高保真音响设计制作毕业设计论文
多功能音响系统的设计与制作 毕业设计
编号：毕业设计说明书题目：多功能音响系统的设计与制作院（系）：专业：学生姓名：学号：指导教师：职称：理论研究实验研究工程设计软件开发2013年5月15日摘要当今音乐成了人们时尚享受的非常重要的一部分。
多功能音响给家庭娱乐及休闲等带来了更多的方便，音响的发展逐渐走向成熟，它优越的音响效果和人性化设计在市场里发挥日益重要的作用。
音响系统能如实地重现原始声音和原始声场，并能对音频信号进行处理，使重现的声音优美动听。
现代家庭对于音响的选择更趋向于其音效、美观、实用的特点。
随着音响技术的发展，现代人对音响的音质真实性要求也越来越多。
正因为对音响的音质真实性要求越来越多，高保真音响应运而生，它具有能够如实的反映出声音信号的音色，音高和音强等音质状况本来面貌的能力，并可以同时对声音信号进行必要的加工。
本课题顺应当今趋势，设计、制作出一套大功率、低失真、频带较宽，同时考虑经济适用的家用音响系统。
系统要求由稳压电源、前置、均衡、功放三部分组成，前置放大级主要任务是完成小信号电压放大任务，同时要求低噪声、低温漂。
音调调节主要完成高低音、左右平衡、音量调节。
功率放大级主要任务是在允许的失真限度内,尽可能高效率地向负载提供足够大的功率，要求是输出功率要大、效率要高。
本次课题研究选择通过集成运放NE5532、LM324、LM3886的配套使用可以使本电路系统设计简洁、实用并且达到高增益、高保真、高效率、低噪声、宽频带、快响应的指标，具有一定的使用和参考价值。
关键词：音响；稳压电源；前级放大；均衡器；LM3886后级运放AbstractIn this era of science and technology developed, music has become people to enjoy a very important part of fashion. Multi-functional audio for home entertainment and leisure has brought more convenience, such as sound development in recent years gradually mature, its superior sound effects and humanized design in the market, play an increasingly important role. Sound system can faithfully reproduce the original sound and the original sound field, and the audio signal processing and modification, to make repeat voice sounds beautiful. Modern family for sound choices tend to its sound, beautiful and practical characteristics. With the development of audio technology, the modern stereo sound quality requirements also more and more authenticity.Because of sound quality requirements more and more authenticity, hi-fi arises at the historic moment, it can truthfully reflect the sound signal tone, pitch and sound intensity quality status of natural ability, at the same time, the voice signal to make the necessary modification and processing. This topic conforms to the trend, design and production of a set of high power, low distortion, frequency band is wide, at the same time, considering the economic applicable home sound system. System requirements by the regulated power supply, front, equilibrium, power amplifier of three parts, preamplifier stage, main task is to complete small signal voltage gain, low noise, low temperature drift is also required. Tone control is mainly finished in which high and low, left and right balance and volume. Power amplifier stage main task is within the allowed distortion limits, as efficiently as possible to provide enough power to the load, the requirement is that the output power is larger, the efficiency is higher. This topic research choice through integrated op-amp NE5532, LM324, supporting the use of LM3886 system can make the circuit design is simple and practical and achieve high gain, high fidelity, high efficiency, low noise, wide band, fast response indicators, has certain use and reference value.Key words: hi-fi ; Regulated power supply ; Before the amplifier ;equalizer ;LM3886 power amplifier目录引言.................................................................................................................. 错误！未定义书签。
音箱设计毕业设计(20210131185217)
目录1 绪论 (1)2 音箱设计调研 (1)2.1 音箱种类市场调研 (1)2.2 现有音箱主要功能调研 (1)2.1.1 商务功能 (2)2.1.2 娱乐功能 (2)2.3 色彩分析 (2)2.4 产品流行风格分析 (2)3 直板音箱设计纲要分析 (3)3.1 产品的各种使用实态 (3)3.2 产品的特征 (4)3.3 产品的使用效益 (4)3.4 产品的设计 (4)3.5 产品设计方案的产生理由和发展前景 (4)4 设计定位 (4)4.1 产品定位 (4)4.2 预期售价 (5)4.3 设计目标重点 (5)4.3.1 注重影音娱乐的播放 (5)4.3.2 注重手感方面的人机设计 (5)4.3.3 样式和造型设计简洁大方 (5)4.3.4 突出“语义性”的特色 (6)4.4 设计定为总结 (6)4 设计展开 (6)5.1 草图设计 (6)5.2 方案二维优化.................... 错误! 未定义书签。
5.3 三维细节推敲..................... 错误! 未定义书签5.4 效果图........................ 错误! 未定义书签5.5 基本尺寸...................... 错误! 未定义书签6 设计方案论证......................... 错误! 未定义书签6.1 音箱设计的外型分析.................. 错误! 未定义书签6.2 音箱设计的功能分析.................. 错误! 未定义书签6.3 音箱设计的色彩分析..........................6.4 音箱设计的材料分析................. 错误! 未定义书签6.5 产品成型工艺..................... 错误! 未定义书签7 结束语....................................参考文献....................................致谢 (17)6 19 81 绪论当今社会外语沟通能力是求职、晋升、出国深造中的必备技能之一。
高保真音响设计制作论文翻译中文
独立电唱机前置放大器一个高精确度唱机的前置放大器Fred Nachbaur, Dogstar撰写1997年1．介绍最近有非常多关于历史悠久的真空电子管的优点（和缺点）的新闻。
至于这种复古运动多少是基于可论证的理论，多少是建立在发烧友的怀旧情怀和主观印象的基础上，这个问题可能会是一个充满争议的辩论。
我们现在很清晰的是：现在对真空电子管，这种20多年前的，被认为和spats 和top hats一样古老的东西，有相当多的人进行关注。
现在潮流有点倒转的感觉，有许多的生产厂家又为高保真音响爱好者，音乐家以及高保真发烧友们提供电子管装置。
很多情况下，这些都是一些简陋的古老的（或者我们应该说是“最佳的”电路稍微做了些改动，就变成了一个新的创作品。
别的产品提供了新的真空电子管技术的途径，同时添加了我们学到的一些真正的值得的设计。
为什么要使用电子管？这种支持电子管运动的最大争议就是：规格几乎没有什么意义，而最重要的是每个听众的个人主观的听觉才是最重要的。
因此高度主观的描述在这里被运用，取代了最近我们或多或少习惯的技术上的消除混串音干扰。
那个相反的阵营认为数字不会撒谎，并且如果加入了任何的失真你也不能去证明。
两个阵营都很有论据。
我们中很多人都听过这种装置有着引人注目规范，但是被弃之不用因为“太好以至于不真实”，几乎大家都认为这种设备表达的只是一种临床的声音。
同样的，大部分人们都会同意:如果音响设备有电子管在里面的话，就不值得去听。
如果你想感受到真空电子管听起来有多难受的实证，打开案头的那些老的“All-American Five”调幅收音机就可以了。
也许协调这两种观点的一种方法是考虑到音响设备和录音重放设备的差别。
对于音响设备来说，单个机器的频率，波形，和相位失真是对一个Fender 电子管放大器声音的定义。
就像没人会试着用一些规格和失真的数据去定义一个很好的小提琴一样，所以，如果去争论某个35瓦特的电子管放大器超过了12％的总谐波失真度没有，是很片面的。
高保真音箱的设计
达
到
的
要
求
或
技
术
指
标
1功放输出功率:80W×2(8Ω)频率响应:10Hz～75kHz信噪比:≥100dB失真度:≤0.03%；
2
进
度
安
排
起止日期
工作内容
下达任务书、学生收集资料、熟悉毕业设计（论文）课题
总体方案设计
硬件设计
系统调试
编写毕业设计（论文）说明书
教师评阅设计（论文），学生进行总结、准备答辩
2进度安排起止日期工作内容下达任务书学生收集资料熟悉毕业设计论文课题总体方案设计硬件设计系统调试编写毕业设计论文说明书教师评阅设计论文学生进行总结准备答辩毕业设计论文答辩主要参考资料1王辛之
2011届毕业设计课题任务书
系：电气与信息工程系专业：
指导教师
俞斌
学生姓名
课题名称
高保真音箱的设计
内
容
及
任
务
1设计任务：设计一个具有音量、高音、中音和低音调节的高保真音箱；
[5]孙育才,苏学成.单片微型计算机应用系统设计与实现[M].南京:东南大学出版社,1990.
[6]李朝青.单片机原理及接口技术[M].北京:北京航空航天大学出版社, 2002.
[7]马世界.系统的可靠性设计和故障诊断[J].黑龙江水利科技,2005,33(5):109.
[8]李海.单片机应用系统可靠性技术的探索[J].工业技术,2006(13):40-41.
[9]葛素娟,朱祥贤.单片机应用系统的抗干扰技术[J].重庆科技学院学报,2006,8(4):68-70.
[10]何小艇.电子系统设计[M]. 3版.杭州:浙江大学出版社,2004.
