压电薄膜麦克风-eTouch
触摸按键-eTouch
eTouch 触摸按键方案图
1. 单按键电荷放大器
方案一功能实现:
1. 力度控制
2. 快速双击控制 方案二功能现: 1. 力度控制
2. 静态力度控制
触摸按键是按键产品下属的一款分类产品,它其实相当于是一种电子开关,只要轻轻的按下按键就可以是开关接通,松开时是开关就断开连接,实现原理主要是通过
触摸按键内部的金属弹片受力弹动来实现接通和断开。
由贝辛电子科技提供。
eTouch 触摸/力度按键的优势:
1.实现力度控制,可识别用户不同力度的大小。
2.轻松实现滑动触控,无需PCB 板多余的触摸滑条。
3.结构简单,只需轻松贴合eTouch 压电膜即可实现。
4.价格低廉,整体解决方案的价格全球最低。
5.提供软件配套,以与多家游戏、应用程序开发商合作。
2. 多按键电荷放大器 ——将单按键方案并联即可。
功能实现: 1. 力度控制
2. 矢量滑动控制
3. 快速双击控制 * * *
其他说明:
1. 分析模拟信号建议采用
STC 12C5A60S2型单片机;
2. 将传感器与人体接触一
面作为接地面,可滤除人体电磁干扰; 3. 100M 电阻会提高性能,但会增加成本;
4. TLC2252有两个通道,如果采用多按键的方案,建议使用四通道的TLC2254运放。
eTouch 压电薄膜作为触摸按键,可以实现滑动、力度控制。
1. 滑动/旋转
控制:触摸方向
输出
键1时间 键2时间触摸方
向 2. 力度控制:
压力输
出 大力
压力
时间
差
键3
时间。
压电MEMS麦克风简介
WeiFang XinGang Electronics Co.,LTD
MEMS麦克风气流测试
垂直气流冲击测试 1.出风口径 针管型号19# 2.压力及时间设定 气压范围0.3Mpa~0.6Mpa,每0.1Mpa递增测试,每次打压0.5s。 3.测试距离 固定距离0mm, 4.重复测试 每unit/3cycle
硅极板
RF电路
声源
地
硅振膜
放大器 输出
MEMS传感器
电源
输入 转换 输出
WeiFang XinGang Electronics Co.,LTD
MEMS麦克风结构示意
极板
振膜 MEMS传感器
ASIC放大器
WeiFang XinGang Electronics Co.,LTD
压电式MEMS麦克风工作原理
压电式MEMS麦克风结构示意
压电薄膜
压电MEMS
ASIC
WeiFang XinGang Electronics Co.,LTD
压电MEMS麦克风优势
区别与传统电容式MEMS麦克风,压电MEMS的物理材质特性以及简洁结构,使其具备了以下优点。
压电MEMS无需Bias电压,信号响应速度更快 IP6X优秀的防尘能力 IPX7优秀的防水能力 优秀的气流防护能力 良好的SNR可持续进化能力 结构简化,单层膜结构,产品具有极高可靠性
Vesper MIC: 测试后灵敏度无衰减
WeiFang XinGang Electronics Co.,LTD
MEMS麦克风SNR研发
WeiFang XinGang Electronics Co.,LTD
压电式MEMS麦克风应用
降噪耳机
机器 人
电圈式麦克风的物理原理
电圈式麦克风的物理原理电圈式麦克风是一种常见的麦克风类型,它基于电磁感应原理工作。
本文将详细介绍电圈式麦克风的物理原理。
要了解电圈式麦克风的工作原理,我们需要了解电磁感应的基本原理。
电磁感应是指当导体中的磁通发生变化时,会在导体中产生感应电动势。
这是由法拉第电磁感应定律所描述的。
电圈式麦克风的核心部件是一个薄的金属膜,通常是铝制成的。
这个金属膜被固定在一个磁场中,磁场由一个永久磁铁和一个励磁线圈产生。
当声音波通过麦克风时,金属膜会随着声音波的振动而产生相应的机械变化。
具体来说,当声音波压缩空气时,金属膜会受到压缩力,从而向内凹陷。
相反,当声音波稀疏空气时,金属膜会受到拉伸力,从而向外凸起。
这种机械变化会导致金属膜与励磁线圈之间的距离发生变化,进而改变磁通量。
根据法拉第电磁感应定律,当磁通量发生变化时,励磁线圈中就会产生感应电动势。
这个感应电动势会随着声音波的变化而变化,从而将声音波转化为电信号。
这个电信号随后被放大,经过处理后就可以被扬声器或录音设备播放出来。
电圈式麦克风的工作原理可以总结为以下几个步骤:声音波振动金属膜,金属膜的机械变化改变了与励磁线圈之间的距离,进而改变了磁通量,励磁线圈中产生感应电动势,最后将声音波转化为电信号。
电圈式麦克风由于采用了电磁感应原理,具有一些优点。
首先,它的频率响应范围相对较宽,可以捕捉到更多的细节和音频信号。
其次,它可以提供较高的输出电平,使得录音质量更好。
此外,电圈式麦克风对环境噪声的抵抗能力较强,可以提供清晰的音频信号。
然而,电圈式麦克风也存在一些缺点。
首先,由于其结构复杂,制造成本较高。
其次,由于金属膜的质量和刚度限制,电圈式麦克风的灵敏度较低。
此外,由于磁场的存在,电圈式麦克风对外部磁场的干扰比较敏感。
总结起来,电圈式麦克风是一种基于电磁感应原理工作的麦克风类型。
它通过金属膜的机械变化,改变与励磁线圈之间的距离,进而改变磁通量,从而将声音波转化为电信号。
mic原理
mic原理Mic原理简介Mic(Microphone)是一种将声音转化为电信号的设备,是声音采集和录音的重要工具。
Mic原理是指Mic内部电路的工作原理和原理结构。
下面将详细介绍Mic的原理。
一、电容式Mic原理电容式Mic是一种常见的Mic类型,其工作原理基于电容变化。
它由一个薄膜电容器构成,薄膜电容器包括一个金属薄膜和一个固定的金属板。
当声波通过金属薄膜时,金属薄膜会振动,从而改变了薄膜电容器的电容值。
当声波振动引起电容值变化时,Mic内部的电路会将这一变化转化为电信号输出。
二、电磁式Mic原理电磁式Mic是另一种常见的Mic类型,其工作原理基于磁感应。
它由一个固定的金属线圈和一个可振动的磁铁构成。
当声波通过磁铁时,磁铁会振动,从而改变了金属线圈中的磁场强度。
当磁场强度发生变化时,金属线圈中会产生感应电动势,进而产生电信号输出。
三、压电式Mic原理压电式Mic是一种特殊的Mic类型,其工作原理基于压电效应。
它由一个压电材料构成,压电材料具有压电效应,即在外力作用下会产生电荷分离。
当声波通过压电材料时,压电材料会产生变形,并产生电荷分离。
这些电荷分离的变化会被Mic内部的电路转化为电信号输出。
四、热电式Mic原理热电式Mic是一种利用声波引起温度变化的Mic类型,其工作原理基于热电效应。
它由一个金属薄膜和一个热敏电阻构成。
当声波通过金属薄膜时,金属薄膜会受到声波的加热和冷却,从而引起热敏电阻的电阻值发生变化。
这一变化会被Mic内部的电路转化为电信号输出。
五、MEMS Mic原理MEMS(Micro-Electro-Mechanical Systems)Mic是一种基于微机电系统技术的Mic类型,其工作原理结合了电容式Mic和压电式Mic的特点。
它由一个微小的薄膜电容器和一个微小的压电材料构成。
当声波通过薄膜电容器时,薄膜会振动,从而改变了电容值。
同时,压电材料也会产生电荷分离。
这些变化会被Mic内部的电路转化为电信号输出。
MEMS麦克风新浪潮——Vesper压电MEMS麦克风
MEMS麦克风新浪潮——Vesper压电MEMS麦克风微访谈:Vesper首席执行官Matt Crowley和首席技术官Bobby Littrell编译:麦姆斯咨询消费类市场带来的巨大市场机遇,使麦克风产业比过去任何时候都更加重要。
Yole Développement(以下简称YD)有幸采访了Vesper首席执行官Matt Crowley和首席技术官Bobby Littrell,Vesper是首家提供经过市场检验的压电MEMS麦克风公司,其产品广泛应用于智能手机等其它互联设备。
YD在其最新的产业报告《应用于手机和平板电脑的传感器-2016版》(http://www.mems.me/mems/mems_sensor_201606/3221.html)中,预测压电MEMS 麦克风技术将在未来几年获得稳定发展,尤其是在智能手机领域。
事实上,Vesper的压电MEMS麦克风产品是唯一能够经受水、尘和颗粒物污染的MEMS麦克风,它们能够为智能手机、可穿戴、物联网设备以及互联网汽车等几乎所有的应用,提供极高的性能和丰富的声学体验。
参考Knowmade 和System Plus在它们的报告《MEMS麦克风技术和专利侵权风险分析》(http://www.mems.me/mems/patent_investigation_201504/1843.html)中的分析,现在的MEMS麦克风产品共用了许多相似的技术(意味着各厂商间,存在显著的专利争议),Vesper 则带来了具备新性能特性的新型MEMS麦克风设计。
我们采访了Matt Crowley 和Bobby Littrell,请他们分析了Vesper的技术,并探讨了这些技术将如何改变未来的MEMS麦克风应用和市场。
2013~2021年,手机和平板电脑中的MEMS麦克风由电容式向压电式转变的趋势Yole:请为我们介绍一下Vesper及其现在的运营情况。
Matt Crowley(以下简称MC):Vesper是一家于2010年从密西根大学独立出来的初创公司,其总部位于美国波士顿,专长于压电MEMS麦克风技术。
mems mic结构
mems mic结构
MEMS (Micro-Electro-Mechanical Systems) mic是一种微型电
声设备,使用MEMS技术将声音转换为电信号。
它的结构通
常由以下几个部分组成:
1. 薄膜:MEMS mic的核心部分是一个非常薄的膜,通常由金属或陶瓷材料制成。
这个薄膜会受到声音的压力波动而振动。
2. 固定板:薄膜固定在一个或多个固定板上,这些固定板通常由硅材料制成。
固定板保持薄膜的稳定性,并且在薄膜振动时起到衬底的作用。
3. 引电极:在薄膜和固定板之间,有一对引电极用于提供电场。
当声波造成薄膜振动时,电极之间的电场也会发生变化。
4. 接口电路:MEMS mic通常还包括一些接口电路,用于将薄膜振动转换为电信号,并进行信号放大和处理。
MEMS mic的工作原理是利用声音的压力波动使薄膜振动,并通过引电极的变化产生电信号。
这种微型结构使得MEMS mic 可以制造得更小、更薄、更精确,并且价格更便宜,因此在许多消费电子产品中得到广泛应用,如智能手机、耳机、音频设备等。
AEA N8激光薄胶电子微波管麦克风说明书
