，调整仿真模型中的参数，使仿真结果更接近实际表现。
用户反馈与持续改进
用户调研
收集用户对扬声器性能的反馈，了解用户需求和期望。
迭代改进
总结词
材料的非线性行为是导致声音失真的主要原因。
详细描述
当声音强度达到一定水平时，许多材料会表现出非线性行为，这意味着它们的声学特性不再是线性的，而是随着声音强度的增加而发生变化。这种非线性行为会导致声音失真，使音质变差。因此，在扬声器音腔设计中，选择具有较低非线性行为的材料可以减少声音失真，提高音质。

扬声器系统设计与应用分析

扬声器系统设计与应用分析扬声器系统设计与应用分析扬声器不光起到扩声的作用，同时还能协调音质，达到完美和音的功能，为保证扬声器系统的正常使用，下面是由店铺为大家分享扬声器系统设计与应用分析，欢迎大家阅读浏览。

一、工程设计时考虑要周到扬声器系统要高质量的重放各种音乐节目，那么根据音乐信号的特点，动态范围达45dB以上，交响乐的动态范围甚至超过60dB，其频率范围从40Hz~15000Hz,谐波成分夫复杂，音乐丰富多采。

因此舞台上演出音乐时，就要注意使用的扩声设备能否保持其原有音色，要具有相应的宽频率和较小的谐波失真，更要有足够的功率余量，以表达和满足音乐高潮到来的气氛。

从保证音质这个角度来说，功放应在此动态范围内不发生任何限幅情况，即功放的最大输出功率应是扬声器额定功率的3倍~4倍，这样的功率配置音质故然很好，但其投资也会增加。

有鉴于此，在工程设计阶段，通常会把这个功率配比定在扬声器额定功率的1.5倍-3倍。

1、最低配比在一些技术要求不高，而资金不富裕的工程，功放的功率为音箱的额定功率的1倍。

但要非常注意保持声音不失真。

功放功率过小时，每留有功率余量，输入信号增大就容易产生过载削波失真，输出功率信号就会产生大量高次谐波和直流分量。

高次谐波较多时会造成高音单元的烧毁，直流分量较多时会损坏音箱的低音单元;2、中档配比一般工程建议功放的功率为扬声器的额定功率的1.5倍~2倍。

而低音部分还要更大些，这样才能获得足够的力量感;3、高档配比要求较高的场所，例如音乐厅、剧场等，功放功率至少应为音箱功率的2.5倍;4、选用带有保护功能的扬声器系统目前许多新型扬声器系统采取了多种保护性措施，这些措施可分为两种：一类是提高扬声器单元的.散热力，使其在过载时不发生过热损坏;另一类是在扬声器箱中安装限幅保护装置，当驱动功率和峰值电平超过扬声器的额定值时，限幅器把超过的功率电平用非线性电阻(灯泡)对音圈进行阻止。

这些措施，提高了扬声器抗过载的能力，但也影响了声音的动态范围，使音域不够宽广，音色感觉模糊和暗淡;5、使用压限制器此设备通常用于自动控制那些过高和突发的高电平信号，限制功放输入功率的突然增加，以避免对系统设备(如扬声器和功放)造成损害，同时也能减缓声音信号的大幅度失真。

喇叭、扬声器原理图

各种类型喇叭
NO 型喇叭剖析图05Cone
10 VC 音圈07矢纸01支架(框,盆)
06主磁石
06副磁石
03极片14网
FO 型剖析图07矢纸09防尘帽05鼓纸
(振动板)
01支架08弹波12板
06磁石
02T 铁
51导线
25端子板
06副磁
CV 后盖(后壳)
磁力线分布图
N
s
磁石06极片03
U 铁(轭)02
•一、扬声器的用途与形状：
•扬声器是学名通常我们都叫它作喇叭，似乎喇叭比扬声器更通俗知道的人也更多。

喇叭是一种会•发出声音；以它的大小，形状、特性，
•用在不同的地方：如玩具、收音机、电视机、音响、电话机、对话机、扩音机、汽车电脑……等，•喇叭的形状，一般是圆形，长方形、橢圆形……等
•根据喇叭的磁回组合有F0型和AO型及NO型
•根据它的有效频段来分有高音,低音,中音,全音域等
•二、扬声器的动作原理：(见图6)
•就是利用佛来明左手定则（如图6）：磁场、电流、力（运动）三者直角相交的相互作用。

