KUDO水平垂直线源阵列音箱技术白皮书
EAW 音箱技术参数
Avalon -- 娱乐场所系列DC系列DC 系列是为舞厅、夜总会等娱乐场所扩声而度身定制的高水准固定安装型扬声器系统。
低频部分采用双重或四重低音单元设计,产生了激荡轰鸣、震撼人心的节奏和效果，充分拓展并彰显了厚重的低音；中高频部分采用性能卓著的中频和高频单元，呈现同样出色的中高音音质，确保在整个中高频段、最大长期声压级情况下纯净、自然、水晶般清澈透明的音色。
DCS子系列为装载有号筒的超低频扬声器系统，用来强有力地增强低音效果.DCT子系列为用来进一步增强高音效果的超高频扬声器系统。
DC1全频三分频扬声器系统；4x15”低频单元, 10”号筒中频单元，2 ”高频单元；非对称下倾式涵盖；包括3/8”-16螺纹安装/吊装点;双路功放驱动 (采用数字信号处理)频响范围: . . . . . . 46Hz－16 kHz覆盖角度 : . . . . . 90°x 40°(+10°－ -30°垂直) 功率/最大长期声压级/阻抗低频1: . . . . . . . . 1600W/129dB/4Ω低频2: . . . . . . . . 1600W/129dB/4Ω低频1+ 低频2: . .3200W/135dB/2Ω中频/高频: . . . . .350 W/133dB/8Ω连接: . . . . . . . . . . NL4和NL8 Speakon尺寸(mm): . . . . . 1016高x1770前/1133后宽x652深重量(kg): . . . . . . .182.3产品编号: . . . . . . .999968选件DC1系统悬吊杆将低频部分与中/高频部分固定为一体 , 每一DC1系统需要2个产品编号 . . . . . . . 179114DC2全频三分频扬声器系统；2x15”低频单元, 10”号筒中频单元，1.4 ”高频单元；配有3/8”-16螺纹安装/吊装点; 双路功放驱动 (采用数字信号处理)频响范围: . . . . . . 45 Hz － 18 kHz覆盖角度 : . . . . . .90° x 40°功率/最大长期声压级/阻抗低频: . . . . . . . . . 1600W/132dB/4Ω中频/高频: . . . . 350 W/133dB/8Ω连接: . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . 572前高/489后高x1449宽x483 深重量(kg): . . . . . . 86.4产品编号 . . . . . . . 999969DC3全频三分频扬声器系统；2x12”低频单元, 8”号筒中频单元，1”高频单元；配有3/8”-16螺纹安装/吊装点;双路功放驱动 (采用数字信号处理)频响范围: . . . . . . 50 Hz － 18 kHz覆盖角度 : . . . . . 90°x 40°功率/最大长期声压级/阻抗低频: . . . . . . . . . 800W/128dB/4Ω中频/高频: . . . . 250W/128dB/8Ω连接: . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . 476前/406后高x 1321宽 x406 深重量(kg): . . . . . . 54.5产品编号 . . . . . . .999970DC4全频三分频扬声器系统；2x12”低频单元, 8”中频单元1 ”高频单元；配有3/8”-16螺纹安装/吊装点;双路功放驱动 (采用数字信号处理)频响范围: . . . . . . . 45 Hz － 17.5kHz覆盖角度 : . . . . . . 90° x 40°功率/最大长期声压级/阻抗低频: . . . . . . . . . . .800W/128dB/4Ω中频/高频: . . . . . .220W/120dB/8Ω连接: . . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . . 486前/354后高 x959宽 x 508 深重量(kg): . . . . . . . .45产品编号 . . . . . . . . 999937DC5全频二分频扬声器系统；12”低频单元；1.4 ”高频单元；配有3/8”-16螺纹安装/吊装点;单路功放驱动频响范围: . . . . . . . .50 Hz － 18 kHz覆盖角度 : . . . . . . .90°x 45°功率/最大长期声压级/阻抗全频: . . . . . . . . . . 500W/124dB/8Ω连接: . . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . . 395前/306后高 x 762宽 x 346深重量(kg): . . . . . . . .29.5产品编号 . . . . . . . . 999972DC6全频二分频扬声器系统；2x8”低频单元, 1”高频单元；包括3/8”-16螺纹安装/吊装点;单路功放驱动频响范围: . . . . . . .50 Hz － 19 kHz覆盖角度 : . . . . . . 90° x 60°功率/最大长期声压级/阻抗全频: . . . . . . . . . . . 400W/121dB/4Ω连接: . . . . . . . . . . . NL4 Speakon尺寸(mm): . . . . . . 270前高/189后高x762宽x297深重量(kg): . . . . . . . .25.5kg产品编号 . . . . . . . . 997207D C S 系列EAW工程师发现，现代舞厅音乐的频谱具有这样一个特点：50Hz至60Hz低频段的声压级要比其他频段高出10-20dB。
KUBOTEK的最新音响产品和FPDC技术
出了带Ｈ 唱头和声音均衡放大器的线路放大器，可以与 Ｃ 模拟声源连接 ，新生产的功率放大器 ，除了以前一直在
生产的数字功率放大器之外 ，还增加了真空管放大器。
Ｋ ＢＴ Ｋ ＵＯ Ｅ生产的音箱第一代是四低音扬声器方式 ，第
二代是双低音扬声器方式 ，而最新的一代音箱则改成 了
单低音扬声器的方式。 下面介绍ＫＢＴ Ｋ 司最近推 出的几款高档音响设 Ｕ Ｏ Ｅ公
该 公 司２０ 年 生产 的 线路 放 大 器 ，其 最 大特 点是 推 ０７
该系统的组成如 图１ 所示 ，由全数字 的音乐信号处 理／ 调整系统、功率放大器组成的驱动系统、扬声器和测 量用的麦克风及监控用的微机等五部分组成。 对迄今为止的音箱来说 ，其音质的调整全凭 用户的 经验和直觉 ，要做到最佳调整是很 困难 的。而Ｋ ＢＴ Ｋ ＵＯ Ｅ公
不能忽视 了。其中有些产品内部连线的导线
阻抗达 到１ Ｑ。因此 ，Ｋ ＢＴ Ｋ ～２ ＵＯ Ｅ公司为 了
充分发挥 出Ｈ Ｔ０ 唱头 的性能 ，特意 对马 Ｃ Ｒ１ 兰士的Ｔ ８０ 唱机 （ Ｔ０ １ 照片２ ）作 了改造 ，将
唱机的内部连线阻抗降至０ Ｑ。 ． ２
声 音 均 衡 放 大 器 ＨＥ Ｏ ＱＡ １
细选 ，不计成本。
在 电路设计方 面该机 特别注意相 位特 性 ，选用了１ 的ＰＳ ％ Ｐ 电容器和 １ 的金属膜 电 名 阻。为了测试ＨＱ ０ ＃ＲＡ ￣线的好坏 ，输 ＥＡ １ ］Ｉ Ａ 入的测试信号先经过逆ＲＲ ￣络然后再送入 ＩＡ Ｈ Ｑ０ ，此时ＨＱ ０ 的输 出信 号的频率特 ＥＡ １ ＥＡ １ 性如图３ 所示 ，在可听的频率范围内不管是
电动势去除磁芯的剩磁。
均衡 电路为Ｎ＋ Ｒ ，用Ｎ型低音提升 Ｆ Ｃ型 Ｆ 电路对Ｒ 曲线 的低频部分进行补偿 ，再用 Ｉ Ｍ Ｃ 衰减 电路 对高频部分 的滚降特性进行校 Ｒ
2021年中央广播电视总台春节联欢晚会扩声系统设计
观众席的补声主要为扇形观众席的最外层两侧 以及后方挑檐下的包厢区域来设置，这些区域是主 扩声扬声器的覆盖盲区，难以获得均匀的声场覆盖。 如图 9。
4
主扩线阵列 扬声器覆盖图
5
线阵列第 1、2 只 扬声器覆盖图
主扩声扬声器声场覆盖模拟如图 4 所示。 主扩声线阵列扬声器水平覆盖角度设置为（从上 至下）第 1、2 只 50°，第 3、4、5 只 110°。 其中第 1、2 只音箱为覆盖较远的中间观众区域， 从而减小了水平角度，这样可使音箱指向性更强，保 证了较远观众区域的声音清晰度，同时可减少音箱到 达观众区上方球形结构的直达声，可以进一步降低由 球形结构所造成的舞台反射声。覆盖区域如图 5。
Nexus 系统可以共享输入信号源，包括所有话筒 输入信号、模拟线路输入信号和数字输入信号。由于 一号演播厅现场扩声调音台、立体声播出调音台与 5.1 环绕声播出调音台都使用接入 Nexus 系统的 Stagetec 调音台，所以每张调音台都能根据各自需要选择所需 接入系统的信号源。受益于 Nexus 系统内话放自带的 音分功能，可以使三张调音台在同时选择相同模拟输 入信号源的情况下，分别调节各自的模拟域话放增益， 互不影响干涉。
