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The linear array speaker is called the linear sound source array speaker system, which is composed of multiple sounds. Because they are close together, it is easy to interfere in the radiation range of the sound field, resulting in damage to the sound quality, but someone catches this point. Application, the different arrangement of speakers in the sound, and the combination of external balancers make the sound quality more flavorful. The linear array is developed based on the practice of "linear sound source", which is a form of speaker system relative to the "point sound source" of traditional speakers, usually also referred to as linear array. The ideal linear sound source, the speaker area doubles every time the distance between the speaker and the listener doubles. Point sound source. Every time the distance between the speaker and the listener doubles, the listening area increases 4 times. Therefore, the point sound source doubles the distance attenuation 10lg1 / 4 = -6dB; the line sound source doubles the distance attenuation (10log1 / 2 = -3dB), that is to say, under ideal conditions, the line sound source is at a longer distance The attenuation is twice less than that of the point sound source. This is why linear arrays are used in large-scale performances.
However, the linear array of most enterprises is a quasi-linear array, not a linear array in the true sense. Linear arrays are the most confusing, because many people do not know how to distinguish them. To identify them, there are two main methods:
First, the vertical control angle of the treble cannot be greater than 1 degree, otherwise interference will inevitably occur after 85 meters, and it must be stated in which way the angle is controlled, otherwise it must be a quasi-linear array.
Second, after 150 meters, can you clearly hear high frequencies above 10KHZ? Most people will not have the opportunity to listen to the linear array beyond 150 meters. Therefore, many brands can confuse others through the near listening effect.
The midrange and treble of traditional speakers are concentrated by the horn, just like the flashlight is focused by the lampshade, the light is divergent and the range is limited, and the way our acoustic lens gathers sound energy is the same as the way the laser gathers light energy. Farther, the sound pressure is stronger.
The trend of sound reinforcement has been to increase both the actual SPL (sound pressure level) in the concert and the listening range covered, which inevitably leads to an increase in the number of speakers. Conventional horn-loaded speakers are usually combined into a fan-shaped array based on the horizontal coverage angle of each speaker to reduce overlapping coverage areas that cause mutual interference cancellation. Under such an arrangement, only one speaker can be provided in the same direction High-definition sound. The "flat array" design adopted to achieve the longest distance and higher SPL (sound pressure level) results in severe interference in uncontrollable directions. Affects the sound quality, analytical power, and coverage. Even if it is arranged according to the instructions (always a "best" compromise, because the polar coordinate response of the individual horn changes with frequency), the sound waves radiated between the speakers cannot be organized. Coupling, so the traditional system solution is fundamentally flawed, and the more troublesome is the chaotic sound field generated by the coherent sound source, wasting sound energy, so in order to achieve the same sound as a single clear acoustic lens vertical array In terms of pressure level, the traditional array requires several times more quantity and more power than the speakers used in this vertical array of acoustic lenses. Even if the volume is large enough, it does not mean that the sound quality is good enough.
To illustrate this principle, think about what happens when we throw a stone into the water. If we throw a stone into the water, a circular ripple will expand from where the stone enters the water. If we still have a stone into the water, we will See what is the so-called chaotic wave field. If we throw a big stone of the same size and weight as the stone into the water, we will see the same circular ripples as throwing a small stone, except that its amplitude is very large. If you stick all the individual stones together, the effect is the same as the big stones. This illustrates our idea that if we can create a single sound source with some separate speakers that can be transported and operated separately, then we have achieved our goal of providing a coherent and predictable overall Sound field. Therefore, through this research and development, we have developed a completely modular, adjustable single sound source characterized by a vertical array of acoustic lenses, its significance and value are obvious.
Traditional large-scale speaker factories have developed their own linear arrays in order to prove their technical strength. There are also some high-end brands. For the face, they also need to have linear arrays, but the core technology of the acoustic lens vertical array is not a hot brain. Did it. According to the theory of 1933, the core technology of the linear array is the coupling technology of treble above 6K, which is a world problem, because the linear array will only be established when the sound wave of the treble is controlled at a vertical projection angle of "0" degrees. If it can be done, then this manufacturer will become the leader of the world audio industry.
