柏林之声单元参数详解
柏林之声011前级放大器中文说明书
1 用户使用手册
前置扩音器011（型号）
柏林之声
耳边的艺术
高端产品，德国制造
柏林之声音响设备有限公司.柏林 kolonnens街 30号.邮编10829 电话+49/30/787968-0 传真+49/30/787968-68 网址
www.burmester.de
2
尊敬的音响发烧友，
感谢您选择此款柏林之声音响配置设备。
我们由衷的感激您对我们（产品）的
信任。
您选择了一款高保真，高制作工艺，高技术创新，以及（在接配操作上）具有
很强灵活性的前置扩音器。
我们强烈建议您完整在首次安装调试011号设备前完整的阅读此操作手册。
它
会让您更好的机器的效果发挥到极致。
如还有问题，请向销售商或我们（制造商）直接联系。
（预祝）您享受（视）听新感觉。
柏林之声团队
6
7
9 (其他)一般操作指令
设备技术标准
耗能关闭（但连接）：6瓦
待机：6瓦
打开：25瓦
线增益低：12分贝
高：15分贝（当Vol=60）
大小尺寸（宽x高x深）482x95x345毫米
重量9.6千克
注意尺寸不包括接线所需要的空间。
jbl kps2技术参数
jbl kps2技术参数JBL KPS2技术参数JBL KPS2是一款专业的音响音箱系统，具有出色的音质和强大的音量表现。
下面将详细介绍JBL KPS2的技术参数。
1. 频率响应范围（Frequency Response Range）JBL KPS2的频率响应范围为60Hz-20kHz，能够提供宽广的音频频率覆盖，使用户可以享受到丰富的音乐细节。
2. 音箱类型（Loudspeaker Type）JBL KPS2采用了双路2驱动单元的设计，包括了一颗6.5英寸的低音单元和一颗1英寸的高音单元。
这种设计使得低音和高音的表现更加出色，音质更加平衡。
3. 音箱功率（Power Rating）JBL KPS2的额定功率为200W，峰值功率为800W。
高功率输出使得音箱在音乐表现上更有冲击力，能够满足大型演出场合的需求。
4. 灵敏度（Sensitivity）JBL KPS2的灵敏度为97dB，这意味着音箱可以在相对较低的输入功率下产生高音量输出。
用户可以在保持音质清晰的同时享受到更大的音量。
5. 阻抗（Impedance）JBL KPS2的阻抗为8Ω，这使得音箱与多种音频设备的兼容性更强。
用户可以将其与放大器、混音台等设备连接，实现更丰富的音频输出。
6. 投射角度（Coverage Pattern）JBL KPS2的投射角度为100°x100°，这意味着音箱可以在水平和垂直方向上提供均匀的声音分布。
无论是室内还是室外的应用场合，都能够满足用户的需求。
7. 尺寸和重量（Dimensions and Weight）JBL KPS2的尺寸为394mm x 229mm x 229mm，重量为6.8kg。
这种紧凑的设计使得音箱更加便携，适合各种场合的携带和安装。
8. 输入和输出接口（Input and Output Connectors）JBL KPS2配备了一对1/4英寸的平衡输入接口和一对Speakon插座。
柏林之声burmester 808MK5说明书
OWNER´S MANUALPREAMPLIFIER808 MK 5HIGH END MADE IN GERMANYBURMESTER AUDIOSYSTEME GMBH ·KOLONNENSTR. 30G ·10829 BERLIN ·TEL 030/787968-0 · FAX 030/787968-68R T F O R T H E ARINDEX PAGETable of contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 The system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 The 808 MK 5 in brief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5-6 The flow chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 The programmable system remote . . . . . . . . . . . . . . . . . . . . . . . . .7 Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 The concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 The basic unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Controls and toggle switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Module mounting slots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Volume control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Display window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Level indicator/level control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Input terminals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Output terminals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 System remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 The input modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 Available input modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 Interconnects / mounting slots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Adapter plugs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13The output modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 The power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13INDEX PAGETechnical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Fit and finish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Design styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Setup alternatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14The service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Upgraded . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Customer service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Interconnects Burmester Silver . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Electrical properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15AC cable Burmester Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Electrical properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 The following parts are supplied as standard equipment: The basic unit 808 MK5Power supply 808 MK5Setup base4 carbon fiber damping discsCable for connecting base unit and power supplyShielded power cordOwner’s manualFront view of preamplifier808 MK 5 THE SYSTEMRear view of preamplifierFront view of power supplyTop view of preamplifierTHE 808 MK 5 IN BRIEFOverview of system features(1)POWER master switch for turning the power to the preamplifier on and off.