有源音箱论文设计
1 前言
1.1 本设计的意义
音乐是让生活多姿多彩，音箱又是提高音乐享受的必要工具。随着电视技术，音响技术，数字技术的不断发展，以及人们的生活水平的不断提高，市场中音响器材也是琳琅满目，给音乐爱好者带来更多的选择。而有源音箱将功放设置在音箱内部，比功放要少一个机壳，成本得以大幅度的降低，再加上其音箱连接简单，使用方便，得到众多消费者的青睐。应用自己学过的专业知识，亲手设计制作一个有源音箱使用起来更是具有实际意义。高音清爽，低音震撼给人带来更多美的享受。
进入截止，而原先截止的三极管进入导通、放大状态，两只三极管在不断地交替导通放大和截止变化。
2．按输出极与扬声器的链接方式
功率放大器电路的另一种划分主要是由功放级输出电路形式来决定，常见的的音频功率放大器主要有下列几种：
（1）变压器耦合甲类放大器电路主要用于电子放大器中；
（2）变压器耦合推挽功放电路主要用于一些输出功率较大的电子Βιβλιοθήκη 放大器中；福建信息职业技术学院
毕业论文（设计）
论文题目：有源音箱的设计与制作
系别：电子工程系
专业：通信技术
班级：通信0811班
学号：**********
******
指导老师：谭巧老师
有源音箱
摘要：本文介绍了有源音箱的设计及制作过程。有源音箱主要由功放组件和电源变压器组成。功率放大器是电子电路中一个十分重要的部分，它在整个音箱系统中起到了“组织、协调”的枢纽作用，将音频信号放大足以推动扬声器工作。目前集成功放则凭其制作简单，成本低廉，重放音质尚可等特点替代分立元件成为主流。此次我就是采用双声道集成芯片TEA2025来设计高保真音频功率放大器，TEA2025双声道功率放大集成电路具有声道分离度高、电源接通时冲击噪声小、外接元件少，最大电压增益可由外接电阻调节等特点。该功放设计避免了分立元件组合电路布线复杂、输出信号失真大的缺点。
高保真音响设计制作论文开题报告
四、阐述拟选题的目的、意义、要完成的工作和预期结果
1．选题目的：为了能将自己学习的模电知识结合自己平时对音响的兴趣结合在一起，所以我决定结合工科基础和自己的兴趣来做出一个HI-FI高保真功率放大器。来实现理论与实践的结合。
至于我在设计中将用到的集成功放就是NE5532(前置功放)，后级为LM1875。
其中NE5532被认为是“运放之皇”，它的内部为JFET（结型场效应管结构）,声音特点总体来说属于温暖细腻型，驱动力强，但高音略显毛糙，低音偏肥。
NE5532虽然是一个比较旧的运放型号，但现在仍被认为是性价比最高的音响用运放芯片，是属于平民化的一种产品，被用于许多中底档的功放中。该功放技术已经相当成熟。
3．预期结果：做出的电路基本上满足上面我提及的参数，并且接上音源以及扬声器能发出优美的声音。
五、毕业设计所必需的实验、计算、加工等初步计划
本实验所需设备：
1.微机一台以及Protel 99se的软件；
2.低频信号源；
3.示波器；
4.万用表；
2．选题意义：可以让我感觉到我们学习理论知识对我们将来从事的工作起到的重要作用，同时也初步体验到了作为一个技术人员，需要很强的耐心，坚持的性格，才能做出一个令他人，令自己满意的硬件和配套的软件出来。同时，我觉得自己查找资料的过程便是对我本身，作为一个在信息海洋的现代社会生存的人的甄选知识能力的锻炼。同时，我也懂得了许多有关技术制作时涉及到的成本问题，也就是性价比的问题，这点很重要。
我想在我完成了这次毕业设计后，一定会学到很多技术的知识，不过我想不仅仅是技术的知识，应该还会学到一种韧劲，一种精神。
高保真音响设计制作探讨(论文)
题 目： 高保真音响设计制作院 （系）： 计算机系专 业： 自动化学生姓名：学 号：指导教师：职 称：理论研究实验研究工程设计 软件开发目 录引言 (4)1 高保真音响系统 (5)1.1 高保真音响系统定义 (5)1.2 高保真音响系统组成 (5)2 高保真功率放大器 (7)2.1 功率放大器种类 (7)2.2 高保真功率放大器主要技术指标 (8)3 功放电源 (11)3.1 功放电源概述 (11)3.2 功放电源组成 (12)3.3 整流滤波电路 (14)3.4 稳压电路 ............................................................. 17 4 方案论证及阐述 (17)4.1 设计要求 (17)4.2 方案论证 (18)4.2.1后级放大器方案选定 (18)4.2.2前置放大器方案选定 (18)4.2.3音调芯片方案选定 (19)4.2.4电源方案选定 (19)4.3 具体方案阐述 (19)4.3.1前级放大器方案阐述 (19)4.3.2后级放大器方案阐述 (23)4.3.3功放电源方案阐述 (26)5 高保真功放制板 (27)5.1 制板注意事项 (27)5.2 制板经验总结 (28)5.2.1制板步骤 (28)5.2.2Protel99se的使用经验总结 (29)5.2.3制板遇到的问题 (30)6 功放调试 (30)6.1 调试步骤 (31)6.2 模块调试 (31)6.2.1电源调试 (31)6.2.2音调模块调试 (31)6.2.3前置放大模块调试 (32)6.2.4后级功放模块调试 (32)6.3 整体调试 (32)7 高保真功放性能指标测试 (33)7.1 性能指标测试的必要性 (33)7.2 主要性能指标测试 (33)7.3 测试所用仪器 (36)7.4 测试结论 (36)8 总结 (37)8.1 完成程度 (37)8.2 技术优点 (37)8.3 技术缺陷 (37)8.4 毕设感受 (37)参考文献 (37)附录 (38)附录1电路原理图 (38)附录2 PCB 图 (41)摘要随着国家经济蒸蒸日上，现代科技不断发展，这些使人们在物质享受之余，也有了更多的精神享受的需要。
音响工程设计毕业设计论文.doc
内容摘要在建筑声学设计中，计算机辅助音质设计得到越来越广泛的应用。
本说明通过参照声学设计软件EASE3.0，参考音响工程设计与实例等，介绍了音响系统的结构、设计、安装与调试，并给出了演出大厅的设计方案。
本方案设计的是一个演出大厅，是一个带歌舞表演性质的场所，为双层演出大厅，要求具有舞蹈、唱歌、综合节目、播放20*6的LED显示屏以及小型电声乐队伴奏、钢琴弹奏等多种演出功能。
通过用EASE3.0对装修吸音材料、扬声器指向及功率等方面进行辅助设计使其混响时间和声压级的各项指标都能达到国家文化部发布的一级演出大厅要求,从而完成本次多功能演出大厅的设计和仿真。
关键字：EASE 音响设计演出大厅Content abstractIn the architectural acoustics design, computer aided quality design get applied more and more. This show that, through reference to acoustic design software EASE3.0, reference sound engineering design and the example, this paper introduces the structure of the sound system, design, installation and commissioning, and gives the performance hall design scheme.The plan is a performance hall, is a dance performance with the nature of the place, for double performance hall, requires a dance, sing and shows, played 20 * 6 of the LED display and small electro-acoustic band, piano and so on many kinds of performance function.Through the use EASE3.0 sound-absorbing materials for decoration, speaker and power to aspects of computer-aided design make its reverberation time harmonic level can meet all the indicators of national ministry of culture of the level of performance requirements issued by the hall so as to complete the multi-function performing hall design and simulation.Key word: EASE sound design performance hall目录内容摘要 (I)Content abstract (Ⅱ)目录 ............................................................................................................................................ I II 第一部分扩声系统设计的注意事项 (1)1、语言清晰度 (2)2、评价音质的各个指标 (2)3、音色—频率响应Tonal balance (2)第二部分演出大厅的设计方案 (3)一、演出大厅的设计 (3)二、演出大厅结构分析 (3)三、演出大厅主要音像设备的布局 (9)四、选配音箱 (12)五、选配功放 (13)六、其他设备的选配 (14)七、布线图 (15)八、系统结构图 (16)第三部分EASE仿真 (18)一.查看RT及房间容积 (18)二．查看演出大厅语言清晰度 (19)三．查看声场声压级分布图 (22)四.查看演出大厅模型渲染图 (24)第四部分音响调试 (25)总结 (27)参考文献 (28)-南通职业大学电子信息工程学院毕业设计方案第一部分扩声系统设计的注意事项众所周知，自然声源（如演讲、乐器演奏和演唱等）发出的声音能量十分有限，其声压级随传播距离的增大而迅速衰减。
移动音响毕业设计
移动音响毕业设计移动音响毕业设计随着科技的不断发展，移动音响已经成为了人们生活中不可或缺的一部分。
无论是在户外活动、派对聚会还是日常生活中，移动音响都能为我们带来愉悦的音乐体验。
因此，我决定以移动音响为主题进行我的毕业设计。
在设计移动音响之前，我首先进行了市场调研。
通过调研我发现，现有的移动音响产品在音质、携带便利性和外观设计等方面存在一些问题。
因此，我决定在我的毕业设计中解决这些问题，设计出一款更加出色的移动音响。
首先，我决定从音质方面入手。
通过研究音响技术和材料，我选择了高品质的音响元件和优质的音箱材料，以确保音质的清晰度和音乐的还原度。
同时，我还加入了一些音效调节功能，用户可以根据自己的喜好调节低音、中音和高音的比例，以达到最佳的音乐效果。
其次，我注重了移动音响的携带便利性。
为了使音响更加轻便易携带，我采用了轻量化的材料，并进行了紧凑的设计。
同时，我还加入了便携式的手柄和可折叠的支架，使用户可以方便地携带和放置音响。
此外，我还设计了一款专属的音响包，用户可以将音响放入包内，方便携带和保护。
除了音质和携带便利性，外观设计也是我毕业设计中的重要一环。
我希望设计出一款时尚、简约且具有科技感的移动音响。
因此，我选择了金属材质和流线型的外观设计，使音响看起来更加精致和高端。
同时，我还加入了LED灯效，使音响在夜晚使用时更加炫彩动感。
除了以上的主要设计方向，我还考虑了一些细节问题。
例如，我在音响上加入了蓝牙连接功能，使用户可以通过手机或其他设备无线连接音响，方便播放音乐。
此外，我还加入了充电宝功能，用户可以将音响用作移动电源，为其他设备充电。
在毕业设计的过程中，我遇到了许多挑战和困难。
例如，对于音质的优化和外观设计的完善，我进行了多次的试验和修改。
同时，我还需要考虑成本和可行性等因素，以确保设计的实用性和市场竞争力。
通过不断的努力和改进，我最终完成了我的毕业设计——一款高品质、便携且时尚的移动音响。
这款音响不仅具备出色的音质和携带便利性，还拥有独特的外观设计和实用的功能。
音响技术论文(8篇无删减范文)-音响艺术论文-艺术论文
音响技术论文（8篇无删减范文）-音响艺术论文-艺术论文——文章均为WORD文档，下载后可直接编辑使用亦可打印——音响技术的应用为我国一系列大型活动的成功举办发挥了作用作用，除此之外，音响技术还在广播、电影、电视等领域都有涉足，对音响技术的不断研究与探论，可以极大促进我国文艺市场的发展，本文汇总了8篇音响技术论文范文，供广大毕业生、科研工作者参考。
音响技术论文（8篇无删减范文）之第一篇：舞台音响技术的作用与表现摘要：音响技术作为舞台演出的重要组成部分, 其对于提高舞台艺术水平有着十分关键的作用。
本文首先阐述了舞台音响技术现状, 其次对当前音响技术在舞台表演中的作用和表现进行了一定分析, 最后探讨了音响设备的调试技巧和音响技术的发展趋势。
关键词：音响技术,舞台,演出,作用,表现舞台演出属于一门综合艺术, 其在进行过程中需要多样化艺术互相配合、相互协调, 例如舞台布景、灯光设置、音响技术、演员表演等。
在舞台表演中, 音响技术占据了十分重要的角色, 人们对于音响技术的关注度也在逐渐提高。
在此背景下, 本文对舞台音响技术的作用和表现进行了一定阐述, 仅供参考。
一、舞台音响技术现状随着现代化经济发展步伐不断加快, 我国的文化事业逐渐呈现出一片繁荣景象。
其中, 勿扰音响技术的应用为我国一系列大型活动的成功举办发挥了十分积极的作用。
就现阶段而言, 我国的音响技术相比以往有了极大的优化和改善, 基本上可以和国际知名品牌相媲美。
因此, 当前我国音响技术可以说已经接近国际一流水平。
同时, 随着我国市场经济的快速发展, 音响行业在我国发展前景十分可观, 这使得我国音响产品竞争激烈程度越来越高, 随之而来的就是人们对于音响产品和技术不断提出新的要求和标准。
当然我国音响技术也存在一定的缺陷, 例如一些企业由于生产管理不力, 导致其音响产品在性能、技术指标上依然差强人意[1]。
这些缺陷在很大程度上限制了我国音响技术的进一步优化和完善, 细观我国音响技术行业市场当前仍有很大发展空间。
毕业论文--调频无线音箱设计.
一、绪论一、选题背景音箱，在我们日常生活中随处可见，如果我们把显示器比喻成多媒体设备的眼睛，那么音箱就是多媒体设备的嘴巴。
音箱给我们带来美妙的声音，质量好的音箱不仅仅使声音播放效果良好，更重要的是，它能将电影以及音乐中所有的能量和激情全部传递给你，让你有身临其境的感觉。
随着多媒体技术的发展，音箱从最初的2．0双声道发展到现在的7．1声道。
从单一的“发声器”发展到时下的多媒体用途，从普通的立体声音效技术发展到目前的DTS、EAX4、THX等复杂的环绕音效技术，跟随这些进步而来的却是大量繁杂如蜘蛛网般的连线。
为音箱布线时候既要考虑音箱的摆位，还得考虑线路的问题，有时甚至不得不穿墙凿壁。
还有另一个不便在于，当我们要在阳台或客厅欣赏电脑中的音乐时，要怎么做呢？将电脑旁的音箱音量调大，让声音跨越房间“飘”到耳朵里?这样恐怕会严重干扰到他人。
随着人们生活水平不断提高，在选择各种家电产品的时候，己经从简单的使用需要逐渐向简洁、美观、个性化发展，显然传统音箱繁复的连线显然无法满足人们对简约、时尚的追求。
但无线传输技术出现，使得人们向无线领域迈进，逐渐摆脱连接线或是传输线缆的束缚。
二、无线音箱的运用及意义自上世纪90年代中，世界著名音响制造商美国雷克顿公司成功地推出了无线音响系统以来，无线音箱又有了许多进步，现在市面上已经出现了许多无线音箱，它们使用的技术几乎都是基于2．4GHz ISM(Industry ScienceMedicine，工业／科学／医疗)这一全世界公开通用的无线频段。
从设计上来看主要分为两种，一种是使用特定发送装置，并在音箱上装配相应接受装置的产品。
另一种则是以蓝牙A2DP(Advance Audio Distribution Profile)协议为基础的产品。
前一类产品支持点对点或点对多点的传输模式，并具有多个可选的频点。
为避免在2．4GHz公共频段上容易出现的干扰对音质的影响，这类产品通常具有频点选择功能(俗称“跳频”功能)，如果在工作过程中出现较大噪音，即在当前频点存在干扰影响输出音质时，可选择新的工作频点，以保持产品良好的使用效果。
音响产品设计创意方案范文
音响产品设计创意方案范文1. 引言音响作为一种重要的娱乐设备，已经成为人们日常生活中不可或缺的一部分。
然而，当前市场上的许多音响产品仍然存在着一些问题，如音质不佳、外观设计单一等。
为了提供更出色的音响体验，我们团队提出了以下音响产品设计创意方案。
2. 创意概述我们的设计理念是将音响产品与现代科技相结合，打造一款功能齐全、外观时尚的高性能音响。
以下是我们的创意概述：2.1 高质量音质我们将采用最新的音频处理技术，确保音质的清晰度和纯净度。