AEA N8 OWNER’S MANUALWELCOMECongratulations on your purchase of the AEA N8 phantom-powered ribbon microphone and welcome to the AEA family. The AEA N8 was designed to be the most open and natural sounding ribbon microphone we could make. Conceived to render acoustic spaces as faithfully as possible, the new N8 microphone excels in capturing drum overheads, strings, classical ensembles, orchestras, and rooms. As such, it is the ideal complement to the N8 microphone. But even when used up close, such as on guitar and bass amps, the N8 delivers exceptional clarity and warmth, while also taking EQ extremely well. Additionally, the N8’s unobtrusive size and black finish is ideal for orchestral and TV work, where microphones need to be easy to position and more or less invisible.Your N8 microphone is 100% handcrafted in Pasadena, CA. AEA is a family owned company with a small crew of skilled technicians – most of them being musicians themselves. Proudly independent, we still manufacture all our ribbon microphones and preamps by hand from locally sourced parts.We hope that the N8 will help you capture many magical performances that touch the heart. Read this manual thoroughly to make sure that you get the best sound and longevity from your new microphone. Please become part of the AEA community by sharing your experiences with the N8 via e-mail, phone or our social media channels.Wes DooleyPresident of AEACONTENTSINTRODUCTIONThe N8 is a side-address, phantom-powered ribbon microphone with a bidirectional (or figure-of-8) pickup pattern. It was designed for distant miking applications like drum overheads, rooms, strings, and classical ensembles, but it is also well suited for up-close use. With phantom- powered JFET electronics and a custom German transformer the N8 achieves optimal performance with a wide range of preamps ranging from vintage high-end models to USB audio interfaces in home studio setups. The N8 is the second member of AEA’s NUVO series. Rooted in the RCA tradition just like other AEA ribbons, all NUVO microphones are designed to offer a fresh approach to the ribbon transducer; it represents Wes Dooley’s take on the evolution of the ribbon microphone. The full potential of the N8 is perhaps best realized when configured in the NUVO Stereo Kit, as it draws on the same successful sonic concepts as the AEA R88 stereo mic.WARRANTYSUPPORTYour N8 mic comes with a one-year limited warranty on parts and labor, shipping not included. Registering your product with AEA will extend the warranty to a full three years. Register your microphone at /register-your-aea .If you should encounter any problems with your microphone or have questions regarding using your N8 mic in specific application, please contact our customer support team at support@ .To talk to a live human being, call +1 (800) 798-9127, between 9:00 A.M.- 5:00 P.M. PT Monday through Friday. AEA's repair center is located at 1029 N. Allen Ave, Pasadena, CA 91104, U.S.A.GENERAL GUIDELINESPHANTOM POWERYour microphone is a valuable and important investment. Like any piece of recording equipment or musical instrument, it requires common sense and good basic care to keep it working properly. Given simple, basic care, your new microphone will perform admirably for decades.Although the N8 needs a standard 48V phantom-power source to operate, you should still make sure that phantom power is turned off before plugging and unplugging the microphones. The loud pops that occur when the microphone is plugged in with phantom power engaged can damage speakers, headphones, and ears. Since passive ribbon microphones or other transformer-coupled microphones are particularly sensitive to phantom power, it is recommended always to disengage phantom power before plugging and unplugging any ribbon microphones.The phantom current draw for active AEA ribbon mics is 7 milliamps. IEC specifies P48 power should be able to deliver 10 milliamps per input. Some USB and battery-powered audio interfaces won’t deliver this. Please check the current values available on your unit to ensure the best performance.MICROPHONE STORAGEKeep the microphone covered when it is not in use. Keeping the microphone covered when it is not in use will reduce the possibility of damage that might result from a sudden gust of air coming from air-conditioning or an open door or window. Place the supplied protective bag over the microphone when it is not in use. For long term storage, place the microphone in its protective case. Minute iron particles, sometimes known as “tramp iron,” are common within our environment. AEA ribbon microphones contain powerful magnets that produce strong magnetic fields. These fields can attract any ferric metal near the microphone that, if they are small enough, can penetrate the outer screening and work their way inside the microphone. Over time, this “tramp iron” can build up sufficiently in the magnetic gap to rub against the ribbon causingAIR TURBULENCENever expose the microphone to strong air turbulence. Ribbon microphones can withstand very high SPL (Sound Pressure Level) without difficulty, but can be damaged easily by a sudden, strong gust of air or high levels of very low frequency sound waves (like from a kick drum