Silicon Laboratories扩大调频收音机产品阵容进一步缩小解决方案使用面积

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Silicon Labs为手机设计添加短波收音

线路总长度将达２０００公制与诊断系统、铁路安全行车车载系统、机务
里。这个巨大的市场正
信息化系统、客车电气与信息系统、旅客信息
图：飞思卡尔亚太区在吸引西门子、庞巴迪、美国西屋电气和日本系统和工程机械电气及控制系统。总裁汪凯和联合实验三菱这样的国外轨道生产设备商，这也给国内
这次合作是中国轨道交通引进和吸收国外先进技术的一次尝试。在此之前，飞思卡尔已一
室负责人曾嵘签署合南车和北车两大机车巨头巨大的压力。
作协议
２０年１月９Ｅ，中电器材深圳公司的经是三菱、西门子，和庞巴迪等国外轨道生产０７１在ｔ
提供完全自动化的数字调谐能力，包含ｌＨｋｚ步
短波接收的频带是２３２ＭＨ，用于人进频率和可选择式通道带宽滤波器。另外，．￣５ｚ适
口多、面积大的国家和地区。中国不但是短波Ｓ７４３系列不必使用需要工厂调整的元器件，ｉ３／５４
促进下，南车集团旗下的株洲南车时代电气股设备商的半导体供应商，和南车时代的合作也份有限公司和飞思卡尔半导体合作成立的 “ 飞为飞思卡尔介入中国轨道交通市场提供了一个思卡尔一时代电气联合实验室 ”联合实验室）契机。从中牵线搭桥的中电器材作为飞思卡尔（在湖南株洲正式成立。根据协议，双方将分别在国内的分销商，也将应为这次合作扩大在轨

Silicon Labs D类放大器以低成本为消费性产品提供高传真音频效果

Silicon Labs D类放大器以低成本为消费性产品提供高传真
音频效果
佚名
【期刊名称】《《电子与电脑》》
【年(卷),期】2010(000)010
【摘要】Silicon Laboratories（芯科实验室有限公司）发表业界首颗能有效抑制电磁干扰（EMI）的5W立体声D类放大器,为消费性电子产品带来低成本、高传真音效。

【总页数】1页(P87-87)
【正文语种】中文
【中图分类】TP332
【相关文献】
1.Silicon Labs D类放大器以低成本提供高保真音频 [J], 王颖
2.Silicon Labs D类放大器以低成本提供高保真音频 [J], 王颖
3.Silicon Labs提供低成本AM／FM／SW接收器方案 [J],
4.Silicon Labs D类放大器以低成本为消费类产品提供高保真音频 [J],
5.Silicon Labs D类放大器以低成本为消费类产品提供高保真音频 [J],
因版权原因，仅展示原文概要，查看原文内容请购买。

