What is an Ear Trumpet?

The horn is divided into several different musical instruments, a wind instrument, which is thick and thin, mostly made of copper. The other is a modern electro-acoustic component, which converts electrical signals into sound, also called speakers. It can also be used to describe people who advocate and propagate for others.

[l b]

The speakers are divided into several different

The horn is divided into several different instruments, one is

Back in 1877, Germany

The horn is actually a conversion device that converts electrical energy into sound. When different electronic energy is transmitted to the coil, the coil generates an energy to interact with the magnetic field of the magnet. This interaction causes the paper disk to vibrate because the electronic energy changes at any time. The coil of the horn will move forward or backward, so the paper plate of the horn will follow. This action changes the density of the air and generates sound.

Ribbon Horn

In late 1940, when a young Canadian inventor, Gilbert Hobrough, used an amplifier, he accidentally removed the speaker wire during the music broadcast and brought the hot wire close to the ground of the wire. This was a dangerous move, but Hobrough was surprised to find that the wires started to stir and make a sound of music. This "metal wire with gain" soon realized that it was an electrostatic effect. Hobrough further researched, only to know that someone had raised this question around 1910. In 1925, a horn using a conductive metal sheet in a magnetic field had been patented in Germany. At that time, people said that this was a band horn. In the 1920s and 1930s, there were two types of ribbon speakers, but the flower quickly became silent. The principle of the band horn is to install a vibrating metal band film in two magnets. When the metal band passes an electric current, it will generate a magnetic field change and vibrate and sound. When Hobrough rediscovered the band horn, Quad founder Peter Walker also promoted a horn-loaded band tweeter in the United Kingdom. This tweeter was not successful. Instead, around 1960, the British Decca launched a very successful band tweeter. Another similar ribbon speaker, Kelly Ribbon, was introduced to the United States by Irving Fried. He paired Kelly with a tweeter.

1. If the speaker is overloaded for a long time, the speaker will burn out due to overheating. The temperature of the coil will cause some structural parts to melt, crack or burn. The coil temperature will be 180 degrees Celsius under normal use. Under normal use, you can imagine!

2. Mechanical failure. The overloaded driving horn makes the paper disk move beyond the range and separate from the coil, or the coil and the coil seat are separated, the paper disk hem or the horn support ring is torn. Once any of the above situations occur, both Can cause the speaker to malfunction. When the fold or support ring is torn, the coil will rub against them, because the paper tray assembly can no longer be suspended properly in the center. Small cracks may not be felt at first, but after a period of time, when the cracks become large The horn will then break down.

3. The failure of the speaker may also be a combination of the above two methods, such as

Ear-level tweeter

Horns are speakers or speakers (domestic term), and people generally divide them into two categories. One is the floor type, and the other is the bookshelf type, but no matter the bookshelf or the floor, the method of positioning is not much different. First of all, bookshelf speakers need to be sit on a tripod to make them sound. This is inevitable, but there are also some floor speakers that need to sit on a low stand; for example, B & W's 801 and 802. As for the height of the horn, whether it requires a "seat" or not, it is generally sufficient for the listener to sit with his ears and treble. However, this is not only a problem of the horn, but also the height of the seat. For example: If a two-way two-unit speaker is specified to be supplemented with a 27 "high-level stand, and its treble level is 37" after use, such as the seat you use when listening, the level of your ears is high when you sit down At or below 37 ", it will affect the normal effect, which will cause high and low frequencies to lose balance. For the first buddies, the most obvious disadvantage is that if the tweeter is lower than the ear level, the sound The overall field will become low. If it is higher than the ear level, the mid and low frequencies will cover the treble, forming too much bass and insufficient treble, or there may be an illusion of a higher sound field, but the image and positioning will be affected by the bass to the treble. The covering effect becomes blurred.

