The relationship between sound and space 1. Each sound space has its own different sound characteristics. Each sound space is like everyone, and it will have different sound characteristics. People will have different sounds due to the structure of the vocal cords and the different resonances of the abdominal cavity. In the same way, each sound space will have its own unique sound characteristics due to different space size, proportion and interior decoration. In other words, the voices of two people sound the same: in the same way, there are very few sounds in two acoustic spaces that sound the same.
Based on the above findings, audio fans can clearly know that even if the same audio equipment is used, different sound characteristics will occur as long as the sound space is different. These different sound characteristics are like different concert halls. As long as they are successful concert halls, they will have their own charming sound charm. The same, as long as it is a successful sound space, it will have its own charming sound charm. Often, a successful sound space is like a successful concert hall, and it is impossible to meet. You have to go through a detailed plan to build a concert hall or sound space, but this does not guarantee that you will get fascinating sound characteristics.
Second, rational audio fans should minimize their exclusivity. Every audio fan will inevitably have a habit and preference for listening to their own acoustic space because they are in their own audio space for a long time. At the same time, it is natural to judge the sound space of others and the listening habits and preferences of others based on their own listening habits and preferences. When you use your own " sound space sound characteristics", "listening habits" and "preference" as the standard to make negative judgments on others, don't forget, others can also use this foothold to make negative judgments on you. . Therefore, when you hear the sound performance different from your own, the first thing to do is not the exclusive argument, but the reflection. With reflection, trying to discover the beauty of the others sound effects.
Third, the sound effects sound space should be based on live music as the standard, and this standard is not the only sound in the end the quality of the sound effects in space there is no recognized standard? If not, isn’t there a lot of different opinions? Of course, there is a sound effect is good or bad standard, but please note that this is not the only criterion of good or bad, but multiple. Sound good and bad effects of the standard where? It is the performance of live music. Any canned fruit juice that tastes like the original fruit must be judged on the basis of fresh fruit flavor. Similarly, any good music software playback sound effect is not good, it must be based on the performance of live music as the standard to judge.
However, the beauty of the sound effects of live music is not the only, but multiple. In terms of classical music, there are a number of recognized outstanding concert hall acoustics in the world, they have different sound characteristics. Some are warm, some are full, some are clear and transparent, some are rich in low frequency, some have high intimacy (sounding is very good, the instrument seems to be very close to you). In any case, the sound characteristics of these concert halls are different.
In the home of the audio fans, the sound effects of the "unknown recording site sound characteristics", "recording equipment sound characteristics", "playback audio equipment sound characteristics", and "sound characteristics of the sound space" make the sound fans simply not qualified to discuss someone's sound effect is "true." The fans can focus on the sound, it is to discuss someone's sound effect is "beauty." The standard of "beauty" is based on the performance of live music, and it is a multiple beauty and multiple standards.
Fourth, soft-tuning space is better than hard-tuning space. What is soft-tuning space? Floors, ceilings, and four walls belonging to the splint or gypsum board or wood nails are soft-tuned spaces. What is hard-tuning space? The ceiling, the floor and the walls are all made of reinforced concrete or brick, which is called hard-adjusted space. Most of Taiwan's living environment is hard-tuned; most of the living spaces in Europe, America and Japan are soft-tuned. Why is soft-tuning space better than hard-tuning space? Because the hard-adjusted space can't absorb too many high-frequency bands and low-medium frequency bands in an appropriate amount, it causes the high frequency band to be too harsh or too low pressure in the middle and low frequency bands when listening to music. Is there any shortcoming in soft-tuning space? Do not! Soft-tuning space may also have the disadvantage of excessive absorption in the low frequency band, resulting in insufficient low frequency. However, compared to the two, soft-tuning space is more suitable for listening to music.
V. How to transform the hard-adjusted space into a soft-tuned space. Taiwan's general homes are all built with reinforced concrete or through the sky. If you want to transform the hard-adjusted space into a soft-tuned space, you can first start with four walls. On these four walls, the carpenter can use a plasterboard to nail a sandwich and a fiberglass cotton in the interlayer. This approach does not consume too much mezzanine space, but also a layer of sound insulation.
Gypsum board is better than wooden board. Perhaps you will ask, why not use a general wooden core board or a thin splint to nail the interlayer, but use a plasterboard or splint? Because thin splints or wooden cores are easy to absorb the mid-range, and the full mid-range is very important when listening to music, we can avoid thin splints or wooden cores. Because of the heavier quality of gypsum board, the absorption of the medium and low frequency is more, and the negative impact on listening to music is relatively small. Furthermore, the gypsum board is a fireproof material, and it is safer to use it for sandwiching at home. Here, I provide several sound absorption rates for gypsum board and splint for your reference: the same is 9mm plate thickness, the air layer is about 45mm thick, the gypsum board has a sound absorption rate of 0.26 at 125Hz, which can absorb some medium and low frequency stations. wave. The sound absorption rate of the splint is only 0.11. At 250 Hz, the sound absorption rate of the gypsum board is reduced to only 0.13. The sound absorption rate is lower at 500 Hz, only 0.08. Conversely, at 250 Hz, the sound absorption rate is as high as 0.23. If the thickness of the splint is reduced to 6 mm, its sound absorption rate at 250 Hz is as high as 0.33. From the above sound absorption rate, you should understand why I would recommend plasterboard.
As for the ceiling and floor, they are different from the four walls. Let me talk about the floor first. Due to the humid climate in Taiwan, the use of carpets is not appropriate. Otherwise, thick carpeting on the floor is one of the ways to soften the space. Usually, the floor of a home is usually tiled or nailed with a solid wood floor. You can put a thick wool carpet on the floor. The size of the carpet is preferably about the same size as the space from the horn to the listening position. The role of this carpet is to absorb some sound waves that are emitted from the horn to the floor and from the ceiling to the floor. Usually, this carpet will only be effective for frequencies above the intermediate frequency, and it has no absorption effect for low and medium frequencies. However, because it absorbs frequencies above the intermediate frequency, it also changes the human ear's sense of hearing at frequencies below the mid-frequency, so it sounds like the whole will change.
The mineral fiber board is cheap and easy to use. When it comes to the ceiling, the cheapest way is to use a light steel frame and a mineral fiber board. Its role is mainly in the absorption of medium and high frequency bands in the appropriate amount, and has little effect on the frequency bands below the intermediate frequency. If you think that the mineral fiber board is not good enough, you can also ask the woodworker to use the thin splint to make the ceiling shape. Please pay attention to avoid the concave shape, and make more convex shapes or curved shapes. Because the concave shape will make the sound gather somewhere, and the convex or curved shape can spread the sound wave. It is also worth noting that the shape of these ceilings is best not to be connected together in a single piece. This method will reduce the frequency range of absorption and affect the fullness of the mid-range. The correct approach should be to divide the ceiling into several zones and design the shape with the principle that each zone is not connected.
Sixth, after hard-adjusting and soft-tuning, how to deal with the surface of the space, after changing the sound space from hard to soft, then follow the principle of "Liu's good song", with the method of "pre-hardening and then diffusing" To do the surface treatment.
The back wall of the horn is hard. The so-called "pre-hard" refers to the front section of the room (that is, the section between the back wall of the horn and the horn). It is best not to do too much absorption, because this method will absorb the sound energy emitted by the horn, making it expand. The machine must have a larger output power and we will feel that the sound is strong enough. If the wall is hard, we only need a smaller amplifier, and then combine it into a strong enough sound by the reflection of the back wall.
There will be a question here? The front is not to say that the four walls are to be nailed to the softboard space? Isn't this contradicting the "pre-hard" that is required now? Whether the contradiction should be judged according to the actual situation, if the back wall of the horn is just a floor-to-ceiling window, of course, the plasterboard cannot be nailed. If the back wall of the horn is a half window, the plasterboard can be nailed or nailed (avoid the window to nail, do not seal the window, this will hinder the light and the air.) The above two situations can also make the back wall Keep it in a hard-toned state.
The more important thing to consider is that when the back wall of the horn is originally a wall, do you want to nail the plasterboard? If the power of your amplifier is not large, the speaker is not too big. I suggest that this wall should not be plastered. On the contrary, it can be nailed together.
Turn back. If you are listening to music and have already done sound absorption on the two side walls, you still feel that the sound is too sharp and too forward. At this time, you must hang a thicker material with high frequency absorption on the back wall of the speaker. This method will only absorb frequencies above the medium and high frequency bands, and will not have a negative impact on the mid-range. Therefore, it does not violate the principle of “before hardâ€.
The side walls are to be absorbed. The so-called "middle suction" is to perform sound absorbing surface treatment on the two side walls between the horn and the listening position. Why is this two side walls to absorb sound? Because this area is the source of the first reflected sound after the speaker makes a sound. If the first reflected sound is too strong, it will interfere with the direct sound and affect the clarity of the positioning. In addition, because the first reflection sound is too much, it will also cause pressure on the human ear above the middle and high frequency. The most direct feeling is that the sound is too bright and too harsh.
It is a mistake to have many acoustic fans in this section of the two side walls with wooden or Polyron's secondary residual diffuser. Because the diffuser plates of wood or bolsters do not contribute to the absorption of the first reflection, they only have a diffusing effect. If a secondary residual diffuser is to be used, a soft diffuser wrapped with a thick surface should be used, which has an absorption effect on the mid-high frequency band in addition to the diffusion effect. There are many ways to "suck", and the individual is ingeniously different. The Gaoming people can combine the interior decoration to create a sense of beauty. If ordinary people want to do simple things, they can also hang some soft materials, which can also meet the requirements of “suckingâ€. I would like to remind readers that the general curtain fabrics do not play a big role in absorption, because they are too thin, and most of them are not high-fiber soft materials, you just spend money. If you want to hang sound-absorbing materials on the two side walls, at least the material like terry cloth is effective.
As far as I know, the cheapest and effective material is fiberglass cotton. For example, a glass fiber cotton having a thickness of 5 cm and a weight of 20 kg per cubic meter has a sound absorption rate of 0.85 at frequencies above 500 Hz. You can frame the fiberglass cotton and wrap it up (do not expose it) as an image frame. This is the first reflection of the sound absorber of the two side walls. Listen to the back of the position to spread. What is "post-diffusion"? The so-called post-diffusion is to spread from the listening position to the area of ​​the back wall. In recent years, everyone knows that the secondary residual diffuser is a good diffusion tool. However, it is not known that the number of diffusers used will be sufficient. A common situation is that only a diffuser plate is placed there. This practice only produces psychological self-comforting effects and does not achieve sufficient diffusion effect. The more correct approach is to have two diffuser plates in the two corners of the back wall, and a diffuser plate in the center of the back wall, so that a total of five can add up to achieve true diffusion.
Perhaps you will ask, where is the benefit of proliferation? If the sound waves are evenly diffused, theoretically the sound reflections you hear across the listening area are average, and your listening position is not limited to one “emperor positionâ€. Moreover, after the sound waves are evenly diffused in the acoustic space, the sound quality, the timbre, the sense of layering, the sense of depth, and the like, the performance of the " sound twenty" is enhanced.
Here to remind the reader of two things: First, not only the quadratic residue diffuser has the effect of diffusing sound waves, any bevel, convex or arc will have the effect of diffusing sound waves. However, the frequency range in which the quadratic remainder is diffused is relatively wide. So, in your sound space, you can match a variety of shapes to achieve the requirements of diffuse sound waves. Second, if you do all kinds of processing, you still feel that the sound is too sharp. At this time, I am afraid that the area behind the listening position will be sound-absorbing. At this point, your sound space will form a "front end live, back end dead" situation, so that the sound will be strong and noisy.
Seventh, reflection, absorption and diffusion must skillfully use the principle of “pre-hard-absorption and post-diffusion†discussed above. In fact, it is the three major principles of surface treatment: “reflectionâ€, “absorption†and “diffusion†in acoustic space. These three tools must be used flexibly and try to use your imagination under the broad principles. Here I would like to remind you that when you want to imitate the treatment of others, you must first carefully evaluate whether the sound characteristics, conditions and the likes of your own audio space are the same as others. Otherwise, the result of random imitation will usually end in failure. For example, if you have followed the above principles, you still feel that the high frequency band is too bright and too harsh. At this time, you can learn Liu Renyang, a consultant of this magazine, and apply a large amount of green cloth in the room to absorb the high frequency band. On the other hand, if you already feel that the sound is a bit boring and not bright enough, then if you put a large amount of cloth on it at this time, it will be counterproductive.
Remember, we carefully modulate the reflection, absorption, and diffusion of sound waves in order to get the sounds of "warm," "full," "soft," "rich," "clear," and "transparent." If you hear sharp, harsh, thin, white hot sounds, listening to music will be a painful trial, not a relaxing experience.
Eight, the quadratic residue diffuser is very easy to use before the second remainder, let's talk about diffusion. The so-called diffusion is that the sound waves emitted by the horns are reflected into the reflector from that direction, and the sound waves are evenly reflected in all directions. Therefore, diffusion can be said to be non-directional. What about general sound wave reflection? Usually oriented. For example, a slope is used to reflect sound waves. Theoretically, as long as the length of a reflecting surface is greater than the wavelength of the acoustic wave, all frequencies having a smaller wavelength than the reflecting surface will be reflected in a certain direction.
From the above description, you can understand that in the acoustic space of the audio fan, what we need is diffusion, not directional reflection. Because the diffusion will make the sound waves in the room more uniform, and the directional reflection will only affect a certain part. Then, what is the second remainder? Its English is Quadratic Residue. This name comes from the calculation formula hn = (λ0/2N)?Sn, where Sn is the remainder of n square divided by N. Where λ0 is the center frequency wavelength at which diffusion is desired (for example, center frequency at 1000 Hz), and N is the number of diffuser grids (ie, step) that you determine. Please note that the number of steps must be prime, such as 7, 11, 13, 19, 23, 29... and so on. n is 0,1,2,3,4,5,6,7,... Hn is the height of n step. The benefit is that the spread is very wide. In fact, telling readers that the simple formula of the second remainder diffusion may not help you understand the spread of sound waves. My main purpose is to let you know the origin of the noun. There are many types of diffusers based on this theory, including diffusion for specific use, diffusion and absorption, and diffusion, absorption and reflection. In addition, in addition to the use of the wall, there are also ceilings.
Why is the secondary remainder diffuser popular in recent years? Because it has a diffusion characteristic: if the center frequency is used, the lower limit of its diffusion range can extend down to about half the frequency below the center frequency (if the center frequency is 1000 Hz, the half frequency is 750 Hz), the upper limit is very high. , can reach (N-1) times the center frequency. Assuming that the center frequency is 1000 Hz and the step of the quadratic residue diffuser is 7, the upper limit of the diffusion range is about 6000 Hz.