Native Instruments MASCHINE MK3 用户手册说明书

The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (25)1.1MASCHINE Documentation (26)1.2Document Conventions (27)1.3New Features in MASCHINE 2.8 (29)1.4New Features in MASCHINE 2.7.10 (31)1.5New Features in MASCHINE 2.7.8 (31)1.6New Features in MASCHINE 2.7.7 (32)1.7New Features in MASCHINE 2.7.4 (33)1.8New Features in MASCHINE 2.7.3 (36)2Quick Reference (38)2.1Using Your Controller (38)2.1.1Controller Modes and Mode Pinning (38)2.1.2Controlling the Software Views from Your Controller (40)2.2MASCHINE Project Overview (43)2.2.1Sound Content (44)2.2.2Arrangement (45)2.3MASCHINE Hardware Overview (48)2.3.1MASCHINE Hardware Overview (48)2.3.1.1Control Section (50)2.3.1.2Edit Section (53)2.3.1.3Performance Section (54)2.3.1.4Group Section (56)2.3.1.5Transport Section (56)2.3.1.6Pad Section (58)2.3.1.7Rear Panel (63)2.4MASCHINE Software Overview (65)2.4.1Header (66)2.4.2Browser (68)2.4.3Arranger (70)2.4.4Control Area (73)2.4.5Pattern Editor (74)3Basic Concepts (76)3.1Important Names and Concepts (76)3.2Adjusting the MASCHINE User Interface (79)3.2.1Adjusting the Size of the Interface (79)3.2.2Switching between Ideas View and Song View (80)3.2.3Showing/Hiding the Browser (81)3.2.4Showing/Hiding the Control Lane (81)3.3Common Operations (82)3.3.1Using the 4-Directional Push Encoder (82)3.3.2Pinning a Mode on the Controller (83)3.3.3Adjusting Volume, Swing, and Tempo (84)3.3.4Undo/Redo (87)3.3.5List Overlay for Selectors (89)3.3.6Zoom and Scroll Overlays (90)3.3.7Focusing on a Group or a Sound (91)3.3.8Switching Between the Master, Group, and Sound Level (96)3.3.9Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.973.3.9.1Extended Navigate Mode on Your Controller (102)3.3.10Navigating the Software Using the Controller (105)3.3.11Using Two or More Hardware Controllers (106)3.3.12Touch Auto-Write Option (108)3.4Native Kontrol Standard (110)3.5Stand-Alone and Plug-in Mode (111)3.5.1Differences between Stand-Alone and Plug-in Mode (112)3.5.2Switching Instances (113)3.5.3Controlling Various Instances with Different Controllers (114)3.6Host Integration (114)3.6.1Setting up Host Integration (115)3.6.1.1Setting up Ableton Live (macOS) (115)3.6.1.2Setting up Ableton Live (Windows) (116)3.6.1.3Setting up Apple Logic Pro X (116)3.6.2Integration with Ableton Live (117)3.6.3Integration with Apple Logic Pro X (119)3.7Preferences (120)3.7.1Preferences – General Page (121)3.7.2Preferences – Audio Page (126)3.7.3Preferences – MIDI Page (130)3.7.4Preferences – Default Page (133)3.7.5Preferences – Library Page (137)3.7.6Preferences – Plug-ins Page (145)3.7.7Preferences – Hardware Page (150)3.7.8Preferences – Colors Page (154)3.8Integrating MASCHINE into a MIDI Setup (156)3.8.1Connecting External MIDI Equipment (156)3.8.2Sync to External MIDI Clock (157)3.8.3Send MIDI Clock (158)3.9Syncing MASCHINE using Ableton Link (159)3.9.1Connecting to a Network (159)3.9.2Joining and Leaving a Link Session (159)3.10Using a Pedal with the MASCHINE Controller (160)3.11File Management on the MASCHINE Controller (161)4Browser (163)4.1Browser Basics (163)4.1.1The MASCHINE Library (163)4.1.2Browsing the Library vs. Browsing Your Hard Disks (164)4.2Searching and Loading Files from the Library (165)4.2.1Overview of the Library Pane (165)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (170)4.2.2.1[MK3] Browsing by Product Category Using the Controller (174)4.2.2.2[MK3] Browsing by Product Vendor Using the Controller (174)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (175)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (179)4.2.4Selecting a File Type (180)4.2.5Choosing Between Factory and User Content (181)4.2.6Selecting Type and Character Tags (182)4.2.7List and Tag Overlays in the Browser (186)4.2.8Performing a Text Search (188)4.2.9Loading a File from the Result List (188)4.3Additional Browsing Tools (193)4.3.1Loading the Selected Files Automatically (193)4.3.2Auditioning Instrument Presets (195)4.3.3Auditioning Samples (196)4.3.4Loading Groups with Patterns (197)4.3.5Loading Groups with Routing (198)4.3.6Displaying File Information (198)4.4Using Favorites in the Browser (199)4.5Editing the Files’ Tags and Properties (203)4.5.1Attribute Editor Basics (203)4.5.2The Bank Page (205)4.5.3The Types and Characters Pages (205)4.5.4The Properties Page (208)4.6Loading and Importing Files from Your File System (209)4.6.1Overview of the FILES Pane (209)4.6.2Using Favorites (211)4.6.3Using the Location Bar (212)4.6.4Navigating to Recent Locations (213)4.6.5Using the Result List (214)4.6.6Importing Files to the MASCHINE Library (217)4.7Locating Missing Samples (219)4.8Using Quick Browse (221)5Managing Sounds, Groups, and Your Project (225)5.1Overview of the Sounds, Groups, and Master (225)5.1.1The Sound, Group, and Master Channels (226)5.1.2Similarities and Differences in Handling Sounds and Groups (227)5.1.3Selecting Multiple Sounds or Groups (228)5.2Managing Sounds (233)5.2.1Loading Sounds (235)5.2.2Pre-listening to Sounds (236)5.2.3Renaming Sound Slots (237)5.2.4Changing the Sound’s Color (237)5.2.5Saving