Advanced Television Engineering
环绕声调音台的输出接口同时接管的。
3. 制作方案 2021 年总台春晚依然采用环绕声信号与立体声信
号同时分开制作的模式。5.1 环绕声调音台负责制作高 清环绕声播出信号，并送主、备加嵌器和主、备 EVS 录机的 1 ～ 6 声道，立体声调音台负责制作标清立体声 信号，并送主、备加嵌器和主、备 EVS 录机的 7、8 声道。
超乎想象的能量感Kudos Audio C20落地式音箱
无 能为力 ，唯有人 耳 的 听觉感 受更 为直 接 。
前段时间 ， “ 视 听 卒 问 众 测 实 验 室 ” 的 微 信 群 里 面 讨 论 起 了 一 个 环 境 空 间 的 声 学 问 题 ， 究 竟 采 用 仪 器 测 譬 再 作
调 整 还 是 通 过 人 耳 的 听 感 校 声 更 优 秀 ？ 不 可 否 定 的 是 ， 现
超乎想象的能量感
试 听 是 在 广 州 星 之 光 电器 城 的典 雅 音 乐 花 园 的 香 港房 ，搭 配 了 同 样 来 自英 国 的 Ｎａ ｉ ｍ的 ＣＤ ５ Ｘ Ｓ ＣＤ 机 、Ｎ Ａ Ｃ～ ２ ０ ２ 前级和 Ｎ ＡＰ 一 ２ ０ ０ 后 级
，
： ＝ ＿ ｌ
， 一 ■ ＿ ｌ ． ｌ 一 －
案 ，Ｄ ｅ ｒ ｅ ｋ Ｇｉ ｌ ｌ ｉ ｇ ａ ｎ 先 生 认 为 倘 若 一 对 原 型 扬 声 器 能 在 不
在 无 论 多 么 先 进 的 声 学 测 量 仪 器 ， 也 无 法 测 黾 出 音 箱 摆 位 的 微 妙 变 化 ， 无 法 通 过 数 据 来 表 达 音 乐 的 情 感 ， 更 无 法 知 道 我 们 每 个 人 不 同 的 听 音 喜 好 是 什 么 。 因 此 ， 耳 朵 收 货 显 得 尤 为 重 要 。 当然 ，指标 优 秀 的产 品／ 房 间 不 一 定 有 好 的 声 音 ，但 有好 声 音 的 产 品／ 房 间 一定 是 有 优 秀 的指 标 。 所 以 ，
期 间 还 会 依 据 座 上 客 的 数 目和 不 同 时 段 的 气 氛 反 应 作 出 相
应 调 鼙 。 要 把 这 些 微 妙 变 化 统 统 纪 录 下 来 ，测 量 仪 器ｏ ｓ Ａｕ ｄ ｉ ｏ 针 对 中 型 聆 听 孛 设 计 而
会议室采购会议系统及安装工程（纯方案，15页）
会议室采购会议系统及安装工程（纯方案，15页）目录三、设备的技术指标....................................................................................................2 五、工程技术保障........................................................................................................4 1、项目实施进度计划 (4)2、设备安装及调试方案......................................................................................4 3、质量保障体系及保证措施..............................................................................8 六、验收保障及质保期..............................................................................................11 1、验收指标及方法............................................................................................11 2、质保承诺.. (12)七、售后服务承诺......................................................................................................14 1、售后服务体系................................................................................................14 2、售后服务承诺 (14)3、人员培训计划 (14)三、设备的技术指标序号产品名称设备技术指标 1.1 柱形阵列扬声器频率响应(-10 dB): 75 Hz-13 kHz 可计算的最大声压级 @ 1m: 109 dB 额定输入功率(连续 / 峰值): 150W/600W 轴向灵敏度(SPL/1W @ 1m): 87 dB 标称水平扩散角(-6 dB): 160° 标称垂直扩散角(-6 dB): 20° 标称阻抗(旁路变压器): 8Ω 换能器: 扬声器单元12 只2.25 英寸(57mm)大冲程,全天候单元尺寸(高 x 宽 x 深): 986mm x 104mm x 140mm 2.1 低音扬声器频率响应：40Hz-250Hz(±3dB)功率阻抗：(带EQ)，400W，8Ω 灵敏度：91dB-SPL,1w,1m 最大声输出：117dB-SPL,1m(平均值)；123dB-SPL,1m(峰值)辐射角度：可控辐射角度外形尺寸：368(H)x508(W)x646(D)mm 重量：30.0Kg 3.1 辅助扬声器频率范围：90Hz-16kHz +/-3dB 灵敏度：91dB-SPL@ 1W,1m(粉红噪声）最大声学输出：111dB SPL@1m(粉红噪声）115dB SPL@1m（IEC 噪声）持续功率处理能力：连续 120W 尺寸及接驳规格：尺寸：23.25"高 X 8.1"宽 X 7.25"深重量：15 磅（7 公斤）插头：2 个并联的 Speakon NL4 插头覆盖角度：120° X 60° 4.1 返听扬声器频率响应(-10 dB): 70Hz-16 kHz 可计算的最大声压级 @ 1m: 109 dB 额定输入功率(连续 / 峰值): 150W/600W 标称水平扩散角(-6 dB): 160° 标称垂直扩散角(-6 dB): 20° 标称阻抗(旁路变压器): 8Ω 换能器: 扬声器单元 3 只 2.25 英寸,1 只 5.25 英寸单元尺寸(高 x 宽 x 深): 361mm x 318mm x 211mm 1.5 功率放大器2*600W 8 欧，2*1050W4 欧，2*1400W2 欧，桥 170W8 欧，桥 4 欧 2300W 1.5 功率放大器2*600W 8 欧，2*1050W4 欧，2*1400W2 欧，桥170W8 欧，桥 4 欧 2300W1.6 功率放大器 2*400W 8 欧，2*700W4 欧，2*1000W2 欧，桥1250W8 欧，桥 4 欧 1700W 1.7 调音台 16 路调音台 1.8 数字音频矩阵 8 路可切换式平衡话筒/线路电平输入；带高低通波器、FIR 滤波器、图示均衡器及反馈消除及自动混音； 8 路切换式平衡线路电平输出，4 路逻辑输入（可用 2 组电位器或 4 组开关）和 4 路逻辑输出；所有信号处理，混音，路由功能（包括输入增益）均可通过软件控制；通过下载的应用程序，可为特定场所和系统的优化提供整套音频处理解决方案；预先设计的应用程序可极大的缩短安装、调试时间；采样频率:48 kHz；频率响应:20Hz-20kHz,+/-0.5dB；动态范围:>110 dB(A 声压级)，输入到输出；总谐波失真+噪声:<-85 dB(无负重声压级)，1kHz @ +22 dBu，0dB；增益交叉通道对讲:<90 dB @ 1kHz，典型；延迟:<1.6 毫秒，输入到输出； 1.9 会议话筒鹅颈会议话筒，话筒杆长 42cm 1.10 无线手持话筒双手持无线手持话筒 1.11 话筒底座 1.12 自动混音台 10 路自动混音管理器五、工程技术保障 1 1、项目实施进度计划 1、施工准备阶段：施工准备阶段主要是熟悉、审查图纸，了解业主和设计意图，结合国家规范、行业及雇主要求，进行深化设计。
Rumble-KU212 不锈钢线阵低音单元数据表说明书