Seeing here, I think you already know that the quadratic residue diffusers that are generally seen outside are almost all frequencies above the intermediate frequency; and the more the number of steps (the number of steps here is a single group, not two) The sum of the three groups of groups), the upper limit of the diffusion frequency is higher. In addition, why no one will do three or five steps? Because its upper limit of diffusion is relatively low.
Nine, big space is better than small space. Why is a large space better than a small space? The reason is very simple, because the volume of the large space is large, the sound waves emitted by the horn are less distorted by the boundary (six-sided wall), and the sound you get will be more correct. That's why if we use computer software for horn testing, we usually have to ask for measurements in larger spaces. Because the sound waves have less distortion of the boundary, the test results will be more accurate. Many people don't know. In fact, the effective value of many speaker computer test software is only above 300Hz. The frequency below 300Hz is easy to be interfered by the inner boundary of the space because of the long wavelength, which makes the test value unreliable. The goal of the non-sounding room is to completely eliminate the interference of the space boundary in theory, so that the test results are accurate and credible.
In the average person's home, the large space is the open space shared by the living room and the restaurant. The small space is a specially designed sound room or general room. In the large space, what we need to consider is the multi-functional sharing of space, the interference during listening, and whether the low-frequency sense of the speaker is sufficient. If you can properly deploy, the sound you get will usually be easier, more uniform and correct, and the ability to snorkel down will be stronger. As for standing waves, even large spaces cannot be completely avoided, but the degree of harm will be relatively reduced.
In a small space, the sound waves emitted by the horn are severely distorted by the boundary, and the damage of the standing wave is far greater than that in the large space, and the extension of the low frequency band is always limited. However, due to the small size of the small space, it is not necessary to use a high-power amplifier and a large speaker, and the space arrangement is relatively trouble-free.
Ten, things are much better than things. This does not mean that the more equipment, the better, but the more things in the sound space, the better. However, the more things you have, the more you have to organize them. Don't just throw them away, causing the whole room to be messy. Why is the more things in the sound space the better? Because these things will naturally absorb and reflect the sound waves, and achieve the effect of naturally regulating the indoor reverberation. Keep in mind that the heavier the quality, the more it absorbs the mid-low or low-frequency, and sometimes solves some of the low-frequency standing waves. For example, cabinets, sofas, bookshelves, CD stands, etc. all have this function. The multi-fiber, porous and soft surface has an absorption effect on high frequencies, such as the surface of a flannel sofa, a velvet carpet, and the like.
If there are few things in the sound space, there is only one set of sound and a few CDs and a sofa. The space of such a spring is easy to produce shortcomings such as long echo, high frequency, and false sound. Similarly, if all kinds of cabinets in the sound space are equipped with glass doors, too many high-frequency reflections will occur. Therefore, it is best not to have glass doors for all kinds of cabinets in the sound space.
XI, the proportion of the sound space is important? The proportion of the so-called audio space, the average person will get used to the so-called "golden ratio." In fact, the word "gold" here only represents precious and rare, and has nothing to do with the real "golden ratio". Why should the sound space pay attention to the ratio of length to width? If the ratio is correct and correct, the standing wave intensity in the acoustic space can be minimized, and the interference of the medium and low frequency standing waves to the listening music can be reduced. Therefore, if you have the opportunity to decorate an undisturbed dedicated sound room, of course, you should pay attention to the length, width and height of the space. The innate conditions are first available, and the adjustment of the day after tomorrow, the effect of the sound space will of course be superior.
What is the ratio of the best golden ratio? If you want to be simple, as long as the values ​​of length, width and height do not double each other. To put it bluntly, these three values ​​cannot be removed from each other. If you pay attention to it, you have to carry some simple numbers, which are all related numbers that are calculated by computer and have low standing wave strength. You can remember the following three groups: A. 1.00: 1.14: 1.39; B. 1.00: 1.28: 1.54; C. 1.00: 1.60: 2.33. The 1.00 of the above three sets of numbers represent the height of the room, and the other two are width and length respectively. From a numerical point of view, you can see that this is a ratio of the space of three different sizes. In the end, you should use that ratio, depending on how much space you have.
Twelve, the standing wave should only be taken by wisdom, and what is the purpose of not doing the standing wave? Simply put, standing waves are sound waves that do not go away. Lai, don't you go there? Lay between two opposing parallel walls. There are three sets of opposing parallel walls in one space, so there will be three sets of standing waves mixed together in one sound space.
In fact, the standing wave is the resonance phenomenon of space. As long as the distance between two opposing parallel walls is equal to an integral multiple of half wavelength, resonance will occur, that is, standing wave. For example, a distance of 5 meters is half the wavelength of 34Hz (the speed of sound is 340 meters per second divided by the frequency of 34Hz is 10 meters of full wavelength), such a length will be 2, 3, 4 at 34Hz, Standing waves are generated at 5, 6, ... times. That is, standing waves are generated at 34 Hz, 68 Hz, 102 Hz, 136 Hz, and the like.
If the standing waves generated by the three parallel walls in the space overlap each other, a stronger standing wave will be formed. This stronger overlapping standing wave is the standing wave commonly known by our audio fans. For example, if three parallel walls have exactly 102 Hz standing waves, then the strongest standing wave in this acoustic space is 102 Hz.
In fact, standing waves in the acoustic space will not only occur on parallel walls, but also on the length of the diagonal. Therefore, when the horn is playing music, the standing waves generated in the acoustic space are very complicated. Fortunately, audio fans don't need to understand the complex standing waves, you only need to know the cause of the standing wave formation.
Why do I say that the standing wave should only be taken by wisdom, not to do it? First, standing waves are not just a single frequency. They are so wide that you can't accurately “offset†them with some kind of facility. Second, the standing wave energy is very strong, usually more than ten dB higher than the sound pressure of normal music. Such a strong sound pressure is not at all compatible with the tuning skills used to "fine-tune". Therefore, based on my many years of experience, the best way for audio fans to deal with standing waves is to avoid it. What method to avoid? Avoid using the horn to position and change the listening position.
If I have to use some measure to reduce a strong standing wave, can it be successful? If you want to do it at no cost, of course there are many methods developed by the predecessors. For example, if you want to absorb 102Hz, you should use the formula to calculate, what kind of sound-absorbing material, how to install it, and how much to absorb it. In the studio, there are many such facilities that absorb low and low frequencies. Alternatively, you can design a large quadratic residue diffuser that specifically spreads the lower frequency bands. However, it is still an old saying that the amount absorbed is not only impossible to control accurately, but also has a negative impact on adjacent frequency bands.
Here I want to emphasize again: the most effective way to deal with standing waves is to build a sound space of the right proportion. If there is no chance to build, the most trouble-free and clever way is to avoid it by "trumpet placement" and "changing the listening position." Many people are very "iron teeth", but they don't believe in evil. They want to confront the standing waves. To be honest, I have already passed the "iron teeth". My experience is the old man's words. If you don't listen to the old saying, you will lose money in front of you.
Thirteen, the sound space should consider the reverberation time problem? What is the reverberation? "Reverberation" in English is Reverberation, and Chinese also has reverberation or reverberation. On the surface, the reverberation seems to be the same thing as the echo and the hall sound, but it is not. Echo means that when a sound is emitted, we can hear another identical sound later, just as the sound comes out and comes back, so it is called echo. Ambience refers to the enveloping atmosphere of music in a concert hall, which consists of the first reflected sound after the sound is emitted and the reflected sound later. By the time when the first reflection is transmitted back to the ear, we can roughly judge the size of the space. The reverberation has a strict definition of reverberation, which, as the name suggests, is of course a response that remains in space after the sound is emitted. However, it also comes with a strict rule: when a sound source emits a sound, the sound intensity is reduced to the time when only the initial negative 60dB intensity, we call it the reverberation time. Note that no, the key figure is "negative 60dB intensity." This is what the average person calls RT-60.
What is the importance of reverberation time for listening to music? Although it does not represent everything that sounds perform, it has a great influence on the "quality" of sound. For example, the sound sounds warm or not, full or not, clear or not; or brighter, more gorgeous, and so on. In the modern concert hall design, the reverberation time is usually set at about 2 seconds.
This post comes from Zhongguancun online product forum: http://group.zol.com.cn/, this post address: http://group.zol.com.cn/3/34_26107.html the relationship between sound and space, each Each sound space has its own different sound characteristics. Each sound space is like everyone, and it has different sound characteristics. People will have different sounds due to the structure of the vocal cords and the different resonances of the abdominal cavity. In the same way, each sound space will have its own unique sound characteristics due to different space size, proportion and interior decoration. In other words, the voices of two people sound the same: in the same way, there are very few sounds in two acoustic spaces that sound the same.
Based on the above findings, audio fans can clearly know that even if the same audio equipment is used, different sound characteristics will occur as long as the sound space is different. These different sound characteristics are like different concert halls. As long as they are successful concert halls, they will have their own charming sound charm. The same, as long as it is a successful sound space, it will have its own charming sound charm. Often, a successful sound space is like a successful concert hall, and it is impossible to meet. You have to go through a detailed plan to build a concert hall or sound space, but this does not guarantee that you will get fascinating sound characteristics.
Second, rational audio fans should minimize their exclusivity. Every audio fan will inevitably have a habit and preference for listening to their own acoustic space because they are in their own audio space for a long time. At the same time, it is natural to judge the sound space of others and the listening habits and preferences of others based on their own listening habits and preferences. When you use your own " sound space sound characteristics", "listening habits" and "preference" as the standard to make negative judgments on others, don't forget, others can also use this foothold to make negative judgments on you. . Therefore, when you hear the sound performance different from your own, the first thing to do is not the exclusive argument, but the reflection. With reflection, trying to discover the beauty of the others sound effects.
Third, the sound effects sound space should be based on live music as the standard, and this standard is not the only sound in the end the quality of the sound effects in space there is no recognized standard? If not, isn’t there a lot of different opinions? Of course, there is a sound effect is good or bad standard, but please note that this is not the only criterion of good or bad, but multiple. Sound good and bad effects of the standard where? It is the performance of live music. Any canned fruit juice that tastes like the original fruit must be judged on the basis of fresh fruit flavor. Similarly, any good music software playback sound effect is not good, it must be based on the performance of live music as the standard to judge.
However, the beauty of the sound effects of live music is not the only, but multiple. In terms of classical music, there are a number of recognized outstanding concert hall acoustics in the world, they have different sound characteristics. Some are warm, some are full, some are clear and transparent, some are rich in low frequency, some have high intimacy (sounding is very good, the instrument seems to be very close to you). In any case, the sound characteristics of these concert halls are different.
In the home of the audio fans, the sound effects of the "unknown recording site sound characteristics", "recording equipment sound characteristics", "playback audio equipment sound characteristics", and "sound characteristics of the sound space" make the sound fans simply not qualified to discuss someone's sound effect is "true." The fans can focus on the sound, it is to discuss someone's sound effect is "beauty." The standard of "beauty" is based on the performance of live music, and it is a multiple beauty and multiple standards.
Fourth, soft-tuning space is better than hard-tuning space. What is soft-tuning space? Floors, ceilings, and four walls belonging to the splint or gypsum board or wood nails are soft-tuned spaces. What is hard-tuning space? The ceiling, the floor and the walls are all made of reinforced concrete or brick, which is called hard-adjusted space. Most of Taiwan's living environment is hard-tuned; most of the living spaces in Europe, America and Japan are soft-tuned. Why is soft-tuning space better than hard-tuning space? Because the hard-adjusted space can't absorb too many high-frequency bands and low-medium frequency bands in an appropriate amount, it causes the high frequency band to be too harsh or too low pressure in the middle and low frequency bands when listening to music. Is there any shortcoming in soft-tuning space? Do not! Soft-tuning space may also have the disadvantage of excessive absorption in the low frequency band, resulting in insufficient low frequency. However, compared to the two, soft-tuning space is more suitable for listening to music.
V. How to transform the hard-adjusted space into a soft-tuned space. Taiwan's general homes are all built with reinforced concrete or through the sky. If you want to transform the hard-adjusted space into a soft-tuned space, you can first start with four walls. On these four walls, the carpenter can use a plasterboard to nail a sandwich and a fiberglass cotton in the interlayer. This approach does not consume too much mezzanine space, but also a layer of sound insulation.
Gypsum board is better than wooden board. Perhaps you will ask, why not use a general wooden core board or a thin splint to nail the interlayer, but use a plasterboard or splint? Because thin splints or wooden cores are easy to absorb the mid-range, and the full mid-range is very important when listening to music, we can avoid thin splints or wooden cores. Because of the heavier quality of gypsum board, the absorption of the medium and low frequency is more, and the negative impact on listening to music is relatively small. Furthermore, the gypsum board is a fireproof material, and it is safer to use it for sandwiching at home. Here, I provide several sound absorption rates for gypsum board and splint for your reference: the same is 9mm plate thickness, the air layer is about 45mm thick, the gypsum board has a sound absorption rate of 0.26 at 125Hz, which can absorb some medium and low frequency stations. wave. The sound absorption rate of the splint is only 0.11. At 250 Hz, the sound absorption rate of the gypsum board is reduced to only 0.13. The sound absorption rate is lower at 500 Hz, only 0.08. Conversely, at 250 Hz, the sound absorption rate is as high as 0.23. If the thickness of the splint is reduced to 6 mm, its sound absorption rate at 250 Hz is as high as 0.33. From the above sound absorption rate, you should understand why I would recommend plasterboard.
As for the ceiling and floor, they are different from the four walls. Let me talk about the floor first. Due to the humid climate in Taiwan, the use of carpets is not appropriate. Otherwise, thick carpeting on the floor is one of the ways to soften the space. Usually, the floor of a home is usually tiled or nailed with a solid wood floor. You can put a thick wool carpet on the floor. The size of the carpet is preferably about the same size as the space from the horn to the listening position. The role of this carpet is to absorb some sound waves that are emitted from the horn to the floor and from the ceiling to the floor. Usually, this carpet will only be effective for frequencies above the intermediate frequency, and it has no absorption effect for low and medium frequencies. However, because it absorbs frequencies above the intermediate frequency, it also changes the human ear's sense of hearing at frequencies below the mid-frequency, so it sounds like the whole will change.