Sounds (239)5.2.6Copying and Pasting Sounds (241)5.2.7Moving Sounds (244)5.2.8Resetting Sound Slots (245)5.3Managing Groups (247)5.3.1Creating Groups (248)5.3.2Loading Groups (249)5.3.3Renaming Groups (251)5.3.4Changing the Group’s Color (251)5.3.5Saving Groups (253)5.3.6Copying and Pasting Groups (255)5.3.7Reordering Groups (258)5.3.8Deleting Groups (259)5.4Exporting MASCHINE Objects and Audio (260)5.4.1Saving a Group with its Samples (261)5.4.2Saving a Project with its Samples (262)5.4.3Exporting Audio (264)5.5Importing Third-Party File Formats (270)5.5.1Loading REX Files into Sound Slots (270)5.5.2Importing MPC Programs to Groups (271)6Playing on the Controller (275)6.1Adjusting the Pads (275)6.1.1The Pad View in the Software (275)6.1.2Choosing a Pad Input Mode (277)6.1.3Adjusting the Base Key (280)6.1.4Using Choke Groups (282)6.1.5Using Link Groups (284)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (286)6.3Playing Tools (287)6.3.1Mute and Solo (288)6.3.2Choke All Notes (292)6.3.3Groove (293)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (295)6.3.5Tap Tempo (299)6.4Performance Features (300)6.4.1Overview of the Perform Features (300)6.4.2Selecting a Scale and Creating Chords (303)6.4.3Scale and Chord Parameters (303)6.4.4Creating Arpeggios and Repeated Notes (316)6.4.5Swing on Note Repeat / Arp Output (321)6.5Using Lock Snapshots (322)6.5.1Creating a Lock Snapshot (322)6.5.2Using Extended Lock (323)6.5.3Updating a Lock Snapshot (323)6.5.4Recalling a Lock Snapshot (324)6.5.5Morphing Between Lock Snapshots (324)6.5.6Deleting a Lock Snapshot (325)6.5.7Triggering Lock Snapshots via MIDI (326)6.6Using the Smart Strip (327)6.6.1Pitch Mode (328)6.6.2Modulation Mode (328)6.6.3Perform Mode (328)6.6.4Notes Mode (329)7Working with Plug-ins (330)7.1Plug-in Overview (330)7.1.1Plug-in Basics (330)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (334)7.1.3Loading, Removing, and Replacing a Plug-in (335)7.1.3.1Browser Plug-in Slot Selection (341)7.1.4Adjusting the Plug-in Parameters (344)7.1.5Bypassing Plug-in Slots (344)7.1.6Using Side-Chain (346)7.1.7Moving Plug-ins (346)7.1.8Alternative: the Plug-in Strip (348)7.1.9Saving and Recalling Plug-in Presets (348)7.1.9.1Saving Plug-in Presets (349)7.1.9.2Recalling Plug-in Presets (350)7.1.9.3Removing a Default Plug-in Preset (351)7.2The Sampler Plug-in (352)7.2.1Page 1: Voice Settings / Engine (354)7.2.2Page 2: Pitch / Envelope (356)7.2.3Page 3: FX / Filter (359)7.2.4Page 4: Modulation (361)7.2.5Page 5: LFO (363)7.2.6Page 6: Velocity / Modwheel (365)7.3Using Native Instruments and External Plug-ins (367)7.3.1Opening/Closing Plug-in Windows (367)7.3.2Using the VST/AU Plug-in Parameters (370)7.3.3Setting Up Your Own Parameter Pages (371)7.3.4Using VST/AU Plug-in Presets (376)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (378)8Using the Audio Plug-in (380)8.1Loading a Loop into the Audio Plug-in (384)8.2Editing Audio in the Audio Plug-in (385)8.3Using Loop Mode (386)8.4Using Gate Mode (388)9Using the Drumsynths (390)9.1Drumsynths – General Handling (391)9.1.1Engines: Many Different Drums per Drumsynth (391)9.1.2Common Parameter Organization (391)9.1.3Shared Parameters (394)9.1.4Various Velocity Responses (394)9.1.5Pitch Range, Tuning, and MIDI Notes (394)9.2The Kicks (395)9.2.1Kick – Sub (397)9.2.2Kick – Tronic (399)9.2.3Kick – Dusty (402)9.2.4Kick – Grit (403)9.2.5Kick – Rasper (406)9.2.6Kick – Snappy (407)9.2.7Kick – Bold (409)9.2.8Kick – Maple (411)9.2.9Kick – Push (412)9.3The Snares (414)9.3.1Snare – Volt (416)9.3.2Snare – Bit (418)9.3.3Snare – Pow (420)9.3.4Snare – Sharp (421)9.3.5Snare – Airy (423)9.3.6Snare – Vintage (425)9.3.7Snare – Chrome (427)9.3.8Snare – Iron (429)9.3.9Snare – Clap (431)9.3.10Snare – Breaker (433)9.4The Hi-hats (435)9.4.1Hi-hat – Silver (436)9.4.2Hi-hat – Circuit (438)9.4.3Hi-hat – Memory (440)9.4.4Hi-hat – Hybrid (442)9.4.5Creating a Pattern with Closed and Open Hi-hats (444)9.5The Toms (445)9.5.1Tom – Tronic (447)9.5.2Tom – Fractal (449)9.5.3Tom – Floor (453)9.5.4Tom – High (455)9.6The Percussions (456)9.6.1Percussion – Fractal (458)9.6.2Percussion – Kettle (461)9.6.3Percussion – Shaker (463)9.7The Cymbals (467)9.7.1Cymbal – Crash (469)9.7.2Cymbal – Ride (471)10Using the Bass Synth (474)10.1Bass Synth – General Handling (475)10.1.1Parameter Organization (475)10.1.2Bass Synth Parameters (477)11Working with Patterns (479)11.1Pattern Basics (479)11.1.1Pattern Editor Overview (480)11.1.2Navigating the Event Area (486)11.1.3Following the Playback Position in the Pattern (488)11.1.4Jumping to Another Playback Position in the Pattern (489)11.1.5Group View and Keyboard View (491)11.1.6Adjusting the Arrange Grid and the Pattern Length (493)11.1.7Adjusting the Step Grid and the Nudge Grid (497)11.2Recording Patterns in Real Time (501)11.2.1Recording Your Patterns Live (501)11.2.2The Record Prepare Mode (504)11.2.3Using the Metronome (505)11.2.4Recording with Count-in (506)11.2.5Quantizing while Recording (508)11.3Recording Patterns with the Step Sequencer (508)11.3.1Step Mode Basics (508)11.3.2Editing Events in Step Mode (511)11.3.3Recording