通过精确调校每个音轨的输出和混音，消除音频失真和杂音，提供更逼真、沉浸式的音乐体验。
2.2 多功能性我们的音响产品将具备蓝牙无线连接功能，以便用户可以随时随地通过手机、平板电脑等设备播放音乐。
同时，音响也将配备USB接口和SD卡槽，以支持多种音频格式的播放。
此外，我们还将在音响上添加收音机功能，为用户提供更多音频资源选择。
2.3 智能控制为了提升用户的操控体验，我们将引入智能控制技术。
用户可以通过手机APP 或遥控器轻松控制音响的音量、音效、播放模式等功能。
此外，我们还将为音响配备语音助手，如Amazon Alexa或Google Assistant，使用户可以通过语音命令来控制音响。
2.4 潮流外观设计为了让音响成为家居生活中的一部分，我们将注重外观设计的时尚与美感。
我们计划采用简约、现代的设计风格，并提供多种颜色和材质选择，以适应不同用户的审美需求。
此外，我们还将考虑将音响隐藏于家具或悬挂于墙壁的设计，以节省空间，同时提升家居的整体美观性。
3. 制造与材料3.1 制造我们计划将音响产品制造过程中采用现代化的自动化设备，以提高生产效率和产品质量的稳定性。
同时，我们将严格控制生产线的每个环节，确保产品的一致性和可靠性。
3.2 材料在材料选择方面，我们将追求高质量、环保的原则。
外壳部分，我们计划采用金属合金或高强度塑料，以提供更好的耐用性和外观质感。
音箱部分，我们将使用高品质的扬声器和低音炮，以确保音质的完美表现。
音响设计毕业论文
音响设计毕业论文音响设计毕业论文在现代社会中，音乐已经成为人们生活中不可或缺的一部分。
无论是在家庭、商业场所还是娱乐场所，音响系统都起着至关重要的作用。
然而，随着科技的不断发展，音响设计也在不断进步和创新。
本篇文章将探讨音响设计毕业论文的相关话题，从音响系统的发展历程、设计原则以及未来的趋势等方面进行论述。
一、音响系统的发展历程音响系统的发展可以追溯到19世纪末的机械唱机时代。
当时，人们通过机械装置将声音转化为机械振动，进而产生音乐。
然而，这种机械唱机的音质并不理想，无法满足人们对音乐的追求。
随着电子技术的进步，电唱机的问世为音响系统的发展带来了新的机遇。
电唱机通过电磁转换将唱片上的声音转化为电信号，再通过扬声器播放出来，大大提高了音质的表现力。
随着音响技术的不断发展，立体声音响系统应运而生。
立体声音响系统通过将声音分为左右两个声道，使得音乐在空间上具备了更强的立体感。
这种设计大大提升了音乐的沉浸感，使得听众可以更好地感受音乐的细节和情感。
二、音响设计的原则在进行音响设计时，有一些原则是需要遵循的。
首先，音响系统的设计应该基于听众的需求。
不同场所和不同用途的音响系统，需要满足不同的听觉体验。
比如，在一个家庭影院中，人们更加注重音效的沉浸感；而在一个商业场所，人们更加注重音乐的清晰度和音量的控制。
因此，设计师需要根据不同的需求来进行系统的设计。
其次，音响系统的设计应该考虑到空间的特点。
不同的空间具有不同的声学特性，比如反射、吸收和衍射等。
设计师需要根据空间的特点来选择合适的扬声器布局和声学处理技术，以达到最佳的音效效果。
最后，音响系统的设计还需要考虑到设备的选择和配置。
不同的设备在音质、功率和可靠性等方面存在差异。
设计师需要根据预算和需求来选择合适的设备，并进行合理的配置，以实现最佳的音响效果。
三、音响设计的未来趋势随着科技的不断进步，音响设计也将朝着更加智能化和个性化的方向发展。
一方面，人工智能技术的应用将使得音响系统更加智能化。
功放LM1875毕业设计
濮阳职业技术学院毕业设计专业：应用电子技术设计课题：家用功率放大器班级：应用电子姓名：刘新帅2010年 12月 10日摘要随着社会的发展，人们的追求，现代人对听觉的水平要求越来越高，所以对音响的音质真实性要求越来越多，并能对音频信号进行适当的加工装饰，使声音音质真实优美动听。
因此，我们这次的研究主要对象是高保真家用功率放大器, 然而功率放大器是在音响系统中是把微弱的音频信号放大到足以驱动喇叭单元工作，重放出人耳能听到的声音设备。
本设计主要介绍采用LM1875芯片设计的功率放大器，它在应用场合能提供非常低的失真度和高质量的音色，还具有了高增益、快转换速率、宽功率带宽、大输出电压摆幅、大电流能力和非常宽的电源范围等特性。
系统采用大回环电压负反馈控制输出，配以普通双路桥式整流滤波电路，放大器采用内部补偿，增益控制在26dB 左右。
它可用于家用功放，高品质音频系统，立体声唱机等。
关键词：高保真家用功率放大器 LM1875引言随着电子技术的发展，音频功放（APA）技术的最新发展进一步提高了音响的音质，以及人们生活水平的不断提高，各种新型家庭影院的新技术、新品种器材不断涌现，市场中的音响设备品种繁多，音响爱好者被商店里的设备搞得眼花缭乱，无从下手，往往投入较大的资金而得不到较好的重放效果。
高保真功放就克服了传统音响的这些缺点.表现出了声音的真实性.我们所做的LM1875高保家用功率放大器就是使重放的声音跟真实的声音高度相似.如果从重放声的角度来讲，高保真音响系统非常讲究表现音乐的内涵和细节，通过器材的重放能够表现出音乐所要表达的深刻含义，与欣赏者产生情感上的交流，在重放时对音乐中的细微声音都能表现出来。
目录第一章概述 (1)1.1 主要内容 (1)1.2 功放的发展史 (1)第二章功放的定义、种类及性能指标 (2)2.1 功放的定义 (2)2.2 功放的种类 (2)2.3功放的性能指标 (3)第三章家用功放的组成模块 (5)2.1 电源部分 (5)2.2 调音部分........................................... (6)2.3 放大部分 (6)第四章 LM1875高保真音频放大电路的基本原理 (8)第五章电路板的制作与调试 (9)4.1 电路板的制作 (9)4.2 电路板的调试 (9)总结 (10)注释 (10)附录一元件清单 (11)附录二PCB图 (12)外文资料译文 (13)第一章概述1.1主要内容本文主要介绍高保真功率放大器，我们所用的芯片LM1875，放大器它具有非常低真度和高品质的性能，最少的元件，保护电路包括内部电流限制和热关断。
高保真音响设计制作论文资料-翻译原文
Standalone Phono Pre-ampA HIGH-PRECISION PHONO PREAMPLIFIERby Fred Nachbaur, Dogstar 1997,1: INTRODUCTIONThere has been much press lately about the merits (and drawbacks) of the venerable vacuum tube. How much of this retro movement is based in demonstrable principles, and how much is rooted in nostalgia or subjectivity is a debate that could fill volumes.What is clear is that there is considerable renewed interest in vacuum tubes, a technology that even two decades ago was considered as obsolete as spats and top hats. Now the trend is reversing, and a number of manufacturers are again supplying tube gear for audiophiles, musicians and hobbyists. In many cases, these are simply vintage circuits in new packaging. Other products offer new approaches to vacuum tube technology, adding what we've learned in the meantime to come up with some truly noteworthy designs. The project described here fits into the latter category.Why use tubes anyway?The central argument for the pro-tube movement is that specs can be almost meaningless, and that what counts is how it sounds to the individual listener. Highly subjective descriptions are therefore used, instead of the techno-babble we've more-or-less gotten used to in recent times. The opposite camp claims that numbers don't lie, and that you can't improve something by adding distortion of any kind.Both camps have valid points. Most of us have heard expensive gear with spectacular specifications, but were left cold by the "too good to be true," almost clinical sound of such equipment. Similarly, most people will agree that just because something has tubes in it doesn't make it worth listening to. Turn on one of those old "All-American Five" table-top AM radios if you want a striking demonstration of just how bad vacuum tube equipment can sound.Perhaps a way of reconciling the two viewpoints is to consider the distinction between musical equipment, and reproduction equipment. For musical gear, the individual frequency, waveform and phase distortions are part of what defines the sound of, say, a Fender tube amp. Just as no- one would try to define a fine Stradivarius violin with specs and distortion figures, so also it would be specious to argue that a certain tube guitar amp has over 12% THD (total harmonic distortion)at 35 watts.Reproduction equipment, on the other hand, has always been expected to give a perfect rendition of the signal applied to it. Sounds good in principle; if such a thing existed, we should be able to exactly and perfectly reproduce everything from a grundge band to the New York Philharmonic, making the reproductions indistinguishable from the original performances.But therein lies the rub. The overall sound of a stereo system depends so heavily on the room it's in, the speakers, volume level, personal preference, and a host of other fuzzy variables that a perfect reproduction system cannot be said to exist even in this day and age, and probably never will. Add the fact that most if not all recordings are electronically sweetened to some degree to make them "sound good" (as opposed to being an exact copy of the performance), and arguments for the clinical reproduction approach lose credibility.Carried to extremes, an "ideal" reproduction system wouldn't even have any controls, except perhaps for selecting inputs. If you think about it, personal preference is the only reason why stereos have volume controls, equalizers, and other adjustments to let us customize the sound to suit our very individual ears and brains.It might be best to view the reproduction gear as a continuation of the same process that started with the construction of the instruments used in the performance. What we ultimately hear is the sum total effect of everything from that original instrument design, to the way it is played by the artist, through the entire recording, mixing and distribution process, to the gear we use to play it, and how we've set its controls.There is, therefore, a considerable difference in design approach between the "instrument" and "reproduction" categories. An earlier design ("The Real McTube") documented a vacuum tube pre-amplifier for use as an adjunct to electric instruments. The design approach was largely empirical, and the emphasis was on highlighting the unique distortion characteristics of the vacuum tube. This article explores the reproduction aspect; the design approach was quite mathematical and precise, and the emphasis is on controlling the characteristics of the vacuum tube.Vinyl vs. CDSimilar arguments are ongoing regarding vinyl records vs. compact discs. The CD camp points at the CD's