它是•以音圈连接振动板在固定的磁场中，音圈通以电流和磁场相互作用，使音圈前后振动，同时带动振动•板随着音圈电流的变量，亦作同步的前后运动直接推动空气发生声间。

扬声器设计指导书剖析

对于锥型扬声器，低频共振频率Fo和高频上限频率Fh可由下列公式确定：
(2πFo)2= 1/(Mms*Cms) (5)
(2πFh)2= (Mm1*Mm2)/[(Mm1+Mm2)*Cmh] (6)
相关说明如下:
Mms为扬声器的等效振动质量,且有Mms=Mm1+Mm2+2Mmr,其中Mm1为音圈质量,Mm2为鼓纸等效质量,Mmr为辐射质量。Mmr=2.67*ρo* a3,其中ρo=1.21kg/m3为空气密度,a为扬声器等效半径。
3.5.8鼓纸与弹波
鼓纸中孔与弹波中孔的距离，中小口径的扬声器以0.5~2 mm为佳，大口径可以加大到2~5 mm，距离大些定位效果会更好、更能承受大功率，只是鼓纸中心胶和弹波中心胶需分开打。
拟定
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文件名称:
扬声器设计指导书
文件编号
文件版本:V1.0
生效日期
第4页
4.扬声器关键零部件的性能设计
0.03 0.04 0.05 0.07 0.08 0.10 0.12
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审核
批准
文件名称:
扬声器设计指导书
文件编号
文件版本:V1.0
第7页
采用芳香族聚酰亚胺制成箔膜，最高工作温度300oC，具有绝缘、质轻、耐高温、粘接力强等优点。用它制成的扬声器音色柔和圆润、悦耳动听。其厚度有：
0.03 0.05 0.08 0.12
扁线
磁场利用率较圆线大（圆线磁场利用率为78%~91%,扁线为96%），特点为换能效率高，适于制作大功率扬声器，扁铝线更常用于专业扬声器（大功率、高灵敏度）。
拟定
审核
批准
文件名称:
扬声器设计指导书
文件编号
文件版本:V1.0

《扬声器系统设计手册》第七版中译本勘误表

第5章传输线低频系统
1
第175页第4行
“涂复”改为“涂覆”
2
第175页第7行
“……同意这样的设计论点”改为“赞成这样的设计”
第6章箱体结构、形状与阻尼
1
第194－195页
“倒角”改为“斜边”
2
第198－199页
“倒角”改为“斜边”
3
第201页表5.2第1行
“2英寸f全频”改为“2英寸全频”
第7章扬声器障板：扬声器单元位置、分布及其他注意事项
1
第250页第3段
“测试4：“改为”测试4＃：“
第8章被动及主动式分频网络
1
第281页倒数第2行
“衰减截止斜率”改为“衰减截止频率”
2
第281页倒数第1行
“衰减截止斜率”改为“衰减截止频率”
3
第295页第2-3行
删除“将声音辐射出来“
4
第295页倒数第3段第2行
“分类频率“改为“分频频率”
5
第304页第8行
第3章开口箱低频系统
1
第107－108页第11行
“Qtc”全部改为“Qts”
2
第108页第1行
“……开孔箱调整倒方式之一”改为“……开孔箱调整方式之一”
3
第129页倒数第1行
“减少1－2dB”改为“1－2dB”
4
第130页第1行
“导声管非线性通常是有问题的“改为”导声管非线性通常是个问题“
5
第130页倒数第2行
11
第40页倒数第4行
“音圈将在工作于……“，删除”在“
第2章闭箱低频系统
1
第46页第2行
“Xma”改为“Xmax”
2
第48页表1.0

【精品作文】扬声器设计与分析

的音圈匝数没有变化。Xmax等于音圈卷宽减去磁隙高度再除以2。图2.4显示了两种不
同方式BL值随着音圈位移增加（单向）变化结果。当输入扬声器电压增加时，音圈位移越
来越偏离磁隙，直到超过Xmax。此时，音圈在磁隙中匝数减少，总的BL值减少。一个扬
声器当它的音圈匝数在磁隙中恒定时，称为工作在线性范围内，如果当它的音圈匝数在磁隙
2.30振动板：解释扬声器振动板物理原理通常通过讨论一个理想的无限大刚性活塞推动空气来理解。同无限大刚性活塞推动空气相比，扬声器单元振动板运动从频率上来讲是有界的。在低端由扬声器谐振频率决定（在低于谐振频率的频段，扬声器能量转换受到机械限制），而高频则受到空气辐射阻抗特性所限制。空气对运动的阻力为辐射阻抗，辐射阻抗随着频率升高而减少直到某一高端频率点，此后即使升高频率，辐射阻抗保持不变。低于这个高端频率点，能量转换显示稳定的衰减，它是空气辐射阻抗和辐射表面积函数。小的辐射表面积同大的辐射表面积相比，可以重放更高的频率。实际上，通常使用不同口径的扬声
最简单的解决方法是使用高导磁率材料铁芯，这样靠近音圈部份铁芯总是处于饱和状态，可以获得可以忽略的磁场调制电流。这个技术并不是经常使用，原因在于高导磁率材料非常昂贵。最普遍的技术方法解决这个磁场调制/涡流问题是采用短路环。或者叫做法拉利环。见图2.6。短路环应用有不同的方法。但都是通过产生一个同音圈产生的磁场大小相等，方向相反的磁场来达到目的。图中A为将导体材料如铜覆盖在导磁柱顶部。图2.6中B为在导磁柱上安装一个铜帽。图2.6中C为一个铜柱围绕着导磁柱。图 D为一个短路环安装位置图，通常由铝制作，放置在导磁柱底部。屏蔽导磁柱方法附带着另外一个好处是减少音圈电感效应，通常电感效应会引起高频段响应升高。屏蔽罩安装位置和大小可以用来调节和控制扬声器单元中频和高频段频率响应。在导磁柱底部安装一个短路环同屏蔽导磁柱方法一样可以减少二次谐波失真，但是不能影响音圈电感以及高频单元响应。虽然应用短路法一个主要的好处是可以减少失真，但是控制中频和高频单元响应同样重要。