Modulation in Step Mode (513)11.4Editing Events (514)11.4.1Editing Events with the Mouse: an Overview (514)11.4.2Creating Events/Notes (517)11.4.3Selecting Events/Notes (518)11.4.4Editing Selected Events/Notes (526)11.4.5Deleting Events/Notes (532)11.4.6Cut, Copy, and Paste Events/Notes (535)11.4.7Quantizing Events/Notes (538)11.4.8Quantization While Playing (540)11.4.9Doubling a Pattern (541)11.4.10Adding Variation to Patterns (541)11.5Recording and Editing Modulation (546)11.5.1Which Parameters Are Modulatable? (547)11.5.2Recording Modulation (548)11.5.3Creating and Editing Modulation in the Control Lane (550)11.6Creating MIDI Tracks from Scratch in MASCHINE (555)11.7Managing Patterns (557)11.7.1The Pattern Manager and Pattern Mode (558)11.7.2Selecting Patterns and Pattern Banks (560)11.7.3Creating Patterns (563)11.7.4Deleting Patterns (565)11.7.5Creating and Deleting Pattern Banks (566)11.7.6Naming Patterns (568)11.7.7Changing the Pattern’s Color (570)11.7.8Duplicating, Copying, and Pasting Patterns (571)11.7.9Moving Patterns (574)11.7.10Adjusting Pattern Length in Fine Increments (575)11.8Importing/Exporting Audio and MIDI to/from Patterns (576)11.8.1Exporting Audio from Patterns (576)11.8.2Exporting MIDI from Patterns (577)11.8.3Importing MIDI to Patterns (580)12Audio Routing, Remote Control, and Macro Controls (589)12.1Audio Routing in MASCHINE (590)12.1.1Sending External Audio to Sounds (591)12.1.2Configuring the Main Output of Sounds and Groups (596)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (601)12.1.4Configuring the Master and Cue Outputs of MASCHINE (605)12.1.5Mono Audio Inputs (610)12.1.5.1Configuring External Inputs for Sounds in Mix View (611)12.2Using MIDI Control and Host Automation (614)12.2.1Triggering Sounds via MIDI Notes (615)12.2.2Triggering Scenes via MIDI (622)12.2.3Controlling Parameters via MIDI and Host Automation (623)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (631)12.2.5Sending MIDI from Sounds (632)12.3Creating Custom Sets of Parameters with the Macro Controls (636)12.3.1Macro Control Overview (637)12.3.2Assigning Macro Controls Using the Software (638)12.3.3Assigning Macro Controls Using the Controller (644)13Controlling Your Mix (646)13.1Mix View Basics (646)13.1.1Switching between Arrange View and Mix View (646)13.1.2Mix View Elements (647)13.2The Mixer (649)13.2.1Displaying Groups vs. Displaying Sounds (650)13.2.2Adjusting the Mixer Layout (652)13.2.3Selecting Channel Strips (653)13.2.4Managing Your Channels in the Mixer (654)13.2.5Adjusting Settings in the Channel Strips (656)13.2.6Using the Cue Bus (660)13.3The Plug-in Chain (662)13.4The Plug-in Strip (663)13.4.1The Plug-in Header (665)13.4.2Panels for Drumsynths and Internal Effects (667)13.4.3Panel for the Sampler (668)13.4.4Custom Panels for Native Instruments Plug-ins (671)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (675)13.5Controlling Your Mix from the Controller (677)13.5.1Navigating Your Channels in Mix Mode (678)13.5.2Adjusting the Level and Pan in Mix Mode (679)13.5.3Mute and Solo in Mix Mode (680)13.5.4Plug-in Icons in Mix Mode (680)14Using Effects (681)14.1Applying Effects to a Sound, a Group or the Master (681)14.1.1Adding an Effect (681)14.1.2Other Operations on Effects (690)14.1.3Using the Side-Chain Input (692)14.2Applying Effects to External Audio (695)14.2.1Step 1: Configure MASCHINE Audio Inputs (695)14.2.2Step 2: Set up a Sound to Receive the External Input (698)14.2.3Step 3: Load an Effect to Process an Input (700)14.3Creating a Send Effect (701)14.3.1Step 1: Set Up a Sound or Group as Send Effect (702)14.3.2Step 2: Route Audio to the Send Effect (706)14.3.3 A Few Notes on Send Effects (708)14.4Creating Multi-Effects (709)15Effect Reference (712)15.1Dynamics (713)15.1.1Compressor (713)15.1.2Gate (717)15.1.3Transient Master (721)15.1.4Limiter (723)15.1.5Maximizer (727)15.2Filtering Effects (730)15.2.1EQ (730)15.2.2Filter (733)15.2.3Cabinet (737)15.3Modulation Effects (738)15.3.1Chorus (738)15.3.2Flanger (740)15.3.3FM (742)15.3.4Freq Shifter (743)15.3.5Phaser (745)15.4Spatial and Reverb Effects (747)15.4.1Ice (747)15.4.2Metaverb (749)15.4.3Reflex (750)15.4.4Reverb (Legacy) (752)15.4.5Reverb (754)15.4.5.1Reverb Room (754)15.4.5.2Reverb Hall (757)15.4.5.3Plate Reverb (760)15.5Delays (762)15.5.1Beat Delay (762)15.5.2Grain Delay (765)15.5.3Grain Stretch (767)15.5.4Resochord (769)15.6Distortion Effects (771)15.6.1Distortion (771)15.6.2Lofi (774)15.6.3Saturator (775)15.7Perform FX (779)15.7.1Filter (780)15.7.2Flanger (782)15.7.3Burst Echo (785)15.7.4Reso Echo (787)15.7.5Ring (790)15.7.6Stutter (792)15.7.7Tremolo (795)15.7.8Scratcher (798)16Working with the Arranger (801)16.1Arranger Basics (801)16.1.1Navigating Song View (804)16.1.2Following the Playback Position in Your Project (806)16.1.3Performing with Scenes and Sections using the Pads (807)16.2Using Ideas View (811)16.2.1Scene Overview (811)16.2.2Creating Scenes (813)16.2.3Assigning and Removing Patterns (813)16.2.4Selecting Scenes (817)16.2.5Deleting Scenes (818)16.2.6Creating and Deleting Scene Banks (820)16.2.7Clearing