The mineral fiber board is cheap and easy to use. When it comes to the ceiling, the cheapest way is to use a light steel frame and a mineral fiber board. Its role is mainly in the absorption of medium and high frequency bands in the appropriate amount, and has little effect on the frequency bands below the intermediate frequency.å‡è‹¥æ‚¨å«ŒçŸ¿çº¤æ¿ä¸å¤Ÿå¥½çœ‹ï¼Œä¹Ÿå¯ä»¥è¯·æœ¨å·¥ç”¨è–„夹æ¿åšå¤©èŠ±æ¿é€ 型。请注æ„è¦é¿å…å‡¹åž‹çš„é€ åž‹ï¼Œå¤šåšå‡¸å‡ºçš„é€ åž‹æˆ–å¼§å½¢ã€‚å› ä¸ºå‡¹åž‹ä¼šä½¿å£°éŸ³èšåœ¨æŸå¤„，而凸型或弧形å¯ä»¥æ‰©æ•£å£°æ³¢ã€‚还有一点è¦æ³¨æ„的，这些天花æ¿ä¸Šçš„é€ åž‹æœ€å¥½ä¸è¦ä¸€æ•´ç‰‡è¿žåœ¨ä¸€èµ·ï¼Œè¿™ç§ä½œæ³•ä¼šä½¿å…¶å¸æ”¶çš„频率范围é™ä½Žï¼Œå½±å“了ä¸é¢‘段的饱满。æ£ç¡®çš„作法应该是将天花æ¿åˆ†å‰²æˆå‡ 个区，以æ¯åŒºäº’ä¸ç›¸è¿žçš„原则æ¥è®¾è®¡é€ 型。
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为什么二次余数扩散器会在近年å€å—æ¬¢è¿Žå‘¢ï¼Ÿå› ä¸ºå®ƒæœ‰ä¸€ä¸ªæ‰©æ•£ç‰¹æ€§ï¼šå¦‚æžœä»¥ä¸å¿ƒé¢‘率为准，它扩散范围的低é™å¯ä»¥å‘下延伸到ä¸å¿ƒé¢‘率以下约åŠå€é¢‘（å‡è‹¥ä¸å¿ƒé¢‘率为1000Hz，åŠå€é¢‘就是750Hz），上é™åˆ™å¾ˆé«˜ï¼Œå¯ä»¥è¾¾åˆ°ä¸å¿ƒé¢‘率的（N-1）å€ã€‚å‡è®¾ä¸å¿ƒé¢‘率为1000Hz，该二次余数扩散器的è¸æ¥ä¸º7，则扩散范围的上é™çº¦6000Hz。
看到这里，我想您已ç»äº†è§£ï¼Œä¸€èˆ¬å¤–é¢æ‰€è§åˆ°çš„äºŒæ¬¡ä½™æ•°æ‰©æ•£å™¨å‡ ä¹Žéƒ½æ˜¯é’ˆå¯¹ä¸é¢‘以上的频率；而且è¸æ¥æ•°è¶Šå¤šï¼ˆè¿™é‡ŒæŒ‡çš„è¸æ¥æ•°æ˜¯å•ç»„的数，而ä¸æ˜¯äºŒç»„三组的总和），扩散频率的上é™ä¹Ÿå°±è¶Šé«˜ã€‚æ¤å¤–，为什么没有人会åšä¸‰ä¸ªã€äº”个è¸æ¥çš„ï¼Ÿå› ä¸ºå®ƒæ‰©æ•£çš„ä¸Šé™æ¯”较低。
ä¹ã€å¤§ç©ºé—´æ¯”å°ç©ºé—´å¥½ä¸ºä»€ä¹ˆå¤§ç©ºé—´ä¼šæ¯”å°ç©ºé—´å¥½ï¼Ÿé“ç†å¾ˆç®€å•ï¼Œå› 为大空间的容积较大，喇åå‘出æ¥çš„声波å—边界（å…é¢å¢™ï¼‰æ‰æ›²ç¨‹åº¦æ¯”较å°ï¼Œæ‚¨æ‰€å¾—到的声音将会比较æ£ç¡®ã€‚这也是为什么如果我们使用计算机软件åšå–‡å测试时，通常都必须è¦æ±‚在越大的空间下测é‡ã€‚å› ä¸ºå£°æ³¢å°‘äº†è¾¹ç•Œçš„å¹²æ‰°æ‰æ›²ï¼Œæµ‹è¯•ç»“æžœæ‰ä¼šè¶Šå‡†ç¡®ã€‚很多人ä¸çŸ¥é“，其实许多喇å计算机测试软件的有效值åªåœ¨300Hz以上而已，低于300Hzçš„é¢‘çŽ‡å› ä¸ºæ³¢é•¿è¾ƒé•¿ï¼Œå®¹æ˜“å—ç©ºé—´å†…è¾¹ç•Œçš„å¹²æ‰°ï¼Œä»¥è‡³äºŽé€ æˆæµ‹è¯•å€¼çš„ä¸å¯ä¿¡ã€‚è€Œæ— å“室所è¦è¾¾åˆ°çš„ç›®æ ‡ï¼Œå…¶å®žå°±æ˜¯åœ¨ç†è®ºä¸Šå®Œå…¨æ¶ˆé™¤ç©ºé—´è¾¹ç•Œçš„干扰，使得测试结果准确å¯ä¿¡ã€‚
在一般人的家ä¸ï¼Œå¤§ç©ºé—´å°±æ˜¯å®¢åŽ…与é¤åŽ…共享的开放空间，å°ç©ºé—´å°±æ˜¯ç‰¹åˆ«è®¾è®¡çš„音å“室或一般房间。在大空间ä¸ï¼Œæˆ‘们所需è¦è€ƒè™‘的是空间的多功能共享ã€è†ä¹æ—¶çš„干扰ã€ä»¥åŠå–‡å的低频é‡æ„Ÿæ˜¯å¦è¶³å¤Ÿç‰é—®é¢˜ã€‚如果能够适当调é…，您所得到的声音通常都会比较轻æ¾ã€å‡åŒ€ä¸Žæ£ç¡®ï¼Œè€Œä¸”低频å‘下沉潜的能力会更强。至于驻波，å³ä½¿å¤§ç©ºé—´ä¹Ÿä¸å¯èƒ½å®Œå…¨é¿å…，ä¸è¿‡å±å®³çš„程度会相对的é™ä½Žã€‚
在å°ç©ºé—´ä¸ï¼Œå–‡åå‘出的声波å—边界æ‰æ›²å¾—很严é‡ï¼Œé©»æ³¢çš„å±å®³ä¹Ÿè¿œå¤§äºŽå¤§ç©ºé—´ä¸ï¼Œä½Žé¢‘段的延伸也永远å—é™ã€‚ä¸è¿‡ï¼Œå°ç©ºé—´ç”±äºŽå®¹ç§¯å°ï¼Œå¯ä»¥ä¸å¿…使用大功率扩大机与大型喇å，空间的布置也比较çœäº‹ã€‚
å〠东西多比东西少好这里ä¸æ˜¯æŒ‡å™¨æ越多越好，而是音å“空间里的东西越多越好。ä¸è¿‡ï¼Œä¸œè¥¿è¶Šå¤šè¶Šè¦æ•´ç†ï¼Œä¸è¦éšä¾¿ä¹±ä¸¢ï¼Œé€ æˆæ»¡å®¤è„乱。为什么音å“ç©ºé—´é‡Œçš„ä¸œè¥¿è¶Šå¤šè¶Šå¥½å‘¢ï¼Ÿå› ä¸ºè¿™äº›ä¸œè¥¿ä¼šå¯¹å£°æ³¢äº§ç”Ÿè‡ªç„¶çš„å¸æ”¶ä¸Žå射作用，达到自然调节室内残å“的作用。请记ä½ï¼Œè´¨é‡è¶Šé‡çš„东西对于ä¸ä½Žé¢‘或低频越会产生å¸æ”¶ä½œç”¨ï¼Œæœ‰æ—¶å€™å¯ä»¥è§£å†³ä¸€äº›ä¸ä½Žé¢‘驻波的问题。例如柜åã€æ²™å‘ã€ä¹¦æž¶ã€CD架ç‰éƒ½å…·æœ‰è¿™ç§åŠŸèƒ½ã€‚而表é¢å¤šçº¤ç»´ã€å¤šå”软质的东西则对高频具有å¸æ”¶ä½œç”¨ï¼Œä¾‹å¦‚绒布沙å‘的表é¢ï¼Œåœ°æ¯¯åŽšç»’布ç‰ç‰ã€‚
å‡è‹¥éŸ³å“空间内东西很少，åªæœ‰ä¸€å¥—音å“以åŠå‡ å¼ CDã€ä¸€å¼ æ²™å‘，这么阳春的空间很容易产生回音过长，高频太亮，声音虚而ä¸å®žçš„缺点。åŒæ ·çš„，如果音å“空间里的å„ç§æŸœå都装上玻璃门，也会产生过多的高频å射。所以音å“空间内的å„ç§æŸœå最好都ä¸è¦æœ‰çŽ»ç’ƒé—¨ã€‚
å一〠音å“空间的比例é‡è¦å—所谓音å“ç©ºé—´çš„æ¯”ä¾‹ï¼Œä¸€èˆ¬äººéƒ½ä¼šä¹ æƒ¯çš„ç§°ä¸ºâ€œé»„é‡‘æ¯”ä¾‹â€ã€‚事实上这里“黄金â€äºŒå—åªæ˜¯ä»£è¡¨ç贵难得而已，与真æ£çš„“黄金比例â€æ— 关。为什么音å“空间è¦è®²ç©¶é•¿å®½é«˜çš„比例呢？如果比例æ£ç¡®æ°å½“，å¯ä»¥å°†éŸ³å“空间内的驻波强度é™åˆ°æœ€ä½Žï¼Œå‡å°‘ä¸ä½Žé¢‘驻波对于è†èµéŸ³ä¹çš„干扰。所以，如果您有机会装修一间ä¸å—干扰的专用音å“室，当然è¦é¡ºä¾¿è®²ç©¶ç©ºé—´çš„长宽高比例。先天æ¡ä»¶å…ˆå…·å¤‡ï¼ŒåŠ 上åŽå¤©çš„布置调整， 音å“空间的效果当然就会高人一ç‰ã€‚
åˆ°åº•æ€Žä¹ˆæ ·çš„æ¯”ä¾‹æ‰æ˜¯æœ€å¥½çš„黄金比例呢？如果è¦ç®€å•ç‚¹ï¼Œåªè¦æ˜¯é•¿å®½é«˜çš„数值ä¸è¦äº’æˆå€æ•°å°±å¯ã€‚说得白è¯äº›ï¼Œ è¿™ä¸‰ä¸ªæ•°å€¼ç›¸äº’æ— æ³•é™¤å°½å³å¯ã€‚若是讲究些，则è¦èƒŒä¸€äº›ç®€å•çš„æ•°å—，这些数å—都是以计算机计算过，驻波强度很低的相关数å—。您å¯ä»¥è®°ä½ä»¥ä¸‹ä¸‰ç»„：A. 1.00 : 1.14 : 1.39ï¼›B. 1.00 : 1.28 : 1.54ï¼›C. 1.00 : 1.60 : 2.33。以上三组数å—çš„1.00代表ç€æˆ¿é—´çš„高度，其余二个分别为宽与长。从数å—上看，您å¯ä»¥å‘现这是三个容积大å°ä¸åŒçš„空间比例，到底è¦ç”¨é‚£ä¸€ç§æ¯”例，那就看您有多大的空间而定了。
å二〠驻波åªå®œæ™ºå–，ä¸è¦è›®å¹²é©»æ³¢æ˜¯ä»€ä¹ˆçŽ©æ„？简å•çš„说，驻波就是赖ç€ä¸èµ°çš„声波。赖在那里ä¸èµ°å‘¢ï¼Ÿèµ–在二个对立的平行墙é¢ä¹‹é—´ã€‚一个空间有三组对立的平行墙é¢ï¼Œæ‰€ä»¥ï¼Œä¸€ä¸ªéŸ³å“空间就会有三组驻波混在一起。
其实，驻波就是空间的共振现象，åªè¦äºŒå¯¹ç«‹å¹³è¡Œå¢™é¢çš„è·ç¦»ç‰äºŽåŠæ³¢é•¿çš„æ•´å€æ•°ï¼Œå°±ä¼šäº§ç”Ÿå…±æŒ¯ï¼Œä¹Ÿå°±æ˜¯é©»æ³¢ã€‚ã€ä¾‹å¦‚，一个5公尺长的è·ç¦»å°±æ˜¯34Hzçš„åŠæ³¢é•¿ï¼ˆå£°éŸ³çš„速度æ¯ç§’340公尺除以频率34Hz就是全波长10å…¬å°ºï¼‰ï¼Œè¿™æ ·çš„é•¿åº¦å°±ä¼šåœ¨34Hzçš„2, 3, 4, 5, 6, …å€å¤„产生驻波。也就是在34Hz, 68Hz, 102Hz,136Hz…ç‰å¤„产生驻波。
å‡è‹¥ï¼Œç©ºé—´å†…三组平行的墙é¢ä¸ªåˆ«æ‰€äº§ç”Ÿçš„驻波有相互é‡å 之处，那就会形æˆæ›´å¼ºçš„驻波。这个更强的é‡å 驻波就是我们音å“迷俗称的驻波。例如，如果三个平行墙é¢æ°å¥½éƒ½æœ‰102Hz的驻波，那么，这个音å“空间ä¸æœ€å¼ºçƒˆçš„驻波就是102Hz。
事实上， 音å“空间内的驻波ä¸ä»…会å‘生在平行墙é¢ä¸Šï¼Œä¹Ÿä¼šå‘生在对角线的长度上。所以，当喇å在æ’放音ä¹æ—¶ï¼Œ 音å“空间内所产生的驻波是éžå¸¸å¤æ‚的。幸好， 音å“迷并ä¸éœ€è¦äº†è§£é‚£ä¹ˆå¤æ‚的驻波，您åªéœ€è¦çŸ¥é“驻波形æˆçš„åŽŸå› å°±å¯ä»¥äº†ã€‚
为什么我说驻波åªå®œæ™ºå–，ä¸è¦è›®å¹²ï¼Ÿç¬¬ä¸€ï¼Œé©»æ³¢å¹¶ä¸æ˜¯åªæœ‰å•ä¸€é¢‘çŽ‡è€Œå·²ï¼Œå®ƒçš„èŒƒå›´å¾ˆå¹¿ï¼Œæ‚¨æ— æ³•ä»¥æŸç§è®¾æ–½åŽ»å‡†ç¡®çš„“抵销â€å®ƒä»¬ã€‚第二，驻波的能é‡å¾ˆå¼ºï¼Œé€šå¸¸ä¼šæ¯”æ£å¸¸éŸ³ä¹çš„音压还高åå‡ dBä»¥ä¸Šã€‚è¿™ä¹ˆå¼ºçš„éŸ³åŽ‹æ ¹æœ¬ä¸æ˜¯ä»¥ç”¨æ¥â€œå¾®è°ƒâ€çš„调声秘技所能够应付的。所以，ä¾æˆ‘多年的ç»éªŒï¼Œ 音å“迷对付驻波最好的方法就是é¿å¼€å®ƒã€‚用什么方法é¿å¼€å‘¢ï¼Ÿç”¨å–‡å摆ä½ä»¥åŠå˜æ¢è†å¬ä½ç½®çš„æ–¹å¼æ¥é¿å¼€ã€‚
å‡è‹¥æˆ‘硬è¦ç”¨æŸç§æŽªæ–½æ¥é™ä½ŽæŸä¸ªå¼ºçƒˆçš„驻波，是ä¸æ˜¯å¯ä»¥æˆåŠŸï¼Ÿå¦‚果您想ä¸è®¡ä»£ä»·åŽ»åšï¼Œå½“然有许多å‰äººç ”究出æ¥çš„方法。例如å‡è‹¥è¦å¸æ”¶102Hz，就è¦åˆ©ç”¨å…¬å¼è®¡ç®—，用什么å¸éŸ³ææ–™ã€æ€Žä¹ˆå®‰ç½®æ³•ï¼Œç”¨é‡å¤šå°‘去å¸æ”¶å®ƒã€‚在录音室ä¸ï¼Œå¤šå°‘都会有这ç§å¸æ”¶ä¸ä½Žé¢‘与低频的设施。或者，您也å¯ä»¥è®¾è®¡ä¸€ä¸ªå¾ˆå¤§çš„二次余数扩散器，专门扩散较低的频段。ä¸è¿‡ï¼Œè¿˜æ˜¯é‚£å¥è€è¯ï¼Œå¸æ”¶çš„é‡ä¸ä»…æ— æ³•ç²¾ç¡®çš„æŽ§åˆ¶ï¼Œè¿˜ä¼šå¯¹é‚»è¿‘é¢‘æ®µåšè´Ÿé¢çš„å½±å“。
在æ¤æˆ‘è¦å†åº¦å¼ºè°ƒï¼šå¯¹ä»˜é©»æ³¢æœ€æœ‰æ•ˆçš„æ–¹å¼å°±æ˜¯å»ºé€ 一个比例æ°å½“的音å“空间。å‡è‹¥æ²¡æœ‰æœºä¼šå»ºé€ ，最çœäº‹ã€æœ€èªæ˜Žçš„方法就是以“喇å摆ä½â€ä¸Žâ€œå˜æ¢è†å¬ä½ç½®â€æ¥é¿å¼€å®ƒã€‚许多人很“é“齿â€ï¼Œååä¸ä¿¡é‚ªï¼Œå°±æ˜¯æƒ³è¦ä¸Žé©»æ³¢æ£é¢äº¤é”‹ã€‚è€å®žè¯´ï¼Œæˆ‘å·²ç»â€œé“齿â€è¿‡äº†ï¼Œæˆ‘çš„ç»éªŒå°±æ˜¯è€äººè¨€ã€‚如果您ä¸å¬è€äººè¨€ï¼Œåƒäºå°±ä¼šåœ¨çœ¼å‰ã€‚
å三〠音å“空间è¦è€ƒè™‘残å“时间问题å—什么是残å“？“残å“â€è‹±æ–‡æ˜¯Reverberation，ä¸æ–‡ä¹Ÿæœ‰ç§°æ··å“或余å“者。表é¢ä¸Šçœ‹ï¼Œæ®‹å“好象与回音ã€å ‚音是相åŒçš„东西，实则ä¸ç„¶ã€‚回音是指当一个声音å‘出åŽï¼Œæˆ‘们å¯ä»¥åœ¨ç¨åŽå¬åˆ°å¦ä¸€ä¸ªç›¸åŒçš„声音，就好象声音跑出去åŽåˆå›žæ¥äº†ï¼Œæ‰€ä»¥å«å›žéŸ³ã€‚å ‚éŸ³ï¼ˆAmbience）指的是在音ä¹åŽ…ä¸éŸ³ä¹çš„包围气氛，它是由声音å‘出之åŽçš„第一次å射音以åŠç¨åŽçš„å射音组æˆã€‚藉由第一次åå°„éŸ³ä¼ å›žè€³æœµçš„æ—¶é—´ï¼Œæˆ‘ä»¬å¯ä»¥æ¦‚略的判æ–该空间的大å°ã€‚残å“æœ‰ä¸¥æ ¼çš„å®šä¹‰è‡³äºŽæ®‹å“，顾åæ€ä¹‰ï¼Œå®ƒå½“然也是声音å‘出之åŽæ®‹ç•™åœ¨ç©ºé—´ä¸çš„å“应。ä¸è¿‡ï¼Œå®ƒè¿˜é™„å¸¦äº†ä¸€ä¸ªä¸¥æ ¼çš„è§„å®šï¼Œé‚£å°±æ˜¯ï¼šå½“ä¸€ä¸ªå£°æºå‘出声音之åŽï¼Œå£°éŸ³å¼ºåº¦é™ä½Žåˆ°åªæœ‰æœ€åˆçš„è´Ÿ60dB强度时的时间，我们就称它为为残å“时间。注æ„到没有，关键的数å—就是“负60dB的强度â€ã€‚这也就是一般人所称的RT-60。
到底残å“时间对于å¬éŸ³ä¹æœ‰ä»€ä¹ˆé‡è¦æ€§å‘¢ï¼Ÿè™½ç„¶å®ƒä¸èƒ½ä»£è¡¨å£°éŸ³è¡¨çŽ°çš„一切，但是它对于声音的“质â€å…·æœ‰å¾ˆå¤§çš„å½±å“力。例如声音å¬èµ·æ¥æ¸©æš–与å¦ã€é¥±æ»¡ä¸Žå¦ã€æ¸…晰与å¦ï¼›æˆ–者是比较明亮的ã€åŽä¸½çš„ç‰ç‰ã€‚在现代的音ä¹åŽ…设计ä¸ï¼Œæ®‹å“时间通常都订在2秒左å³ã€‚
本贴æ¥è‡ªä¸å…³æ‘在线产å“论å›ï¼šhttp://group.zol.com.cn/,本帖地å€ï¼šhttp://group.zol.com.cn/3/34_26107.html 音å“与空间的关系一〠æ¯ä¸ªéŸ³å“空间都有其ä¸åŒçš„声音特性æ¯ä¸€ä¸ªéŸ³å“空间就好象æ¯ä¸€ä¸ªäººï¼Œéƒ½ä¼šæœ‰å…¶ä¸åŒçš„å£°éŸ³ç‰¹æ€§ã€‚äººä¼šå› ä¸ºå£°å¸¦çš„ç»“æž„ï¼Œèƒ¸è…”è…¹è…”çš„ä¸åŒå…±é¸£è€Œäº§ç”Ÿä¸åŒçš„声音。åŒæ ·çš„，æ¯ä¸€ä¸ªéŸ³å“ç©ºé—´ä¹Ÿä¼šå› ä¸ºä¸åŒçš„空间大å°ã€æ¯”例ã€å®¤å†…装潢而拥有自己独特的声音特性。æ¢å¥è¯è¯´ï¼Œå¾ˆå°‘有二个人的声音å¬èµ·æ¥æ˜¯ä¸€æ ·çš„：åŒæ ·çš„，也很少会有二个音å“空间的声音å¬èµ·æ¥ä¸€æ ·ã€‚
基于以上的认知， 音å“è¿·å¯ä»¥æ¸…楚的知é“，å³ä½¿ä½¿ç”¨å®Œå…¨ç›¸åŒçš„音å“器æ，åªè¦æ˜¯éŸ³å“空间ä¸åŒï¼Œå°±ä¼šäº§ç”Ÿä¸åŒçš„声音特性。这些ä¸åŒçš„声音特性就好象ä¸åŒçš„音ä¹åŽ…，åªè¦æ˜¯æˆåŠŸçš„音ä¹åŽ…，就会拥有它们å„自迷人的声音é…力。相åŒçš„，åªè¦æ˜¯æˆåŠŸçš„音å“空间，也都会拥有自身迷人的声音é…力。通常，æˆåŠŸçš„音å“空间就好象æˆåŠŸçš„音ä¹åŽ…，是å¯é‡è€Œä¸å¯æ±‚的。您必须ç»è¿‡å‘¨è¯¦çš„计画去建构一个音ä¹åŽ…或音å“空间，但是这并ä¸ä¿è¯æ‚¨ä¸€å®šå¯ä»¥èŽ·å¾—迷人的声音特性。