(2)POWER LED illuminates when the preamplifier has been powered up.(3)SELECTOR knob for switching between input modules and for activating the remote control mode (REMOTE).(4)MONITOR/SOURCE switch for comparing source and taped signal. Requires the installation of at least oneTAPE module.(5)MONITOR 1/MONITOR 2 switch for comparing signals from TAPE 1 and TAPE 2. This switch is only effectivewhen the Monitor/Source switch (4) is set to Monitor.(6)VOLUME control knob for volume control of output modules OUTPUT1 and SYM OUT1.The volume control is also effective when the REMOTE function has been switched on. As starting point for remote control we recommend setting the knob to 12 (top center).(7)VOLUME control knob knob for volume control of output modules OUTPUT2 and SYM OUT2 (for details refer to (6)).(8)IR receiver. Must be left unobstructed for the remote to operate properly.(9)Display shows the selected signal source and the volume setting in remote mode.(10)Display switch to switch display on or off.(11)Input module mounting slots for installation of up to six input modules.(12)Level control RIGHT for adjusting the right channel signal levels of the input modules.(13)Level control LEFT for adjusting the left channel signal levels of the input modules.(14)OUTPUT 1mounting slot for the unbalanced output module of output 1.(15)OUTPUT 2mounting slot for the unbalanced output module of output 2.(16)SYM OUT 1mounting slot for upgrading output 1 to balanced operation.(17)SYM OUT 2mounting slot for upgrading output 2 to balanced operation.(18)Level control RIGHT of the output modules to equalize right channel level variations of different power amps andactive speakers.(19)Level control LEFT of the output modules to equalize left channel level variations of different power amps andactive speakers.(20) OUTPUT 1switch to turn output module OUTPUT1 on or off.(21)OUTPUT 2switch to turn output module OUTPUT2 on or off.(22)Digital level display indicates the level of the selected input module in volts.(23)Level display switch turn the level display on or off.THE 808 MK 5 IN BRIEFOverview of system features (cont.)(24)Level display selector switch RIGHT/LEFT for switching between the channels.(25)PHONO input L and R terminals for balanced phono connection.(26)Mass screw for grounding tonearm cables with separate mass lead.(27)AUX 1 – AUX 6inputs L and R. In the remote mode you can switch between the inputs AUX 2 to AUX 6 byrepeatedly pressing the AUX button on the remote control. Setting the SELECTOR knob (3) to AUX switches only to the input AUX 1.(28)TAPE 2input, L and R, unbalanced.(29)TAPE 2output, L and R, unbalanced.(30) Preamplifier OUTPUT1, L and R, unbalanced.(31)Preamplifier OUTPUT2, L and R, unbalanced.(32)PHONO input, L and R, balanced.(33)CD input, L and R, balanced.(34)TUNER input, L and R, balanced.(35)TAPE 1 input, L and R, balanced.(36)TAPE 1 output, L and R, balanced.(37)Preamplifier OUTPUT 1, L and R, balanced.(38)Preamplifier OUTPUT 2, L and R, balanced.(39)REM-OUT 1 output supplies the voltage to remotely switch other Burmester components.(40) REM-OUT 2 output supplies the voltage to remotely switch other Burmester components.(41)POWER SUPPLY terminal for connecting the preamplifier to the power supply.(42)POWER SUPPLY terminal for connecting the power supply to the preamplifier.(43)AC terminal with power switch for connection of the power cord.(44)Control LED shows the correct functioning of the power supply.Red: Preamplifier is switched on.Green: Preamplifier is off. A green LED while the preamplifier has been switched on with the POWER master switch (1)indicates that the power supply is not working properly.