Scenes (820)16.2.8Duplicating Scenes (821)16.2.9Reordering Scenes (822)16.2.10Making Scenes Unique (824)16.2.11Appending Scenes to Arrangement (825)16.2.12Naming Scenes (826)16.2.13Changing the Color of a Scene (827)16.3Using Song View (828)16.3.1Section Management Overview (828)16.3.2Creating Sections (833)16.3.3Assigning a Scene to a Section (834)16.3.4Selecting Sections and Section Banks (835)16.3.5Reorganizing Sections (839)16.3.6Adjusting the Length of a Section (840)16.3.6.1Adjusting the Length of a Section Using the Software (841)16.3.6.2Adjusting the Length of a Section Using the Controller (843)16.3.7Clearing a Pattern in Song View (843)16.3.8Duplicating Sections (844)16.3.8.1Making Sections Unique (845)16.3.9Removing Sections (846)16.3.10Renaming Scenes (848)16.3.11Clearing Sections (849)16.3.12Creating and Deleting Section Banks (850)16.3.13Working with Patterns in Song view (850)16.3.13.1Creating a Pattern in Song View (850)16.3.13.2Selecting a Pattern in Song View (850)16.3.13.3Clearing a Pattern in Song View (851)16.3.13.4Renaming a Pattern in Song View (851)16.3.13.5Coloring a Pattern in Song View (851)16.3.13.6Removing a Pattern in Song View (852)16.3.13.7Duplicating a Pattern in Song View (852)16.3.14Enabling Auto Length (852)16.3.15Looping (853)16.3.15.1Setting the Loop Range in the Software (854)16.4Playing with Sections (855)16.4.1Jumping to another Playback Position in Your Project (855)16.5Triggering Sections or Scenes via MIDI (856)16.6The Arrange Grid (858)16.7Quick Grid (860)17Sampling and Sample Mapping (862)17.1Opening the Sample Editor (862)17.2Recording Audio (863)17.2.1Opening the Record Page (863)17.2.2Selecting the Source and the Recording Mode (865)17.2.3Arming, Starting, and Stopping the Recording (868)17.2.5Using the Footswitch for Recording Audio (871)17.2.6Checking Your Recordings (872)17.2.7Location and Name of Your Recorded Samples (876)17.3Editing a Sample (876)17.3.1Using the Edit Page (877)17.3.2Audio Editing Functions (882)17.4Slicing a Sample (890)17.4.1Opening the Slice Page (891)17.4.2Adjusting the Slicing Settings (893)17.4.3Live Slicing (898)17.4.3.1Live Slicing Using the Controller (898)17.4.3.2Delete All Slices (899)17.4.4Manually Adjusting Your Slices (899)17.4.5Applying the Slicing (906)17.5Mapping Samples to Zones (912)17.5.1Opening the Zone Page (912)17.5.2Zone Page Overview (913)17.5.3Selecting and Managing Zones in the Zone List (915)17.5.4Selecting and Editing Zones in the Map View (920)17.5.5Editing Zones in the Sample View (924)17.5.6Adjusting the Zone Settings (927)17.5.7Adding Samples to the Sample Map (934)18Appendix: Tips for Playing Live (937)18.1Preparations (937)18.1.1Focus on the Hardware (937)18.1.2Customize the Pads of the Hardware (937)18.1.3Check Your CPU Power Before Playing (937)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (938)18.1.5Consider Using a Limiter on Your Master (938)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (938)18.1.7Improvise (938)18.2Basic Techniques (938)18.2.1Use Mute and Solo (938)18.2.2Use Scene Mode and Tweak the Loop Range (939)18.2.3Create Variations of Your Drum Patterns in the Step Sequencer (939)18.2.4Use Note Repeat (939)18.2.5Set Up Your Own Multi-effect Groups and Automate Them (939)18.3Special Tricks (940)18.3.1Changing Pattern Length for Variation (940)18.3.2Using Loops to Cycle Through Samples (940)18.3.3Using Loops to Cycle Through Samples (940)18.3.4Load Long Audio Files and Play with the Start Point (940)19Troubleshooting (941)19.1Knowledge Base (941)19.2Technical Support (941)19.3Registration Support (942)19.4User Forum (942)20Glossary (943)Index (951)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE Getting Started: This document provides a practical approach to MASCHINE viaa set of tutorials covering easy and more advanced tasks in order to help you familiarizeyourself with MASCHINE.2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:▪Controller Editor Manual: Besides using your MASCHINE hardware controller together withits dedicated MASCHINE software, you can also use it as a powerful and highly versatileMIDI controller to pilot any other MIDI-capable application or device. This is made possibleby the Controller Editor software, an application that allows you to precisely define all MIDIassignments for your MASCHINE controller. The Controller Editor was installed during theMASCHINE installation procedure. For more information on this, please refer to the Con-troller Editor Manual available as a PDF file via the Help menu of Controller Editor.▪Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues. The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information can be expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and paths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in the software is printed in blue. Whenever you see this formatting applied, you will find the same text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.Unlabeled Buttons on the ControllerThe buttons and knobs above and below the displays on your MASCHINE controller do not have labels.。