However, the above is not a golden rule. There are still many non-general examples that need to be set depending on the design of individual speakers, such as Martin Logan, Magnepan and other screen speakers, or Bose's direct / reflective technology speakers. The above height settings cannot be applied. Setting guidelines. In addition, some giant floor loudspeakers place the tweeter high, such as the Grand Slamm of Wilson Audio, or the tweeter placed close to the ground, such as Dvnaudio Consequence. The "stroke" listening distance can synthesize a balanced full-frequency frequency response. Therefore, no matter what type of speaker you want to set, you must first refer to the manual to see if there is any altitude guidance recommended by the manufacturer.

Place the speaker in the first 1/3 position and the listening chair in the second 1/3 position

After completing the height setting requirements, the distance between the two speakers of the left / right channel, the speaker and the listening position, and the distance between the speaker and the rear wall and side wall of the speaker must be processed.

Traditionally, whether you want to reset a pair of speakers in a new place or replace a new pair of speakers, the first step is to place the two speakers above one third of the length of the listening room. Take the 25-foot long Hi-Fi room in this publication as an example. The speaker should be 8'4 "from the back wall of the speaker (from the panel). Second, the distance between the two speakers of the left / right channel is based on the center axis of the panel. At least 6 feet, this is the shortest distance to effectively present a stereo sound field. Too close, it will make the simplest left / center / right positioning effect difficult to distinguish. In addition, the two speakers' panels should be completely parallel The rear wall, each forming 90 on both sides (right angle) and a few feet away from the wall. As for the listening position, it should be set on another third, that is, the speaker and the listening position are like two dividing the length of the listening room. Divided into three equal points.

The above-mentioned traditional methods are purely based on the two rectangular "ideal" Hi-Fi rooms and traditional speakers like this one. If you encounter an irregular diamond-shaped living room that is common in Hong Kong, or a large and thin-sided guest dining room with a total area of more than 100 feet, you can only use half of it to play Hi. In the case of Fi, if you use an NHT-type panel to tilt the speaker inward and Naim Audio speakers that are particularly good to be close to the back wall, such as the traditional method just now, you can't get the desired effect at all. Therefore, the guidance provided by the above buddies for the first buddies should not be regarded as a golden rule, as long as the situation is as close as possible!

Basically, the left and right speakers should be parallel to the back wall, that is, the distance between the left and right speakers is exactly the same as the back wall of the speaker, and the left and right speakers should be the same distance from the listening position, so that the left and right speakers can be ensured. The direct sounds arrive at the listening position at the same time, so the left and right speakers and the listening position should form an equilateral or isosceles triangle. If it is an isosceles triangle, one side of the two speakers is used as the bottom edge and the listening position, and it is better to form an acute angle triangle. If it is an obtuse triangle, that is, the distance between the listening point and the two speakers is too close, or the distance between the two speakers is too far or too wide. In both cases, it will be easy to get a strange sound in the center of the sound field. Big. For example, the mouth shape of a soloist spans the left and right speakers, and can only have extreme left and right positions. This is the big earphone effect! It is like listening to a two-channel stereo replay through the earphones, only at the center of the skull. A vocal sound, and extreme left and right music sounds, can not talk about the sense of three-dimensional space stage. So be sure to get this triangular relationship parallel to the front of the speaker's back wall, otherwise it will be difficult to have a normal sound.

Adjust the toein angle

After the triangle relationship is settled, the Toe-in problem is then dealt with. When setting up the speaker, you should swing it first. That is not (* Toe-in or Toe-out), this should be the same approach. Then find some recordings with a human voice that is definitely in the center, like the "Voices" gold disc that has been very hot recently. Try Track 2 and hear if Rebecca's voice can be formed in the center. If not, there are two possibilities. First, the distance between the two speakers is too wide, then the speaker is first approached to the center. However, if the distance between the two speakers is less than six feet, this will be a problem of the Toe-in angle. We can move the two speakers toward the central Toe-in one by one, until a clear central knot image can be created. At the same time, we must pay attention to whether the sound of the instrument or other sounds on both sides of the sound field will shrink between the two speakers, or even into a ball. If this happens, it means that the Toe-in is too much, and the sound field is overcharged. Narrow, so we need to use two or three different types of recording as the standard. In the end, the energy of the left, middle and right parts of the sound field should be evenly distributed as much as possible. OK! * (Toe-in, that is, the two speakers turn inward at almost the same place, so that the front baffle faces the centerline between the two speakers, while Toe-out is the opposite.)