教你看懂扬声器的构造图

教你看懂扬声器的构造图作为音箱最基本的组成部分，扬声器单元（简称单元）对于普通读者来说是既简单又复杂的。

为什么这么说呢？因为单元的工作原理似乎很简单，往复运动的振膜不停的振动，带动空气形成声波，似乎就这么简单。

不过本文也没有让您一下子就能肉眼辨别单元好坏的妙方，只能先为大家揭秘这么个看似简单的单元，内部究竟是个什么样，各部件有何功能等等。

惠威M200MKIII原木豪华版扬声器的爆炸图（分解图）：惠威M200MKIII原木豪华版:低音单元爆炸图将单元按照中轴及大致的装配顺序进行分解排列的说明图被行业人士称为爆炸图，上图便是典型的扬声器爆炸图。

锥形扬声器的特点及其内部组成：锥形扬声器是我们最常的扬声器类型，它的结构相对简单、容易生产，而且本身不需要大的空间，这些原因令其价格便宜，可以大量普及。

其次，这类扬声器可以做到性能优良，在中频段可以获得均匀的频率响应，因此能够满足大部分普通消费者的常规听感需求。

最后，这类扬声器已有几十年的发展史，而其工艺、材料也在不断改进，性能与时俱进，这也令这两款扬声器能够获得成为主流的持续的原动力。

惠威M200MKIII原木豪华版:低音单元锥形扬声器的结构可以分为三个部分：1、振动系统包括振膜、音圈、定型支片、防尘罩2、磁路系统包括导磁上板、导磁柱、导磁下板、磁体等3、辅助系统包括盆架、压边、接线架、相位塞等下面我们将为大家逐一介绍锥形扬声器内部的主要部件。

最新扬声器内部解构：惠威M200MKIII原木豪华版:低音单元爆炸图具体到上图，根据序号，他们分别是：1.防磁罩、2&4.磁体、3.导磁下板、5.导磁上板、6.盆架、7.定心支片（弹拨）、8.音圈、9.振膜+折环、10.防尘帽。

振膜：电动式扬声器，当外加音频信号时，音圈推动振膜振动，而振膜则推动空气，产生声波。

常见的锥盆有三种形式：直线式锥盆振膜、指数式锥盆振膜和抛物线式锥盆振膜。

振膜在振动频率较高时，会出现分割振动，在振膜锥形斜面上增加褶皱可以改变分割振动的状态，如果设计得当，可以改善单元的高频特性，还可以增加振膜的强度及阻尼。

音箱设计指导书

音箱设计指导书作者广州白云技师学院李柏雄其实音箱的设计并不难，难的是如何才能具有这方面的知识。

这本设计指导书希望能给各位玩家一个交代，当然并不是说任何人都可成为内中高手。

请相信，一般来说你的第三对自制音箱才能称得上是你的成功作。

1. 基本设计这里要谈的主要是箱体的设计。

箱体及倒相管的最佳值可根据下述TS参数来计算。

Fs：单元的谐振频率Qts：单元谐振频率下的Q值Vas：单元的等价换算容积关于Q值Q值的含义如下：Qms机械系的顺性= wM/RmsQes电气系的顺性= wM/real(A^2 / Zes) = wM/(A^2 * Res / |Zes|^2) -> wM/(A^2 / Res)Qts（ Qms+ Qes）= 1/(1/Qms + 1/Qes) = wM/(Rms + A^2 / Res)M: 振动系质量w: 谐振角频率Res: 音圈的直流阻抗。