二〠ç†æ€§çš„音å“迷应将自身的排他性é™åˆ°æœ€ä½Žæ¯ä¸€ä¸ªéŸ³å“迷，难å…ä¼šå› ä¸ºé•¿æœŸå¤„äºŽè‡ªå·±çš„éŸ³å“空间ä¸ï¼Œè€Œäº§ç”Ÿé€‚应自身音å“空间的è†ä¹ä¹ 惯与å好。åŒæ—¶ï¼Œä¹Ÿå¾ˆè‡ªç„¶çš„会以自身的è†ä¹ä¹ 惯与å好为基准，去评æ–别人的音å“空间与别人的è†ä¹ä¹ 惯ã€å好。当您以自身的“ 音å“空间声音特性â€ã€â€œè†ä¹ä¹ 惯â€ä»¥åŠâ€œå好â€ä¸ºæ ‡å‡†ï¼ŒåŽ»å¯¹åˆ«äººåšè´Ÿé¢è¯„æ–时，ä¸è¦å¿˜äº†ï¼Œåˆ«äººä¹ŸåŒæ ·å¯ä»¥åˆ©ç”¨è¿™æ ·çš„ç«‹è¶³ç‚¹å¯¹ä½ åšè´Ÿé¢è¯„æ–ã€‚å› æ¤ï¼Œå½“您å¬åˆ°ä¸åŒäºŽè‡ªèº«çš„声音表现时，首先è¦åšçš„并ä¸æ˜¯æ²¹ç„¶è€Œç”Ÿçš„排他论æ–，而是åæ€ã€‚藉由åæ€ï¼Œå°è¯•çš„去å‘现别人音å“效果的美处。
三〠音å“空间的音å“效果应以现场音ä¹ä¸ºæ ‡å‡†ï¼Œè€Œæ¤æ ‡å‡†å¹¶éžå”¯ä¸€åˆ°åº•éŸ³å“空间ä¸éŸ³å“效果的好åæœ‰æ²¡æœ‰ä¸€ä¸ªè®¤å®šæ ‡å‡†ï¼Ÿå¦‚æžœæ²¡æœ‰ï¼Œå²‚ä¸æ˜¯ä¼—说纷çºï¼ŒèŽ«è¡·ä¸€æ˜¯ï¼Ÿ 音å“效果当然有一个好åçš„æ ‡å‡†ï¼Œä½†æ˜¯è¯·æ³¨æ„，这个好åçš„æ ‡å‡†å¹¶ä¸æ˜¯å”¯ä¸€çš„，而是多é‡çš„。 音å“效果好åçš„æ ‡å‡†åœ¨é‚£é‡Œï¼Ÿåœ¨äºŽçŽ°åœºéŸ³ä¹çš„æ¼”å¥æ•ˆæžœã€‚任何ç½å¤´æžœæ±å–èµ·æ¥åƒä¸åƒåŽŸæ¥çš„æ°´æžœï¼Œéƒ½å¿…é¡»ä»¥æ–°é²œçš„æ°´æžœé£Žå‘³ä¸ºæ ‡å‡†åŽ»è¯„æ–。åŒæ ·çš„，任何的音ä¹è½¯ä»¶å›žæ”¾çš„音å“效果好ä¸å¥½ï¼Œä¹Ÿå¿…须以现场音ä¹çš„è¡¨çŽ°ä¸ºæ ‡å‡†åŽ»è¯„æ–。
然而，现场音ä¹çš„音å“效果之美并ä¸æ˜¯å”¯ä¸€çš„，而是多é‡çš„。就å¤å…¸éŸ³ä¹è€Œè¨€ï¼Œä¸–界上有许多公认音å“效果æ°å‡ºçš„音ä¹åŽ…，它们å„有ä¸åŒçš„声音特性。有的温暖，有的饱满，有的澄澈é€æ˜Žï¼Œæœ‰çš„低频丰富，有的声音亲密性高（å¬èµ·æ¥åŒ…围感很好，ä¹å™¨å¥½è±¡ç¦»æ‚¨å¾ˆè¿‘ï¼‰ã€‚æ— è®ºå¦‚ä½•ï¼Œè¿™äº›éŸ³ä¹åŽ…的声音特性å„有所美。
而在音å“迷的家ä¸ï¼Œç”±äºŽç»è¿‡â€œä¸å¯çŸ¥çš„录音场地声音特性â€ï¼Œâ€œå½•éŸ³å™¨æ声音特性â€ã€â€œå›žæ”¾éŸ³å“器æ声音特性â€ã€ä»¥åŠâ€œè‡ªèº«éŸ³å“空间的声音特性â€ç‰å››é‡å½±å“，使得音å“è¿·æ ¹æœ¬æ²¡æœ‰èµ„æ ¼åŽ»è®¨è®ºè°å®¶çš„音å“效果为“真â€ã€‚ 音å“迷所能够ç€åŠ›çš„，就是讨论è°å®¶çš„音å“效果为“美â€ã€‚而这个“美â€çš„æ ‡å‡†å°±æ˜¯ä»¥çŽ°åœºéŸ³ä¹çš„表现为准，而且是多é‡çš„美ã€å¤šé‡çš„æ ‡å‡†ã€‚
四〠软调空间比硬调空间好什么是软调空间？地æ¿ã€å¤©èŠ±æ¿ã€å››å£å±žäºŽå¤¹æ¿æˆ–石è†ç‰ˆæˆ–木æ¿é’‰æˆè€…，就是属于软调空间。什么是硬调空间？天花æ¿ã€åœ°æ¿ä»¥åŠå››å£éƒ½ä»¥é’¢ç‹æ°´æ³¥æˆ–ç –ç Œçš„ç©ºé—´ï¼Œå°±ç§°ç¡¬è°ƒç©ºé—´ã€‚å¤§éƒ¨ä»½å°æ¹¾çš„å±…ä½çŽ¯å¢ƒéƒ½å±žäºŽç¡¬è°ƒç©ºé—´ï¼›è€Œå¤§éƒ¨ä»½æ¬§ç¾Žã€æ—¥æœ¬çš„å±…ä½ç©ºé—´éƒ½å±žè½¯è°ƒç©ºé—´ã€‚ä¸ºä»€ä¹ˆè½¯è°ƒç©ºé—´ä¼šæ¯”ç¡¬è°ƒç©ºé—´å¥½å‘¢ï¼Ÿå› ä¸ºç¡¬è°ƒç©ºé—´æ— æ³•é€‚é‡çš„å¸æ”¶è¿‡å¤šçš„高频段与ä¸ä½Žé¢‘æ®µï¼Œé€ æˆè†å¬éŸ³ä¹æ—¶é«˜é¢‘段过于刺耳或ä¸ä½Žé¢‘段过于压迫的缺点。是å¦è½¯è°ƒç©ºé—´å°±æ¯«æ— 缺点呢？ä¸ï¼è½¯è°ƒç©ºé—´å¯èƒ½ä¹Ÿä¼šå˜åœ¨ä½Žé¢‘段å¸æ”¶è¿‡é‡ï¼Œäº§ç”Ÿä½Žé¢‘ä¸å¤Ÿç»“实的缺点。ä¸è¿‡ï¼ŒäºŒè€…相较，软调空间还是比较适åˆè†å¬éŸ³ä¹ã€‚
五ã€è¦å¦‚何把硬调空间转å˜ä¸ºè½¯è°ƒç©ºé—´å°æ¹¾ä¸€èˆ¬ä½å®¶éƒ½æ˜¯ä»¥é’¢ç‹æ°´æ³¥å»ºæˆçš„公寓或é€å¤©åŽï¼Œå¦‚æžœè¦å°†å°†ç¡¬è°ƒç©ºé—´è½¬åŒ–æˆè½¯è°ƒç©ºé—´ï¼Œé¦–å…ˆå¯ä»¥åŠ¨æ‰‹çš„就是四é¢å¢™å£ã€‚这四é¢å¢™å£å¯ä»¥è¯·æœ¨å·¥å¸ˆçˆ¶ç”¨çŸ³è†æ¿é’‰ä¸€ä¸ªå¤¹å±‚ï¼Œå¤¹å±‚é‡Œé“ºçŽ»ç’ƒçº¤ç»´æ£‰ã€‚è¿™æ ·çš„ä½œæ³•æ—¢ä¸ä¼šè€—去太多夹层空间，也å¯ä»¥å¤šä¸€å±‚的隔音效果。
石è†æ¿æ¯”木心æ¿å¥½ã€‚或许您会问，为什么ä¸ç”¨ä¸€èˆ¬æœ¨å¿ƒæ¿æˆ–薄夹æ¿æ¥é’‰å¤¹å±‚，而è¦ç”¨çŸ³è†æ¿æˆ–夹æ¿ï¼Ÿå› 为薄夹æ¿æˆ–木心æ¿å®¹æ˜“å¸æ”¶ä¸é¢‘段，而å¬éŸ³ä¹æ—¶ä¸é¢‘段的饱满éžå¸¸é‡è¦ï¼Œæ‰€ä»¥æˆ‘们å¯ä»¥é¿å¼€ç”¨è–„夹æ¿æˆ–木心æ¿ã€‚而石è†æ¿ç”±äºŽè´¨é‡è¾ƒé‡ï¼Œæ‰€å¸æ”¶çš„ä¸ä½Žé¢‘比较多，对于我们è†å¬éŸ³ä¹çš„è´Ÿé¢å½±å“比较å°ã€‚å†è€…，石è†æ¿æ˜¯é˜²ç«æ料，家里使用它æ¥åšå¤¹å±‚会比较安全。在æ¤ï¼Œæˆ‘æ供石è†æ¿ä¸Žå¤¹æ¿çš„å‡ ä¸ªå¸éŸ³çŽ‡ä»¥ä¾›æ‚¨å‚考：åŒæ ·æ˜¯9mmæ¿åŽšï¼Œç©ºæ°”层约45mm厚时，石è†æ¿åœ¨125Hz时的å¸éŸ³çŽ‡ä¸º0.26，å¯ä»¥å¤šå¸æ”¶ä¸€äº›ä¸ä½Žé¢‘驻波。而夹æ¿çš„å¸éŸ³çŽ‡æ‰0.11。而在250Hz时，石è†æ¿çš„å¸éŸ³çŽ‡å°±é™ä½Žäº†ï¼Œæ‰åªæœ‰0.13。到500Hzæ—¶å¸éŸ³çŽ‡åˆ™æ›´ä½Žï¼Œåªæœ‰0.08而已。相å的，夹æ¿åœ¨250Hz时，å¸éŸ³çŽ‡å°±é«˜è¾¾0.23。å‡è‹¥å¤¹æ¿çš„厚度é™ä½Žä¸º6mm，它在250Hz时的å¸éŸ³çŽ‡æ›´é«˜è¾¾0.33。从以上的å¸éŸ³çŽ‡æ¥çœ‹ï¼Œæ‚¨åº”该了解为什么我会建议采用石è†æ¿ã€‚
至于天花æ¿ä¸Žåœ°æ¿çš„作法，它们与四å£çš„作法åˆæœ‰ä¸åŒã€‚先说地æ¿ã€‚å°æ¹¾ç”±äºŽæ°”候潮湿，使用地毯比较ä¸é€‚当。å¦åˆ™ï¼Œåœ°æ¿ä¸Šé“ºåŽšåœ°æ¯¯ä¹Ÿæ˜¯è½¯åŒ–空间的方法之一。通常，一般居家的地æ¿éƒ½æ˜¯é“ºç£ç –或å†é’‰ä¸€å±‚实木地æ¿ã€‚您å¯ä»¥åœ¨è¿™æ ·çš„地æ¿ä¸Šé“ºä¸Šä¸€å—厚厚的羊毛地毯，地毯的大å°æœ€å¥½æ˜¯å¤§çº¦ä¸Žå–‡å至è†å¬ä½ç½®è¿™ä¸€å—空间的大å°ç›¸è¿‘。这一å—地毯的作用在于å¸æ”¶ä¸€äº›ä»Žå–‡å射到地æ¿ã€ä»¥åŠä»Žå¤©èŠ±æ¿å射到地æ¿çš„声波。通常，这å—地毯åªä¼šå¯¹ä¸é¢‘以上的频率有效，对于ä¸ä½Žé¢‘ã€ä½Žé¢‘是没有什么å¸æ”¶æ•ˆæžœçš„。ä¸è¿‡ï¼Œå› 为它å¸æ”¶äº†ä¸é¢‘ä»¥ä¸Šçš„é¢‘çŽ‡ï¼Œå› æ¤ä¹Ÿå°±æ”¹å˜äº†äººè€³å¯¹äºŽä¸é¢‘以下频率的å¬æ„Ÿï¼Œæ‰€ä»¥å¬èµ·æ¥å¥½è±¡æ•´ä½“都会改å˜ä¸€èˆ¬ã€‚
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Based on the above findings, audio fans can clearly know that even if the same audio equipment is used, different sound characteristics will occur as long as the sound space is different. These different sound characteristics are like different concert halls. As long as they are successful concert halls, they will have their own charming sound charm. The same, as long as it is a successful sound space, it will have its own charming sound charm. Often, a successful sound space is like a successful concert hall, and it is impossible to meet. You have to go through a detailed plan to build a concert hall or sound space, but this does not guarantee that you will get fascinating sound characteristics.
Second, rational audio fans should minimize their exclusivity. Every audio fan will inevitably have a habit and preference for listening to their own acoustic space because they are in their own audio space for a long time. At the same time, it is natural to judge the sound space of others and the listening habits and preferences of others based on their own listening habits and preferences. When you use your own " sound space sound characteristics", "listening habits" and "preference" as the standard to make negative judgments on others, don't forget, others can also use this foothold to make negative judgments on you. . Therefore, when you hear the sound performance different from your own, the first thing to do is not the exclusive argument, but the reflection. With reflection, trying to discover the beauty of the others sound effects.
Third, the sound effects sound space should be based on live music as the standard, and this standard is not the only sound in the end the quality of the sound effects in space there is no recognized standard? If not, isn’t there a lot of different opinions? Of course, there is a sound effect is good or bad standard, but please note that this is not the only criterion of good or bad, but multiple. Sound good and bad effects of the standard where? It is the performance of live music. Any canned fruit juice that tastes like the original fruit must be judged on the basis of fresh fruit flavor. Similarly, any good music software playback sound effect is not good, it must be based on the performance of live music as the standard to judge.
However, the beauty of the sound effects of live music is not the only, but multiple. In terms of classical music, there are a number of recognized outstanding concert hall acoustics in the world, they have different sound characteristics. Some are warm, some are full, some are clear and transparent, some are rich in low frequency, some have high intimacy (sounding is very good, the instrument seems to be very close to you). In any case, the sound characteristics of these concert halls are different.
In the home of the audio fans, the sound effects of the "unknown recording site sound characteristics", "recording equipment sound characteristics", "playback audio equipment sound characteristics", and "sound characteristics of the sound space" make the sound fans simply not qualified to discuss someone's sound effect is "true." The fans can focus on the sound, it is to discuss someone's sound effect is "beauty." The standard of "beauty" is based on the performance of live music, and it is a multiple beauty and multiple standards.