or bass cabinet). This can stretch the ribbon, causing the microphone to start sounding flabby. Sources that may produce strong blast of air, such as the bass port on an electric guitar or bass amp, a guitar being plugged (or unplugged) while the amp level is turned fully up, an on-axis kick-drum hole (particularly with a port on the head), are potentially damaging.To avoid possible damage, follow this simple procedure when positioning the microphone called "The Hand Test": put the back of your hand where the mic will be; if you can feel the motion of air on your hand, place a pop-filter between the microphone and the source of the wind gusts or simply pull the mic further back. When recording kick drums or bass guitar cabinets, angle the microphone to make sure that no wind blasts hit the microphone directly on-axis from the front or back.Never blow directly into any microphone to test it. Not only does this force moisture and dirt into the microphone, strong air movement also can stretch the ribbon and while it may not break, it nonetheless could significantly degrade the microphone’s performance. The ribbon in the N8 is protected by multi-layered screens and grille cloths to provide superior wind protection. Nonetheless, using it outdoors requires special care to avoid wind which can damage the ribbon. Indoors, however, it is also important to avoid serious air movement from stage curtains, open windows, doors, or air-conditioning systems.Windtech developed a custom foam windscreen that contours the form of the N8 and N8 grille structure. This AEA NUVO windscreen provides excellent protection from wind blasts, significantly reduces breath noise on close-up vocals, and allows you to use your NUVOs outdoors. The NUVO Windscreen and other accessories can be ordered through AEA’s online store.distortion, electrical shorts or tearing of the ribbon. The best prevention is to keep the microphone in its case or covered with the supplied plastic bag when it is not in use.MAGNETIC STRAY FIELDSMICROPHONE POSITIONINGThe shock-mounted clip that is supplied with the N8 microphone was designed to keep structure-borne noise transmitted through the microphone stand away from the low-tuned ribbon transducer. For the shock mount to function as intended and to avoid vibration entering the microphone through its attached cable, it is important to provide a slack loop by tying the microphone cable tightly to the microphone stand with a cable tie, shoelace, or string. (A Velcro® tie will not be tight enough.APPLICATIONS ADVICE We actively encourage users to visit to access our comprehensive collection of in-depth articles and tutorials featuring the N8 microphone, along with a library of audio and video demonstrations of the N8 in action.Ribbon microphones are fundamentally prone to picking up strong external magnetic fields caused by light dimmers or nearby power transformers. Guitar players will know this phenomenon from single-coil pickups. Even though much attention was paid to suppressing such sensitivity to external magnetic fields in the design of your microphone, it is still possible that you might encounter this problem. If you should pick up a hum, try rotating or moving the microphone to find a spot where the hum disappears, and try eliminating potential sources of stray magnetic fields. You can use the microphone to find where hum is originating. Rotate the mic for maximum interference and move it back and forth to sense its direction.The high-performance magnets used in AEA microphones are incredibly strong, and a significant amount of stray magnetic field lines surround the microphone. Avoid placing the microphone in close proximity to hard drives, credit cards, analog tape, or any other magnetically sensitive items to prevent any data loss.HOW TO MINIMIZE BLEED A significant and ever-present challenge in contemporary studio recording is minimizing “bleed” (also called “leakage” or “crosstalk”) from nearby instruments into the various microphones. The deep nulls of bidirectional ribbon microphones provide good rejection of unwanted sounds, which also can be beneficial in sound reinforcement situations where feedback is always a threat. While gobos can be effective in isolating performers from each other, they introduce their own set of problems - not the least of which are reflections in close proximity to the performers and/or microphones that result in comb-filter distortions. Since gobos usually are bulky, they also inhibit the ability of the musicians to hear and see each other easily. Such a setup requires complex and often cumbersome headphone monitor mixes for the musicians.Since the N8 is bidirectional, it exhibits nulls at right angles to the principal axis. These nulls produce a “plane of rejection” around the sides, top and bottom of the mic that can be used effectively