(45)Proprietary base for acoustically decoupling the preamplifier from external vibration and noise. For additionalinsulation effect, we recommend using the supplied carbon fiber damping discs.Monitor driver stage Phono-ModuleCDTunerTape 1Mon.1Mon.2 Tape 2Aux-Module Level controller set by remoteLevel display Volume controllerOutput 2Output 1Tape outSETTING UPCarefully remove the preamplifier and the power supply from the packaging and set both units up in an appropriate location.Make sure the power switch of the AC terminal (43)is set in OFF position.Connect both components with the 14-pin power cord. To do this, plug any of the two ends of the cord carefully into the POWER SUPPLY terminal (41)of the preamplifier and screw down the connector.Use the same procedure to connect the other end to the power supply.Connect the other components of your stereo system with the preamplifier.Turn both VOLUME control knobs (6)and (7)to minimum setting (position 1).Connect the power cord with the AC terminal and plug it into the wall outlet.Switch the power switch to ON and toggle the POWER master switch (1)up (on). The preamplifier is now ready for action.THE CONCEPTThe 808 MK5is a unique preamplification system. This is true not only in reference to its most advanced electronic technology and highest quality manufacturing but also with regard to its design. Its wide-ranging operational possibilities have made it the standard of reference in preamplification and the work horse for many audio developers and audio magazines worldwide.The 808 MK5 is a modular design. The system consists of· The basic unit· The input modules (maximum of six in any configuration – minimum of one necessary)· The output modules (two possible – one necessary)· Unused mounting slots are protected by cover plates· The SYM OUT output modules for balanced operation (maximum of two possible)· Modular technology turns the 808 MK5 into a dynamic system· From a minimal configuration it may be expanded step by step· It can be adapted to the changing requirements of its owner at any time· Individual modules can be sent in for modification while the system remains with the owner· Technological advances can be incorporated by modifying or exchanging modules;hence the 808 MK5 maintains its technological edge and its resale value over a very long timeTechnical specifications such as signal-to-noise ratio, total harmonic distortion and intermodulation are at the theoretical limits. The owner may rest assured that we have incorporated any presently known advance. We guarantee that the deviation of technical data from one unit to the next is less than one per cent.A short explanation of the nomenclature of the 808 MK5:The design of the original system was concluded in August of 1980 (=80/8). Since then, we have kept the 808 at the edge of technological advance by incorporation the results of our research and deve-lopment into it. The present fifth incarnation (= Mark 5) represents the leading edge of preamplifier design today. The jump from MK3 to MK5 signifies on the one hand the major advances that were incorporated into the MK5. It also takes account of sensibilities in the Asian market where 4 is an unlucky number.Major advances of the MK5 versus its predecessor MK3 XLR:· Remote control option not only for input selection but also for volume control.· A display showing the selected input as well as the volume setting.· Six additional AUX inputs.· Input and output for TAPE 1 are balanced.· Major improvements to the power supply.· The control circuits of the supply voltage have been improved and are now located directly at the transformer and the filter capacitors in the external housing. There is an additional filter stage for the supply voltage in the preamplifier.· Internal wiring has been done exclusively with our proprietary BURMESTER SILVER cable.