Fourth, soft-tuning space is better than hard-tuning space. What is soft-tuning space? Floors, ceilings, and four walls belonging to the splint or gypsum board or wood nails are soft-tuned spaces. What is hard-tuning space? The ceiling, the floor and the walls are all made of reinforced concrete or brick, which is called hard-adjusted space. Most of Taiwan's living environment is hard-tuned; most of the living spaces in Europe, America and Japan are soft-tuned. Why is soft-tuning space better than hard-tuning space? Because the hard-adjusted space can't absorb too many high-frequency bands and low-medium frequency bands in an appropriate amount, it causes the high frequency band to be too harsh or too low pressure in the middle and low frequency bands when listening to music. Is there any shortcoming in soft-tuning space? Do not! Soft-tuning space may also have the disadvantage of excessive absorption in the low frequency band, resulting in insufficient low frequency. However, compared to the two, soft-tuning space is more suitable for listening to music.
V. How to transform the hard-adjusted space into a soft-tuned space. Taiwan's general homes are all built with reinforced concrete or through the sky. If you want to transform the hard-adjusted space into a soft-tuned space, you can first start with four walls. On these four walls, the carpenter can use a plasterboard to nail a sandwich and a fiberglass cotton in the interlayer. This approach does not consume too much mezzanine space, but also a layer of sound insulation.
Gypsum board is better than wooden board. Perhaps you will ask, why not use a general wooden core board or a thin splint to nail the interlayer, but use a plasterboard or splint? Because thin splints or wooden cores are easy to absorb the mid-range, and the full mid-range is very important when listening to music, we can avoid thin splints or wooden cores. Because of the heavier quality of gypsum board, the absorption of the medium and low frequency is more, and the negative impact on listening to music is relatively small. Furthermore, the gypsum board is a fireproof material, and it is safer to use it for sandwiching at home. Here, I provide several sound absorption rates for gypsum board and splint for your reference: the same is 9mm plate thickness, the air layer is about 45mm thick, the gypsum board has a sound absorption rate of 0.26 at 125Hz, which can absorb some medium and low frequency stations. wave. The sound absorption rate of the splint is only 0.11. At 250 Hz, the sound absorption rate of the gypsum board is reduced to only 0.13. The sound absorption rate is lower at 500 Hz, only 0.08. Conversely, at 250 Hz, the sound absorption rate is as high as 0.23. If the thickness of the splint is reduced to 6 mm, its sound absorption rate at 250 Hz is as high as 0.33. From the above sound absorption rate, you should understand why I would recommend plasterboard.
As for the ceiling and floor, they are different from the four walls. Let me talk about the floor first. Due to the humid climate in Taiwan, the use of carpets is not appropriate. Otherwise, thick carpeting on the floor is one of the ways to soften the space. Usually, the floor of a home is usually tiled or nailed with a solid wood floor. You can put a thick wool carpet on the floor. The size of the carpet is preferably about the same size as the space from the horn to the listening position. The role of this carpet is to absorb some sound waves that are emitted from the horn to the floor and from the ceiling to the floor. Usually, this carpet will only be effective for frequencies above the intermediate frequency, and it has no absorption effect for low and medium frequencies. However, because it absorbs frequencies above the intermediate frequency, it also changes the human ear's sense of hearing at frequencies below the mid-frequency, so it sounds like the whole will change.
The mineral fiber board is cheap and easy to use. When it comes to the ceiling, the cheapest way is to use a light steel frame and a mineral fiber board. Its role is mainly in the absorption of medium and high frequency bands in the appropriate amount, and has little effect on the frequency bands below the intermediate frequency. If you think that the mineral fiber board is not good enough, you can also ask the woodworker to use the thin splint to make the ceiling shape. Please pay attention to avoid the concave shape, and make more convex shapes or curved shapes. Because the concave shape will make the sound gather somewhere, and the convex or curved shape can spread the sound wave. It is also worth noting that the shape of these ceilings is best not to be connected together in a single piece. This method will reduce the frequency range of absorption and affect the fullness of the mid-range. The correct approach should be to divide the ceiling into several zones and design the shape with the principle that each zone is not connected.
Sixth, after hard-adjusting and soft-tuning, how to deal with the surface of the space, after changing the sound space from hard to soft, then follow the principle of "Liu's good song", with the method of "pre-hardening and then diffusing" To do the surface treatment.
The back wall of the horn is hard. The so-called "pre-hard" refers to the front section of the room (that is, the section between the back wall of the horn and the horn). It is best not to do too much absorption, because this method will absorb the sound energy emitted by the horn, making it expand. The machine must have a larger output power and we will feel that the sound is strong enough. If the wall is hard, we only need a smaller amplifier, and then combine it into a strong enough sound by the reflection of the back wall.
There will be a question here? The front is not to say that the four walls are to be nailed to the softboard space? Isn't this contradicting the "pre-hard" that is required now? Whether the contradiction should be judged according to the actual situation, if the back wall of the horn is just a floor-to-ceiling window, of course, the plasterboard cannot be nailed. If the back wall of the horn is a half window, the plasterboard can be nailed or nailed (avoid the window to nail, do not seal the window, this will hinder the light and the air.) The above two situations can also make the back wall Keep it in a hard-toned state.
The more important thing to consider is that when the back wall of the horn is originally a wall, do you want to nail the plasterboard? If the power of your amplifier is not large, the speaker is not too big. I suggest that this wall should not be plastered. On the contrary, it can be nailed together.
Turn back. If you are listening to music and have already done sound absorption on the two side walls, you still feel that the sound is too sharp and too forward. At this time, you must hang a thicker material with high frequency absorption on the back wall of the speaker. This method will only absorb frequencies above the medium and high frequency bands, and will not have a negative impact on the mid-range. Therefore, it does not violate the principle of “before hardâ€.
The side walls are to be absorbed. The so-called "middle suction" is to perform sound absorbing surface treatment on the two side walls between the horn and the listening position. Why is this two side walls to absorb sound? Because this area is the source of the first reflected sound after the speaker makes a sound. If the first reflected sound is too strong, it will interfere with the direct sound and affect the clarity of the positioning. In addition, because the first reflection sound is too much, it will also cause pressure on the human ear above the middle and high frequency. The most direct feeling is that the sound is too bright and too harsh.