accuracy, definition, and clarity, while vinyl loversbemoan the CD's lack of warmth and claim that conventional records sound more "natural."This project gives you the opportunity to explore these subjective and controversial debates, letting your own ears be the judge. You may find that there are some recordings that sounds better through the tube pre-amp, and others that benefit from the improved definition (whatever that is, technically speaking) that good solid-state gear can offer.2: DESIGN PHILOSOPHYThe design philosophy was to improve on "vintage" tube designs by incorporating refinements normally only associated with solid-state gear. Prime among these is the use of differential input stages, in which the inverting input is used strictly for feedback. Another is the use of direct coupling between stages, a technique once **mon in oscilloscopes, but rare in audio gear. The resulting circuits are thus closely related to the operational amplifier, and used in a similar fashion.In addition to the quasi-opamp idea, some other design concepts used in theproject are:Use of readily available parts wherever possible. For this reason, tube types 12AX7A and 12AT7A were employed.Direct coupling was used in crucial parts of the circuitry. More about this later.Flexibility in use was a prime consideration. While this articles details the use of this circuit design as a magnetic (RIAA) and ceramic phono pre-amplifier, there is virtually no limit to the number of possible applications with suitable modification of the feedback networks.A Word About Negative FeedbackIt is perhaps an unfortunate accident of history that the term "negative feedback" was used to describe the linearization technique of applying a portion of the output signal back to the input, in opposite phase to the applied signal. It gives the impression to audiophiles with enough knowledge to be dangerous that "negative" feedback must somehow be a "bad" thing. I've seen diatribes against the evils of negative feedback, yet in the same breath such critics extol the virtues of "ultra-linear output transformers." The joke is that such transformers achieve this linearization by applying local negative feedback to the screen grids!Perhaps a better moniker for "negative feedback" would be "**pensation" orsomething on that order. Consider the following characteristics ofwell-designed negative feedback systems:A: Precise control over closed-loop gain and minimization of gain drift with component aging.B: Considerable reduction in distortion and noise introduced within a given gain block.C: Reduction of effective series output resistance.D: Precise control and stabilization of frequency characteristics. Extensionof high-frequency response where needed.E: Reduces or eliminates the need for **ponent matching3: HOW IT WORKSThe sections that follow step through the principles of operation of this design. Since it is quite different from traditional designs, I suggest that you follow through this at least once. If the "fine points" are over your head, don't worry about it; hopefully enough of the information will stick to give you at least a working understanding of the circuit.There are in-line illustrations of the schematic, repeated as necessary. (If you have caching turned on in your browser, you'll only have to actually download the images once.) These "Figures" (schematics) are shown here in reduced size. Click on the image to enlarge it, preferably by right-clicking and opening the image in a new window. Full-size, printable versions are also available in the Resources section. It is highly recommended that you print out these files and have the diagrams at hand as you study this document, especially if you plan on actually building yourself one of these units.Note that in the schematic diagrams, only one channel is shown; the other channel is of course identical. Please note that part numbers refer to the various sections as follows: (We'll be assuming the left channel in this discussion.) 1-99Common parts (power supply, etc.) Also tube designations.100-199Left phono preamp200-299Right phono preamp3-A) HIGH-PRECISION PHONO PREAMPLIFIER: OVERVIEWConsiderable effort was taken to design a preamp that is as clean as possible to satisfy discerning audiophiles, while maintaining a relatively low parts count tosatisfy limited budgets. It should be noted at this point that, while the discussion is in the specific context of an RIAA phono pre-amplifier, this design lends itself well to a wide range of other uses.This "universal preamp module" sports a high gain (about 60 dB) and differentialinput stages that allow for differential input (as for balanced mic preamps) as well as either inverting or non-inverting single-ended applications. Frequency response shaping and gain setting are accomplished using the appropriate feedback networks.The schematic diagram of the phono/mic preamp is shown in Figure 2. If built on a PCB, the phono preamp equalisation is accomplished using a small "daughter" card directly on the main board; if you use the point-to-point wiring approach,these networks can be wired on separate terminal strips for easy modification if necessary.Figure 2 Phono (Magnetic and Ceramic) Preamplifie The main circuit board was designed to be virtually universal in applicability. Small outrigger "feedback cards" are used to customize the response to almost anything you might need. Figure 6 plots gain vs. feedback ratio for the non-inverting configuration as used in the phono/mic preamp. There is an obvious linear relationship, except at high gain. (The "porch" at the low end is due to the "+1" whenusing the non-inverting mode; see below for further details. In the inverting mode, as used in the tone preamp section, the relationship remains linear at low gain settings.)Figure 6 Preamplifier Gain vs. Feedback RatioAs detailed here, the phono preamp is selectable (using a switch) between magnetic (RIAA equalization, high gain), and ceramic (flat response, low gain).See Figure 7, which graphs open-loop response and the two closed-loop phono curves. If you only need one or the other mode options, the switch and the appropriate **ponents can be omitted.Figure 7 Open-loop, Magnetic Phono and Ceramic Phono Response Curves There is no reason why you couldn't adapt this universal preamplifier module for any other gain/**binations, simply by modifying the feedbacknetworks. (Figure 8 gives a few ideas, covered in more detail in Other Preamp Applications.)Other Possible Preamplifier ApplicationsPhono equalisationIn magnetic phono mode, the RIAA curve is achieved by using negative feedback to decrease the gain at higher frequencies, according to the RIAA specification.The result is that the amplifier runs almost open-loop (about 60 dB gain) at 40Hz, and rolls off smoothly to a gain of less than 20 dB at 20 kHz. This means that the "tube sound" caused by even-order distortion will be most pronounced in the bass region, giving it that warmth that is so highly prized by vacuum tube aficionados. At higher frequencies, this distortion is increasingly cancelled out by the negative feedback that sets the gain, keeping the mids from sounding "brassy," and the highs from sounding "splashy" (****plaints about open-loop tube