从单元侧来看的放大器与分频器的阻抗也加算在内Rms: 振动系的机械阻抗A: 阻尼系数。

以1安培电流流过音圈时，振动系上被施加有多少牛顿的力来表示从上述来看，Q值似乎可以被看成为谐振系的实成分(R)与虚成分(wM或1/wC)的比。

虚成分越大，则谐振系所保持的动能就越大；实成分越大，则消耗的动能就越大，故Qts越低，谐振就越早被衰减。

因此，所谓易于驱动的喇叭指的就是Qts低的喇叭。

关于Qts的特征：Qts将随着Qms与Qes的任一方变小而变小。

就是说，只要电气或机械的任一方的制动性好即可。

关于Qms：Rms越大，即摩擦越大，Qms就越小，制动性能越好。

不过，Rms要是太大，谐振将被抑制，低音则出不来。

因此，对于低音喇叭来说，为了有好的低频重放能力，Rms都设计得很小。

相反地，对于高音单元来说，制动优先，Rms 都很大。

高音单元封装液磁为的就是这个。

关于Qes：Res变小或A变大，Qes即会变小。

即１）．将A做大。

为此可加强磁钢磁性，增加音圈的匝数。

3-way 扬声器设计及构建说明书

3-Way Loudspeaker Design and ConstructionAlex KulykPHYS 406 5/10/12I. IntroductionThe objective of this project was to design and build a stereo pair of 3-way “hi-fi” speakers using off-the-shelf drivers and an original design for the speaker cabinets. A crossover network would also be designed and implemented to compliment the characteristics of the speakers. The primary purpose of this design exercise was the associated learning experience, and good audio fidelity of the final product was not of the utmost importance.While the quality of the end result was not the most important factor, design decisions were based around constructing speakers that follow accepted design criteria for good performance. To this end, the goal was a flat frequency response in order to allow for acceptable listening for a wide variety of music.II. Initial Design ConsiderationsFrom the begging of the project, the plan was to design a vented 3-way speaker with a relatively flat frequency response of the range of approximately 50 Hz- 20 kHz. For aesthetic reasons, it was decided that the speaker cabinet be a traditional rectangular prism shape with a relatively narrow width compared to most commercially available 3-way, floor standing speakers. Because of the width constraint, smaller bass drivers would have to be used. In order not to sacrifice low frequency output, two identical woofers would be used in each cabinet. The mid and high frequency bands would be handled by a single midrange driver and tweeter, respectively.A vented design was chosen in order to compensate for the higher low-frequency roll-off of the smaller bass drivers. In order to vertically accommodate 4 drivers and a vent per cabinet, and considering the necessary volume, the speaker would also be relatively tall, which was also part of the aesthetic goal of the project. The two, smaller woofer arrangement was also chosen for personal preference, as the designer prefers a tight, fast bass response over the more powerful and extended, but slower response of larger woofersThe crossover would be designed specifically for the drivers chosen, rather than using an off-the-shelf, preassembled crossover, in order to allow for flexibility in component choice. From the outset, the crossover design process seemed daunting due to the inherent non-ideal behavior of passive electronic components in complex audio circuits, and also due to the designer’s inexperience with circuit design.III. Driver SelectionAs previously stated, each of the speaker cabinets required 2 woofers, 1 midrange and 1 tweeter. A per-driver budget was decided upon, and the following drivers were chosen:a.Dayton Audio RS180S-8 7” Shielded WooferThe RS180S-8 was chosen for its combination of small size and low frequencyextension. The external width of the speaker cabinets was set at roughly 8.5”, andthe RS180S-8 is one of the largest woofers available that would fit comfortably inthat dimension. The cone is made of aluminum, resulting in a favorable stiffnessto weight ratio, allowing for larger cone excursion before the onset of distortionwithout the sluggish sound of heavier paper cones, which is especially importantin drivers of this size. It also allows the cone to reach higher frequencies beforecone break-up occurs, which happens when the cone ceases to move as a piston.This higher break-up frequency allows for more flexibility when choosingcrossover frequencies, as will be discussed latter.b.SEAS Prestige MCA12RC-H1304 Midrange DriverThis midrange driver was chosen for its exceptionally wide and flat frequencyresponse. The midrange is one the most important range to produce accurately, asthe fundamental frequencies and important harmonics of many instruments falldirectly in this band. The midrange is also the band in which humans are mostsensitive to distortion. The SEAS has an almost flat frequency response fromapproximately 200Hz up to its breakup around 10kHz, again giving goodflexibility for choosing both crossover frequencies.c.SEAS prestige 29TFF/W-H1318 TweeterThis tweeter was chosen for its flat frequency response and for the fact that it isone of the few tweeters in its price range that extends beyond 20 kHz. While mosthumans can’t hear beyond 20 kHz, and many are limited to significantly lowerfrequencies, a higher tweeter breakup frequency generally corresponds to a flatterresponse in the audible range. This tweeter also makes use of a waveguide tocover the magnet mounting screws in order to reduce diffraction. Anotherimportant factor in its selection was its low free air resonance frequency, whichallows for more flexibility in choosing the upper crossover frequency.IV. Cabinet DesignThe cabinet design was to be tailored to the characteristics of the chosen drivers. It was helpful to have the external aesthetic design requirements before attempting to fully design the speaker cabinets, as it limited the number of degrees of freedom in the design process.With the width fixed, the depth was chosen so that the ratio of internal cabinet depth to internal cabinet width was approximately 1.618:1. This is the golden ratio, and has been shown to be beneficial in avoiding overlapping resonance frequencies resulting from standing waves forming between the parallel walls of the cabinet.At this point, Bass Box Pro 6 loudspeaker enclosure design software was utilized to determine the internal volume of the cabinet that would optimize the performance of