Si5350-51 Frequency Shifting_WP

Glitch-Free Frequency Shifting Simplifies Timing Design in Consumer Applications System designers face significant design challenges in developing solutions to meet increasingly stringent performance and power requirements. The universal challenge is to simplify system design while minimizing power consumption in light of recent green and renewable energy initiatives. As vendors attempt to capitalize on the green market, more products are being labeled green, energy efficient, or environmentally friendly. Clock circuitry plays a valuable role in minimizing power consumption in consumer electronics. Reference clock frequencies can be dynamically reduced during operation to minimize power consumed by different subsystems in the design, providing an effective means of minimizing overall board-level power.In the audio world, design challenges are no different. Not only is power a concern, but clock generation is becoming increasingly complex as the number of master clock frequencies in audio DAC/CODEC applications grows.Today’s audio systems use as many as 24 bits for high-end audio with >110 dB SNR and with <0.003% THD specifications. Because of tightened specifications, audio designers require a wide range of master clocks from as low as 128x with a sampling frequency of 16 kHz for standard audio to as high as 2048x with a sampling frequency of 96 kHz for high-end audio.Table 1. Audio DAC FrequenciesIn addition to the complexity of generating a wide range of frequencies, audio applications face challenges in audio popping suppression because the sample clock or sample size differs between standards. To prevent pops from occurring, the audio DAC reference clock needs to glitchlessly switch between frequencies.Figure 1. Audio DAC/CODEC Block DiagramAs a result, audio designers have traditionally been forced to design glitch-free frequency switching circuits or add anti-pop algorithms to suppress glitch-induced audio popping that might occur when the master clock shifts frequency.Figure 2. Traditional Glitch-Free Shifting CircuitTiming and power challenges are also felt in the emerging market of PC computer-based USB applications, which interface PCs to audio systems. Timing considerations include determining a low-power, low-jitter master audio clock and devising the glitch-free shifting circuits essential for high-quality audio reproduction. Jitter generates error, which creates audio artifacts, and glitches induce audio pops, both of which degrade audio quality. Traditional schemes used to improve audio reproduction quality have included the use of Low Noise Phase Locked Loops (PLLs), Voltage Controlled Crystal Oscillators (VCXOs), synthesizers, buffers, external re-timers, etc. In addition to traditional schemes, designers have gone so far as to separate the Digital to Analog converters (DACs) from the USB receiver in the hope of further enhancing audio quality. Other methods of reducing jitter-induced audio artifacts and glitch-induced pops include adaptive approaches in which the master clock is switched less often. Newer asynchronous approaches are being used in which the master audio clock in the DAC is not synchronized to the clock in the computer. The quest for audio quality has not been simple.PC designers also face challenges similar to those of audio designers in developing overclocking solutions for high-end gaming applications. Desktop PCs and laptops using Intel’s Core 2 Quad 6600 and 790i processors and AMD’s Phenom II, Athlon II X4 630 and Phenom X4 9950 processors are representative examples. Overclocking is a popular scheme, which increases the CPU clock frequency faster than specified and is used by gamers to maximize CPU computing power. Overclocking is a technique that slowly increments the clock frequency in a glitch-free fashion until the CPU clock has reachedits maximum operating frequency. However, traditional CPU clock generators have often suffered from glitches when the output frequency is shifted.Glitchless Frequency Shifting Simplifies DesignSilicon Labs’ newest clock generator family, the Si5350/51 Any-Frequency CMOS clock generator + VCXO, addresses these design challenges. The Si5350/51 is the industry’s most frequency-flexible CMOS clock generator and supports the generation of any frequency up to 133MHz on each of its eight clock outputs, providing 50% greater frequency flexibility than traditional 4-PLL solutions. All combinations of frequencies are generated with 0 ppm error, enabling the device to replace standalone clock ICs, XOs and VCXOs. The Si5350/51 timing ICs can simultaneously generate free-running clocks synchronized to a crystal input and clocks synchronized to a reference clock or analog control voltage input, allowing multiple board-level timing domains to be clocked from a single device. The Si5350/51 supports an innovative glitch-free frequency switching feature that eliminates glitches and runt pulses during output clock frequency transition.Figure 3. Si5350/51 Generates Timing for Multiple Clock DomainsGiven its clock synthesis flexibility and the ability to dynamically switch between different frequencies glitchlessly, the Si5350/51 dramatically simplifies timingarchitectures while reducing the size and power requirements required by traditional solutions.Figure 4. Si5350/51 Simultaneously Generates Audio and Video ClocksThe Si5350/51 simplifies system-level design by providing glitchless frequency shifting between multiple rates, as shown in Figure 4. This frequency shifting technique simplifies clock synthesis in power-sensitive designs, audio, audio USB, PC overclocking, video applications, and any application that requires a combination of frequencies. The Si5351 is an I2C programmable clock generator. The frequency of each output can be dynamically changed without affecting the other device outputs by simply reprogramming a MultiSynth output divider value for the appropriate output clock. The Si5350 is a factory- or field-programmable clock generator, which supports one or two Frequency Select pins that can be used to switch between two frequencies as illustrated below.Figure 5. Custom Control Pins and Glitchless Frequency ChangeCustom Samples and ClockBuilder™Custom factory-programmed, pin-controlled versions of the Si5350 clock generator are available using Silicon Labs’ Web-based ClockBuilder™ utility. The ClockBuilder TM configuration utility provides turnkey application-specific clocks, eliminating the need for field programming hardware and software. Since the Si5350/51 does not require metal mask changes to customized clock frequencies like traditional clock ICs, lead times for custom clocks are reduced from six weeks to less than two weeks. Silicon Labs also offers a field programming kit to enable rapid prototyping for when faster cycle times are required.SummaryThe Si5350/51 is the industry’s most flexible CMOS clock generator capable of supporting any-frequency synthesis on eight independent output clocks as well as supporting glitch-free, on-the-fly frequency switching. By providing this level of frequency flexibility, the Si5350/51 eliminates the need for fixed-frequency clock generators and discrete crystal oscillators. The device provides outstanding jitter performance of <100 ps peak period jitter, enabling a single device to provide critical reference timing for cost-sensitive consumer, enterprise and communications applications including audio, video, computing or any application that requires multiple frequencies. Clock frequency shifting is greatly simplified, and the need for additional glitch-reducing circuitry and software is eliminated. The best-in-class flexibility and integration provided by the Si5350/51 greatly simplifies timing architectures.。

Silicon Labs新增百款时钟IC产品扩展定时产品组合

全新ＭＩＳ应用程序开发（ＰｐｉｔｎＤｅｅｏ — ＰＭＩＳＡｐｌａｉｖｌｐｃｏ
ｍｅｔＭＡＤ）划，ｉｒ，计旨在促进ＭＩＳ架构应用程序的快速Ｐ
发展。该计划将提供性能和兼容性测试的技术支持与服
视频处理，及Ａｄｈｌｓｌｙｒ１．以ｏｅＦａｈＰａｅ０１与电视视频流功
ＷｉｄＲｖｒ推出功能强大的全系统ｎｉｅ
仿真工具Ｓｍｉ．ｉｃ４６ｓ
风河（ｉｄＲｉｅ）出新版本全系统仿真工具Ｓｍ— Ｗｎｖｒ推ｉ
发与调试的功能，外还新增了针对目标硬件系统的可视此
化（ｓａｉａｉｎ及监视（ｕｖｉａｃ）能。ＶｉｕＩｔ）２ｏＳｒｅｌｎｅ功ｌ
ＷｉｄＲｖｒＳｍｉ打破了传统嵌入式产品开发的固定模ｎｉｅｉｃｓ式，可为一套完整系统提供通用的开发环境，即使该套系统
行降压的高效、凑的解决方案，用于各种应用中的紧适
ＰＣ单片机和其他低电压器件。高速峰值电流模式控制Ｉ可以快速应对电源应用中遇到的突如其来的输人电压和负载瞬态。ＭＣ１３１还具有出色的线路和负载调节功Ｐ６０
应用）理想选择。的
数字家庭应用，立新的里程碑。两家公司合作推出以矽树