Rumble-KU212Stainless steel linearray bass elementDescriptionThe Rumble-KU212 is an ultra-thin, highpower passive subwoofer designed as the perfect companion to the K-array’s Installed Sound speakers. A combination of extended frequency response with prodigious output and a discreet form factor make the KU212 an ideal solution for complex medium and large-format projects like clubs, lounges and live concerts. The largest of K-array’s Rumble subwoofer line, the KU212 is comprised of a 12” neodymium transducer combined with a 12” passive transducer. The KU212 is made entirely up of steel, making it extremely resistant, even when deployed outside in tough weather conditions. This makes it ideal foraquatic environments where ordinary bass speakers would corrode. It is impenetrable by foreign objects such as dust, sand or water, which over time can ruin a speaker. KA series amplifiers have presets specifically optimized for KU212 applications. Measuring at 33 x 65.5 x 20 cm and weighing 18kg, the KU212 is available in elegant black or subtle while and can be customized in any RAL color as well as brushed, polished or 24 K gold-plated finishes, making it easy to blend in or grab attention depending on your aim, in a variety of spaces.Technical SpecificationsNotes for data:1. Maximum RMS applicable power for a musical signal. The reference signal is the one proposed by EIAJ standard.New materials and design are introduced into existing products without previous notice.Present systems may differ in some respects from those presented in this catalogue.26,2in 665,5mm 25,8in 655mm13,0in 330mm7,9in 200mmGeneralType Point source subwooferDrivers1x 12” Neodymium magnet with 2” voice coil 1x 12” passive transducer Frequency Response 35 Hz – 150 Hz (-6 dB) (1)Sensitivity 100 dB (2)Rated Power 700WMaximum SPL 124 dB (cont.) – 130 dB (peak) (3)Nominal Impedance 4 / 16 Ω selectableCrossover External crossover required Low-pass @ 150 Hz CoverageOmniControls and ConnectivityConnectivityPhoenix MSTB 2,5/ 4-ST-5,08 BK - 17588431+ 1- / 2+ 2- serial or parallel configuration (see manual)Handling and FinishIP RatingIP54 (Improved water protection with K-KUIP accessory)Dimensions & Weight 65,0 cm x 33,0 cm x 20,0 cm (25.8“ x 13.0” x 7.9“) 18,5 kg (40.8 lbs)FinishBalck, White, Custom RAL color Premium brushed, polished stainless steel/gold finishesAccessoriesRecommended Amplifier KA24, KA84AccessoriesK-2SPK, K-FLY22, K-FLY2B, K-JOINT2B, K-PMOUNT, K-WALL2, K-WF212。
Final Sound技术优势分析白皮书
The Inverter Principle for Electrostatic LoudspeakersIntroductionElectrostatic speaker systems have been considered the absolute state of the art in audio reproduction since the 1960’s, when the legendary KLH 9 first made its debut. Shortly after, Infinity Systems introduced the Servo Static One, a full range electrostatic design that was considered the best speaker of all time and led to Infinity’s current position as one of the leading speaker brands in the world. In the early 1990’s, Martin Logan popularized the concept of “hybridization”, the process of blending dynamic and electrostatic technologies to deal with some of the technological difficulties of electrostatic loudspeakers.Electrostatic speakers are known for there clarity and transparency of sound, as well for the low distortion because amongst others the very low mass of the moving diaphragm. Besides the very high sound quality, traditional electrostatic speakers had also a number of principle disadvantages such as a very low impedance as soon as the frequency goes above 1000hz even as low as 1Ohm(need for expensive and powerful amplifiers). Another known disadvantage for traditional electrostatic speakers is the beamy pattern of the sound distribution resulting in a narrow spot of the listening place. Because of the very principle of the sound reproduction, electrostatic speakers need very large surfaces to reproduce Bass tones (expensive)In case of a traditional electrostatic loudspeaker elements