the woofers. The bass response of a driver is very much dependent on the type and size of enclosure it is mounted in. It was decided at this point that it would be necessary to separate the midrange driver from the woofer enclosure because the large pressure forces inside the cabinet caused by the long excursions of the woofer cones can negatively affect the performance of the midrange drivers. The tweeter was mounted within the same enclosure as the midrange because its performance is not significantly affected by the volume of the enclosure in which it is placed. With the width of the cabinet fixed and the height of the midrange enclosure determined by the mounting positions of the tweeter and midrange, the depth was determined in order to yield the optimum volume. From here, the overall height was determined by establishing the necessary internal volume for the woofers.With the overall dimensions of the cabinet set, 3 shelf braces were added in order to increase the stiffness of the cabinet and prevent the long side panels from resonating excessively. Significant portions of the material in the braces were removed in order to make them effectively acoustically transparent, while enough remained to provide significant bracing effects.a.Port ConsiderationsIn a vented cabinet design, a port of a specific length and diameter is constructed,leaving the inside of the cabinet open to the exterior. This port causes the cabinetto behave as a Helmholtz resonator. It resonates at a characteristic frequency,which is determined by the size of the cabinet and the acoustic mass of the air inthe port, which, in turn, is determined by the dimensions of the port. The resonantfrequency of the port is chosen so that the output of the port rises as the output ofthe woofers falls, thus extending the bass response further. At the port resonantfrequency, all of the output is from the port. For this design, the port resonantfrequency was approximately 40 Hz.The length and diameter of the port are constrained by the necessary volume of airit encloses. It is important that the diameter of the port not be too small, as this notonly results in an impractically large port length, but also results in a higher airvelocity within the port. The movement of air can be audible at high speakervolumes due to the turbulence caused at the port ends, and is knownonomatopoetically as “chuffing”. For this design, a diameter of 3” was sufficient,as flared port ends were also employed to further reduce the possibility ofchuffing.W Pro/ENG be in valu 6, which,BassBox frequency V. Cabin T MDF. M througho This has themselv T quite diff manufact together hold the p filler.T installatio damping construct baffle onsupport tThe p imporsound sound With all of th GINEER Wil uable in the , although no x simulations y and imped net Construct The cabinets MDF has desir out, unlike no the benefit o ves. The engi The same lack ficult when i tured, mecha while glue i panels in pla The cabinet w on of drivers material wit tion, as threa n. Most of thethe repeated hysical plac rtant, so long d emitted from d heard at the he cabinet dim ldfire 5.0. Fr construction ot especially s for the bass dance vs. freq tionwere constru rable acoust ormal wood,of mass dam ineering draw k of grain st it comes to a anical fasten s drying. Du ace while the was construc s and the cro thin the cabi aded inserts e threaded intightening a ement of theg as it is not m the back o e listening po mensions an rom this mod n process. Th y sophisticate s and midran quency plots ucted of med tic properties , and has a h mping, reduci wings were u tructure that assembling th ners do not h ue to the larg e glue dried,cted so that th ossover comp inet to see it had to be ins nserts ultimaand loosening e port on the placed behin of the driver osition.nd variables d del, engineer he cabinet w ed, was suffi nge enclosur s below.dium density s in that it ha higher densit ing the ampl used as refer gives MDF he cabinets. hold well in i ge size of the , and the poc he baffle wo ponents and s effects. Th stalled in ord ately pulled og involved r e cabinet is g nd a driver, a r to escape th determined, ring drawing was modeled ficient for the res can be se y fiberboard as a complet ty than most litude of the rences for al its superior Because of it and can on e cabinets, po ckets were su ould be remo d to allow for his turned ou der to accept out of the Mreplacing and generally not allowing the he cabinet, d the cabinet gs were prod acoustically e sake of thi een in the am , more comm tely uniform other wood resonances ll part dimen acoustic pro the way MD nly be used t ocket screw ubsequently ovable to allo r varying the ut to be a maj t the bolts th MDF, as the Md removing t t especiallye out of phas distorting the was modele duced that w y in Bass Bo s design. Th mplitude vs. monly know densitylike materia of the panel nsions.operties mak DF isto hold panel s were used filled with w ow for easie e amount of ajor challeng hat hold the MDF could nthe baffle.se eed in would x Pro he n as als. s kes it ls to wood r e in notA the cabin inside on tape wasT All of the join net can result n outside of t used on theThe following nts were seal t in unwante the cabinet. B edges wherg series of ph led internally ed air noise c Because the e the baffle mhotos shows y. Even with cause by the baffle was n met the cabis the cabinet h a vented ca large pressu not yet perm inet to providt construction abinet design ure differenc manently atta de an airtighn process.n, small gap ces between ached, gasketht seal.s in the tingVI. Crossover DesignIn a multi-driver loudspeaker, each driver is chosen because of its favorable operating characteristics over a specific frequency band. To ensure that the drivers are not subjected to signals outside of their specified frequency band, it is necessary to insert a set of filters, called a crossover, in