In addition to the Toe-in / out angle, the distance between the two speakers also has a fundamental impact on the average energy distribution of the left, center, and right of the sound field. If the environment allows the distance between the two left and right two-channel speakers to be more than 6 feet, we should try to move the two speakers equidistantly outward at the same time to see if the sound field can be widened without affecting the average energy distribution. If the situation permits, you can boldly move out by the ruler, pull to the center of the sound field and a gap appears before stopping. Then turn around and pull the two speakers closer until the sound field takes over again, and the average. If so, it will be widened and narrowed repeatedly, and the amplitude of each round will be narrowed until it finds the distance with the widest sound and balanced energy. In fact, many enthusiasts will pull the left and right speakers too wide in order to make the sound field wider, leading to the middle of the sound field breaking without knowing it, so the above process of widening and narrowing back and forth is extremely important.

However, it is also important to note that the change in the distance between the two speakers has a mutual relationship with the Toe-in / out angle. Therefore, if you have done any one, there is a great chance that the other one needs to be adjusted again. Many times it is necessary to come again. Back and forth many times. No way, you can't be lazy if you want a good voice!

Horn and rear side wall relationship

Then we need to talk about the relationship between the horn and the back wall of the horn. Maybe many early brothers will have heard that the closer the speaker is placed to the back wall, the fuller and more powerful the bass! Indeed, the closer you are, the richer and more powerful, but the first brothers should not ignore the balance because of the pursuit of strength and blindly turn the speaker Push it too close to the back wall, which will make the low frequencies protrude too much, so that the high and intermediate frequencies are overshadowed. In addition to losing the balance, those bass will become turbid bass with only volume and wireless bars. Therefore, with the exception of a few such as Naim Audio's designation, the vast majority of speakers should maintain a certain distance from the rear wall. As to how much this distance is, there is no certain rule. It depends on the cooperation of different speakers with different environments. If the environment permits, the back panel can be four feet away from the back wall. It must be accepted from two feet. Then patiently move them forward or backward until you find the most balanced point. Of course, if you can get a strong sense of depth and layering at the same time, it is really good!

Finally, there is the relationship between the horn and the two walls. This is difficult to generalize, as long as it is not too close, at least two feet away! Of course it is better to have five or six feet. In addition, in Hong Kong, it is common to play Hi-Fi in a guest dining room on one side, so that two or three feet away from the speaker on one side is the wall, while the other side has to be extended to eight or nine feet from the dining room to the side wall. This has to be compromised. The only way is to use the loudspeaker farther away from the wall and try to get a little more direct sound at a larger Toe-in angle.

Speaker size

The measuring horn (speaker, jargon "unit") is calculated according to the effective vibration radius. That is, the diameter of the fixed rubber ring is not calculated according to the outer edge of the paper cone. It is customary to use inches for the diameter of the horn.

The ruler used by most people is the metric system. The number of centimeters after measuring the diameter of the paper cone is divided by 2.54 (2.54 centimeters equal to one inch), which is inches.

4 inch speaker: the diagonal distance of the screw holes is 11.5 cm, the distance between adjacent holes is 8 cm, and the diameter of the speaker is 10 cm;

5 inch speaker: the diagonal distance of the screw holes is 13.5 cm, the distance between adjacent holes is 9.5 cm, and the diameter is 13 cm;

6.5 inch speaker: the diagonal distance of the screw holes is 15.5 cm, the distance between adjacent holes is 11 cm, and the diameter is 16.5 cm;

The distance between 4x6 inch adjacent screw holes is 12.3 cm and 7.3 cm;

The distance between 6x9 inch adjacent screw holes is 16.5 cm and 11 cm respectively.