It is a mistake to have many acoustic fans in this section of the two side walls with wooden or Polyron's secondary residual diffuser. Because the diffuser plates of wood or bolsters do not contribute to the absorption of the first reflection, they only have a diffusing effect. If a secondary residual diffuser is to be used, a soft diffuser wrapped with a thick surface should be used, which has an absorption effect on the mid-high frequency band in addition to the diffusion effect. There are many ways to "suck", and the individual is ingeniously different. The Gaoming people can combine the interior decoration to create a sense of beauty. If ordinary people want to do simple things, they can also hang some soft materials, which can also meet the requirements of “suckingâ€. I would like to remind readers that the general curtain fabrics do not play a big role in absorption, because they are too thin, and most of them are not high-fiber soft materials, you just spend money. If you want to hang sound-absorbing materials on the two side walls, at least the material like terry cloth is effective.
As far as I know, the cheapest and effective material is fiberglass cotton. For example, a glass fiber cotton having a thickness of 5 cm and a weight of 20 kg per cubic meter has a sound absorption rate of 0.85 at frequencies above 500 Hz. You can frame the fiberglass cotton and wrap it up (do not expose it) as an image frame. This is the first reflection of the sound absorber of the two side walls. Listen to the back of the position to spread. What is "post-diffusion"? The so-called post-diffusion is to spread from the listening position to the area of ​​the back wall. In recent years, everyone knows that the secondary residual diffuser is a good diffusion tool. However, it is not known that the number of diffusers used will be sufficient. A common situation is that only a diffuser plate is placed there. This practice only produces psychological self-comforting effects and does not achieve sufficient diffusion effect. The more correct approach is to have two diffuser plates in the two corners of the back wall, and a diffuser plate in the center of the back wall, so that a total of five can add up to achieve true diffusion.
Perhaps you will ask, where is the benefit of proliferation? If the sound waves are evenly diffused, theoretically the sound reflections you hear across the listening area are average, and your listening position is not limited to one “emperor positionâ€. Moreover, after the sound waves are evenly diffused in the acoustic space, the sound quality, the timbre, the sense of layering, the sense of depth, and the like, the performance of the " sound twenty" is enhanced.
Here to remind the reader of two things: First, not only the quadratic residue diffuser has the effect of diffusing sound waves, any bevel, convex or arc will have the effect of diffusing sound waves. However, the frequency range in which the quadratic remainder is diffused is relatively wide. So, in your sound space, you can match a variety of shapes to achieve the requirements of diffuse sound waves. Second, if you do all kinds of processing, you still feel that the sound is too sharp. At this time, I am afraid that the area behind the listening position will be sound-absorbing. At this point, your sound space will form a "front end live, back end dead" situation, so that the sound will be strong and noisy.
Seventh, reflection, absorption and diffusion must skillfully use the principle of “pre-hard-absorption and post-diffusion†discussed above. In fact, it is the three major principles of surface treatment: “reflectionâ€, “absorption†and “diffusion†in acoustic space. These three tools must be used flexibly and try to use your imagination under the broad principles. Here I would like to remind you that when you want to imitate the treatment of others, you must first carefully evaluate whether the sound characteristics, conditions and the likes of your own audio space are the same as others. Otherwise, the result of random imitation will usually end in failure. For example, if you have followed the above principles, you still feel that the high frequency band is too bright and too harsh. At this time, you can learn Liu Renyang, a consultant of this magazine, and apply a large amount of green cloth in the room to absorb the high frequency band. On the other hand, if you already feel that the sound is a bit boring and not bright enough, then if you put a large amount of cloth on it at this time, it will be counterproductive.
Remember, we carefully modulate the reflection, absorption, and diffusion of sound waves in order to get the sounds of "warm," "full," "soft," "rich," "clear," and "transparent." If you hear sharp, harsh, thin, white hot sounds, listening to music will be a painful trial, not a relaxing experience.
Eight, the quadratic residue diffuser is very easy to use before the second remainder, let's talk about diffusion. The so-called diffusion is that the sound waves emitted by the horns are reflected into the reflector from that direction, and the sound waves are evenly reflected in all directions. Therefore, diffusion can be said to be non-directional. What about general sound wave reflection? Usually oriented. For example, a slope is used to reflect sound waves. Theoretically, as long as the length of a reflecting surface is greater than the wavelength of the acoustic wave, all frequencies having a smaller wavelength than the reflecting surface will be reflected in a certain direction.
From the above description, you can understand that in the acoustic space of the audio fan, what we need is diffusion, not directional reflection. Because the diffusion will make the sound waves in the room more uniform, and the directional reflection will only affect a certain part. Then, what is the second remainder? Its English is Quadratic Residue. This name comes from the calculation formula hn = (λ0/2N)?Sn, where Sn is the remainder of n square divided by N. Where λ0 is the center frequency wavelength at which diffusion is desired (for example, center frequency at 1000 Hz), and N is the number of diffuser grids (ie, step) that you determine. Please note that the number of steps must be prime, such as 7, 11, 13, 19, 23, 29... and so on. n is 0,1,2,3,4,5,6,7,... Hn is the height of n step. The benefit is that the spread is very wide. In fact, telling readers that the simple formula of the second remainder diffusion may not help you understand the spread of sound waves. My main purpose is to let you know the origin of the noun. There are many types of diffusers based on this theory, including diffusion for specific use, diffusion and absorption, and diffusion, absorption and reflection. In addition, in addition to the use of the wall, there are also ceilings.
Why is the secondary remainder diffuser popular in recent years? Because it has a diffusion characteristic: if the center frequency is used, the lower limit of its diffusion range can extend down to about half the frequency below the center frequency (if the center frequency is 1000 Hz, the half frequency is 750 Hz), the upper limit is very high. , can reach (N-1) times the center frequency. Assuming that the center frequency is 1000 Hz and the step of the quadratic residue diffuser is 7, the upper limit of the diffusion range is about 6000 Hz.
Seeing here, I think you already know that the quadratic residue diffusers that are generally seen outside are almost all frequencies above the intermediate frequency; and the more the number of steps (the number of steps here is a single group, not two) The sum of the three groups of groups), the upper limit of the diffusion frequency is higher. In addition, why no one will do three or five steps? Because its upper limit of diffusion is relatively low.
Nine, big space is better than small space. Why is a large space better than a small space? The reason is very simple, because the volume of the large space is large, the sound waves emitted by the horn are less distorted by the boundary (six-sided wall), and the sound you get will be more correct. That's why if we use computer software for horn testing, we usually have to ask for measurements in larger spaces. Because the sound waves have less distortion of the boundary, the test results will be more accurate. Many people don't know. In fact, the effective value of many speaker computer test software is only above 300Hz. The frequency below 300Hz is easy to be interfered by the inner boundary of the space because of the long wavelength, which makes the test value unreliable. The goal of the non-sounding room is to completely eliminate the interference of the space boundary in theory, so that the test results are accurate and credible.
In the average person's home, the large space is the open space shared by the living room and the restaurant. The small space is a specially designed sound room or general room. In the large space, what we need to consider is the multi-functional sharing of space, the interference during listening, and whether the low-frequency sense of the speaker is sufficient. If you can properly deploy, the sound you get will usually be easier, more uniform and correct, and the ability to snorkel down will be stronger. As for standing waves, even large spaces cannot be completely avoided, but the degree of harm will be relatively reduced.
In a small space, the sound waves emitted by the horn are severely distorted by the boundary, and the damage of the standing wave is far greater than that in the large space, and the extension of the low frequency band is always limited. However, due to the small size of the small space, it is not necessary to use a high-power amplifier and a large speaker, and the space arrangement is relatively trouble-free.
Ten, things are much better than things. This does not mean that the more equipment, the better, but the more things in the sound space, the better. However, the more things you have, the more you have to organize them. Don't just throw them away, causing the whole room to be messy. Why is the more things in the sound space the better? Because these things will naturally absorb and reflect the sound waves, and achieve the effect of naturally regulating the indoor reverberation. Keep in mind that the heavier the quality, the more it absorbs the mid-low or low-frequency, and sometimes solves some of the low-frequency standing waves. For example, cabinets, sofas, bookshelves, CD stands, etc. all have this function. The multi-fiber, porous and soft surface has an absorption effect on high frequencies, such as the surface of a flannel sofa, a velvet carpet, and the like.
If there are few things in the sound space, there is only one set of sound and a few CDs and a sofa. The space of such a spring is easy to produce shortcomings such as long echo, high frequency, and false sound. Similarly, if all kinds of cabinets in the sound space are equipped with glass doors, too many high-frequency reflections will occur. Therefore, it is best not to have glass doors for all kinds of cabinets in the sound space.
XI, the proportion of the sound space is important? The proportion of the so-called audio space, the average person will get used to the so-called "golden ratio." In fact, the word "gold" here only represents precious and rare, and has nothing to do with the real "golden ratio". Why should the sound space pay attention to the ratio of length to width? If the ratio is correct and correct, the standing wave intensity in the acoustic space can be minimized, and the interference of the medium and low frequency standing waves to the listening music can be reduced. Therefore, if you have the opportunity to decorate an undisturbed dedicated sound room, of course, you should pay attention to the length, width and height of the space. The innate conditions are first available, and the adjustment of the day after tomorrow, the effect of the sound space will of course be superior.
What is the ratio of the best golden ratio? If you want to be simple, as long as the values ​​of length, width and height do not double each other. To put it bluntly, these three values ​​cannot be removed from each other. If you pay attention to it, you have to carry some simple numbers, which are all related numbers that are calculated by computer and have low standing wave strength. You can remember the following three groups: A. 1.00: 1.14: 1.39; B. 1.00: 1.28: 1.54; C. 1.00: 1.60: 2.33. The 1.00 of the above three sets of numbers represent the height of the room, and the other two are width and length respectively. From a numerical point of view, you can see that this is a ratio of the space of three different sizes. In the end, you should use that ratio, depending on how much space you have.
Twelve, the standing wave should only be taken by wisdom, and what is the purpose of not doing the standing wave? Simply put, standing waves are sound waves that do not go away. Lai, don't you go there? Lay between two opposing parallel walls. There are three sets of opposing parallel walls in one space, so there will be three sets of standing waves mixed together in one sound space.
In fact, the standing wave is the resonance phenomenon of space. As long as the distance between two opposing parallel walls is equal to an integral multiple of half wavelength, resonance will occur, that is, standing wave. For example, a distance of 5 meters is half the wavelength of 34Hz (the speed of sound is 340 meters per second divided by the frequency of 34Hz is 10 meters of full wavelength), such a length will be 2, 3, 4 at 34Hz, Standing waves are generated at 5, 6, ... times. That is, standing waves are generated at 34 Hz, 68 Hz, 102 Hz, 136 Hz, and the like.
If the standing waves generated by the three parallel walls in the space overlap each other, a stronger standing wave will be formed. This stronger overlapping standing wave is the standing wave commonly known by our audio fans. For example, if three parallel walls have exactly 102 Hz standing waves, then the strongest standing wave in this acoustic space is 102 Hz.
In fact, standing waves in the acoustic space will not only occur on parallel walls, but also on the length of the diagonal. Therefore, when the horn is playing music, the standing waves generated in the acoustic space are very complicated. Fortunately, audio fans don't need to understand the complex standing waves, you only need to know the cause of the standing wave formation.
Why do I say that the standing wave should only be taken by wisdom, not to do it? First, standing waves are not just a single frequency. They are so wide that you can't accurately “offset†them with some kind of facility. Second, the standing wave energy is very strong, usually more than ten dB higher than the sound pressure of normal music. Such a strong sound pressure is not at all compatible with the tuning skills used to "fine-tune". Therefore, based on my many years of experience, the best way for audio fans to deal with standing waves is to avoid it. What method to avoid? Avoid using the horn to position and change the listening position.
If I have to use some measure to reduce a strong standing wave, can it be successful? If you want to do it at no cost, of course there are many methods developed by the predecessors. For example, if you want to absorb 102Hz, you should use the formula to calculate, what kind of sound-absorbing material, how to install it, and how much to absorb it. In the studio, there are many such facilities that absorb low and low frequencies. Alternatively, you can design a large quadratic residue diffuser that specifically spreads the lower frequency bands. However, it is still an old saying that the amount absorbed is not only impossible to control accurately, but also has a negative impact on adjacent frequency bands.
Here I want to emphasize again: the most effective way to deal with standing waves is to build a sound space of the right proportion. If there is no chance to build, the most trouble-free and clever way is to avoid it by "trumpet placement" and "changing the listening position." Many people are very "iron teeth", but they don't believe in evil. They want to confront the standing waves. To be honest, I have already passed the "iron teeth". My experience is the old man's words. If you don't listen to the old saying, you will lose money in front of you.
Thirteen, the sound space should consider the reverberation time problem? What is the reverberation? "Reverberation" in English is Reverberation, and Chinese also has reverberation or reverberation. On the surface, the reverberation seems to be the same thing as the echo and the hall sound, but it is not. Echo means that when a sound is emitted, we can hear another identical sound later, just as the sound comes out and comes back, so it is called echo. Ambience refers to the enveloping atmosphere of music in a concert hall, which consists of the first reflected sound after the sound is emitted and the reflected sound later. By the time when the first reflection is transmitted back to the ear, we can roughly judge the size of the space. The reverberation has a strict definition of reverberation, which, as the name suggests, is of course a response that remains in space after the sound is emitted. However, it also comes with a strict rule: when a sound source emits a sound, the sound intensity is reduced to the time when only the initial negative 60dB intensity, we call it the reverberation time. Note that no, the key figure is "negative 60dB intensity." This is what the average person calls RT-60.
What is the importance of reverberation time for listening to music? Although it does not represent everything that sounds perform, it has a great influence on the "quality" of sound. For example, the sound sounds warm or not, full or not, clear or not; or brighter, more gorgeous, and so on. In the modern concert hall design, the reverberation time is usually set at about 2 seconds.
This post comes from Zhongguancun online product forum: http://group.zol.com.cn/, this post address: http://group.zol.com.cn/3/34_26107.html the relationship between sound and space, each Each sound space has its own different sound characteristics. Each sound space is like everyone, and it has different sound characteristics. People will have different sounds due to the structure of the vocal cords and the different resonances of the abdominal cavity. In the same way, each sound space will have its own unique sound characteristics due to different space size, proportion and interior decoration. In other words, the voices of two people sound the same: in the same way, there are very few sounds in two acoustic spaces that sound the same.