We compare all these manufacturers with linear arrays and understand that they are still using the traditional horn and phase plug structure to solve the projection angle problem, which has no fundamental effect on changing the physical characteristics of the sound wave, because it can be controlled at most vertically At about 10 degrees, for a vertical array, the projection is less than a few meters, and it has already begun to interfere, and the purpose of coupling cannot be achieved.
The reason is: Based on the limitations of industry technology in recent years, many of the world's top well-known brand manufacturers still use the traditional horn squeezing method, but they cannot change the physical characteristics of the sound waves propagating in the air (spherical waves). The projection angle should be at least about 10 degrees vertically, and there is a big gap from the coupling condition to almost "0" degrees, and the horn is naturally stained (sounds are not true). Combined with the scientific principles in other fields, we conducted research and invented the acoustic lens, which is the real beginning of the full-frequency acoustic coupling stitching technology we studied. It is the heart of the full-frequency acoustic coupling technology, which can change the characteristics of traditional sound waves. Traditional sound waves are changed into parallel waves through it. The vertical angle has reached a basic parallel state of 0.12 degrees, and the horizontal angle has reached 120 degrees. Since it is not a horn, there is no sound staining, and the volume can be reduced. In physical acoustics, the near-field expansion makes a A person walks a long distance from the acoustic lens system, and the sound pressure level changes little, which is due to the unconventional attenuation rate of the system. In fact, many listeners have experienced the high fidelity of near-field listening enjoyment, improved stereo mapping and extraordinary clarity from far away venues. Subjectively, the speakers seem to be very close to you and the sound is right in front of you.
As a speaker used in the conference environment, the advantages of the vertical array speakers with small acoustic lens modules for conferences are more prominent. Because like lecture halls, auditoriums, large and medium-sized conference halls, most of the surface decoration is very smooth, and the relative echo is relatively large. With traditional speakers, there will be a lot of serious phase interference problems, plus echo weight, that is, reverberation and direct sound Crossed together to form a second interference, the microphone feedback problem is also caused by these reasons (even if the microphone head is not facing the speaker). The small acoustic lens vertical array speaker for conferences is composed of several full-frequency modules arranged vertically. The vertical angle of the sound wave of each module is 0.12 degrees, which is almost parallel to the ground and ceiling.
1. Due to the vertical arrangement, the sound waves are coupled together without phase interference.
2. Since each sound lens full-frequency module emits parallel sound waves, the sound wave attenuation is not the traditional 6dB but 3dB when the distance from the unit module is doubled. This means that the sound waves will travel very far.
3. Based on the vertical angle of a single acoustic lens module is "0" degrees, and a new attenuation characteristic is produced, several more identical acoustic lens modules are arranged in the vertical direction, and after listening closely, the human ear can only hear one module If you listen to it from a distance, you will hear the sound of several modules combined together. (Only possible if the vertical diffusion angle of the sound wave is "0" degrees.) In addition to its unique attenuation, common sense occurs. Unexplainable phenomenon: the full-range sound coupling characteristics (parallel wave) of the direct-range sound of the far-range sound is not small, the near-range sound is not noisy (large), and its unique horizontal coverage of the full-field listener area full-range of the spread angle of 120 degrees Loud coverage.
4. Since the vertical angle of each full-frequency module is controlled to "0" degrees, based on the characteristic that the microphone only forms a feedback relationship to one of the modules, the anti-howling ability is very obvious, and the anti-calling volume is nearly 20dB higher than the volume of the traditional speaker. .
5. The coverage of the venue is determined by the length of the array. As the length of the array (the number of modules) increases, the frequency response bandwidth can also increase (one of the characteristics of acoustic lenses).
Another benefit of acoustic lenses is the suppression of high sound pressure levels outside the specified coverage area, making acoustic lenses a good solution when environmental noise control is difficult. For example: When the outdoor amphitheater and the open-air sound reinforcement site are close to the residential area. In short, the precise directivity inherent in the acoustic lens and the flexible and predictable sound reinforcement method show many unprecedented sound reinforcement concepts and visions for acoustic design, which is a global revolution in the field of audio sound reinforcement!
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