the signal path. The function of the crossover is to distribute the desired frequencies to each driver, while also preventing unwanted frequencies from reaching the drivers. In a parallel, 3-way design such as this, it is necessary to employ 3 filters: a low pass filter for the woofers, a band pass filter for the midrange, and a high pass filter for the tweeter.An ideal low pass filter allows all of the frequencies below a specified frequency to pass through unaffected, while blocking the frequencies above that. An ideal band pass filter allows all frequencies between two set frequencies to pass through the filter, while blocking all those outside the band. An ideal high pass filter blocks all frequencies below a certain frequency, and passes all those above that frequency through the filter.Real world crossover implementations are far from ideal, especially in passive crossovers like the one used in this design. With passive components, it is impossible to achieve the infinite slope cutoff of the ideal filters described above. It is good practice to put 1-2 octaves between the crossover frequency and the closest driver resonance or break up frequency. First order crossover designs use the fewest number of components, thereby introducing the least amount of distortion to the signal, but only roll off at 6db/octave past the crossover frequencies. This is usually insufficient for 3-way designs, as each driver operates over a relatively narrow frequency band. For this project, a second order crossover network design was chosen because it requires fewer components than higher order networks, and has a sufficient 12dB/octave roll-off.After installing the drivers in the assembled cabinets, the frequency response of each driver was measured in an attempt to locate crossover frequencies. The collected data showed no significant roll-off in any of the drivers within the measured bands, suggesting that the performance of the loudspeakers would not be affected significantly by the small variations in the choice of the crossover frequencies. From this information, the crossover frequencies were set at 600 Hz and 4,000 Hz.Xover Pro 3 software was used to determine the circuit design and component values necessary for a second order network with the above mentioned crossover frequencies. The network is seen in the image below.T reduces t a signific this netw C have a 1%all 18-ga iron-core VII. Mea O response The micrthe botto of the am of those m The tweeter h the output of cantly more e work, the twe Crossover co % tolerance,uge air-core e inductors.asurements a One of the sp measureme rophone was m woofer, a mplifier usedmeasuremen high-pass filt f the tweeter efficient driv eeter would s omponents w so that the t inductors to and Analysis peakers was c nts. Measure s placed at th approximatel d showed thants are shown ter contains r by approxim ver over the sound louder were purchas two loudspea o maintain a scompleted to ements were he midpoint b ly 1m away f at it was veryn below on t a resistor ne mately 4 dB.frequency b r than the oth sed on the ba akers sound low DC resi o the point th e taken using between the from the spe y flat across tthe log V^2 etwork know . This is nec band it is des her drivers.asis of value sufficiently istance and a hat it was po g white noise center of th eaker. Frequ the frequencvs. log f and wn as an L-pa cessary becau signed to ope e-for-money.y similar. The avoid the dis ossible to tak e ranging fro he tweeter an uency respon cy range testd log V^2 vs ad, whichuse the twee erate in. Wit . All capacito e inductors a stortion caus ke frequency om 0 Hz-25 nd the center nse measurem ted. The resus. f plots.eter is thout ors are se by y kHz.r of mentsultsThe most noticeable characteristic of the plot is the consistent high frequency roll-off starting at about 1300 Hz, resulting in 20 kHz being approximately 6 dB down. This is likely due to the L-pad network implemented, suggesting that, because of the use of 2 woofers, the tweeter attenuation is unnecessary. Through the bass frequencies and over a good deal of the midrange, the response is acceptably flat, not varying by more than 3 dB in either direction. A small dip in the plot is visible at 4 kHz, the upper crossover frequency. This is characteristic of a second order filter network, and wiring the midrange out of phase with the tweeter and woofer, as it is in this design, minimizes the effect of that dip.The fully assembled speaker was test with music played through a 50W/channel Rotel RA-1520 integrated amplifier. The frequency response plot is indicative of the sonic results. There is a pronounced recess to the high frequencies. The most troubling result, however, was a very “boxy” sound in the midrange. It is believed that this could be improved by reducing the amount of damping material in the midrange enclosure. It is also likely that the sonic character would be significantly improved if the baffle were rigidly attached to the cabinet with glue, rather than being bolted on, as in the current configuration, the braces do not eliminate any of the resonances in the baffle. Below is a picture of the speakers at their present state of completion.VIII. Future Plans for this ProjectIn the next few weeks, both speakers will be completely assembled, with the baffles rigidly attached. I would like to take more comprehensive frequency, impedance and phase response measurements. From these plots, I could evaluate the validity of the simulations I produced in BassBox and Xover Pro. I would also like to compare any noted resonance peaks to calculated resonances.It would also be interesting to characterize the frequency and phase response of the crossover network, and to see its effect on the speaker output.After I finish construction, if the audio quality is good enough to merit it, I will veneer the cabinets so they are more aesthetically pleasing.。