to reduce leakage. Simply arrange the musicians so that nearby instruments are placed in the “null” of their neighbor’s microphone, and vice versa. Although this does not entirely eliminate the need for gobos, it can significantly reduce their number.Keep in mind that a certain degree of bleed is not necessarily bad. For some styles and genres, it can, in fact, be beneficial to embrace a little bit of bleed in order to create cohesive and natural soundingFigure-of-8 microphones are constructed with positive polarity on the front and negative polarity on the back. Positive pressure on the front side of the ribbon produces a positive voltage on Pin-2, with respect to Pin-3 on the output connector.In addition to polarity, this is the result of using two wraps of grille cloth on the back and only one on the front. When using the rear lobe, remember to invert the polarity on your preamp or DAW. This ensures your recordings with the back lobe will be in-phase with other microphones.A FIGURE-OF-8 MICROPHONEPROXIMITY EFFECT A FAR-FIELD RIBBONrecordings. The important thing to listen for is whether or not other instruments that bleed into a specific instrument microphone still sound natural. You will generally find that well-designed ribbon microphones like the N8 capture a natural off-axis sound, which means that bleed from other instruments can contribute to the overall sound in a pleasing way.Proximity effect is a characteristic of all directional microphones; it is a rise in low-frequency response that increases at closer working distances. While this can be used to good effect, particularly with male voices to give them an enhanced richness and depth, the potential trade-off is reduced articulation or clarity that can result from the masking effect on the treble due to “excessive” bass boost.The N8's internal design creates a balanced treble and bass ratio at a close distance to the source. The near-field N8 contains a built-in mechanical high-pass filter that allows users to place the mic right up against an instrument. This is all done without an EQ circuit. It naturally reduces proximity effect while also avoiding the room tone that can cause problems in smaller spaces or iso booths.The N8 is a far-field ribbon mic meaning it is designed to be po-sitioned at an ideal distance of 12 inches and 20 feet (0.35 – 6 meters) from the source of sound. This far-field design allows for a wide range of options when positioning the N8 to best capture an instrument within the context of a room. From as far away as 20 feet away, the N8 retains the low end frequencies of the sources it captures, and its open, natural tonality makes it perfect to record an entire orchestras or the full low end of a drum kit from overhead. The proximity effect of the N8 is present when recording a source from closer than 12 inches, so this feature can be used to accentu-ate the low-end of a vocal or string instrument.SPECIFICATIONSOperating Principle: Directional Pattern: Frequency Range: Maximum SPL: Sensitivity:Output Impedance: Recommended Load Impedance: Phantom Power: Polarity:Polar Response: Horizontal:Vertical:Transducer Element Material: Thickness:Width:Length:Microphone Dimensions:Height:Width:Depth:Weight:Shipping Weight: Connector: Pressure gradient transducer Bidirectional<20 Hz to >20 kHz141 dB SPL (1% third harmonic > 1 kHz)8.3 mV/Pa (at 1 kHz, no load)92 Ω broadband1.0 kΩ or greaterP48 phantom power, 7 mAPin 2 high for positive pressure at the front of the microphone.Native bidirectional, figure-of-8 pattern Up to 90 dB rejection at right angles to the front/back axis.Level changes with angle of incidence, but frequency response is consistent.Pure aluminum corrugated ribbon1.8 µm0.185 in (4.7 mm)2.35 in (59.7 mm)8.83 in (22.5 cm)1.62 in (11.7 cm)1.62 in (9.5 cm)12 oz (335 g)1 lb 13 oz (810 g)XLR-3MAccessories Included:Storage/shipping case, microphone stand clip, custom protective mic sleeve, user manual.-6-12-18-24-30dB30°60°90°120°150°180°-150°-120°-90°-60°-30°10000Hz 4000Hz 2000Hz 1000Hz 500Hz 200HzDirectivityFREQUENCY RESPONSE0 dB = -55dBV referenced to one Pascal (94 dV SPL).11|@RIBBONMICS|*******************|(800)798-9127。
压电薄膜智能服-eTouch
EMFI - VERSATILE MATERIAL FOR MONITORING OF HUMAN FUNCTIONS
applications like in surveillance sensor systems installed on the floor [2]. EMFi based guitar microphones and special sensors for health care applications are commercially available [3,4]. Various EMFi actuators have been developed and tested for audio and active noise cancellation applications [5]. In this paper we will present three prototypes of EMFi based human interface devices. In section 2 the Electromechanical Film is introduced. Section 3 represents the constructed prototypes, and in section 4 some test results are described. Finally, section 5 gives a short conclusion of the research.