amplifiers).In CD (or ceramic cartridge) mode, response is flat within 0.5 dB over the audio range, and voltage gain is set at 5 (about 14 dB). At this relatively low gain, the circuit is very clean and distortion-free. However, discerning ears will hear a subtle quality of warmth not present insolid-state gear.A 3:1 voltage divider at the input results in an overall system gain of 5 dB. The output level of CD players varies widely among various models, so you can trim this input gain to suit your machine by changing a single input resistor per channel. Similarly, total circuit gain can be changed with a single resistor on the feedback cards.The tube types and their operating points were carefully chosen to minimize power supply requirements, and to maximize tube life. Both channels together draw only about 7 mA from a 400 volt supply. This voltage can be derived from a stand-alone unit as documented in this article, or from a larger supply used to drive a vacuum tube power amp.3-B) PRE-AMP DIFFERENTIAL INPUT STAGESThe preamplifier features a differential input stage, giving us both aninverting and a non-inverting input and affording additional useful andbeneficial features. The following discussion relates directly to thePhono preamps (refer to Figure 2), but applies by extension to otherapplications also.Phono PreamplifierThe appropriate input signal is coupled from the magnetic or ceramicphono input jacks, through switch SW2, to the grid of the first section of V1 (a 12AX7A vacuum tube) via coupling capacitor C101. Since this grid is at a substantial DC voltage above ground, resistor R101 is used to insure that the input is always at DC ground potential. Note that, as far as the input AC signal is concerned, this 100K resistor is effectively in parallel with R102 (also 100K), giving us the 50K input impedance required for most magnetic phono cartridges. The two triode sections of V1 are used as a differential amplifier.Note that the cathodes are tied together, and go to ground via a relatively large shared cathode resistance consisting of R104 and R105. This acts as a rudimentary constant-current source. If the current in either triode increases, a comparable amount of current will be robbed from the other triode. Therefore, if the voltage on the signal input increases (goes more positive), plate current increases and the plate voltage of that triode will drop, while the plate voltage of the other triode increases by about the same amount. However, if the voltage on the feedback input increases, causing an increase in current in that triode, the voltage on the plate of the first triode section willincrease and that of the other triode will decrease.A portion of the cathode resistor voltage drop is sampled by R104, low-pass filtered by R103 and C102, and provides the grid bias for the first section of V1 via R102. An interesting feature of this circuit is that this also sets the bias and operating points for the entire amplifier, as we'll see as we progress through the analysis.Experienced electronicists will be quick to point out that a simple cathode resistor is not an ideal current source. As a result, the "common-mode rejection ratio" (that is, the gain matching of the two inputs) of this circuit is quite low. (A great improvement results by using a pentode as a current source in the differential amplifier cathode circuit, a trick that's used in the driver stage **mon-mode reduction is more critical because we also require balanced outputs.)What we do instead, in the preamp modules, is "cheat the system" and carefully choose the operating points of the two triodes to be different, to help offset the error. Note that, even though there is approximately the same current flowing in the plate circuit of each triode section (about 500 microamperes), the plate voltage on the second section is considerably higher (by about 90 volts) than the plate voltage of the first section. This is because of the lower value of plate resistor R107, as compared to R106. This "trick" assumes that the two sections of the tube are reasonably well-matched, and will furthermore track as the tube ages. Tests with different tubes of varying manufacture and condition have verified that this assumption is indeed valid.3A-2: PREAMPLIFIER OUTPUT STAGEFigure 2 is a schematic diagram of the Hi-Fi Tube Stereo Preamp. Since both channels are identical, only one is shown. Please note that part numbers 100-199 refer to the left channel, and 200-299 refer to the right channel. We'll be assuming the left channel in this discussion.Both channels share a single power supply, shown at the bottom of Figure 2. Transformer T1 steps the 120 volts AC from the power line down to 12.6 volts, to supply the heaters of the three tubes. The center-tapped configuration is used to help reduce hum induced by the heater circuits.Transformer T2 steps the 12.6 volts AC back up to about 110 volts AC for our high-voltage plate supply. Diodes D1-D3 and capacitors C4-C6 are a voltage tripler circuit, providing about 450 volts DC open circuit, or around 380 volts under load. Note that D1, D2, C4 and C5 form the classic positive voltage doubler circuit. On negative half-cycles, C4 is charged through D1.On positive half-cycles, C4 is effectively placed in series with the transformer, and diode D2 transfers this doubled voltage to C5. D3 and C6 are a negative half-wave rectifier/ filter, so the total voltage across C5 and C6 is about three timeswhat would be obtained from a half-wave rectifier. This configuration is used instead of the **mon "cascade" tripler circuit because of its slightly better regulation.The tripled voltage is filtered by the low-pass network formed by R1 and C7. It is further filtered and decoupled by R2/C9 and R3/C8 to form the main supply for each channel. This eliminates any cross-talk between channels due to power supply coupling.Additional decoupling is provided for the critical first stage of each amplifier by onboard filters R117/C103 (left channel) and R217/C203 (right channel), reducing power supply hum injected into these high gain circuits.The output of our differential amplifier is direct-coupled to the grid of the second stage, V2, a 12AT7 dual triode. This tube was chosen over the **mon (and cheaper) 12AU7 because it sports about three times the gain (transconductance), yet is capable of almost the same output drive.The difficulty with direct-coupled vacuum tubes is that the grid of the second stage sits at a substantial voltage above ground (about 200 volts in our circuit). This is why we need a relatively high B+ voltage, since we have to insure that the plate circuit of the second stage has enough headroom. So why bother at all? After all, tube amps have been made for over half a century with good old RC interstage coupling. The answer has to do with dynamic stability as the tubes age. Unlike conventional multi-stage tube amplifiers, our circuit is self-levelling because its DC biasing is in a closed feedback loop.R115 in series with the grid of V2 introduces a high-frequency pole with V2's grid-to-plate capacitance, effectively limiting high-frequency response. This allows us to run the preamp with relatively eavy negative feedback (low gain) without worrying about oscillations