· The PHONO MC module has been totally re-designed and can now be switched between balanced and unbalanced operation. In addition, dip switches on top of the module make the mating of the system with a wide range of phono cartridges easy.Why a balanced signal path?In conventional stereo systems the signal flows back and forth through different (asymmetrical or unbalanced) paths: The negative portion makes its way through the shielding (mass) of the cable and is, therefore, prone to modulation by transformer hum, radio interference and other electrical noise. Furthermore, the signals are very small and are thus easily influenced by paths that vary in material, length or diameter.By contrast, in a balanced design both signal carrying paths are identical (symmetrical). The surroun-ding shielding for grounding the cable is completely separated from the signal path. Hum and inter-modulation are strongly reduced and identical conditions for both paths ensure that even the smallest signals remain undisturbed. However, in addition to a more complex internal layout of the components this requires three- instead of two-pin plugs and terminals as well special cable. We have developed our interconnects BURMESTER LILA and BURMESTER SILVER for this application. It is manufactured exclusively for us.Balanced interconnections have been the rule in music studios for a long time. However, studio technology only uses balanced transformer stages with amplification circuits that remain unbalanced. This has distinct disadvantages which we avoid by carrying the balanced design into the first preamplification stage.For a better understanding of the functioning and the design of the 808 MK5 explained on the following pages, please also refer to ”THE SYSTEM” and ”THE FLOW CHART”.THE BASIC UNITThe basic unit consists of the following functions and features:· all controls and toggle switches· ten mounting slots for input/output modules· two volume control knobs· display (switchable)· digital level display/level control· tape loop· input terminals· output terminals· IR receiverThe necessary amplification circuits are part of the modules and the power supply is located in an external housing.Controls and toggle switchesMounting slots for the modules CAUTION:Volume controls The displayLevel indicator/ level control The desired input module can be selected with the S ELECTOR knob (3). The input signal of the selected module is always available at both output modules.The toggle switch MONITOR/SOURCE (4)allows a comparison between the source signal and the recorded signal while taping. A direct comparison between the recorded signals on two separate tape recorders can be made by throwing the toggle switch MONITOR 1/MONITOR 2 (5).The switches OUTPUT 1 (20)and OUTPUT 2 (21)determine, which output module feeds its signal to the output terminals, in other words, which of the connected power amps or active speakers the preamp will drive. This makes a direct comparison between various power amps/active speakers possible.Switches for sources, tape loop and output are not in the signal path but activate via a control voltage relays in the modules or in the basic unit. These relays then do the switching. The rationale for this rather involved design is to shorten the internal signal paths to the technically achievable minimum.The basic unit offers a total of ten mounting slots for modules:· six for input modules· two for output modules·two for S YM OUT modules which are necessary to upgrade the modules OUTPUT1 and 2 for balanced operation (see also the flow chart).Never plug an output module into an input slot and vice versa!The two VOLUME controls (6)and (7)adjust the volume of the two modules OUTPUT1 and OUT-PUT2, as is customary of both channels simultaneously. However, any imbalance between left and right channel can be adjusted with the level controls (12)and (13)on top of the input modules. Also, the level controls are not those widely used potentiometers with metal loops wiping over an array of resistors but controls with self-cleaning silver contacts which switch discrete, close-tolerance resistors according to their division ratio.This guarantees identical level of both channels down to the smallest volume. Any semiconductor effect known from potentiometers has been excluded and the corrosion resistance has been greatly improved.When switching the volume, a “clicking“ sound may be heard through the loudspeakers. This