a thin film, permanently charged by means of a high voltage , is suspended between two perforated plates. The audio signal from the amplifier is transformed into a high voltage by means of an audio transformer and delivered to the perforated plates as an alternating current. The alternating electrical field caused by the two perforated plates (the stators) will push and pull the film (the membrane). The membrane itself will move the air and therefore produce sound waves.The Final Sound Inverter’s unique selling pointsLow distortion Transparency and life-like sound High-definition sound (a lot of detail)High Impedance resulting in lower power and lower-cost amplifiers Broad Stereo Image Excellent sensitivity on normal listening distance Much less affected by room reflections (against walls, ceiling and floor) resulting in a lower-cost for the Home Theatre Installation.The Inverter principle results in a high degree of safety allowing the design to comply with the UL and CE requirements The Inverter also needs smaller electronics, resulting in a flat and digital lifestyle design.Final Sound Solutions modular design allows applying manufacturing technologies that allow for much lower manufacturing cost prices and as such more attractive end-user prices.•••••••••The Inverter Principle for Electrostatic LoudspeakersThe inverter: the Final Sound solutionFinal Sound developed the Inverter Electrostat over the last two years in order to solve a number of the disadvantages of electrostats while keeping the benefits.Additionally FSS has improved the diaphragm technology substantially, so it will last much longer than traditional electrostats.audio signal diaphragm stator platesThe Inverter Principle for Electrostatic LoudspeakersThe Inverter Principle for Electrostatic Loudspeakers The Final Sound electrostatic conceptThe Final electrostatic loudspeakers consist of the following basic components:The electrostatic transducer.This element is a sandwich of two perforated plates. In between these plates a thin film (the membrane) is suspended. The plates are coated with special epoxy polyester to obtain a proper insulation. The membrane is made electrically conductive by means of a coating process. Final uses VHB (very high bonding) tapes to build the sandwiches.The audio transformer.Final has developed its own state of the art audio transformers. Special core materials and insulation techniques are applied. The audio transformer is for a major part responsible for the performance of the speaker. On today’s market suitable audio transformers for electrostatic panels are not available.The high-voltage unit.A high voltage unit powers each electrostatic element. This unit delivers the polarization voltage to the membrane. The power consumption of the electrostatic loudspeakers is very low. Also here Final Sound developed it’s own patented technology.The frame.The electrostatic elements are fixed in a rigid framework. The newest generation Final speakers have a beautiful framework made of extruded alloy tubes. The satin finished framework gives the speaker a unique cool look. Final sound also can deliver any RAL color as an option. On the other hand the extrusion profiles enable large volume production. A unique feature of the HT systems is that the electrostatic panels can be delivered in a wall-mounted version and a floor standing version.Its unique technology of electrostatic speakers allows a superb sound quality combined with an excellent price /performance ratio. Its extreme flat design allows not only floor standing but also wall mounting. Its patent protected and patent pending electrostatic technology allows a far better price performance than competing systemsWhy does an electrostatic loudspeaker (ESL) sound louder?When