caused by phase shifts. You can think of it in op-amp terms as "**pensation".Another reason for using direct coupling is because of the relatively large voltage swings at this point in the circuit. Capacitors (even good ones) can exhibit some non-linearity in capacitance vs. voltage -- a fact that is often overlooked in amplifier design. Direct coupling eliminates this capacitor, and as a bonus gets rid of one more pole in our transfer function that **plicate ourapplication of negative feedback for gain and frequency response control.In order to bias V2's grid at the proper voltage (about -1 volts with respect to cathode), we need a humungous cathode resistor R108. To avoid losing all our AC gain, this resistor is bypassed for AC by capacitor C106.3A-3: PREAMPLIFIER DC FEEDBACKThe rest of our **pletes the DC feedback loop. In case you're wondering about the presence of the three NE-2 neon bulbs in series, let's analyze the circuit without them. The plate of V2 will be sitting at about 315 volts, whereas the grids of V1 are at about 27 volts, or a factor of about 12:1. We could use a 12-to-1 voltage divider,which would give us a DC closed-loop gain of about 13. That is, it would require a 13 volt change at the output to compensate for a 1 volt change at the input.We can easily improve on this considerably. The lowly neon bulb can be viewed as the tube- technology equivalent of the zener diode. That is, the voltage drop across the bulb (typically about 65 volts) is reasonably independent of the current passing through it. The three NE -2's can therefore be viewed as a 200 volt "level shifter," allowing us to use a much lower voltage division ratio (about 4:1) in our DC feedback loop. The result is an almost 3 times improvement in DC operating point stability.The level-shifted and divided output voltage goes through a two-stage low-pass filter consisting of R111, C105, R112 and C104. This strips AC signals from our DC feedback loop, to insure that the amplifier will still have full open-loop AC gain. The resulting DC feedback voltage is applied to the inverting input of our differential amplifier via R113.The junction of R113 and C104 also forms a convenient "AC Ground" point for our signal feedback networks. Let's step through what happens if some change occurs in DC operating point. This change could be caused by tubes and **ponents aging, power supply voltage fluctuations, or input overdrive conditions. Let's assume that the change causes the output voltage to rise, as would be the case as V2's emission decreases. This would cause an increase of bias voltage (more positive) on the grid of V1B (the feedback input), causing that stage to draw more current and increase the voltage on **mon cathode. V1A (our input stage) would therefore draw less current, causing the voltage on its plate (and therefore the grid of V2) to increase. This would cause an increased V2 plate current, resulting in a decrease in plate voltage, tending to buck the original change. See how the overall circuit is self-regulating?Resistor R114 forms the plate load for V2, and C107 couples the output to the tone/line preamp module via the input and tape monitor switches.Capacitor C108 provides another pole of high- frequency attenuation (compensation) to prevent oscillation at low gain. (Before I added this **pensation, the first prototype became a dandy 11 megahertz transmitter at gains lower than about 3!) The original value for this capacitor was 1000 pF, but I've found since then that this can be considerably lower, depending on layout. In the schematic it's shown as 100 pF, if you get oscillation or other instability increase this as necessary.3A-4: PREAMPLIFIER AC FEEDBACKSo far we have a pre-amplifier with an open-loop passband gain of about 60 dB, with 3-dB corners at about 40 Hz and 2 kHz. (See Fig. 7.) While the low-frequency end isn't bad, the high-frequency end is pretty awful. This is partly because of **pensationintentionally introduced by R115 and C108 and partly because of tube electrode and circuit wiring capacitances. Not to worry, our bandwidth automatically increases again when we apply negative feedback, just as it does with solid-**pensated op-amps.Fig. 7: Preamplifier Open-Loop and Phono Gain CurvesAs hinted already, this circuit behaves very much like an operational amplifier (op-amp). But before we get on with designing feedback networks, we'll point out the ways in which it is not like an op-amp:a) Open loop gain, although quite high, cannot be considered infinite as in many solid state op- amp devices.b) The circuit exhibits a large output-to-input voltage offset (on the order of 290 volts). Any AC feedback elements between output and input therefore have to include DC blocking capacitors. The alternative would be level-shifters, which would in my opinion be an **plication (and expense) **mensurate rewards in terms of performance.c) The DC voltage at the feedback input is non-zero (about 27 volts in practise), so again there is a need for DC blocking. The point marked "ACG" (AC Ground) is provided for convenience, acting as a virtual ground for AC, at the same DC voltage as the inverting input.The not-quite-ideal Tube OpampKeeping these restrictions in mind, we can use the formula for the classic non-inverting op-amp to approximate our gain with feedback. Note that the inverting input (-IN) has a 47K resistor (R113) to "AC Ground". This is our "default" value for input resistance to the feedback input. Let's call that resistance Ri, though it can be considerably higher, as needed. The bare-minimum feedback network would consist of just a single resistance (we'll call it Rf ) in series with a DC blocking capacitor between output and -IN. The theoretical gain with feedback would then be:Av = ( Rf / Ri ) + 1For instance, let's compute our gain if we connect a "bare bones"feedback network consisting of a 430K resistor in series with a DC blocking capacitor between "OUT" and "-IN". That is, Rf / Ri = 9.15, so our gain would be 10.15, or about 20 dB.The feedback elements do not have to be pure resistances; the above formula could be generalized to **plex impedances.Av = ( Zf / Zi ) + 1The circuit's actual performance follows this predicted formula very closely, verifying that our gain-matching shortcut described earlier works just fine. See Figure 6 for an actual plot of the prototype. The slight curve at the low end is caused by that "+1" factor in the equation; as Rf / Ri increases, that factor becomes less significant, and the graph approaches a straight-line relationship. However, at gain settings above about 200 (46 dB), the relationship begins to fall apart as we approach the amplifier's open-loop gain. Incidentally, this gain setting is also the practical maximum as regards frequency response; the 3 dB corner at this gain will be on the order of 16 kHz.Figure 6 Preamplifier Gain Vs Feedback Ratio3A-5: PREAMPLIFIER PHONO FEEDBACK NETWORKSCeramic phonoThe feedback network for the Ceramic phono input is little more than our "bare bones" network described above. R118 in series with C109 forms our Zf . R119 is added as a refinement to insure that the negative end of C109 is always held at the DC potential of our feedback input, eliminating the massive pop that would otherwise result when switching modes. Note, however, that it is effectively in parallel with R113, lowering our Ri value to 38.7K. You can verify that our closed-loop gain would therefore be (150/38.7)+1, or about 5 (14 dB).Input resistor R123 attenuates our input signal by a factor of about 3:1, so the overall system gain is a little less than 2 (5 dB).The final element is C110, which introduces a 3 dB corner at about 20 kHz, rolling off ultrasonics that we aren't interested in. (Without this capacitor, the gain is actually flat to well beyond 100 kilohertz! See how feedback got rid of that open-loop corner at 2 kHz?)The magnetic phono feedback is only a little more involved. The straight thin lines in Figure 7 show the theoretical RIAA specification (asymptotes), and the curve。