Based on the above findings, audio fans can clearly know that even if the same audio equipment is used, different sound characteristics will occur as long as the sound space is different. These different sound characteristics are like different concert halls. As long as they are successful concert halls, they will have their own charming sound charm. The same, as long as it is a successful sound space, it will have its own charming sound charm. Often, a successful sound space is like a successful concert hall, and it is impossible to meet. You have to go through a detailed plan to build a concert hall or sound space, but this does not guarantee that you will get fascinating sound characteristics.
Second, rational audio fans should minimize their exclusivity. Every audio fan will inevitably have a habit and preference for listening to their own acoustic space because they are in their own audio space for a long time. At the same time, it is natural to judge the sound space of others and the listening habits and preferences of others based on their own listening habits and preferences. When you use your own " sound space sound characteristics", "listening habits" and "preference" as the standard to make negative judgments on others, don't forget, others can also use this foothold to make negative judgments on you. . Therefore, when you hear the sound performance different from your own, the first thing to do is not the exclusive argument, but the reflection. With reflection, trying to discover the beauty of the others sound effects.
Third, the sound effects sound space should be based on live music as the standard, and this standard is not the only sound in the end the quality of the sound effects in space there is no recognized standard? If not, isn’t there a lot of different opinions? Of course, there is a sound effect is good or bad standard, but please note that this is not the only criterion of good or bad, but multiple. Sound good and bad effects of the standard where? It is the performance of live music. Any canned fruit juice that tastes like the original fruit must be judged on the basis of fresh fruit flavor. Similarly, any good music software playback sound effect is not good, it must be based on the performance of live music as the standard to judge.
However, the beauty of the sound effects of live music is not the only, but multiple. In terms of classical music, there are a number of recognized outstanding concert hall acoustics in the world, they have different sound characteristics. Some are warm, some are full, some are clear and transparent, some are rich in low frequency, some have high intimacy (sounding is very good, the instrument seems to be very close to you). In any case, the sound characteristics of these concert halls are different.
In the home of the audio fans, the sound effects of the "unknown recording site sound characteristics", "recording equipment sound characteristics", "playback audio equipment sound characteristics", and "sound characteristics of the sound space" make the sound fans simply not qualified to discuss someone's sound effect is "true." The fans can focus on the sound, it is to discuss someone's sound effect is "beauty." The standard of "beauty" is based on the performance of live music, and it is a multiple beauty and multiple standards.
Fourth, soft-tuning space is better than hard-tuning space. What is soft-tuning space? Floors, ceilings, and four walls belonging to the splint or gypsum board or wood nails are soft-tuned spaces. What is hard-tuning space? The ceiling, the floor and the walls are all made of reinforced concrete or brick, which is called hard-adjusted space. Most of Taiwan's living environment is hard-tuned; most of the living spaces in Europe, America and Japan are soft-tuned. Why is soft-tuning space better than hard-tuning space? Because the hard-adjusted space can't absorb too many high-frequency bands and low-medium frequency bands in an appropriate amount, it causes the high frequency band to be too harsh or too low pressure in the middle and low frequency bands when listening to music. Is there any shortcoming in soft-tuning space? Do not! Soft-tuning space may also have the disadvantage of excessive absorption in the low frequency band, resulting in insufficient low frequency. However, compared to the two, soft-tuning space is more suitable for listening to music.
V. How to transform the hard-adjusted space into a soft-tuned space. Taiwan's general homes are all built with reinforced concrete or through the sky. If you want to transform the hard-adjusted space into a soft-tuned space, you can first start with four walls. On these four walls, the carpenter can use a plasterboard to nail a sandwich and a fiberglass cotton in the interlayer. This approach does not consume too much mezzanine space, but also a layer of sound insulation.
Gypsum board is better than wooden board. Perhaps you will ask, why not use a general wooden core board or a thin splint to nail the interlayer, but use a plasterboard or splint? Because thin splints or wooden cores are easy to absorb the mid-range, and the full mid-range is very important when listening to music, we can avoid thin splints or wooden cores. Because of the heavier quality of gypsum board, the absorption of the medium and low frequency is more, and the negative impact on listening to music is relatively small. Furthermore, the gypsum board is a fireproof material, and it is safer to use it for sandwiching at home. Here, I provide several sound absorption rates for gypsum board and splint for your reference: the same is 9mm plate thickness, the air layer is about 45mm thick, the gypsum board has a sound absorption rate of 0.26 at 125Hz, which can absorb some medium and low frequency stations. wave. The sound absorption rate of the splint is only 0.11. At 250 Hz, the sound absorption rate of the gypsum board is reduced to only 0.13. The sound absorption rate is lower at 500 Hz, only 0.08. Conversely, at 250 Hz, the sound absorption rate is as high as 0.23. If the thickness of the splint is reduced to 6 mm, its sound absorption rate at 250 Hz is as high as 0.33. From the above sound absorption rate, you should understand why I would recommend plasterboard.
As for the ceiling and floor, they are different from the four walls. Let me talk about the floor first. Due to the humid climate in Taiwan, the use of carpets is not appropriate. Otherwise, thick carpeting on the floor is one of the ways to soften the space. Usually, the floor of a home is usually tiled or nailed with a solid wood floor. You can put a thick wool carpet on the floor. The size of the carpet is preferably about the same size as the space from the horn to the listening position. The role of this carpet is to absorb some sound waves that are emitted from the horn to the floor and from the ceiling to the floor. Usually, this carpet will only be effective for frequencies above the intermediate frequency, and it has no absorption effect for low and medium frequencies. However, because it absorbs frequencies above the intermediate frequency, it also changes the human ear's sense of hearing at frequencies below the mid-frequency, so it sounds like the whole will change.
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å‡è‹¥éŸ³å“空间内东西很少，åªæœ‰ä¸€å¥—音å“以åŠå‡ å¼ CDã€ä¸€å¼ æ²™å‘，这么阳春的空间很容易产生回音过长，高频太亮，声音虚而ä¸å®žçš„缺点。åŒæ ·çš„，如果音å“空间里的å„ç§æŸœå都装上玻璃门，也会产生过多的高频å射。所以音å“空间内的å„ç§æŸœå最好都ä¸è¦æœ‰çŽ»ç’ƒé—¨ã€‚