is nor-mal and no need for concern.The display (9)indicates which signal source has been switched to the output modules.Additionally, the right side of the display shows the selected volume (0 – 60) of the remote-controlled volume selector if the SELECTOR knob (3)has been set to REMOTE. Display switch (10) switches the display on or off. Note that the unit reacts with a slight delay when this switch is thrown. If settings of the 808 MK5are changed with controls (3), (4) or(5)or a remote signal is sent while the display has been switched off, it will illuminate briefly to acknowledge the change in the settings.The digital level display (22)makes it possible to adjust the input modules to an identical level and to perfectly balance the channels. It is calibrated in volts and shows the output voltage of the input module which has been selected with the SELECTOR knob (3). The level display selector switch (24) toggles between left and right channel; the level display switch (23)toggles switches the display on or off.Adjusting a phono cartridge:· Connect the turntable with the 808 MK5· Play an LP with a 1 kHz sinusoidal signal and a modulation of 5 cm/s to 10 cm/s· Use the level controls (12)and (13)of the selected phono module to adjust both channels, one after the other, to an identical DISPLAYreadout (such as 1.0 V)Input terminals Output terminals System remote Adjusting a tape recorder:· Connect right input of the tape recorder with a CD player containing a test CD with a 1 kHz sinusoidal signal· Set tape recorder to ”record” and ”pause” and adjust recording level to 0 dB. Record test signal · Repeat procedure for the left channel·Rewind tape and play back through the 808 MK5. Adjust both channels of the selected tape input module to an identical DISPLAY readout (1.0 V) using the level controls (12)and (13)Adjusting a CD player:· Put test CD into the player· Play 1 kHz/0dB sinusoidal signal· Adjust both channels of the selected CD input module one after the other to an identical DISPLAY readout (1.0 V) using level controls (12)and (13)Adjusting a tuner:· Unfortunately FM stations no longer broadcast test signals. As an alternative we recommend using the static noise between two stations (if the tuner has a switchable muting function) and proceed according to the last step of the phono input adjustment.The inputs PHONO (32), CD (33), TUNER (34)and TAPE 1 (35)are XLR terminals. They may also be operated as unbalanced inputs by using adapter plugs (XLR-RCA). Also, the dip switches on the circuit board of the modules must be reset to unbalanced operation.The PHONO INPUT(32)in the upper terminal array offers two RCA terminals (25)in parallel. They can be used for unbalanced operation or for the supplied phono load plugs to adjust for different cartrid-ge impedances. The upper terminal array also offers six AUX INPUTS (27)and a TAPE 2 INPUT (28) for unbalanced operation.The inputs AUX 2 to AUX 6 are only operable in the remote modus and can be switched by repeatedly pressing the AUX button on the remote control. Setting the SELECTOR knob (3)to AUX only activa-tes the AUX 1 input.The outputs TAPE OUT 1 bal. (36)and TAPE OUT 2 unbal. (29)are designed to connect to tape recorders and are driven by a tape loop stage in the basic unit. The output impedance has been set very low. The output voltage is dependent upon the level set with the level control on the selected input module; it is always half of the value shown in the level display.Power amplifiers or active speaker systems are connected to the terminals OUTPUT 1 unbal. (30)and bal. (37) or OUTPUT 2 unbal. (31)and bal. (38)respectively. These outputs are driven by the output modules OUTPUT 1 (14)and OUTPUT 2 (15)in unbalanced and additionally by the SYM OUT modules in balanced operation. Their volume is adjusted with the VOLUME knobs OUTPUT 1 (6)and OUTPUT 2 (7); they can be switched on and off with the switch (20)on OUTPUT1 or switch (21)on OUTPUT2 res-pectively. Headphones with an input impedance of >100 ohms may connected directly to output ter-minals