毕业设计音箱设计毕业论文产品设计
本科毕业论文音箱合理性设计的研究学院艺术学院专业工业设计年级班别2009级（3）班学号*************学生姓名董振指导教师朱宗华2013 年05 月25 日摘要 (4)Abstract (5)一绪论 (6)(一)研究的背景和意义 (6)1音箱合理性设计与研究的背景 (6)2音箱合理性设计与研究的意义 (6)（二）研究对象和目的 (6)（三）研究方法 (6)（四）预期成果 (6)二音箱的发展概述 (7)（一）音箱历史回顾 (7)（二）音箱基本结构 (7)（三）音箱分类 (8)（四）市场分析及调查 (8)（五）国内外音箱现状 (8)1 国外音箱 (8)2 国内音箱 (9)（五）国内音箱发展趋势 (8)三时尚音箱合理性设计的研究 (9)（一）合理性设计概论 (9)1 合理性设计的基本理论 (9)（二）合理性设计在音箱上的体现 (9)1 结构合理性 (9)2 材料合理性 (9)3 功能合理性 (9)4 操作合理性 (9)（三）合理性设计在音箱上的应用 (9)四关于“合理性设计“的应用——时尚音箱设计 (10)（一）基础设计定位 (9)1 使用环境定位 (9)2 使用人群定位 (10)3 造型定位 (10)4 基础功能定位 (10)（二）深化设计定位与表达 (10)（三）设计草图 (10)（四）设计评选和效果图制作 (11)（五）模型制作 (11)（六）最终展板效果 (11)五设计总结 (12)（一）有待改进和发展的方面 (12)（二）设计展望 (12)结语 (13)致谢 (14)参考文献 (16)摘要现代电子产品可谓百花齐放，电子配件行业也因此得到新的发展契机。
音箱作为音频输出配件，为了迎合市场变迁和用户新的需求需要更合理的设计。
从而在电子行业再次展露头角。
伴随着手机和PC产业的变革，音箱行业也因此而得到新的发展和进化。
PC和手机目前在外观和结构上要想做轻薄就必须有所牺牲，其中的一项就是声音。
毕业设计(论文)-娱乐产品设计音箱设计[管理资料]
![毕业设计(论文)-娱乐产品设计音箱设计[管理资料]](https://img.taocdn.com/s3/m/419c54325022aaea988f0f1f.png)
娱乐产品设计——音箱设计[摘要]伴随着社会的进步，我们的生活在逐渐改善，人们也越来越学会了享受生活。
电脑正在普及，在不长的时间里，它已经走进了我们的生活，学校、家庭、工作单位，到处都可以看到。
而多媒体电脑技术突飞猛进，慢慢改变着人们的工作、生活、学习和交流方式，它的应用给社会带来了巨大的进步，被广泛应用于生产、制造、管理、服务等行业。
随着电脑的普及，电脑已经不再只是局限性的办公使用，它集休闲娱乐办公于一体，满足了人们很大的需求。
在最近的几年里，娱乐已经成为了个人电脑消费中最大的应用，它主要分布在音乐、多媒体、电影和游戏上。
这一切都是与视听分不开的，用电脑组成家庭影院已经成为了一种潮流趋势，很多人认为音箱只要能发声就行，但实际上不管是家庭影院还是个人电脑，购买时一般都会配上音箱，假如没有了音箱，多媒体只能是一句空话。
在现在的音箱市场上，各式各样的产品很多，人们对音箱高品质的追求包括造型、功能、结构、音质等方面。
应市场的需求，许多新品牌和相应的新产品出现了，这导致了新老品牌之间的激烈竞争，各大厂商竞相推出新产品，从而间接导致了新概念的出现，包括外观、立意、用途、设计等新元素的迸发给市场格局带来了不小变化。
技术在不断的进步，人们对真实还原声场和音效提出了更高要求，Hi—Fi音响得到了更多人的接受，低频要能重放次低音，使人的身心感到震撼；高频为排除高次谐振需要更宽广的重放频率，使声音更加纯正、透明；声场也需要扩大到能表现战争等宏大场景，由此就出现了多声道音箱，、、、，使音箱生产出现了高技术倾向，重在解决低音炮背景噪音、失真等问题，不断提高了新型音箱的生产技术难度和开发成本，开辟了音箱追求高档、高价的道路。
而在实际生活中，大部分人都不可能有很多时间或者金钱来花大价钱买高档产品来刻意追求享受，市场现状也是这样的，中低端产品是市场的主流，%的市场份额，因此针对这一部分消费者的设计有很大的实际意义。
[关键词]多媒体Hi-Fi 低音炮多声道Entertainment product design---- Sound box designDuan Hongtao（Grade02,Class01,Major Industrial design，Mechanical engineering Dept.，Shaanxi University of Technology，Hanzhong 723000，Shaanxi）tutor: Hu ChengduoAbstract：Along with the society progress, our life is improving gradually, people more and more learned to enjoy the computer was popularizing, in a short time, it already entered our life, the school, the family, the workplace, everywhere we may multimedia computer technology progresses by leaps and bounds, changing people's work, life, study and communication method, its application has brought the huge progress to the society, and is widely applied to profession and so on production, manufacture, management, service. Along with the computer popularization, computer no longer was only the limited work use, its collection leisure entertainment work to a body, has met the people’s needs.In the recent years, the entertainment already became the personal computing to expend the biggest application, It mainly distributes in the music, multimedia, the movie and the these cannot separate with the seeing and hearing and It has already become a tendency that composes the family theater with the people revealed that the sound box so long as can makes sound the line,In fact ,people generally may match a sound box when purchase a family theater or personal computer, If lacks the sound box, multimedia will not exists.In present sound box market,there are many kinds of sound box products,people’s pursue to high quality sound box including modelling, function, structure, sound quality and so the ned of market,many new products appeared, this has caused the competition between the new an old brand. Each Manufacturer competes to promote new products, thus indirectly has caused new concept proposing, including the modelling, the intention, the use, the design and so on, new element bursting out brought for the market huge change. The technology unceasingly is progressing and people set a higher request to the real return to original state sound field and sound quality,Hi-Fi sound obtained more people's acceptance, low frequency must be able to replay the inferior bass in ought to make person's body and mind feel shocks; High frequency need broader replay frequency for removes the higher mode resonant in ought to make the sound purer; The sound field also needs expand to display the great war scene, thus the multi- sound tracks sound box appeared. sound box promoted to the present 、、、sound box production appeared high-tech tendency,mainly in Solve bass artillery background noise、distortion and so on problems. Unceasingly enhanced the new production difficulty of technology and the development cost , opened the sound box pursue to be upscale, the high price path.But in real life, the majority people have no much time and enough money to spend to buy the upscale product to pursue , the present market situation is such, center the low-grade product is the main product, sound box occupied % market shares, therefore aims at this part of consumers' design have large practical significance.Key words：Multimedia Hi-FiBass artilleryMulti- sound tracks目录1接受项目，制定计划 (4)2市场调研寻找问题 (4) (4) (5) (6) (6) (7)．电源电路 (9)．放大电路 (9)．功放电路 (9)．分频电路 (9) (9) (9) (9) (9) (9) (10) (10) (10) (13)3分析问题提出概念 (15)趋势分析 (15)人群定位 (16) (17)概念设计及草图 (17)4设计展开优化深入 (27) (27) (27) (27)5效果图制作 (30)6展示评价 (35)1接受项目，制定计划目前，个人电脑消费中，娱乐的应用像娱乐节目和设备（包括电影、电视等器材）、宽带育乐设备、操作平台及原附件、多媒体娱乐技术及设备等等相关产品已经成为目前最大的应用，在去年的中国国际数码互动娱乐产品及技术应用展览会上，娱乐和育乐软件、数码视觉效果软件及设备、无线移动通信软件、PDA/MP3应用软件及相关技术、计算机和游戏机附件、影视数码互品生产及包装和服务、数码类硬件产品等大类持续升温，需求爆增，在设计业兴起的近几年，数字娱乐产品以及硬件设施将会逐渐成为娱乐消费的主流，人们的生活在逐渐改善，享受生活渐渐走入了寻常百姓家，不管是高档还是低档产品，最起码的视听享受总不会少，像一般的VCD DVD 家庭影院等等。
智能音响系统开发设计(毕业设计)
智能音响系统开发设计(毕业设计)天津职业技术师范大学Tianjin University of Technology and Education 毕业设计专业：电气技术教育班级学号：电气1012 - 11学生姓名：赖惠平指导教师：李宏伟副教授二〇一五年六月天津职业技术师范大学本科生毕业设计智能音响系统开发设计Development and design of intelligent soundsystem专业班级：电气1012班学生姓名：赖惠平指导教师：李宏伟副教授学院：自动化与电气工程学院2015 年6 月摘要伴随着人们生活水平提高，音影视越来越受到人们的欢迎，而音响在众多场地的用途越来越多，家庭、工作随处可见。
人们对音响的使用性能也越来越有追求，为了大多数音响爱好者为此设计了智能音响系统音响。
本设计以AB类音频功放TDA7294集成电路作为主功放电路，不失真功率（10%）达到40W*2，并带功率实时显示、功率灯光显示、功放电源电压显示、收音机、MP3数字文件解码、音频频率可调集为一体的一款具有功能多音质好功率大的音响系统。
功放的电源需要正负直流电压提供，工作电压在±10V ~ ±40V,电源采用环牛300W变压器，为功放提供充足功率源；电源电压在±1.25V ~ ±32V可调，电源用ad采集电压通过51单片机处理后在数码管显示出实时电压。
通过TA7630P 电路4个手调电阻来调节音响的音量、高低音及左右平衡度。
音响系统使用了可以实现FM及MP3文件解码转为的音频信号的电路，且带有红外小遥控，有音量加减、上下首、输出音频频率选择等多种功能，MP3、FM、外部音频输入可切换。
在播放的音乐的过程有lcd12864显示实时运行功率，音频信号输入16路电压比较器带动16个发光二极管随着功放的功率变换而高低闪烁。