超级 Lux E105 E108 背驻极电容式头戴麦克风 使用手册技术数据说明书
概述E105/E108背驻极电容式头戴麦克风,特为近讲设计,使用距离可保持一定,方便为运动,访谈,戏剧以及小型PA 系统等作扩声。
新设计的麦克风导线路径更简捷,隐蔽舒适的造型长时间使用也不会有疲惫感,弹性的钢线适合大多数头型佩戴,为活跃的使用者提供了极佳的佩带方式,并提供经调整过宽阔的频率响应曲线。
E105典型的心型极坐标图型 (图1)E108典型的双指向极坐标图型 (图2)E105头段E108头段E105典型频率响应 (图3)E108典型频率响应 (图4)-3--1--2-FREQUENCY IN HzFrequency ResponseR E L A T I V E R E S P ONS EI N d BdB 10-10-2020501002005001000200050001000020000 HzFREQUENCY IN HzFrequency ResponseR E L A T I V E R E S P O N S E I N d BdB10-10-2020501002005001000200050001000020000 Hz0技术数据类型背驻极电容式麦克风原理压力梯度型, FET 前置放大。
指向性E105:心型 (图1)E108:"8"字型 (图2)频率响应80~18,000 Hz (图3, 4)灵敏度(3V 2.2K 工作条件)E105:-46dBV /Pa (5.0mV /Pa )E108:-44dBV /Pa (6.3mV /Pa )*. 1Pa =94dB SPL标称阻抗幻像:200Ω (PS 418S 测试)电池:600Ω (PS 418D 测试)最小负载阻抗幻像:1,000Ω (PS 418S 测试)电池:2,000Ω (PS 418D 测试)最大声压级 (1,000Ω负载)E105幻像:139dB (PS418S 测试)电池:129dB (PS418D 测试)E108幻像:137dB (PS418S 测试)电池:127dB (PS418D 测试)*. THD ≦1% 1kHz等效噪声级 (A 计权)23dB (IEC/DIN 651)信噪比71 dB动态范围 (1,000Ω负载)E105幻像:116dB (PS418S 测试)电池:106dB (PS418D 测试)E108幻像:114dB (PS418S 测试)电池:104dB (PS418D 测试)输出端子相位膜片受到正压力时2脚(相对于3脚)产生一正电压电源E105/E108:3.5mm 立体接头,单声道输出。
压电薄膜触摸、力度按键
压电薄膜(触摸、力度)按键刘玲(贝辛电子科技(上海)有限公司, 上海 200092)摘要:提出一种新的压电薄膜按键,超薄(厚度仅有0.2mm,体积小、重量轻),柔性(可以自由弯曲,在曲面仪表仪器,衣服等纺织物上使用),能识别力度大小(增加按键在三维力度上的控制,用多力度按键代替多个按键,从而减少按键数量),能实现触摸控制(不需要制作单独的电容滑条,在现有按键基础上直接实现,更加节省空间,比电容按键更加节省功耗),其扩大的应用领域的同时,带来了全新的体验。
关键词:压电薄膜按键,触摸按键,力度按键,压电按键按键一般用于控制一个电路是否有电信号产生或者电信号流向,最常见的表现形态就是开关。
传统按键主要分硅胶按键、薄膜按键和电容按键,这些按键在生活中有着广泛的应用。
1.硅胶按键所谓的硅胶按键,顾名思义就是以硅胶为原材料制作的按键。
硅胶按键属于硅胶制品的一个产品种类,具有优良的耐热性、耐寒性、电气绝缘性等特点,常被运用在电子计算器、遥控系统、电话机、无线电话机、电脑键盘、学习机按键、密码器按键、数码产品按键当中。
图1 硅胶按键的外观图硅胶本身是是绝缘的,但是在按键方面的应用需要却需要硅胶按键具备导电性能,如何解决这一问题呢?其实很简单,只需要在硅胶按键的底部添加一个导电基面就可以实现。
未按下按键的时候,按键底部的导电基与电路板上的铜箔未接触,此时电路处于开路状态。
当在硅胶按键顶面施加一定的力,使其按键的导电基向电路板上的铜箔移动,直至导电基与铜箔紧密接触,此时,电流通过导电基流向另一片铜箔,电路导通。
下面通过图例,更形象的描述硅胶案件的工作原理:图2 硅胶按键的结构图图3 硅胶按键的工作原理硅胶按键因其成熟工艺,良好的手感舒适度,低廉的价格广泛的运用在众多的产品中。
但只有30万次的寿命是其致命的弱点,除此之外,其结构复杂,笨重等缺点,很难满足现代家用电器和数码电子产品对美观的要求。
2.薄膜按键(开关)由于薄膜按键具有体积小、重量轻、功能全面、外观新颖等一系列特点,且顺应了机电产品向多功能、小型化、密集化、智能化方向发展的要求,受到了电子工业、机械工业、航空航天工业等诸多领域的青睐。
贴片麦克风原理
贴片麦克风原理
贴片麦克风是一种广泛运用于音频采集和通信设备中的电声转换器。
它的原理基于压电效应,利用压电传感器将声波转化为电信号。
贴片麦克风的压电传感器基板上附着了一个薄膜片,通常是陶瓷材料或聚合物膜。
当声波通过膜片时,它们会导致薄膜片发生微小的振动。
这些振动会引起薄膜片表面产生压电效应,即在受到外力作用下,材料会发生电荷分布的不平衡。
贴片麦克风内部的电路会将这些微小的电荷变化转化为可以测量的电压信号。
这个电压信号经过放大和处理后,最终输出为可用的声音信号。
贴片麦克风具有许多优点,比如体积小、重量轻、成本低廉等,因此它在各种电子设备中被广泛采用。
它适用于手机、平板电脑、耳机、摄像机等设备中,用于接收和传输声音。
总之,贴片麦克风通过压电传感器将声波转化为电信号,经过放大和处理后输出可用的声音信号。
它的小巧设计和广泛应用使其成为现代电子设备中不可或缺的一部分。
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High-sensitivity piezoelectric microphones based on stacked cellular polymerfilms(L)Joachim Hillenbrand a)and Gerhard M.Sessler b)Department of Telecommunications,Darmstadt University of Technology,Merckstrasse25,64283Darmstadt,Germany͑Received30July2004;revised1September2004;accepted7September2004͒Improvements of the sensitivity of piezoelectric microphones based on charged cellular polymerfilms are reported.The improvements are achieved by͑1͒an increase of the piezoelectricd33-coefficient of the cellular polypropylenefilms by pressure expansion and͑2͒stacking of thefilms.Microphones consisting of a singlefilm of such material have sensitivities of about2mV/Paat1kHz,independent of size,while for a microphone withfive stackedfilms a sensitivity of10.5mV/Pa was measured.The equivalent noise level is about37dB͑A͒for the single-film transducerand26dB͑A͒for the stacked version.Advantages of these new piezoelectric transducers includetheir simple design,low cost,and small weight,as well as a large range of shapes and sizespossible.©2004Acoustical Society of America.͓DOI:10.1121/1.1810272͔PACS numbers:43.38.Fx,43.38.Ar,43.38.Kb͓AJZ͔Pages:3267–3270I.INTRODUCTIONCellular polypropylene͑PP͒,after appropriate electricalcharging,is highly piezoelectric.1–3In particular,the piezo-electric d33-coefficient of this material reaches values ofabout150pC/N in the audio frequency range and is thusaboutfive times as high as that of polyvinylidenefluoride ͑PVDF͒,the best conventional piezoelectric polymer.It was therefore suggested to use charged cellular PP in electro-acoustic and electromechanical transducers.In particular,implementations of loudspeakers,4microphones5,6andhydrophones6have been described in the literature.Althoughof considerably simpler design than conventional transduc-ers,the previously implemented new devices did not yetreach the electro-acoustic performance of older capacitiveand piezoelectric systems.Recently,the piezoelectric activity of cellular PP