OUTPUT1 or OUTPUT2.When the basic unit is switched on and the OUTPUT switches (20)and (21)have also been set to on, the terminals REM OUT 1 (39)and REM OUT 2 (40)provide a control voltage to switch power amplifiers or active speakers from stand-by to on – provided they are designed for this feature.The optional SYSTEM REMOTE CONTROL can control all components of our REFERENCE LINE, TOP LINE and CLASSIC LINE. The system remote controls all functions of the SELECTOR knob (3)as well as volume and thus enables you to compare various signal sources without leaving your listening position. For remote operation of the 808 MK5, the SELECTOR knob (3)must be set to REMOTE.If the 808 Mk5 has been set to remote control the following must be observed:· The remote-controlled volume adjustment affects both, OUTPUT 1 and OUTPUT 2 because theremote volume controller is connected in series with VOLUME controls (6)and (7)· In general, the maximum level to which the remote can set the volume depends on the volume levelpre-set by the VOLUME knob. We recommend position 12 and use the remote to lower the volume.· The AUX inputs 1 – 6 can be called up in sequence by repeatedly pressing the AUX button on theremote control.Maximum range is achieved by pointing the hand-held remote at the IR receiver (8).Before switching the 808s REMOTE function on or off, always lower the volume with the VOLUMEknob (6) and (7) to zero.THE INPUT MODULESEvery input module is a complete preamplifier which has been optimized for a specific signalsource. It has its own level controls for each channel. We only use highest-quality controls with· ceramic body,· corrosion protection by hermetical encasing,· Cermet resistors in the control range,· Metal-plated bypass of the resistors at both end of the control range which means that in thesepositions the level controls function as switches and no longer as potentiometers.The two level controls of each input module are measured by us and selected in pairs with a guaran-teed impedance tolerance of <1%. The level controls do not have the task to adjust for tolerances inthe electronic circuitry of the 808 MK5. They are designed to correct possible channel imbalances insignal sources and to adjust various signal sources to the same output level. Thus, while comparingvarious signal sources, you can switch from one to the other without jarring jumps in volume.Available input modulesAt present four different input modules are available:· PHONO MM· PHONO MC 2· LINEAR· LO-LINEPhono modules are available as unbalanced PHONO MM (Moving Magnet) as well as PHONO MC 2(Moving Coil) which is switchable between unbalanced and balanced operation.Linear modules with amplification are designed for all line-level sources such as TUNER, CD, TAPE 1,TAPE 2 or AUX. These denominations are engraved on the cover plates of these modules (customengravings optional). The module LO-LINE (without amplification but with level controls) is designedonly for unbalanced signal sources with an output voltage of >1Volt and an output impedance of <200ohms.All line-level modules with amplification can be configurated for balanced or unbalanced operation bytwo dip switches on the circuit board of the modules. To do this, remove the four screws that hold thecover plate and pull the module carefully out of its mounting slot by the level controls. The dip swit-ches are located directly above the plug connector. If they are switched to the left (dot is visible) themodule is configured for unbalanced operation. If they are switched to the right (dot is not visible) themodule has been configured for balanced operation. Please, make sure that both switches of onemodule are switched to the same position.CAUTION:Interconnects/mounting slotsTo connect balanced input modules requires special interconnects with two separate signal leads and a common shielding. For this we recommend - as for all interconnections of your stereo system – using our proprietary cable BURMES TER LILA3 or BURMES TER S ILVER. It is available in any custom length and with any plug