关键词：音响；MP3解码；环变压器；TDA7294；TA7630PABSTRACTMusic, Film and TV now are more and more popular along with the increasing of living standard. And,speaker is widely used for household and working. However, the performance of speaker now plays an important role for user,therefore, the intelligent speaker had been launched by designer in order to offer better-performance speaker to speaker hobbyist.This kind of speaker takes AB audio frequency and integrated circuit TAD7294 as main Power Amplifier.It reaches 40W*2 and THD <= 10%. It is a multifunctionally intelligent and preferable speaker that possess actual-time power consumption indicator,power lighting,supply voltage indicator, receiver, MP3 Digital file decoding, adjustable AF audio frequency.Power amplifier source is provided by positive and negative DC voltage with working voltage ±10V ~ ±40V, it adopts the 300W Cattle ring voltage transformer for supporting enough Power amplifier source. The adjustable voltage is among ±1.25V to ±32V, and the Power amplifier source indicates the actual-time working voltage by adopting ad Collecting voltage and dealing with 51 single chip. The volume, high-low sounds and Equilibrium degree are realized by 4pcs manual electric resistance of TA7630P circuit.The speaker is based on the electric circuit that able to Convert FM and MP3 File decoding to audio signal.It is a multi-fuctional and intelligent speaker that possesses Remote controller by infrared ray,volume + -, last/next songs, optional Output audio frequency, switchable MP3, FM external Audio-in. What is more, there are actual-time working Power Consumption indicates by LCD12864 while playing music, and 16pcs Diodes keep twinkling according to the changing Power Consumption. It works based on the Audio-in signal and 16-way voltage comparator.Key Words：Speaker; MP3 Decoder; Cattle ring voltagetransformer;TDA7294,;TA7630P目录1 绪论 (1)1.1研究的背景与意义 (1)1.2研究现状 (1)1.3研究的主要内容 (1)2 系统方案设计 (3)2.1系统总体方案设计结构 (3)2.2音频功率放大器 (3)2.3功放电源系统 (4)2.4电源系统的电压显示 (4)2.5 功率检测 (4)2.6 单片机选择 (5)2.7 系统总体设计方案 (5)3 系统的硬件设计与实现 (7)3.1 电源电路设计PCB制作及电压检测显示 (7)3.1.1 直流电源 (7)3.1.2 三端集成稳压器的PCB设计 (8)3.1.3 电源电压测量及显示设计 (9)3.2 音频功率放大器的设计及PCB制作 (10)3.2.1 集成功放TDA7294电路设计 (10)3.2.2 功率放大器的PCB制作 (11)3.2.3 集成功放TDA7294芯片的散热 (11)3.3 直流控制芯片TA7630P集成音频滤波电路 (12)3.4 MP3音频解码电路 (13)3.4.1 MP3音频解码器的功能介绍 (13)3.4.2 红外线遥控器的功能介绍 (13)3.5单片机控制电路 (14)3.5.1 电源电压显示的处理器Atmega8单片机简介 (14)3.5.2 功率采集处理电路At89C52单片机小系统简介 (15)3.6实时运行功率的显示 (16)3.6.1直流电压电流电量检测模块介绍 (16)3.6.2液晶显示电路介绍 (17)3.6.3功率显示系统的电路设计 (18)3.7电压比较器的应用电路设计 (18)3.7.1集成运放LM324介绍 (18)3.7.2利用LM324集成运放设计的16路电压比较器LED驱动电路194 系统软件设计 (20)4.1微处理器的程序开发环境 (20)4.1.1 At89C51程序开发环境介绍 (20)4.1.2 Atmega8程序开发环境介绍 (20)4.2程序设计及流程图 (20)4.2.1功率检测模块及显示的程序设计 (20)4.2.2功放电源电压采集与显示的程序设计 (22)5 系统调试及性能测试 (24)5.1直流电源的调试 (24)5.2前级滤波放大电路的调试 (24)5.3信号检测记录 (24)5.3.1音频功率放大器的放大性能测试 (24)5.3.2前级滤波电路的性能测试 (24)6 结论 (28)7 参考文献 (29)8 附录 (30)9 致谢 (32)天津职业技术师范大学2015 届本科生毕业设计1 绪论1.1研究的背景与意义音乐的发展史从古至今已有大量的制作，在我们的今天，音乐是流行、通俗、戏曲、民歌等等一片繁荣；各种流行音乐、影视制作深深融入我们的生活。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
编号：毕业设计(论文)说明书题目：高保真音响设计制作院（系）：计算机系专业：自动化学生姓名：**学号：*********指导教师：**职称：实验师题目类型：理论研究实验研究工程设计软件开发√2005年06 月12日随着国家经济蒸蒸日上，现代科技不断发展，这些使人们在物质享受之余，也有了更多的精神享受的需要。
其中之一：音乐，便是一种古老的享受形式。
而高保真音响就是欣赏音乐的物质基础。
本论文将以性价比为导向，兼顾基本的高保真的技术指标，讨论了适合初级发烧友的高保真功放。
论文由浅至深，结合图示给出了高保真音响的相关知识，以及整个功放的工作过程的细节。
同时还介绍了各个主要芯片自身的特点及如何去设计这个系统来满足一定的技术指标。
论文尽可能通俗地来介绍高保真音响，让大家能从中学到基本的高保真音响的知识的同时，还能学会如何制作高保真音频放大器。
在技术层面上，系统主要是采用集成芯片来完成的，因此对于一个初级发烧友来说相对简单，这个设计中用到了NE5532(曾经的“运放之皇”)做前置放大芯片，典型的增益为20dB；用NSC公司的LM1036做音调芯片，通过改变直流控制电压来实现音调控制。
后级功率放大部分用的也是NSC公司的一款经典芯片――LM1875芯片，用4片LM1875驳接成了左右声道的BTL电路,以取得更大的功率以及更好的音效。
在论文的后面部分，着重的讲述了制作和调试中遇到的软件、硬件上的问题以及如何解决，并给出了高保真音频放大器性能指标的国家标准测量方法。
这些可以成为大家制作过程中的一些的提示以及测试的依据。
关键词：高保真；集成芯片；BTL；音调控制With the development of our country’s economy and the modern technology. People no –longer just enjoy the happy brought from material, they also learned to enjoy the spiritual things. For instance: Music, an old fashion of the enjoyments. And Hi-Fi(high fidelity) audio system is the very suitable intermedia for enjoying music.So this dissertation focused on the Hi-Fi amplifiers for those primary audiophiles on this field. It tried to let people cost less and at the same moment , get enough enjoyment from Hi-Fi amplifiers and satisfy those basic standards of Hi-Fi system. This dissertation presented the ideas from easy to hard, and described the relative knowledge of the Hi-Fi audio system with those graphics and diagrams. It also wrote about the details of the whole working process of this design gradually. This dissertation also introduced those characteristics of those chips used in my design, and how to realize those system’s targets given .The dissertation tried to introduce Hi-Fi audio system commonly,and let you learn some basic knowledge of this Hi-Fi system, at the same time , eventually learn how to accomplish a Hi-Fi audio amplifier.Refer to the technology, IC was used to finish this graduate design, because it's relatively easier for primary audiophiles to design a audio amplifier. The pre-amp is NE5532, which was ever called as "The KING of amplifiers" ,and its typical gain is 20dB;LM1036 produced by NSC(National Semiconductor Company) was used here for tone adjustment IC. And LM1036’s tone control can be controlled by changing the DC control voltage. The second amplifier IC is LM1875, also made by NSC. It is very classical . Four LM1875 chips were used to make a BTL(Balanced Transformer Less) circuit of each channel to achieve more power and to make the whole system’s timbre to be better.The last paragraph of this dissertation, I mainly introduce some software and hardware problems I met during making the board and debugging, and how I solved those problems. Also I presented you the national standard test methods for audio amplifier characteristics. Hope these can be your hints and help during your executing for audio amplifier.Key words: Hi-Fi; Integrated Circuit; BTL; Tone control目录引言 (1)1 高保真音响系统 (1)1.1 高保真音响系统定义 (1)1.2 高保真音响系统组成 (2)2 高保真功率放大器 (3)2.1 功率放大器种类 (3)2.2 高保真功率放大器主要技术指标 (4)3 功放电源 (8)3.1 功放电源概述 (8)3.2 功放电源组成 (8)3.3 整流滤波电路 (10)3.4 稳压电路 (13)4 方案论证及阐述 (14)4.1 设计要求 (14)4.2 方案论证 (14)4.2.1后级放大器方案选定 (14)4.2.2前置放大器方案选定 (14)4.2.3音调芯片方案选定 (15)4.2.4电源方案选定 (15)4.3 具体方案阐述 (15)4.3.1前级放大器方案阐述 (15)4.3.2后级放大器方案阐述 (19)4.3.3功放电源方案阐述 (22)5 高保真功放制板 (23)5.1 制板注意事项 (23)5.2 制板经验总结 (24)5.2.1制板步骤 (24)5.2.2Protel99se的使用经验总结 (25)5.2.3制板遇到的问题 (26)6 功放调试 (26)6.1 调试步骤 (27)6.2 模块调试 (27)6.2.1电源调试 (27)6.2.2音调模块调试 (27)6.2.3前置放大模块调试 (28)6.2.4后级功放模块调试 (28)6.3 整体调试 (28)7 高保真功放性能指标测试 (29)7.1 性能指标测试的必要性 (29)7.2 主要性能指标测试 (29)7.3 测试所用仪器 (32)7.4 测试结论 (32)8 总结 (33)8.1 完成程度 (33)8.2 技术优点 (33)8.3 技术缺陷 (33)8.4 毕设感受 (33)谢辞 (34)参考文献 (35)附录 (36)附录1电路原理图 (36)附录2 PCB 图 (39)引言音乐是一种迷人的艺术，对于一些十几年前的旋律与歌词我仍然熟稔于心，难以忘怀，怀念音乐给我的感觉。
音乐这种传递人类感情的艺术形式，它是需要一种载体来表达，而最好表达的便是高保真音响，如实地还原音乐，表达音乐。
让人们从完全真实的音乐重放中汲取音乐的灵魂。
而今，科技发展，生活水平今非昔比，人们也欣赏水平也越高，大家越加追求音乐的还原性,所以音乐重放设备发展非常快。
也就是我们所谈及的高保真音响系统。
音乐重放设备的发展从1877年爱迪生发明留声机后，一直在不断地发展，重放设备由当年机械式录音/重播系统发展到现在的高科技数码系统，算到如今的话，进步可谓是翻天覆地。
不过其间的发展不是很均匀的，但是还是取得了一定的进展。
比如录放音以电动方式取代了机械方式，开始采用多极真空管等等。
音乐快速发展的时间是在1927年开始的，当时美国贝尔实验室公布了划时代的负反馈（负反馈，NFB）技术，声频放大器技术开始进入了一个新纪元。
现在的音响技术可以说是到达了一个相当成熟的阶段，就如唐朝的古诗，宋朝的词一般。
在技术如此成熟的环境下，从各种媒介能获得相当多的技术支持。
为了培养自己的动手能力，结合自己的兴趣和一直以来对音乐的爱好，参考过相关电路后，设计并制作一个集成芯片HI－FI音频功率放大器。
设计制作过程中考虑到满足给定的技术指标，同时也尽量提高性价比。
希望本论文能给发烧初级爱好者带来音响基本知识以及制作过程中的注意事项，要是能同时为普及音响事业的发展做一点点小推动就更好了。
1高保真音响系统1.1 高保真音响系统定义谈及高保真(High Fidelity，简称Hi—Fi)音响系统来，我想很多音乐爱好者，或者说很多一般的人，都在各种媒体中看到或者听到过这概念，不过大家不一定知道做何解释。