Silicon Labs最新交流电流传感器可取代体积庞大的变压器

Silicon Labs最新交流电流传感器可取代体积庞大的变压器佚名
【期刊名称】《中国电子商情：基础电子》
【年(卷),期】2010()1
【摘要】Silcon Laboratories（芯科实验室有限公司】推出下一代交流电流传感器系列．可取代传统的电流变压器。

siIiconLabs新推出的Si85xx交流电流传感器提供高达5kVrms的电气隔离，以确保在安全性上符合各种重要电力传输系统的要求，
【总页数】1页(P78-78)
【正文语种】中文
【中图分类】TP212;TM407
【相关文献】
1.IC设计人员面临设计思想变革—Silicon Labs以Si500全硅振荡器取代消费电子应用的石英振荡器 [J], 徐俊毅
2.Silicon Labs最新交流电流传感器可取代体积庞大的变压器 [J],
3.Silicon Laboratories推出世界最小和最省电的交流电流传感器 [J],
4.Silicon Laboratories交流电流传感器Si8500节省75%电路板面积 [J],
5.Silicon Laboratorjes推出小而省电的交流电流传感器 [J],
因版权原因，仅展示原文概要，查看原文内容请购买。

SILICON LABORATORIES USB FM Radio-RD 说明书

Rev. 1.0 11/05Copyright © 2005 by Silicon LaboratoriesUSB FM Radio-RD USB FM Radio-RDUSB FM R A D I O U S E R ’S G U I D E1. USB FM Radio SetupFollow the instructions listed below to set up and configure the USB FM Radio.1.Download the USB FM Radio Player from the Silicon Laboratories website at /usbradio.2.Connect the USB FM Radio to an available USB Port on the PC.3.Run the USB FM Radio Player.4.The first time the Radio is connected, the USB FM Radio Setup Wizard shown in Figure 1 will appear. 5.Enter the correct location to specify the region-specific FM band.6.Optionally, enter local radio station frequencies as Presets for the USB Radio player.7.Press the Done button to configure the USB FM Radio Player.8.The USB FM Radio Player will now connect to the USB FM Radio and will tune to the default radio station.9.If configured, press one of the Station Preset buttons. Otherwise, press the Seek button to find a local radio station.Figure 1. Initial USB FM Radio Player SetupUSB FM Radio-RD2Rev. 1.02. USB FM Radio PlayerFigure2 shows each of the features of the USB FM Radio Player. Additionally, the player includes the following features:•Press the desired Station Preset button until a beep is heard to set the button to the current station.•Press the Seek & Scan button until a beep is heard to begin a scan through all available stations.•Press the Preset Scan button to scan through the preset stations.•Press the Configuration Options button to open the Configuration Options window shown in Figure3.•Press F1-F12 on the PC keyboard to select the corresponding Station Preset.•Press the left and right arrow buttons on the PC keyboard to perform seek and scan functions.•Press the up and down arrow buttons on the PC keyboard to perform tuning functions.•Hover the mouse over each button to display tooltips and programmed stations.•Right-click the Silicon Labs USB FM Radio icon in the systray menu to display a list of the station presets as well as an alternative way to seek and tune the radio.Figure 2. USB FM Radio PlayerUSB FM Radio-RDRev. 1.03Figure 3. Configuration Options Station PresetsVersion InfoRegion OptionsUSB FM Radio-RD4Rev. 1.0C ONTACT I NFORMATIONSilicon Laboratories Inc.4635 Boston LaneAustin, TX 78735Email: MCUinfo@Internet: Silicon Laboratories and Silicon Labs are trademarks of Silicon Laboratories Inc.Other products or brandnames mentioned herein are trademarks or registered trademarks of their respective holders.The information in this document is believed to be accurate in all respects at the time of publication but is subject to change without notice. Silicon Laboratories assumes no responsibility for errors and omissions, and disclaims responsibility for any consequences resulting from the use of information included herein. Additionally, Silicon Laboratories assumes no responsibility for the functioning of undescribed features or parameters. Silicon Laboratories reserves the right to make changes without further notice. Silicon Laboratories makes no warranty, rep-resentation or guarantee regarding the suitability of its products for any particular purpose, nor does Silicon Laboratories assume any liability arising out of the application or use of any product or circuit, and specifically disclaims any and all liability, including without limitation conse-quential or incidental damages. Silicon Laboratories products are not designed, intended, or authorized for use in applications intended to support or sustain life, or for any other application in which the failure of the Silicon Laboratories product could create a situation where per-sonal injury or death may occur. Should Buyer purchase or use Silicon Laboratories products for any such unintended or unauthorized ap-plication, Buyer shall indemnify and hold Silicon Laboratories harmless against all claims and damages.。

2SC1945

Application:
10 to 14 Watt Output Power Class AB Amplifier Applications in HF Band Absolute Maximum Ratings: (TC = +25°C unless otherwise specified)
q
Collector-Emitter Voltage (RBE = Infinity), VCEO Collector-Base Voltage, VCBO Emitter-Base Voltage, VEBO Collector Current, IC Collector Power Dissipation (TA = +25°C), PD Collector Power Dissipation (TC = +50°C), PD Operating Junction Temperature, TJ Storage Temperature Range, Tstg Thermal Resistance, Junction-to-Case, RthJC Thermal Resistance, Junction-to-Ambient, RthJA
CB Radio Banner Exchange
Collector-Emitter Breakdown Voltage V(BR)CEO IC = 10mA, RBE = Infinity
100 µA 100 µA 180 W %
VCC = 12V, Pin = 1W, f = 27MHz 14
Note 1. Pulse test: Pulse Width = 150µs, Duty Cycle = 5%.
BEC