hasbeen significantly increased by thickness-expansion of thepolymer.7–11Microphones with such improvedfilms,show-ing sensitivities of about2.2mV/Pa at1kHz,have alreadybeen described by the present authors.12The use offilmstacks in such microphones,not yet implemented experimen-tally,is a method to further enhance the sensitivity of thesetransducers.This suggests to build advanced microphonesand to examine their electro-acoustic properties.In the present letter,the implementation and character-ization of such microphones are described.In particular,thecellularfilms are briefly specified in Sec.II,the microphonedesign and measuring methods are outlined in Sec.III,electro-acoustic measurements on the new systems are re-ported in Sec.IV,and the properties of these microphonesare discussed in Sec.V.II.CELLULAR PPThe upper part of Fig.1shows a SEM photograph of thecross sectional area of a cellularfilm͑HS01by VTT,Tam-pere,Finland͒.Thefilm is usually charged on its surface bya corona discharge.Due to the ensuing electricfield in theinterior of thefilm,discharges occur in the voids and charg-ing as shown in the lower part of thefigure is achieved.Acharge distribution of this kind in a nonhomogeneous mate-rial causes the piezoelectric effect.2All piezoelectricfilms used in the present microphoneswere made of a commercial cellular PPfilm͑VHD40byTreophan,Neunkirchen,Germany͒.Expansion of thesefilmsis achieved by a pressure treatment consisting in the appli-cation of an increased gas pressure for some time,followedby pressure reduction to atmosphere.This results in an in-crease of the thickness of the lenslike voids which originallyextends up to about5m and approximately up to about10m after expansion.According to the Paschen law,the in-creased thickness after expansion lowers the electricfieldrequired for breakdown.Thus,for a given voltage,morevoids experience stronger breakdown,causing an increase ofthe piezoelectric coefficient.Since metallization after the ex-pansion causes shrinking of thefilm,a second expansionafter metallization softens the material and thus results inanother increase of d33.10The frequency response of the d33-coefficient of suchsamples was measured,utilizing the inverse piezoelectric ef-fect,by sinusoidal electrical excitation and interferometricmeasurement of the resulting surface deflection.A typicalresponse of an expanded sample is shown in Fig.2.In theaudio frequency range,d33-coefficients of about420pC/Nwere found.These values are larger than those previouslyreported for nonexpanded samples by a factor of3.The slowdecrease of d33up to about30kHz is due to an increase ofYoung’s modulus,while the resonance at approximately140kHz is determined by Young’s modulus and the mass of thefilm.9The pressure dependence of d33was determined quasis-tatically by measuring the generated charge upon pressureapplication.9Typical results show that up to pressures of afew kPa d33increases slightly.This indicates that the stress–a͒Electronic mail:j.hillenbrand@nt.tu-darmstadt.de b͒Electronic mail:g.sessler@nt.tu-darmstadt.destrain relationship of the cellular films is not exactly linear in this pressure range,as expected for cellular materials.13III.MICROPHONE DESIGN AND MEASURING METHODSThe expanded cellular VHD40films were used to con-struct piezoelectric microphones.6,12These transducers con-sist simply of a piece of the cellular material of 0.3cm 2size that is metallized on both sides.For a film thickness of 55m,the capacitance of the microphone is 8pF.Shielding requires the mounting of the film in a small housing.The microphone output is fed directly into a preamplifier of unity gain ͑B&K 2669͒14and its output into an audio analyzer ͑R&S UPD ͒.In the stacked microphones,the single film is substituted by a stack of films metallized on both sides which are glued on top of each other.Since the sound pressure acts on all films and since the films are electrically connected in series,the output voltages of all layers add up and the open circuitsensitivity of a microphone with n layers should be n times as high as that of a single-film transducer,while its capaci-tance and resonance frequency ͑see Sec.V ͒decrease by a factor of n .Electroacoustic measurements were carried out by plac-ing the microphone in an acoustic coupler with a volume of 0.4cm 3.A 1/8-in.condenser microphone ͑B&K 4138͒,also extending into the coupler,serves as a reference.The sound pressure in the coupler is generated with a small