characterizing the sensitivity of loudspeakers in general it is common practice to express this magnitude in dB/1 meter/1 watt or 2,83 volts. This works fine as a measure for dynamic speakers as these are point sources, but asks for some more detailed explanation for line sources. Final Sound electrostatic loudspeakers are line sources and also dipoles.Both aspects will be treated here.A conventional cone-type loudspeaker is a point source, moreover it usually only radiates in the forward direction. A Final electrostatic panel is a line source and it radiates as much at the front as at the rear.The Inverter Principle for Electrostatic LoudspeakersWhen a long line source is measured at 1-meter distance, the microphone usually receives its sound from a limited part of the total sounding surface. Therefore the figures obtained by such a measurement do not rightly reflect the listener’s impression of the sound level.Acoustical theory shows that the sound level of a point source diminishes –naturally- with 6 dB per doubling of the measuring distance, while long line sources like Final electrostats show a decrease of 3dB per doubling of the distance. When seated at a distance of typically 4 meters in a room, the sound intensity out of a point source is 12 dB lower than at the usual but not very practical measuring distance of 1 meter.From a line source like a large electrostatic loudspeaker, when auditioned at 4 meters, the loss is not 12dB but 6 dB only.An example may clarify this phenomenon:A good cones loudspeaker, behaving as a point source has a “sensitivity of 86dB/watt/1 meter”. At the usual 4-meter distant listening position, the sound level has dropped to 86-12 = 74 dB. A big ESL, when auditioned at the same distance will produce a sound level of 86-6=80dB. A 6 dB difference.The second property of ESL’s is its dipole character. A conventional speaker only radiates to the front, as the back is usually closed by the box.An ESL radiates its sound energy both to the front as to the rear and this rear sound energy will be reflectedto the walls and added to the waves coming from the front. This will contribute to the overall sound level impression of the listener. Were these two waves in phase, it would lead to an increase of 6dB. But generally this is not the case of course. An estimation of a 3dB difference is realistic.Let us sit down again at our listening position at 4 meters of our 86dB/1meter/1watt loudspeaker and add the two phenomena as described above together.The point source will yield (see above) a sound level of 86-12=74 dB at 4 meters distance.This is an important 9 dB of difference at the listening position. Smaller ESL’s are not an ideal line source, but still are dipoles with their 3 dB advantage. A smaller ESL/86dB in this context, will yield a sound level at 4 meters of some 86-9+3 dB = 80dB, still 6dB ahead of a point source with the same measured 86db/1 meter/ 1 watt/2,83 volts.When Final specifies 86dB/1 meter/1 watt, it is measured with the standardized method. For large ESL’s one has to add 9db to that figure: it effectively becomes 95 dB equivalent as compared to a point source: a normal cone loudspeaker. For small ESL’s one has to add 6dB to that figure: this effectively becomes 92dB equivalent in order to get the right impression of the capabilities of ESL’s versus cone loudspeakers.The last pitfall in interpreting the measurement results of ESL’s, has –again- to do with its long, mostly vertical- dimensions.The Inverter Principle for Electrostatic LoudspeakersWhen assessing the frequency characteristic at the usual distance of 1 meter, there maybe considerable differences in distances between the microphone and the different parts of the ESL: from the middle the distance, of course, is 1 meter. But from the extremities of a 56 cm high ESL the distance is, Root ( 100^2+26^2) = 103,9 cm. This is a half wavelength at approx. 