扬声器音腔设计分析50页PPT

人民应该为法律而战斗，就像为了城墙而战斗一样。 ——赫拉克利特 17、人类对于不公正的行为加以指责，并非因为他们愿意做出这种行为，而是惟恐自己会成为这种行为的牺牲者。—— 柏拉图 18、制定法律法令，就是为了不让强者做什么事都横行霸道。— —奥维德 19、法律是社会的习惯和思想的结晶。—— 托·伍·威尔逊 20、人们嘴上挂着的法律，其真实含义是财富。— —爱献生
61、奢侈是舒适的，否则就不是奢侈。——CocoCha nel 62、少而好学，如日出之阳；壮而好学，如日中之光；志而好学，如炳烛之光。 ——刘向 63、三军可夺帅也，匹夫不可夺志也。 ——孔丘 64、人生就是学校。在那里，与其说好的教师是幸福，不如说好的教师是不幸。 ——海贝尔 65、接受挑战，就可以享受胜利的喜悦。——杰纳勒尔·乔治·S·巴顿

喇叭扬声器设计与制作分析

喇叭扬声器设计与制作分析喇叭扬声器的设计首先需要确定所需的声音效果。

声音效果包括音质、声压级、频率范围等。

不同的应用场景可能需要不同的声音效果。

例如，汽车音响系统需要有较好的音质和音量，而舞台扬声器则需要能够输出较大的声压级。

其次需要确定扬声器的功率需求。

功率决定了扬声器的输出音量。

通常情况下，功率越大，扬声器的音量越大。

因此，在设计扬声器时需要确定所需的输出音量，并根据输出音量选择适合的功率。

设计时还需要考虑到扬声器的频率响应和音质。

频率响应是指扬声器在不同频率下的响应能力，而音质则是指扬声器输出的声音是否有准确的音调和良好的音色。

为了获得良好的频率响应和音质，设计中需要合理选择扬声器的振膜材质、振膜形状和驱动方式等参数。

此外，喇叭扬声器的尺寸和重量也是设计时需要考虑的因素。

扬声器的尺寸和重量会直接影响到其安装和携带的便利性。

因此，在设计扬声器时需要在满足声音效果和功率需求的前提下，尽量减小尺寸和重量。

在制作喇叭扬声器时，需要根据设计确定的参数选择合适的材料进行制作。

振膜是扬声器的关键部件，其材料可以选择金属、纤维素等。

振膜的制作需要一定的工艺和技术，通常采用冲压、注塑等技术。

同时，还需要选择适合的驱动器和声音传导结构，以提高扬声器的效果。

制作完成后，还需要进行测试和调试。

测试可以通过使用测试仪器对扬声器的声音输出进行测量，以验证设计参数的准确性和满足设计要求。

调试可以通过调整驱动器、振膜形状和结构等参数，优化声音效果和音质。

总之，喇叭扬声器的设计与制作需要考虑到声音效果、功耗、尺寸等因素。

合理选择材料和参数，并通过测试和调试来优化声音效果和音质。

只有在这些因素的综合考虑下，才能设计和制作出符合需求的喇叭扬声器。

喇叭扬声器设计与制作分析

声学和扬声器基础知识教学大纲一、要求:掌握音频声学的基础理论和电\磁\机械学中与喇叭有关的基本知识,了解扬声器测试的要求和T/S参数的计算的原理和方法.二、文化基础要求:高中三、内容与学时安排：第一章音频声学基础1.1 声波的产生1.2 描述声学的物理量1.3 声级,分贝及运算1.4 声波的传播特征第二章人耳听觉特征2.1 响度与频响曲线2.2 音调与倍频音程2.3 音色2.4 波的分解,付氏解析法2.5 失真与失真察觉2.6 哈斯效应2.7 屏蔽效应第三章电、磁、机械振动基础3.1 电学基础知识3.2 磁场与电磁感应3.3 交流电路中的电容3.4 交流电路中的电感3.5 复阻抗3.6 谐振电路3.7 机械振动3.8 电机类比第四章扬声器结构与参数测试4.1 喇叭结构,名称(磁场,间隙,短路环,音圈,锥盒,指向性,防尘帽,音架,弹波,边,磁流液)4.2 Thiele和Small参数测试类比电路图4.3 扬声器阻抗曲线及其物理解释4.4 阻抗测试4.5 质量测试4.6 BL测试,力顺测试4.7 品质因素Q的计算4.8等效容积V as 的计算---P674.9 效率与灵敏度的测试4.10 扬声器基本参数及T/S参数汇总4.11 基于PC的扬声器测试信号,相位,clio, Sound check,Klippel, LMS.第五章音箱,分频器的设计计算5.1 音箱的设计5.2 无限平板上的喇叭负载5.3封闭音箱中的喇叭5.4 填充物的作用5.5 倒相音箱的设计和计算5.6分频器的种类与计算第一章音频声学的基础1.1波动和声波1.1.1波动的数学描述振动产生波，如绳子的振动能量以波的形式传播。

常用绳子多点的位移来描述绳子波的传动，一个波动可用正弦函数来表示。

正弦函数：y = A sin ϕA为最大振辐（m）ϕ为角度(相位角)。

在x-y 坐标系里，若x代表角度，y代表振幅，画出的波形图叫正弦曲线。

一般在电学、声学里，角度都用弧度表示：2π=360度，π/2 = 90度。

扬声器基础知识与设计

振膜是扬声器的核心部件，它可以将线圈的振动转换为空气的振动，从而产生声音。振膜通常由纸浆、塑料或金属等材料制成。
音圈是连接扬声器线圈和振膜的部件，它可以将音频电流转换为磁场，从而驱动振膜振动。音圈的材料和结构对扬声器的性能有很大的影响。
扬声器的类型
电动式扬声器
这是最常见的扬声器类型，它利用电磁感应原理将音频电流转换为声音。电动式扬声器又可以分为动圈式、动铁式、平面振膜式
市场趋势
未来随着技术的不断进步和应用领域的拓展，扬声器市场将朝着智能化、无线化、高品质化的方向发展。
感谢观看
THANKS
频响范围
频响范围是指扬声器能够重放的最低频率到最高频率的范围。理想的频响范围是20Hz-20kHz，但实际频响范围可能会因扬
声器的设计和制造工艺而有所不同。
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扬声器应用与市场
扬声器在音频设备中的应用
音乐播放器
扬声器作为音乐播放的输出设备，将音频信号转化为声音，让用户享受音乐的美妙。
电脑音响
磁铁材料
磁铁是影响扬声器性能的关键因素之一，常用的磁铁材料有稀土永磁体和铁氧体。稀土永磁体磁力强、体积小，但价格较高；铁氧体磁铁价格低，但体积较大。
线材与驱动器
线材的电阻、电感和电容对扬声器的性能有重要影响。驱动器包括音圈和振膜，其质量、阻尼特性和稳定性直接影响声音的输出。
制造流程
模具制作
根据设计图纸制作模具，确保尺寸精度和表面光洁度。
品质检查
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对扬声器外观、声音质量等进行品质检查，确保产品符合质量
标准。
04
扬声器性能测试与评估
测试环境与设备
测试环境
为了确保测试结果的准确性，测试环境应保持安静，避免外界噪音的干扰。同时，室内温度和湿度应保持恒定，以确保扬声器性能的稳定性。