combination and hook-up configuration, including a separate tonearm mass cable. Consult your dealer and our ACCESSORIES price list.Basically, any input module will function on any of the six mounting slots. However, you should keep the following in mind:· The phono module should located in the mounting slot PHONO 1 because it is the only one with parallel jacks for adapter plugs· All linear modules contain a tape loop but it is only functional in the mounting slots TAPE 1 and TAPE 2· The AUX module can be used in any of the six mounting slots but only in unbalanced operation. Since balanced operation is not possible the dip switches of the AUX module must be set to unbalanced. The level control of the AUX module affects all six AUX inputs· The TAPE 2 mounting slot is also designed for unbalanced operation only. The dip switches of this module, too, must be set to unbalanced operationAdapter plugs· XLR-RCA. If all AUX inputs (27)are used for unbalanced signal sources it is possible to connect unbalanced signal sources also to XLR terminals by using adapter plugs. In this case the dip switches of the respective input module must be set to unbalanced operation.THE OUTPUT MODULESAt the output section of the 808 MK5 we have exercised the same care as with the input section:· Maximum flexibility by using two separate output modules OUTPUT1 and OUTPUT2· Level controls with the same specification as those on the input modules; without changing the setting of the VOLUME knobs (6)and (7) the level controls can be used to eliminate channel imbalances and differences in volume of two separate power amplifiers / active speakers· The extremely low output impedance allows the connection even of long cable runs without deterioration in sound· Use of two separate balanced power amplifiers or active speakers by adding the SYM OUT modules You can operate the 808 MK5 with one or both output modules. The two available output modules are technologically identical and differ only in the engraving on the cover plate. Each of the two mounting slots OUTPUT 1 (14)and OUTPUT 2 (15)has its own VOLUME knob (6)and (7), its own SYM OUT module (16)and (17)and its own toggle switch (20)and (21).THE POWER SUPPLYThe power supply has its own external housing.The supply voltage of the MK5 is rectified, smoothed and stabilized already in the external power supply. This keeps the power-line frequency with its unavoidable alternating fields from interfering with the sensitive amplification stages. This reduces noise and hum from the power lines to an absolute minimum, comparable to battery power. An added advantage is that a move to an area with different line voltage requires only a new power supply while the 808 MK5 remains the same.The AC switch in the AC terminal (43)switches the power supply on. The control LED (44)lights green as long as the basic unit is switched off.。
西雅士几款单元的介绍
Hi － Fi 音箱厂家至少有上百家，不过这其中能自己设计并生产扬声器单元的厂家却很少。
大部分厂家都是定做或购买扬声器名厂的单元再设计分频器和箱体。
最负盛名的扬声器单元厂家是丹拿（ Dynaudio ）、绅士宝（ Scan-speak ）、福柯（ Focal ）、傲的诗（ Audax ）、西雅士（ Seas ）、魔雷（ Morel ）、 ETON 和 JBL 。
此外， KEF ， Diatone,B ＆ W ， Altec ，LPG ， Visaton ， Thiel ， Elac ， MB 等厂家也出产优秀的单元。
（一）挪威名厂 Seas （上）西雅士厂址在挪威首都奥斯陆附近。
建厂五十余年，亨誉全球，目前该厂共生产 55 个型号的单元，口径从 19mm 到 250mm ，很多厂家都乐于采用西雅士的单元，或委托其定做单元。
计有尊宝的旷世系列，雨后初晴（ Harbeth ），贵族（ ProAc ），世霸（ Sonus Faber ），飞声（ Audio Physic ），雅龙（ Alon ），维也纳（ Vienna ）， Westlake ， MBL ， Audio Vector ， Diapason 等等。
H149 （ 11F － GM ）世霸的 Minima ，贵族的 Tablette III ，晋扬歌剧系列，阿里的波音 727 ，澳洲 AXIS 旗舰 LS-88 ，法国 Audio Vector 的 3a 这几对音箱都采用了 H149 这个单元。
H149 的优秀程度不言而喻。
H149 是西雅士精心制造的一款口径仅 110mm 的靓声小扬声器。
它采用轻质铝合金材料做音圈骨架，采用铜包铝做音圈绕线，且采用散热效果较佳的矩形绕线。
H149 的音圈直径是 26mm 。
采用超大直径的锶铁氧体磁路，锶铁氧体能胜任在低温下工作，且磁能积较大，不过成本高， H149 的磁通密度达到了12500 高斯以上。
教你看懂扬声器地构造图
教你看懂扬声器的构造图作为音箱最基本的组成部分，扬声器单元（简称单元）对于普通读者来说是既简单又复杂的。
为什么这么说呢？因为单元的工作原理似乎很简单，往复运动的振膜不停的振动，带动空气形成声波，似乎就这么简单。
不过本文也没有让您一下子就能肉眼辨别单元好坏的妙方，只能先为大家揭秘这么个看似简单的单元，内部究竟是个什么样，各部件有何功能等等。
惠威M200MKIII原木豪华版扬声器的爆炸图（分解图）：惠威M200MKIII原木豪华版:低音单元爆炸图将单元按照中轴及大致的装配顺序进行分解排列的说明图被行业人士称为爆炸图，上图便是典型的扬声器爆炸图。
锥形扬声器的特点及其内部组成：锥形扬声器是我们最常的扬声器类型，它的结构相对简单、容易生产，而且本身不需要大的空间，这些原因令其价格便宜，可以大量普及。