å一〠音å“空间的比例é‡è¦å—所谓音å“ç©ºé—´çš„æ¯”ä¾‹ï¼Œä¸€èˆ¬äººéƒ½ä¼šä¹ æƒ¯çš„ç§°ä¸ºâ€œé»„é‡‘æ¯”ä¾‹â€ã€‚事实上这里“黄金â€äºŒå—åªæ˜¯ä»£è¡¨ç贵难得而已，与真æ£çš„“黄金比例â€æ— 关。为什么音å“空间è¦è®²ç©¶é•¿å®½é«˜çš„比例呢？如果比例æ£ç¡®æ°å½“，å¯ä»¥å°†éŸ³å“空间内的驻波强度é™åˆ°æœ€ä½Žï¼Œå‡å°‘ä¸ä½Žé¢‘驻波对于è†èµéŸ³ä¹çš„干扰。所以，如果您有机会装修一间ä¸å—干扰的专用音å“室，当然è¦é¡ºä¾¿è®²ç©¶ç©ºé—´çš„长宽高比例。先天æ¡ä»¶å…ˆå…·å¤‡ï¼ŒåŠ 上åŽå¤©çš„布置调整， 音å“空间的效果当然就会高人一ç‰ã€‚
åˆ°åº•æ€Žä¹ˆæ ·çš„æ¯”ä¾‹æ‰æ˜¯æœ€å¥½çš„黄金比例呢？如果è¦ç®€å•ç‚¹ï¼Œåªè¦æ˜¯é•¿å®½é«˜çš„数值ä¸è¦äº’æˆå€æ•°å°±å¯ã€‚说得白è¯äº›ï¼Œ è¿™ä¸‰ä¸ªæ•°å€¼ç›¸äº’æ— æ³•é™¤å°½å³å¯ã€‚若是讲究些，则è¦èƒŒä¸€äº›ç®€å•çš„æ•°å—，这些数å—都是以计算机计算过，驻波强度很低的相关数å—。您å¯ä»¥è®°ä½ä»¥ä¸‹ä¸‰ç»„：A. 1.00 : 1.14 : 1.39ï¼›B. 1.00 : 1.28 : 1.54ï¼›C. 1.00 : 1.60 : 2.33。以上三组数å—çš„1.00代表ç€æˆ¿é—´çš„高度，其余二个分别为宽与长。从数å—上看，您å¯ä»¥å‘现这是三个容积大å°ä¸åŒçš„空间比例，到底è¦ç”¨é‚£ä¸€ç§æ¯”例，那就看您有多大的空间而定了。
å二〠驻波åªå®œæ™ºå–，ä¸è¦è›®å¹²é©»æ³¢æ˜¯ä»€ä¹ˆçŽ©æ„？简å•çš„说，驻波就是赖ç€ä¸èµ°çš„声波。赖在那里ä¸èµ°å‘¢ï¼Ÿèµ–在二个对立的平行墙é¢ä¹‹é—´ã€‚一个空间有三组对立的平行墙é¢ï¼Œæ‰€ä»¥ï¼Œä¸€ä¸ªéŸ³å“空间就会有三组驻波混在一起。
其实，驻波就是空间的共振现象，åªè¦äºŒå¯¹ç«‹å¹³è¡Œå¢™é¢çš„è·ç¦»ç‰äºŽåŠæ³¢é•¿çš„æ•´å€æ•°ï¼Œå°±ä¼šäº§ç”Ÿå…±æŒ¯ï¼Œä¹Ÿå°±æ˜¯é©»æ³¢ã€‚ã€ä¾‹å¦‚，一个5公尺长的è·ç¦»å°±æ˜¯34Hzçš„åŠæ³¢é•¿ï¼ˆå£°éŸ³çš„速度æ¯ç§’340公尺除以频率34Hz就是全波长10å…¬å°ºï¼‰ï¼Œè¿™æ ·çš„é•¿åº¦å°±ä¼šåœ¨34Hzçš„2, 3, 4, 5, 6, …å€å¤„产生驻波。也就是在34Hz, 68Hz, 102Hz,136Hz…ç‰å¤„产生驻波。
å‡è‹¥ï¼Œç©ºé—´å†…三组平行的墙é¢ä¸ªåˆ«æ‰€äº§ç”Ÿçš„驻波有相互é‡å 之处，那就会形æˆæ›´å¼ºçš„驻波。这个更强的é‡å 驻波就是我们音å“迷俗称的驻波。例如，如果三个平行墙é¢æ°å¥½éƒ½æœ‰102Hz的驻波，那么，这个音å“空间ä¸æœ€å¼ºçƒˆçš„驻波就是102Hz。
事实上， 音å“空间内的驻波ä¸ä»…会å‘生在平行墙é¢ä¸Šï¼Œä¹Ÿä¼šå‘生在对角线的长度上。所以，当喇å在æ’放音ä¹æ—¶ï¼Œ 音å“空间内所产生的驻波是éžå¸¸å¤æ‚的。幸好， 音å“迷并ä¸éœ€è¦äº†è§£é‚£ä¹ˆå¤æ‚的驻波，您åªéœ€è¦çŸ¥é“驻波形æˆçš„åŽŸå› å°±å¯ä»¥äº†ã€‚
为什么我说驻波åªå®œæ™ºå–，ä¸è¦è›®å¹²ï¼Ÿç¬¬ä¸€ï¼Œé©»æ³¢å¹¶ä¸æ˜¯åªæœ‰å•ä¸€é¢‘çŽ‡è€Œå·²ï¼Œå®ƒçš„èŒƒå›´å¾ˆå¹¿ï¼Œæ‚¨æ— æ³•ä»¥æŸç§è®¾æ–½åŽ»å‡†ç¡®çš„“抵销â€å®ƒä»¬ã€‚第二，驻波的能é‡å¾ˆå¼ºï¼Œé€šå¸¸ä¼šæ¯”æ£å¸¸éŸ³ä¹çš„音压还高åå‡ dBä»¥ä¸Šã€‚è¿™ä¹ˆå¼ºçš„éŸ³åŽ‹æ ¹æœ¬ä¸æ˜¯ä»¥ç”¨æ¥â€œå¾®è°ƒâ€çš„调声秘技所能够应付的。所以，ä¾æˆ‘多年的ç»éªŒï¼Œ 音å“迷对付驻波最好的方法就是é¿å¼€å®ƒã€‚用什么方法é¿å¼€å‘¢ï¼Ÿç”¨å–‡å摆ä½ä»¥åŠå˜æ¢è†å¬ä½ç½®çš„æ–¹å¼æ¥é¿å¼€ã€‚
å‡è‹¥æˆ‘硬è¦ç”¨æŸç§æŽªæ–½æ¥é™ä½ŽæŸä¸ªå¼ºçƒˆçš„驻波，是ä¸æ˜¯å¯ä»¥æˆåŠŸï¼Ÿå¦‚果您想ä¸è®¡ä»£ä»·åŽ»åšï¼Œå½“然有许多å‰äººç ”究出æ¥çš„方法。例如å‡è‹¥è¦å¸æ”¶102Hz，就è¦åˆ©ç”¨å…¬å¼è®¡ç®—，用什么å¸éŸ³ææ–™ã€æ€Žä¹ˆå®‰ç½®æ³•ï¼Œç”¨é‡å¤šå°‘去å¸æ”¶å®ƒã€‚在录音室ä¸ï¼Œå¤šå°‘都会有这ç§å¸æ”¶ä¸ä½Žé¢‘与低频的设施。或者，您也å¯ä»¥è®¾è®¡ä¸€ä¸ªå¾ˆå¤§çš„二次余数扩散器，专门扩散较低的频段。ä¸è¿‡ï¼Œè¿˜æ˜¯é‚£å¥è€è¯ï¼Œå¸æ”¶çš„é‡ä¸ä»…æ— æ³•ç²¾ç¡®çš„æŽ§åˆ¶ï¼Œè¿˜ä¼šå¯¹é‚»è¿‘é¢‘æ®µåšè´Ÿé¢çš„å½±å“。
在æ¤æˆ‘è¦å†åº¦å¼ºè°ƒï¼šå¯¹ä»˜é©»æ³¢æœ€æœ‰æ•ˆçš„æ–¹å¼å°±æ˜¯å»ºé€ 一个比例æ°å½“的音å“空间。å‡è‹¥æ²¡æœ‰æœºä¼šå»ºé€ ，最çœäº‹ã€æœ€èªæ˜Žçš„方法就是以“喇å摆ä½â€ä¸Žâ€œå˜æ¢è†å¬ä½ç½®â€æ¥é¿å¼€å®ƒã€‚许多人很“é“齿â€ï¼Œååä¸ä¿¡é‚ªï¼Œå°±æ˜¯æƒ³è¦ä¸Žé©»æ³¢æ£é¢äº¤é”‹ã€‚è€å®žè¯´ï¼Œæˆ‘å·²ç»â€œé“齿â€è¿‡äº†ï¼Œæˆ‘çš„ç»éªŒå°±æ˜¯è€äººè¨€ã€‚如果您ä¸å¬è€äººè¨€ï¼Œåƒäºå°±ä¼šåœ¨çœ¼å‰ã€‚
å三〠音å“空间è¦è€ƒè™‘残å“时间问题å—什么是残å“？“残å“â€è‹±æ–‡æ˜¯Reverberation，ä¸æ–‡ä¹Ÿæœ‰ç§°æ··å“或余å“者。表é¢ä¸Šçœ‹ï¼Œæ®‹å“好象与回音ã€å ‚音是相åŒçš„东西，实则ä¸ç„¶ã€‚回音是指当一个声音å‘出åŽï¼Œæˆ‘们å¯ä»¥åœ¨ç¨åŽå¬åˆ°å¦ä¸€ä¸ªç›¸åŒçš„声音，就好象声音跑出去åŽåˆå›žæ¥äº†ï¼Œæ‰€ä»¥å«å›žéŸ³ã€‚å ‚éŸ³ï¼ˆAmbience）指的是在音ä¹åŽ…ä¸éŸ³ä¹çš„包围气氛，它是由声音å‘出之åŽçš„第一次å射音以åŠç¨åŽçš„å射音组æˆã€‚藉由第一次åå°„éŸ³ä¼ å›žè€³æœµçš„æ—¶é—´ï¼Œæˆ‘ä»¬å¯ä»¥æ¦‚略的判æ–该空间的大å°ã€‚残å“æœ‰ä¸¥æ ¼çš„å®šä¹‰è‡³äºŽæ®‹å“，顾åæ€ä¹‰ï¼Œå®ƒå½“然也是声音å‘出之åŽæ®‹ç•™åœ¨ç©ºé—´ä¸çš„å“应。ä¸è¿‡ï¼Œå®ƒè¿˜é™„å¸¦äº†ä¸€ä¸ªä¸¥æ ¼çš„è§„å®šï¼Œé‚£å°±æ˜¯ï¼šå½“ä¸€ä¸ªå£°æºå‘出声音之åŽï¼Œå£°éŸ³å¼ºåº¦é™ä½Žåˆ°åªæœ‰æœ€åˆçš„è´Ÿ60dB强度时的时间，我们就称它为为残å“时间。注æ„到没有，关键的数å—就是“负60dB的强度â€ã€‚这也就是一般人所称的RT-60。
到底残å“时间对于å¬éŸ³ä¹æœ‰ä»€ä¹ˆé‡è¦æ€§å‘¢ï¼Ÿè™½ç„¶å®ƒä¸èƒ½ä»£è¡¨å£°éŸ³è¡¨çŽ°çš„一切，但是它对于声音的“质â€å…·æœ‰å¾ˆå¤§çš„å½±å“力。例如声音å¬èµ·æ¥æ¸©æš–与å¦ã€é¥±æ»¡ä¸Žå¦ã€æ¸…晰与å¦ï¼›æˆ–者是比较明亮的ã€åŽä¸½çš„ç‰ç‰ã€‚在现代的音ä¹åŽ…设计ä¸ï¼Œæ®‹å“时间通常都订在2秒左å³ã€‚
本贴æ¥è‡ªä¸å…³æ‘在线产å“论å›ï¼šhttp://group.zol.com.cn/,本帖地å€ï¼šhttp://group.zol.com.cn/3/34_26107.html 音å“与空间的关系一〠æ¯ä¸ªéŸ³å“空间都有其ä¸åŒçš„声音特性æ¯ä¸€ä¸ªéŸ³å“空间就好象æ¯ä¸€ä¸ªäººï¼Œéƒ½ä¼šæœ‰å…¶ä¸åŒçš„å£°éŸ³ç‰¹æ€§ã€‚äººä¼šå› ä¸ºå£°å¸¦çš„ç»“æž„ï¼Œèƒ¸è…”è…¹è…”çš„ä¸åŒå…±é¸£è€Œäº§ç”Ÿä¸åŒçš„声音。åŒæ ·çš„，æ¯ä¸€ä¸ªéŸ³å“ç©ºé—´ä¹Ÿä¼šå› ä¸ºä¸åŒçš„空间大å°ã€æ¯”例ã€å®¤å†…装潢而拥有自己独特的声音特性。æ¢å¥è¯è¯´ï¼Œå¾ˆå°‘有二个人的声音å¬èµ·æ¥æ˜¯ä¸€æ ·çš„：åŒæ ·çš„，也很少会有二个音å“空间的声音å¬èµ·æ¥ä¸€æ ·ã€‚
基于以上的认知， 音å“è¿·å¯ä»¥æ¸…楚的知é“，å³ä½¿ä½¿ç”¨å®Œå…¨ç›¸åŒçš„音å“器æ，åªè¦æ˜¯éŸ³å“空间ä¸åŒï¼Œå°±ä¼šäº§ç”Ÿä¸åŒçš„声音特性。这些ä¸åŒçš„声音特性就好象ä¸åŒçš„音ä¹åŽ…，åªè¦æ˜¯æˆåŠŸçš„音ä¹åŽ…，就会拥有它们å„自迷人的声音é…力。相åŒçš„，åªè¦æ˜¯æˆåŠŸçš„音å“空间，也都会拥有自身迷人的声音é…力。通常，æˆåŠŸçš„音å“空间就好象æˆåŠŸçš„音ä¹åŽ…，是å¯é‡è€Œä¸å¯æ±‚的。您必须ç»è¿‡å‘¨è¯¦çš„计画去建构一个音ä¹åŽ…或音å“空间，但是这并ä¸ä¿è¯æ‚¨ä¸€å®šå¯ä»¥èŽ·å¾—迷人的声音特性。
二〠ç†æ€§çš„音å“迷应将自身的排他性é™åˆ°æœ€ä½Žæ¯ä¸€ä¸ªéŸ³å“迷，难å…ä¼šå› ä¸ºé•¿æœŸå¤„äºŽè‡ªå·±çš„éŸ³å“空间ä¸ï¼Œè€Œäº§ç”Ÿé€‚应自身音å“空间的è†ä¹ä¹ 惯与å好。åŒæ—¶ï¼Œä¹Ÿå¾ˆè‡ªç„¶çš„会以自身的è†ä¹ä¹ 惯与å好为基准，去评æ–别人的音å“空间与别人的è†ä¹ä¹ 惯ã€å好。当您以自身的“ 音å“空间声音特性â€ã€â€œè†ä¹ä¹ 惯â€ä»¥åŠâ€œå好â€ä¸ºæ ‡å‡†ï¼ŒåŽ»å¯¹åˆ«äººåšè´Ÿé¢è¯„æ–时，ä¸è¦å¿˜äº†ï¼Œåˆ«äººä¹ŸåŒæ ·å¯ä»¥åˆ©ç”¨è¿™æ ·çš„ç«‹è¶³ç‚¹å¯¹ä½ åšè´Ÿé¢è¯„æ–ã€‚å› æ¤ï¼Œå½“您å¬åˆ°ä¸åŒäºŽè‡ªèº«çš„声音表现时，首先è¦åšçš„并ä¸æ˜¯æ²¹ç„¶è€Œç”Ÿçš„排他论æ–，而是åæ€ã€‚藉由åæ€ï¼Œå°è¯•çš„去å‘现别人音å“效果的美处。
三〠音å“空间的音å“效果应以现场音ä¹ä¸ºæ ‡å‡†ï¼Œè€Œæ¤æ ‡å‡†å¹¶éžå”¯ä¸€åˆ°åº•éŸ³å“空间ä¸éŸ³å“效果的好åæœ‰æ²¡æœ‰ä¸€ä¸ªè®¤å®šæ ‡å‡†ï¼Ÿå¦‚æžœæ²¡æœ‰ï¼Œå²‚ä¸æ˜¯ä¼—说纷çºï¼ŒèŽ«è¡·ä¸€æ˜¯ï¼Ÿ 音å“效果当然有一个好åçš„æ ‡å‡†ï¼Œä½†æ˜¯è¯·æ³¨æ„，这个好åçš„æ ‡å‡†å¹¶ä¸æ˜¯å”¯ä¸€çš„，而是多é‡çš„。 音å“效果好åçš„æ ‡å‡†åœ¨é‚£é‡Œï¼Ÿåœ¨äºŽçŽ°åœºéŸ³ä¹çš„æ¼”å¥æ•ˆæžœã€‚任何ç½å¤´æžœæ±å–èµ·æ¥åƒä¸åƒåŽŸæ¥çš„æ°´æžœï¼Œéƒ½å¿…é¡»ä»¥æ–°é²œçš„æ°´æžœé£Žå‘³ä¸ºæ ‡å‡†åŽ»è¯„æ–。åŒæ ·çš„，任何的音ä¹è½¯ä»¶å›žæ”¾çš„音å“效果好ä¸å¥½ï¼Œä¹Ÿå¿…须以现场音ä¹çš„è¡¨çŽ°ä¸ºæ ‡å‡†åŽ»è¯„æ–。
然而，现场音ä¹çš„音å“效果之美并ä¸æ˜¯å”¯ä¸€çš„，而是多é‡çš„。就å¤å…¸éŸ³ä¹è€Œè¨€ï¼Œä¸–界上有许多公认音å“效果æ°å‡ºçš„音ä¹åŽ…，它们å„有ä¸åŒçš„声音特性。有的温暖，有的饱满，有的澄澈é€æ˜Žï¼Œæœ‰çš„低频丰富，有的声音亲密性高（å¬èµ·æ¥åŒ…围感很好，ä¹å™¨å¥½è±¡ç¦»æ‚¨å¾ˆè¿‘ï¼‰ã€‚æ— è®ºå¦‚ä½•ï¼Œè¿™äº›éŸ³ä¹åŽ…的声音特性å„有所美。
而在音å“迷的家ä¸ï¼Œç”±äºŽç»è¿‡â€œä¸å¯çŸ¥çš„录音场地声音特性â€ï¼Œâ€œå½•éŸ³å™¨æ声音特性â€ã€â€œå›žæ”¾éŸ³å“器æ声音特性â€ã€ä»¥åŠâ€œè‡ªèº«éŸ³å“空间的声音特性â€ç‰å››é‡å½±å“，使得音å“è¿·æ ¹æœ¬æ²¡æœ‰èµ„æ ¼åŽ»è®¨è®ºè°å®¶çš„音å“效果为“真â€ã€‚ 音å“迷所能够ç€åŠ›çš„，就是讨论è°å®¶çš„音å“效果为“美â€ã€‚而这个“美â€çš„æ ‡å‡†å°±æ˜¯ä»¥çŽ°åœºéŸ³ä¹çš„表现为准，而且是多é‡çš„美ã€å¤šé‡çš„æ ‡å‡†ã€‚
四〠软调空间比硬调空间好什么是软调空间？地æ¿ã€å¤©èŠ±æ¿ã€å››å£å±žäºŽå¤¹æ¿æˆ–石è†ç‰ˆæˆ–木æ¿é’‰æˆè€…，就是属于软调空间。什么是硬调空间？天花æ¿ã€åœ°æ¿ä»¥åŠå››å£éƒ½ä»¥é’¢ç‹æ°´æ³¥æˆ–ç –ç Œçš„ç©ºé—´ï¼Œå°±ç§°ç¡¬è°ƒç©ºé—´ã€‚å¤§éƒ¨ä»½å°æ¹¾çš„å±…ä½çŽ¯å¢ƒéƒ½å±žäºŽç¡¬è°ƒç©ºé—´ï¼›è€Œå¤§éƒ¨ä»½æ¬§ç¾Žã€æ—¥æœ¬çš„å±…ä½ç©ºé—´éƒ½å±žè½¯è°ƒç©ºé—´ã€‚ä¸ºä»€ä¹ˆè½¯è°ƒç©ºé—´ä¼šæ¯”ç¡¬è°ƒç©ºé—´å¥½å‘¢ï¼Ÿå› ä¸ºç¡¬è°ƒç©ºé—´æ— æ³•é€‚é‡çš„å¸æ”¶è¿‡å¤šçš„高频段与ä¸ä½Žé¢‘æ®µï¼Œé€ æˆè†å¬éŸ³ä¹æ—¶é«˜é¢‘段过于刺耳或ä¸ä½Žé¢‘段过于压迫的缺点。是å¦è½¯è°ƒç©ºé—´å°±æ¯«æ— 缺点呢？ä¸ï¼è½¯è°ƒç©ºé—´å¯èƒ½ä¹Ÿä¼šå˜åœ¨ä½Žé¢‘段å¸æ”¶è¿‡é‡ï¼Œäº§ç”Ÿä½Žé¢‘ä¸å¤Ÿç»“实的缺点。ä¸è¿‡ï¼ŒäºŒè€…相较，软调空间还是比较适åˆè†å¬éŸ³ä¹ã€‚
五ã€è¦å¦‚何把硬调空间转å˜ä¸ºè½¯è°ƒç©ºé—´å°æ¹¾ä¸€èˆ¬ä½å®¶éƒ½æ˜¯ä»¥é’¢ç‹æ°´æ³¥å»ºæˆçš„公寓或é€å¤©åŽï¼Œå¦‚æžœè¦å°†å°†ç¡¬è°ƒç©ºé—´è½¬åŒ–æˆè½¯è°ƒç©ºé—´ï¼Œé¦–å…ˆå¯ä»¥åŠ¨æ‰‹çš„就是四é¢å¢™å£ã€‚这四é¢å¢™å£å¯ä»¥è¯·æœ¨å·¥å¸ˆçˆ¶ç”¨çŸ³è†æ¿é’‰ä¸€ä¸ªå¤¹å±‚ï¼Œå¤¹å±‚é‡Œé“ºçŽ»ç’ƒçº¤ç»´æ£‰ã€‚è¿™æ ·çš„ä½œæ³•æ—¢ä¸ä¼šè€—去太多夹层空间，也å¯ä»¥å¤šä¸€å±‚的隔音效果。
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Solar Modules is made up of high quality solar cell with high efficiency and transmission rate, low iron tempered glass, anti-aging EVE, high flame resistant TPT/BBT and anodized aluminum alloy.
Manufacturing with IEC61215 standard, could widely used in solar power station, building, solar street lighting, traffic, etc.
The Solar Modules has a photovoltaic cell inside, which converts solar energy into an electrical current. A Solar Panel's effectiveness depends on the size and quality of the solar cell and the transparency of the protective cover/glass.
Its Merits: High efficiency, Long life, Easy installation,
There are 2 types of solar modules: mono-crystalline and poly-crystalline silicon type solar modules.
Mono Crystalline Silicon Solar Modules
Poly Crystalline Silicon Solar Modules.
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