4000 Hz. At this frequency the waves from the extremes of the ESL will more or less cancel out the waves emanating from the centre. The curve will lead an uninformed experimenter to believe that the frequency characteristic falls with 3 dB per octave beyond this first cancellation frequency! Measuring however at 4-meter distance, this first canceling-frequency will be at 16000 Hz. A 120 cm long ESL like the FINAL model 400 will experience its “first cancellation frequency” at around 3600 Hz. For a listener in a room with some reverberation –not being a “dead” room- this phenomenon is quite unimportant, as all waves coming back to him from all walls and the floor and ceiling will smooth out the undulations experienced in the measuring set-up in a non-reverberating room with software canceling all reflections.When judging the measurements of an ESL in a non-reverberating set-up, one can, for a quick assessment of the qualities of an ESL, accept the following rules: measuring the behavior at low frequencies can be done at the usual 1 meter distance, high frequencies can best be measured at a distance of 4 meter or more.Electrostatic versus dynamic loudspeakerComparisons between electrostatic (ESL) and dynamic (Cones) loudspeakers and descriptions of the operation of ESL’s have been made in all shapes and forms, enough to fill a small library. So this introduction is limited to a short enumeration of the most salient differences between the two systems, hoping this subject is well known to readers.Electromagnetic or dynamic loudspeakers have cones driven by some form of a coil moving in a magnetic field –flat or circular. These cones are usually excited at the center for bass and middle tone speakers or at the perimeter in the case of tweeters and are hoped to move exactly in accordance with the electrical current through the coil. In practice however, cones move more or less like shaking a rug, than like an ideal stiff surface. See the diagram below just to excite your imagination. One may hope the mean value of the movement over the total surface is neat enough to give an acceptable and musical representation of our beloved sound material.•The Inverter Principle for Electrostatic LoudspeakersESL diaphragms have considerably less weight than cones: the diaphragm of an 90i weighs less than 1 gram. As much as 100 liter of air weighing 1 kg per m3. In an ESL such a diaphragm is 12 micron thick and it weighs as little as a layer of air of 12 mm thick: 6 mm on both sides. In an ESL the diaphragm is driven simultaneously and homogeneously over the entire surface. Dampened as it is by its surrounding air this thin and ultra light foil does not get the tiniest chance to invent movements of its own.Cones have the advantage of a long stroke, so the surface of an ESL diaphragm should be many times larger than that of a cone to move the same number of air molecules. But be aware: the ESL moves air at both sides as explained above. Low frequency output from ESL’s is admittedly nice and clean, but usually no too strong, unless the ESL’s surface is huge and at the same token it gets quite expensive.Final’s finest model 1.4, now baptized 1400i, has a surface per loudspeaker of 0,54 square meters. If this were a round cone it’s radiating diameter should be 95cm or 37 inch! Our smallest model (model 90) today has one tenth of the surface of the 1000 and that is 0,07 square meter. Its equivalent diameter should be 12 inch, still the measurement of a very respectable cone-speaker.Dynamic loudspeakers are usually housed in not dumb-and-dead boxes, which –these boxes too, alas- have their own contribution to the sound of