扬声器结构参数公式及音箱音腔设计实列综合整理精品

普通纸盆喇叭的结构贵阳蓝天整理普通纸盆喇叭的结构1：折环，和弹波一起定位鼓纸（振膜，纸盆）做径向运动。

折环的材料一般有橡胶，布基加胶纸质等，折环的软硬和柔顺度，直接影响鼓纸在整个运动形成里的线性，影响喇叭在整个标称功率内的表现曲线。

折环就是接边,纸盆就是振膜2：鼓纸，就是喇叭主要的发声部件。

材料主要是纸浆加上其他材料，近年来多种特性不同的材料进入，有聚丙烯、炭纤维，金属钛等等，甚至金刚石。

但是主流还是纸浆，一方面造价低廉，另一方面容易做成喇叭振膜所要求的复杂曲面。

3：T铁，夹板。

材质为软铁，即纯铁，也叫电工铁，主要特性是导磁，但是没有剩磁，就是磁场消失后，它的磁性也立即消失。

此铁的纯度和品质，直接影响喇叭的效率，非线性失真等重要参数，其中夹板的厚度影响喇叭的冲程。

长冲程扬声器的T铁夹板都特别厚，就是在音圈的整个行程内都可以切割平行的均匀的磁力线。

夹板和T铁中柱的间隙越小，音圈运动所需的功率也就越小扬声器的效率越高，所以，磁液型的扬声器在T铁和夹板之间注入磁性液体，等于缩小了他们之间距离另一方面也把音圈的热量迅速带走，提高了扬声器的功率承受能力。

4：磁钢，一般叫磁铁、永磁铁，磁钢叫法更准确一些。

在扬声器组装之前是没有磁性的，在和T铁夹板用粘合剂粘好后，在充磁机上充磁，最后的剩磁就是磁钢的磁性，这个剩磁量就是磁钢的磁性大小，根据法拉第电磁感应定律，磁通量越大，一定的电流在磁场中运动的力就越大，所以为了提高扬声器的功率，现在应用了许多强磁性材料，如铷铁硼。

5：音圈：一般为扁平的自粘铜漆包线绕制，是个非常矛盾的部件，为了增大电流（增大功率），线径就要增大，线径大了，要求磁隙就大了，磁隙大了，功率效率反而下降，所以只能在矛盾中取中间值。

音圈一般为两层绕制，单层绕制无法引出线。

为了不改变磁隙大小又能增加电流形成的磁场，就只能增加音圈的直径。

所以有了HiFi扬声器声称的大音圈，长冲程。

音圈是绕制在一个纸质的骨架上的，大功率的扬声器骨架有的是铝箔作的，所谓铝音圈。

扬声器不良剖析及改善

❖ 2.声音在大气中传播,自然也有其当然的速度,在常温之下20℃通常是每秒345m,但是也随著气温的变化而增减,每当气温变化1℃时,它的速度也按0.61m 发生增减变化.那么0℃时,声音的速度就是每秒 331.5m了.
❖ 3.声音的三要素：
声音的高低,声音的强弱，声音的音色（音调、响度、音色）,是声音的三个要素.三个要素的配合如何,就决定了音质的好与坏.
对于人耳能感受的振动频率，有一个刚好能引起听觉的最小振动强度，称为听阈。当振动强度在听阈以上继续增加时，听觉的感受也相应增强，但当振动强度增加到某一限度时，它引起的将不单是听觉，同时还会引起鼓膜的疼痛感觉，这个限度称为感觉阈（痛阈）。听阈与感觉阈这间的范围，称为听域。
表示人耳对振动频率和强度的感受范围的坐标图，图中的下方曲线表示不同振动频率的听阈，上方曲线表示感觉阈，两者所包含的面积称为听域。图中可以看出，响度不仅与声压有关，还和频率有关，人对3000HZ左右的声音最敏感,而对低频较迟钝。
机种:X50FC19-00D 原因:无后磁
有后磁无后磁
机种:HLO-SP 原因:Fo偏高
样品生产品
机种:320-0002-000 原因:鼓纸胴体偏软
样品
生产品
机种:W120PF70-00C 原因:无阻尼胶
有阻尼胶无阻尼胶
机种:L02-006A-04-A 有防尘盖
机种:L02-006A-04-A 无防尘盖
（1）选择高性能磁体（会使成本提高）。（2）选择高导磁性能磁路材料（会使成本提高）。（3）减少磁间隙（但过度减少，会导致装配困难）。（4）减少华司的厚度（但会使真加大）。（5）选用双磁路或特殊结构磁路（会使体积加大）。（6）选用励磁磁路（会使结构复杂）。（7）加厚磁体、加大磁体外径（体积质量加大，成本