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（本刊通讯员）
美国各地关注来自中国的对外直接投资
随着中国领先企业大力推进 “ 出去 ” 的战略，以走及商务部等部委出台了推动在海外建立中贸易加丁区的鼓励政策，中国的埘外直接投资（ＤＩ）引起了全世界的广Ｆ泛关注，尤其是许多圈家和地区的经济发展部ｒ、招商引Ｊ
资部门和组织纷纷看好中吲的投资，其中也包括作为世界
限公卅）前椎出两款业界体积最小、口整合度最高的调频收
音机芯片，进一．步扩大其已经通过考验的调频收音机产品阵
容。Ｓ４０和Ｓ４０利用Ｓｌｏａｏａｒｓｉ７２ｉ７３ｉｃｎＬｂｒｔｉ专利的低中频ｉｏｅ数字架构提供更优异的效能、整合度、体积与成本。精巧的
调频收音机芯片提供市场卜｜最小、用最容易、体积应成本效
益最高和功能午富的调频收音机解决方案。音乐及媒体功能
正成为包括平价手机在内等众多手机的标准配备，我们创新的调频收音机芯片在业界掀起一股风潮，使得更多厂商将收
音机功能整合至这些手机。 ”
物《区域开发》Ａｒｅｅｐｅｔ杂志将在２０年９（ｅＤｖｌｍｎ）ａｏ０６
月２４日～５日在美国芝加哥组织召开 “ ２区域开发中目论坛” 。该论坛以 “ 接来自中阂的对外直接投资 ” 为主迎
随着更多手机及便携式产品内置调频收音机功能，它
“ 国经济的快速发展，带来了ｌ业化、创新和国际中１
无锡中微高科电子有限公司成立
为了适应封装市场快速发展的需求，走专、化发展之ｆ
化的同时并举，无论是针对旧内市场还是全球市场，在今后几年内中国的领先企、都将掀起一次对外投资，以获取进・发展所需要的市场资源、人才和技术、自然资源和步
公司经营层表示，中微高科公司在以开的发展中将以
市场和目标为导向，优化管理，积极拓展核心业务，进一・步
ＳｌｏｂｒｔｒｅｉｃｎＬａｏａｏｉｓｉ
加强技术水平的提升，本着艰苦创业，踏实Ｊ：１作态度，作的：
以成为中同最优秀的高性能器件、集成电路及组件的封装服
公司—— “ 锡中微高科Ｆ无乜子有限公司 ”（简称 “ 巾馓高
科”公司）２０于０６年８月１卜６Ｕｊ式成立。
的冲击．联想电脯对ＩＰＤ的收购就是这种新的模式的ＢＭＣ开端，也是中旧经济高速、高质成长的一个反映。 ” 此次活动也引起了国内一企业和开发区的关注，许些多中企业开始关注在美国建立研发中心、物流运作中心、专卖店和工厂等新型的分支机构。
３ｍｍｘ３ｍｍｘ０５ｒｍ封装将电路板面积减至１ｍｍ．５ａ０，最多时可比其他产品缩小七成五ｉｃｎＬｂｒｔｒｓ．ｌｏａｏａｏｉ的调频收音Ｓｉｅ
机芯片适合移动电话、ＭＰ／３媒体播放机、独立式调频收音
机和需要高效能、低耗电和精巧ｊ积的各种便携式产品。本
扩大调频收音机产品阵容进一步缩小解决方案使用面积
专业电子元器件代理商益登科技所代理的高效能模拟与混合信号Ｉ导厂商Ｓｌｏａｏａｏｉｓ（ｃ领ｉｃｎＬｂｒｔｒｉｅ芯科实验室有
务和技术方案的提供商为目标，为广大客户提供更优质的技术与服务，为我国微电子产业的发展作更大的贡献。
（刊通讯员）本
中微高科公司主要专注于集成电路、半导体器件，件的陶瓷封装；减薄、划片、键合、封帽等项加Ｉ业务；为集成电路设计公训提供用于新产品测试验证的快速封装服务，为
品网生产线提供ＰＲ测试所需要的封装服务；ＭＣ和模ＬＭ块的设计加『＝等。
维普资讯
第６卷第９期
ｆ息占
报
道
题，一推出即扶得了美旧各个区域的广泛关注和积极参与，
信息报道
全面反映了作为全球最大资本输入同之一的美国各界在
“ｕｏｒｎ ”潮流中，高度关注新的 “ ｓｕｃｇｏｔｕｃｇｓｉｉｏｒｉ ”商机。ｎｎ
运作资金的高潮。区域开发》杂志中国合作伙伴北京 ”《
华兴万邦管理咨询有限公司总经理刘朝晖说，“ 这是继出
口导向和加模式之后，中吲企业面对全球市场的一次新
路，经中电科技集团同意，中闰电子科技集团公刮第五十八研究所控股出资组建的具有独立法人资质的专业化陶瓷封装
“ 们在此领域的首批产品相当成功，我们并以这项我
成果为基础，通过不断整合继续扩大领先优势。ｉｉｏ ”ＳｌｎｃＬｂｒｔｒｓ总裁ＴｓｎＴｔｅａｏａｏｉ副ｅｙｏｕｔ表示，“ ｉ７２０第二代ｌＳ４０／３
头号经济强国的美国。美国的许多州和地区开始把吸引和促进中国的投资作为了一项重要的招商引资Ｔ作。为了顺应美国招商引资的这个新的趋势，作为一家拥有４０年历史、在美国最有影响的区域发展和设施规划出版