其次，这类扬声器可以做到性能优良，在中频段可以获得均匀的频率响应，因此能够满足大部分普通消费者的常规听感需求。
最后，这类扬声器已有几十年的发展史，而其工艺、材料也在不断改进，性能与时俱进，这也令这两款扬声器能够获得成为主流的持续的原动力。
惠威M200MKIII原木豪华版:低音单元锥形扬声器的结构可以分为三个部分：1、振动系统包括振膜、音圈、定型支片、防尘罩2、磁路系统包括导磁上板、导磁柱、导磁下板、磁体等3、辅助系统包括盆架、压边、接线架、相位塞等下面我们将为大家逐一介绍锥形扬声器内部的主要部件。
最新扬声器内部解构：惠威M200MKIII原木豪华版:低音单元爆炸图具体到上图，根据序号，他们分别是：1.防磁罩、2&4.磁体、3.导磁下板、5.导磁上板、6.盆架、7.定心支片（弹拨）、8.音圈、9.振膜+折环、10.防尘帽。
振膜：电动式扬声器，当外加音频信号时，音圈推动振膜振动，而振膜则推动空气，产生声波。
常见的锥盆有三种形式：直线式锥盆振膜、指数式锥盆振膜和抛物线式锥盆振膜。
振膜在振动频率较高时，会出现分割振动，在振膜锥形斜面上增加褶皱可以改变分割振动的状态，如果设计得当，可以改善单元的高频特性，还可以增加振膜的强度及阻尼。
MB-S218配置及参数(1)1
MB -S218配置及参数
1、型号：MB-S218 双18寸顶级超低音箱
2、用途范围；大型KTV包房，慢摇吧，演艺大厅，高音质还原度
超低音箱。
3、参数：
功率：2000W（AES）
频响：35—250Hz
灵敏度：100DB/2.83V
阻抗：4欧姆
低音2 X 100芯18寸
最大声压级：135DB
覆盖角度：无明显指向性
尺寸(高H×宽W×深D）：535X 1129 X605MM
重量：净重32KG
4、单元组成：意大利原装进口CIARE顶级18寸钕磁低音。
5、分频器，见分频器图
6、箱体，见MB-S218图纸。
8、常备有吊点及支撑孔。
9、搭配功放，最好1600W及以上，
声音特点：
-出色的低频动态，干净快速，充满弹性而又舒服的低频，空气震
撼感超强。
-超高的低失真声压级，低频还原度和瞬态良好。
-特别加厚的25MM进口桦木板材的箱体，精美的喷漆工艺，多重箱体加强技术，复合材质的高级吸声棉，让低频更干净，音染更小，低频细节更清晰。
-得益于钕磁超低单元，音箱重量比一般箱体更轻。
Burmester《柏林之声ⅠⅡⅢ》–HIFI阁
Burmester《柏林之声ⅠⅡⅢ》–HIFI阁专辑介绍：德国Burmester“柏林之声”这个Hi-End品牌，器材之⾼价，效果之优异，在⾏内⽆⼈不知。
这张CD是该品牌的第⼀辑试⾳碟，曲⽬是世界各地有名的发烧录⾳，“柏林之声”把版权买下，再经过⼀些处理，辑成试⾳碟，效果竟然⽐原版靓声许多，⼀时传为佳话，发烧友争相抢购。
专辑曲⽬:01.SANGEN OM FYRET VED TORNEHAMN02.FEVER03.UDU CHANT04.ADAGIO FROM CONCERTO DO ARANJUEZ05.MUDDY WATERS06.SOMMERFLORT07.SOM EN STORM08.OPERA OVERTURE09.O,DU HELLIGE(O SANCTISSIMA)10.TANGO FOR 311.MANEN柏林之声Ⅱ专辑介绍∶这张CD是该品牌的第⼆辑，⼀张有传奇声誉的CD。
德国HI-END⼚家Burmester制作此碟时本想只作内部交流，结果是效果惊为天⼈，HIFI到极点，15⾸曲全部好声过原版录⾳。
该CD后来有部分流出市场销售，不久即卖断市，听说现在被炒到千多元⼀张。
专辑曲⽬：01. Radka Toneff: The Moon Is A Harsh Mistress 03:1202. Paco De Lucia: Live In America 04:5903. Hans Theessink: Call Me 03:3304. Dabringhaus & Grimm-Label: Konzertante Barockmusik 05:5505. Quincy Jones: Back On The Block 06:3006. Ben Webster: Gentle Ben (1972) 05:4507. Gerhard Oppelt: Lindenkirche Berlin 06:4008. Dallas Wind Symphony: Vaclav Nelhybel 02:5709. Ricky Lee Jones: Dat Dere 04:1210. Inbal + Wiener Symph.: Schostakovich Symph. Nr. 9 05:4611. Steve Ray Vaughan: Tin Pan Alley 09:1412. Sophie Von Otter: H?ndel – Marienges?nge 04:5013. Pink Floyd: Another Brick In The Wall I 03:4514. Pink Floyd: The Hapiest Days Of Our Lives 01:2015. Pink Floyd: Another Brick In The Wall II 04:00Burmester – 《Burmester_Reference_CD_III》(柏林之声III)简介:《柏林之声3》的⾳质⾜以登临“发烧天碟”登峰造极之作，⼀⽅⾯可以当作任何⾳响組合系統的照妖镜或试⾦⽯，利⽤其⾼度传真的⾳乐，轻易地监听出每⼀組合的优缺点，符合“⼀张CD⾛遍天”的快速监听需求；另⼀⽅⾯⼜是绝佳的⾳乐选辑特集，⼗⾸⾳乐⾸⾸动听，值得逐⼀细细品味，保证百听不厌，⾮常值得收藏。
扬声器常用参数的物理意义
扬声器常用参数的物理意义扬声器常用参数的物理意义扬声器的参数是指采用专用的扬声器测试系统所测试出来的扬声器具体的各种性能参数值.其常用的参数主要包括:Z,Fo,η0,一、SPL,Qts,Qms,Qes,Vas,Mms,Cms,Sd,BL,Xmax,Gap gauss.以下分别是这几种参数其物理意义.1、Z:是指扬声器的电阻值,包括有:额定阻抗和直流阻抗.(单位:欧姆/ohm),通常指额定阻抗.扬声器的额定阻抗Z:即为阻抗曲线第一个极大值后面的最小阻抗模值,即图1中点B所对应的阻抗值.它是计算扬声器电功率的基准.直流阻抗DCR:是指在音圈线圈静止的情况下,通以直流信号,而测试出的阻抗值.我们通常所说的4欧或者8欧是指额定阻抗.2、Fo(最低共振频率)是指扬声器阻抗曲线第一个极大值对应的频率.单位:赫兹(Hz).扬声器的阻抗曲线图是扬声器在正常工作条件下,用恒流法或恒压法测得的扬声器阻抗模值随频率变化的曲线.3、η0(扬声器的效率):是指扬声器输出声功率与输入电功率的比率.4、SPL(声压级):是指喇叭在通以额定阻抗1W的电功率的电压时,在参考轴上与喇叭相距1m的点上产生的声压.单位:分贝(dB).5、Qts :扬声器的总品质因数值.6、Qms:扬声器的机械品质因数值.7 、Qes:扬声器的电品质因数值.8、Vas(喇叭的有效容积):是指密闭在刚性容器中空气的声顺与扬声器单元的声顺相等时的容积.单位:升(L).9、Mms(振动质量):是指扬声器在运动过程中参与振动各部件的质量总和,包括鼓纸部分,音圈,弹波以及参与振动的空气质量等.单位:克(gram).10、Cms(力顺):是指扬声器振动系统的支撑部件的柔顺度.其值越大,扬声器的整个振动系统越软.单位:毫米/牛顿(mm/N).11、Sd(振动面积):是指在扬声器的振动过程中,鼓纸/振膜的有效振动面积.单位:平方米(m2).12、BL(磁力):间隙磁感应强度与有效音圈线长的乘积.单位T*M).13、Xmax:音圈在振动过程中运动的线性行程.单位:毫米(mm).14、Gap Gauss:间隙磁感应强度值.单位:特斯拉(Tesla).二、扬声器的非线性失真扬声器在重放音时会出现许多附加信号成分，从而形成非线性失真。
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柏林之声单元参数详解
梅赛德斯-奔驰作为国人心目中的头部豪华品牌，无论是产品力、服务都称得上一流水准，有着豪华、高品质、极致体验的标签，在车载音响系统，奔驰同世界顶级音响系统制造商Burmester合作共同打造高品质、高享受的车内音乐环境。
Burmester（柏林之声）,创立于1978年的德国，现已成为世界上最受推崇的高品质立体音响系统制造厂家之一，2013年开始，柏林之声音响首次将环绕声音响系统和高端3D环绕音响系统应用在奔驰豪华轿车上，两家世界顶级的企业从此展开了长期合作的篇章。
柏林之声音响系统业界又分为小柏林和大柏林，小柏林使用的是Burmester环绕立体音响系统，带13颗扬声器（部分车型15颗扬声器）+1个功放，分别是脚底两个低音、中置一个环绕、后面左右各一个环绕、中控左右两边各一个高音，前门各一个中音，后门各一个中高音，后备箱左侧一功放，590W功率。
大柏林使用的是Burmester高端3D环绕立体声音响系统，有源分频的28信道数字信号处理器（DSP）放大器，带26颗扬声器+1个功放，分别是脚底两个低音、中置两个扬声器、眼镜盒两个高音、前门A柱一对3D旋转高音头一对中音一对低音、后门一对旋转高音和中音，门板储物位置一对低音，顶棚四个高音（左右各一个、中间两个）三个喇叭罩，并且喇叭罩会随原车氛围灯变色，后搁板位置左右各两个，后备箱的位置有1个低音炮，1个功放，共1590W功率，提供自然、柔和、现场、增环绕、3D五种音效，体验不同演绎效果。