music. ESL’s have no such boxes, at the expense of the performance in the bass frequencies.Dynamic loudspeakers require the frequency spectrum to be divided into two, three or more sub-bands. This brings about the use of LC-filters with their own influence on the sound.ESL’s, due to their large radiating surface, tend to exhibit bundling of the higher end of the audio spectrum, reducing the dimensions of the so-called sweet spot. FINAL has found out how to fight this phenomenon.Most ESL’s on the market require high end amplifiers because of their weird impedance over frequency: values can be found as low as 1 ohm at 20kHz. And very capacitive too as this 1 ohm is the equivalent of 8 microfarad. This in itself is a strange phenomenon because theoretically the sensitivity of an ESL increases with frequency and one would, based on electrical energy in versus audio energy out, expect some sort of inverse behavior.Full range electrostatic loudspeakers usually have a limited sensitivity. 86 dB is commonly found whereas dynamic loudspeakers exhibit sensitivity more like 86 to 92 dB without recurring the use of exponential horns and other additional means (measured at 2,83 volt in and at a distance of 1 meter). This has been discussed thoroughly above. The sound is louder than you would conclude from the specs.••••••••The Inverter Principle for Electrostatic LoudspeakersFull range electrostatic loudspeakers usually have a limited sensitivity. 86 dB is commonly found whereas dynamic loudspeakers exhibit sensitivity more like 86 to 92 dB without recurring the use of exponential horns and other additional means (measured at 2,83 volt in and at a distance of 1 meter). This has been discussed thoroughly above. The sound is louder than you would conclude from the specs.The industry in the past decennia has predominantly made large and expensive Electrostatic Loudspeakers in rather small quantities mainly for the high-end market, and not yet addressed the middle segment. Part of this is due to a vicious circle whereas small quantities do not lead to a quick decrease of the cost of manufacturing, nor a quick run down the learning curve. Dynamic loudspeakers on the contrary, are made in huge quantities and varieties worldwide and so are cheaply available.The application of the high voltages necessary in an ESL presents a challenge as to the safety as laid down for instance in ETL and UL-requirements related to human safety and fire hazard. Finals Inverter solution has solved this.ESL’s are sensitive to dust, smoke and moisture: these particles tend to shorten their lifetime. However Final has developed a new type of diaphragm with a protective coating to enable a long lifetime. Nevertheless, it’s recommended to clean the panels ate least once a quarter, using a vacuum cleaner.ESL’s are line sources and so behave in a completely different manner as point sources in the build-up of the acoustic field. •••••。
线阵列音箱知识
线阵列音箱知识线阵列音箱知识以往为了解决大场地(如大型体育馆、体育场和广场)扩声的需要，常采用几十只或上百只音箱组成大型的“音箱阵”或“音墙”，来满足场地扩声声压级和声场覆盖的要求。
这种方式沿用了许多年，直至今天仍有使用。
只是随着时间的延续，组阵的单元音箱在不断地进步与更替。
后来人们逐渐发现，这种传统的组阵方式虽然在总体上可以满足大场地扩声的需要，但是有两个突出的问题暴露出来：一是大型组阵现场搭建繁杂，使用不便;二是扩声声场存在明显的声干涉现象。
显然这些问题的存在对某些使用场合，特别是对重放音质要求高的场所将不能满足使用要求。
1. 线阵列扬声器系统的提出为了能解决这些问题，近十几年来，声学家和扬声器厂商又开始“重温”美国著名声学家H.F奥尔森(Olson)在1957年出版的《声学工程》(AcousticalEngineering) -书中关干线阵列的论述，即“线阵列系统具有良好的垂直指向性覆盖和远距离声辐射的特点”。
但是如何能完成宽音域声音的重放?只有伴随扬声器新技术、新的设计与加工工艺的进步才能得以实现。
法国L-ACOUSTICS公司于1993年首先推出了V-DOSC系统。
在随后的几年里，一些国际著名的扬声器生产厂商也陆续推出了各自品牌的线阵列扬声器系统。
自2002年起。
一些国内扬声器生产厂商也相继研发出自己的线阵列扬声器系统。
2. 什么是线阵列扬声器系统简单来说，可以把线阵列扬声器系统看成是一个“大型的全频扬声器”。
它是借助线阵列( Line Array)的基本理论，在一定条件下予以近似而开发出的扬声器系统。
需要注意的是，不能简单地把“线阵列”等同于实际的线阵列扬声器系统。
线阵列基本上是由一组排列戍直线、间隔紧密的辐射单元构成。
这些辐射单元的声辐射应具有相同的振幅和相位。
2.1 形成线阵列的基本条件线阵列要实现一个近似理想的“线声源”或“连续带状声源”其基本点是：①阵列的每个声辐射器以一个同相位平面形波阵面工作;②阵列的声辐射器的声中心之间的间距应小于最高辐射频率波长的一半。