electro-dynamic speaker in a separate cavity coupled by a 4.5-cm-long metallic pipe into the measuring coupler.Electronic data recording and processing is carried out with the above-mentioned audio analyzer,which allows the evaluation of the frequency response of the sensitivity,its amplitude dependence,the total harmonic distortion,and the noise spectrum of the microphone and its amplifier.IV.EXPERIMENTAL RESULTSThe measured frequency responses of microphones with one and five films of cellular PP films are shown in Fig.3.As seen from the figure,the open-circuit sensitivity of the five-film microphone is about 10.5mV/Pa at 1kHz and thus,as expected ͑see above ͒,almost five times larger than the 2.2mV/Pa of the single-film microphone at this frequency.Both responses decrease by about 1dB from 20Hz to 1kHz,as expected from the frequency response of the d 33-coefficient shown in Fig.2.The ripples seen at 2kHz and above are due to the fact that the dimensions of the pressure chamber with its connector are comparable to a quarter wavelength at these frequencies.To test the linearity of the microphones,the dependence of the sensitivity on applied sound pressure was examined.The data ͑not shown in this letter ͒indicates that there is a 3%sensitivity increase up to 3.2kPa ͑164dB SPL ͒.This result is in qualitative agreement with the increase of d 33with pres-sure,discussed above,and thus an indication of nonlineari-ties of the stress–strain relationship.The total harmonic distortion ͑THD ͒of the cellular mi-crophone is also related to this nonlinearity.As measure-ments show,THD increases approximately proportionallytoFIG.1.SEM photograph of cross section of cellular PP film ͑HS01͒of 70m thickness ͑top ͒and schematic view of charge distribution in this mate-rial ͑bottom ͒.FIG.2.Interferometrically measured d 33-coefficient for expanded cellular PP film ͑VHD40͒of 55mthickness.FIG.3.Frequency response of cellular PP microphones with single film and a stack of five films,determined by a comparison method in an acoustic coupler.Films of about 55m thickness ͑VHD40͒were used.sound pressure and is less than1%at164dB SPL.This very small distortion originates probably to some part from the loudspeaker used in these experiments.The part generated by the microphone is again due to the small nonlinearities of the stress–strain relationship.The A-weighted noise voltages of the single-film trans-ducer and thefive-film stack transducer,combined with a preamplifier,are3.0and4.2V,respectively.From these values,total equivalent noise levels͑ENLs͒of37and26 dB͑A͒,respectively,are obtained.The noise corresponds closely to that of the preamplifier,as specified by the manufacturer.14The improvement of the ENL for the stack microphone by11dB is due to the increase of the sensitivity ͑14dB͒,reduced by the increase of the preamplifier noise which is mainly due to the lowering of the capacitance (Ϫ3dB).V.DISCUSSION AND CONCLUSIONSThe sensitivity M of the single-film microphone de-scribed above is related to the d33-coefficient by15Mϭd33͑s1ϩs2͒0,͑1͒where s1and s2are the combined thicknesses of all solid or gas parts of the cellularfilm,respectively,ando andare the absolute and relative permittivities,respectively.From Eq.͑1͒the observed sensitivity of2.2mV/Pa is obtained for s1ϭ26m,s2ϭ30m͑calculated from the density and to-tal thickness of thefilm͒,andϭ2.35by substituting d33ϭ475pC/N,which is close to values actually measured in-terferometrically͑cf.Fig.2͒.The measured sensitivity of10.5mV/Pa for afive-film microphone is very high for a piezoelectric microphone and is comparable with sensitivities of electret condenser micro-phones.Even higher sensitivities may be possible by further increasing the d33-coefficients which can be achieved by in-creasing the charge density and by decreasing Young’s modulus of the cellularfilms.10The sensitivity may also be improved by increasing the number n of piezoelectricfilms in the stack microphone.Since such an increase lowers the capacitance of the device,stray capacitances and the input capacitance of the preamplifier have an adverse effect on the sensitivity.For this reason,the sensitivity of the present ex-perimental design will not gain very much by increasing n beyond5.However,systems with reduced stray capacitance and/or with larger transducer area will show improved sen-sitivities for nϾ5.The eventual limit will be reached when thefilm stack capacitance becomes smaller than the input capacitance of the preamplifier.Equally important is the equivalent noise level which is at37and26dB͑A͒for the single-andfive-film micro-phones,respectively.Particularly the latter value is again comparable with that for typical electret microphones16and is much better than that of previous cellular microphones͓52 dB͑A͔͒.6A drawback of the present cellular microphones is their decrease of sensitivity at temperatures in excess of60°C due to the instability of the electret charges in the cellular PP film.Efforts are underway to produce cellularfilms of poly-mers with better charge stability than that of the presently used PP types.Additional features of the cellular microphones are their low harmonic distortion and their high resonance frequen-cies.As Fig.2shows,the resonance frequency of a single-film microphone is expected to be at about140kHz.For a stack of nfilms,the resonance frequency decreases by a factor of n since the mass of the system increases and the stiffness decreases by this factor.This suggests a resonance frequency of28kHz for thefive-film transducer.In addition to these features,the cellular PP micro-phones have a simple design.The transducers consist essen-tially only of one or several pieces of charged and metallized cellularfilms,equipped with suitable backing and shielding. No miniature air gaps,as in electret microphones,have to be maintained.Cellular microphones can therefore be manufac-tured at very low cost.These features make such micro-phones very suitable for a wide range of applications.Because of the ambiguous meaning of the term‘‘cellular microphones’’and in view of the correlation of electret and piezoelectric properties in cellularfilms,we suggest calling these transducers‘‘piezo electret microphones.’’ACKNOWLEDGMENTSThe authors are grateful to Dr.Xiaoqing Zhang for preparation of the expanded cellularfilms,to Treofan for supplying the originalfilms,and to the Deutsche Fors-chungsgemeinschaft and the V olkswagen Foundation forfi-nancial support.1J.Lekkala,R.Poramo,K.Nyholm,and T.Kaikkonen,‘‘EMF force sensor–aflexible electretfilm for physiological applications,’’Med.Biol. put.34,67–68͑1996͒.2G.M.Sessler and J.Hillenbrand,‘‘Electromechanical response of cellular electretfilms,’’Appl.Phys.Lett.75,3405–3407͑1999͒.3S.Bauer,R.Gerhard-Multhaupt,and G.M.Sessler,‘‘Ferroelectrets:Soft Electroactive Foams for Transducers,’’Phys.Today57,37–43͑February 2004͒.4M.Antila,T.Muurinen,J.Linjama,and H.Nyka¨nen,‘‘Measurement methods offlat panel electromechanicalfilm loudspeakers,’’Active97, 607–618͑1997͒.5H.Nyka¨nen,M.Antila,J.Kataja,J.Lekkala,and S.Uosukainen,‘‘Active control of sound based on utilizing EMFI-technology,’’Active99,1159–1170͑1999͒.6R.Kressmann,‘‘New piezoelectric polymer for air-borne and water-borne sound transducers,’’J.Acoust.Soc.Am.109,1412–1416͑2001͒.7M.Paajanen,M.Wegener,and R.Gerhard-Multhaupt,‘‘Understanding the role of the gas in the voids during corona charging of cellular electret films—a way to enhance their piezoelectricity,’’J.Phys.D34,2482–2488͑2001͒.8J.Hillenbrand,X.Zhang,J.Zhang,and G.M.Sessler,‘‘Pressure-treated cellular polypropylene with large piezoelectric coefficients,’’2003Annual Report,Conf.Electric.Insul.and Diel.Phenom.͑2003͒,pp.40–43.9X.Zhang,J.Hillenbrand,and G.M.Sessler,‘‘Piezoelectric d33-coefficient of cellular polypropylene subjected to expansion by pressure treatment,’’Appl.Phys.Lett.85,1226–1228͑2004͒.10X.Zhang,J.Hillenbrand,and G.M.Sessler,‘‘Improvement of piezoelec-tric activity of cellular polymers by a double-expansion process,’’J.Phys. D37,2146–2150͑2004͒.11M.Wegener,W.Wirges,R.Gerhard-Multhaupt,M.Dansachmu¨ller,R. Schwo¨diauer,S.Bauer-Gogonea,S.Bauer,M.Paajanen,H.Minkkinen,and J.Raukola,‘‘Controlled inflation of voids in cellular polymer ferro-electrets:Optimizing electromechanical transducer properties,’’Appl. Phys.Lett.84,392–394͑2004͒.12J.Hillenbrand and G.M.Sessler,‘‘New piezoelectric transducers based on expanded cellular polymer electrets,’’in Proceed.of ICA2004,The18th Internat.Congress on Acoustics,Kyoto,Japan,2004,V ol.I,349-352. 13L.J.Gibson and M.F.Ashby,Cellular Solids,2nd ed.͑Cambridge U.P.,Cambridge,1997͒.14See data sheet‘‘B&K microphone preamplifier type2669,’’/pdf/bp1422.pdf15J.Hillenbrand and G.M.Sessler,‘‘Piezoelectricity in cellular electret films,’’IEEE Trans.Dielectr.Electr.Insul.7,537–542͑2000͒.16G.M.Sessler,‘‘Microphone,’’in Encyclopedia of Science&Technology, 9th ed.,V ol.11͑McGraw-Hill,New York,2002͒,pp.88–95.。