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技术白皮书2004 年10月L-ACOUSTICS KUDO主要特性：z主动3分频音箱（2×12″低频，4×5″中频，2×1″高频）z基于WST（波阵面耦合技术）的垂直或水平线声源设计z指向性可调（50°或100°对称覆盖；25°/55°或55°/25°非对称覆盖）z垂直线声源阵列（相邻音箱之间的角度调整范围为0°～10°，单位调整角度为1°）z模块化水平线声源阵列（每增加一个音箱，水平覆盖角度增加10°），垂直覆盖角度可调z专门为对音箱性能要求较高的固定安装和巡回演出而设计z符合人体工程学的吊装系统垂直WST线声源阵列水平WST线声源阵列前言L-ACOUSTICS KUDO（KUDO=K-LOUVER Modular Directivity U nited with D OSC Waveguide T echnology）是新一代的线性声源阵列扬声器，提供比目前其它线性阵列更灵活、更适合实际使用的功能。
KUDO标志着L-ACOUSTICS 领先的波阵面耦合技术（Wavefront Sculpture Technology，简称WST）又一次得到了重大的发展，因为WST技术让我们可以对扬声器阵列的垂直、水平面同时进行调整（指向角可调，即Q值可调）！在KUDO线性声源阵列扬声器中以包含了二个获得专利技术的DOSC波导管，允许WST技术在垂直及水平方向上同时应用，在垂直面上通过正在申请专利的K-Louver 技术，从而可以对其覆盖角进行调整。
机械地调整K-Louvers活动波导结构，实现对KUDO扬声器中/高频部分的指向性控制，并允许KUDO随时设置成4种不同的指向性模式。
KUDO联合集中了可变曲率的垂直线声源扬声器阵列（如V-DOSC、dV-DOSC）及恒定曲率的水平线声源扬声器阵列（如ARCS）的优点。
当KUDO 作为垂直线声源扬声器阵列使用时，通过扬声器内部的角度仪，相邻扬声器的垂直角度调整范围为0°～10°，单位调整角度为1°。
同时扬声器的水平指向性方面则可以设定为：50°（对称性）、110°（对称性）、25° x 55°（不对称性）及55° x 25°（不对称性）等4种不同的指向模式。
还可以根据实际中扩声现场的建筑结构、面积及混响特性等条件，在同一组阵列中单独的设定个别扬声器的水平指向角，从而与听众区域的几何形状相匹配。
这一功能使KUDO的使用极具灵活性。
当KUDO作为一组恒定曲率线声源扬声器阵列水平安装时，将扬声器间的角度均设定为10°，则阵列的水平覆盖角度为 10°x N（N为扬声器数量）；而垂直指向性则可以设定成：50°（对称性）、110°（对称性）、25° x 55°（不对称性---向上）及55° x 25°（不对称性---向下）等4种不同的指向模式。
KUDO所特有的4种可选择的指向性设定，并可用作垂直或水平两种线源阵列，能提供相当于8种不同的扬声器的演绎性能。
这种的大功率、中型扬声器系统具有空前的灵活性，设计更是独具匠心，是一种全新扬声器类型，也是L –ACOUSTICS继1995年和1998年先后研发的ARCS®和dV-DOSC TM之后的又一力作（当然还有于1993年问世的作为音响技术创新的标志性产品——V-DOSC），再一次开创了音频技术的新纪元，引领了科技潮流。
K-Louver覆盖专利技术的调整由于KUDO线性声源阵列扬声器拥有K-Louver专利技术，因此允许对扬声器设置4种不同的指向性----使用者只需要一个十分简单的机械操作便可以重新设定KUDO扬声器的覆盖角。
（如下图）推/拉杆K-LOUVER滑板/转换板（朝内 =55°）（朝外 =25°）第 4 页采用K-LOUVER 板调整覆盖范围对称指向性的设置（50°对称） （100°对称）第 5 页采用K-LOUVER 板调整覆盖范围非对称指向性的设置（80°非对称—-向右） （80°非对称—-向左）垂直线源阵列的设置当KUDO 被用作可变曲率的垂直线源阵列时，相邻音箱之间的垂直角度为0～10°，单位调整角度为1° 。
水平指向性有50°（对称）、110°（对称）、25°×55°（非对称）、55°×25°（非对称）四种设置可供选择。
4个KUDO 音箱=40°垂直(标称角度) 4个KUDO 音箱=40°垂直(标称角度)25°×25°水平=50°对称 55°×55°水平=110°对称4个KUDO 音箱=40°垂直(标称角度) 4个KUDO 音箱=40°垂直(标称角度)25°×55°水平（非对称） 55°×25°水平（非对称）垂直覆盖 水平覆盖 25°× 25°= 50° 对称 55°× 55°= 110°对称 25°× 55°= 80° 非对称（右） 相邻音箱的间隔角度为0～10° (单位调整角度为1°)55°× 25°= 80° 非对称（左）25° 25° 55° 55°25°55°55°25°垂直线源阵列的设置在一个垂直线源阵列里，您可以根据扩声现场的建筑结构、面积及混响特性，将个别音箱设置成为不同的水平指向性，以便与听众区域的几何形状相匹配。
这一功能使KUDO 的使用极具灵活性。
4个KUDO 音箱=40°垂直(标称角度)25°×25°(KUDO 音箱1、2) 55°×55°(KUDO 音箱3、4)25° 25°55° 55°水平线源阵列的设置当KUDO 被用作恒曲率水平线源阵列时，相邻音箱之间的角度为10°，水平覆盖为10°×N （N=KUDO 音箱数量）。
垂直指向性有50°（对称）、110°（对称）、25°×55°（非对称）、55°×25°（非对称）四种设置可供选择。
垂直覆盖水平覆盖25°× 55°= 50° 对称 55°× 55°= 110°对称25°× 55°= 80° 非对称（向下） 55°× 25°= 80° 非对称（向上）10°×N( N = # KUDO 音箱数量)4个KUDO 音箱=40°水平(标称角度) 4个KUDO 音箱=40°水平(标称角度)25°× 25°垂直 55°× 55°垂直4个KUDO 音箱=40°垂直(标称角度) 4个KUDO 音箱=40°垂直(标称角度)25°(上) × 55°(下) 55°(上) × 25°(下)25° 25°55°55°25° 55°55°25°背景得益于十于载的研发成果和经验，KUDO是L-ACOUSTICS旗下一款革命性的、处于科技前沿的技术型音箱系统。
毫无疑问，L-ACOUSTICS是线源阵列音箱行业中的领导者，他制定了WST原理（《波阵面耦合技术》，并发表于AES音响工程协会2003年10月第10期，总第51期的期刊），WST原理界定了制作性能优良的线源阵列所必须满足的各项条件，从而也为KUDO的设计提供了科学依据。
注：线源阵列和市场上的其他线阵列有很大的区别。
有些人可能会说他们之间的区别不过是多一个字和少一个字的差别，但是基于WST技术的L-ACOUSTICS音箱系统在整个音频带宽范围内均能很好地工作，而其他的系统不能，这绝不仅仅是因为系统名称不同，其中还有理论和实践等方面的原因。
详情请参照AES期刊。
过去的10年里，L-ACOUSTICS先后成功研发了V-DOSC、dV-DOSC和ARCS，在此过程中L-ACOUSTICS积累了丰富的实践经验，并以此为基础，经进一步的研发，设计了KUDO的技术规格。
L-ACOUSTICS的设计理念是为您提供具有战略意义的扩声设计工具，便于您在实际中的应用。
KUDO的定位是用于如剧院、音乐厅、礼堂、体育场等中型场所的扩声系统。
其总体设计目标是为您提供一个具有灵活性、高质量的、且节省成本的、适用于上述各类场所的最佳解决方案。
根据以往的经验，我们仔细研究了这些场所对于声场覆盖的要求，以便决定诸如指向性及覆盖角这些具有典型几何形状的听众区域，所必需的灵活的性能指标。
平均投射距离和声压级的预期值也是我们设计时的重要考虑因素，故而我们采用了主动3分频的音箱设计。
为了改进在流动演出时的安装方法、加快安装速度，我们专门设计了一套简单、方便、快捷的安装体系。
在初步建立这些技术指标后，L-ACOUSTICS依照音箱的设计步骤体系，通过科学的方法设计出了KUDO音箱。
为了决定其高、中、低频各频带的功率，我们通过本厂获得专利的模型设计软件，对KUDO的技术指标进行了初步的科学分析，最终决定选择了2×12英寸，4×5英寸和2×1英寸的扬声器单元。
随后，我们对现有的扬声器单元做了彻底的调查，并进行了测试进而对其做了详尽的比较，最后在这些扬声器单元中选出了几种最好的产品以备日后OEM生产时进一步改进产品。
为了保证获得精确的尺寸和制造公差，我们通过先进的CAD/CAM技术专门为KUDO 设计了一款特制的双DOSC波导管模块。
此外，我们还做了大量的模型并进行了多次测试以使KUDO的性能达到最优，尤其是使音箱的中高频部分的性能和它可改变指向性的这一独特的性能达到最优。