Design Limitations for Speakers

Design Limitations for SpeakersIntroduction on that point ar numerous factors which determine the characteristics of a speaker dodge to produce a successful formulate a careful balance of many factors essential be achieved. Most of the challenges and attachments of loudspeaker design stem from the inherent limitations of the number one woods themselves.Desirable Characteristics Real-Word ImplementationFor a lucid approach to loudspeaker design to be established, one may elucidate the problem by considering deuce main sets of criteria the in demand(p) characteristics of the finished system and the limitations which impinge on the achievement of these desired characteristics. The key wanted characteristics for the finished system are listed be broken in.Reproduction of all frequencies across scuttlebutt rangeFlat absolute frequency solution across stimulation rangeAdequate DampingGood EfficiencyAdequate SPL or sensed loudnessMinimal distortionMinimal to-doMany of the supra considerations are kinda obvious. In legal injury of frequency solution it is desired that the response of the system as a whole should be as flat as possible, since to truthfully reproduce a portend all frequencies across the input range should be represented equally. Weems (2000, p.14) notes that smoothness of response is more important than range. Naturally noise and distortion are undesirable for accurate signal reproduction. Damping is an important concern when a signal is no longer applied to a loudspeaker there impart be a natural proclivity for the conoid to continue to move under its own inertia. Thus damping must be employed in order to ensure that the SPL generated by such movement is sufficiently low and relatively inaudible. Rossing (1990, p.31) refers to damping as passage of energy of a vibrator, usually through friction. This is a simplification, still, the back EMF generated by the number one wood and the varying impedance seen by the amplifier of th e crossover/ number one wood net cut back play an important role. As Weems (2000, p.17) justly says there are two types of damping, mechanical and electrical.An opposite quite obvious consideration is that the loudspeaker must indeed be loud enough. This is related to the issue of efficiency, since the more inefficient the speaker, the more ply will be needed to drive it. The choice of margin design plays quite a epoch-making role here, as will be seen shortly.In terms of limitations, there are several fast problems posed by the nature of the device drivers themselves that must be addressed. Firstly, the operate from the back of the speaker cone is one hundred eighty degrees appear of phase with the plump from the depend. This phase separation means the sounds will cancel each other at lower frequencies, or interfere with each other in a more multiplex manner at high frequencies clearly neither is desirable.In some senses it would be ideal to get on the drivers in a wall with a large room behind, the so-called infinite baffle, having the sound from the rear of the cone dissipate in a large separate space, being thus futile to interfere with the sound produced by the front. In reality this is impractical however some provision must be made to isolate sound from the rear of the cone. To this end, some sort of confines must be made for the drivers, yet this presents a new set of considerations.Without an marches, a loudspeaker is very inefficient when the sound wavelengths to be produced are longer than the speaker diameter. This solvings in an inadequate mystifying response for an 8 move on speaker this equates to anything below around 1700Hz1. So the infinite baffle is terribly inefficient in terms of the SPL produced at lower frequencies. Furthermore, the free cone reverberance of the speaker works against the flat frequency response that is desired input frequencies close to the resonant frequency will be represented too forcefully. other r eal-world complication is the fact that for high-fidelity applications, no one loudspeaker will be able to conduct the entire range of input frequencies the requirements for low frequency sound are the opposite to those for high frequencies (Weems, 2000, p.13). higher(prenominal) frequencies require less power to be reproduced, but the driver must respond more quickly, whereas low frequencies require a larger driver and thereof greater power to be effectively realised.In view of the above, multiple drivers must be used, with each producing a certain frequency range of the input signal at the very least a woofer and tweeter are require. In order to deliver all the appropriate frequencies to each driver, a device known as a crossover must be implemented. This can take the form of passive filter circuits within the speaker itself, or active circuitry that filters the signal prior to amplification. In the latter case, multiple amplifiers are needed, making this a more costly approac h. The canonicals of crossover design will be dealt with in a separate document and are hence not dealt with in detail here.Enclosure DesignFaced with the reality that an term is in nearly all cases a practical necessity, perhaps the most important aspect of speaker design in the design of the enclosure itself. The first step in producing a successful design is to decide upon the drivers to be used and use this as a basis for choosing a console design, or to decide upon the desired cabinet type first and allow this to inform the choice of driver. In general, most of the design work with regard to the cabinet is focused firmly toward the woofer, since the enclosure design is most critical with regard to midrange/ low performance. In typical 2-way designs, the tweeter is mounted in the same box as the woofer, but it is the latter which primarily defines the cabinet dimensions.In the past the design of enclosures was often something of a hit-or-miss affair, however the research o f Thiele (1971) and olive- sized (1973) has led to a much more organised design process. Most transducers today are accompanied by a comprehensive datasheet of Thiele-Small parameters, which allow most of the guess work to be taken out of enclosure design.Ignoring more exotic enclosure designs, the first question is whether the enclosure should be ported or pissed (it should be noted that in reality even sealed enclosures are very slightly unsolved or leaky in order to allow the internal pressure to equalise with the surroundings). If a driver has already been chosen, this can be determined from the Efficiency Bandwidth Product, which is defined asEBP = Fs / Qes(1)Where Fs is the free air reverberance of the driver and Qes the electrical Q or damping. In general, an EBP of 50 or less indicates a sealed box, whilst an EBP above 90 suggests a ported enclosure (Dickason, 2000). In between, the choice of enclosure lies more or less with the precedent and a driver that falls in the middle should perform acceptably in either unsympathetic or ported situations.So, what are the advantages and disadvantages of sealed vs ported enclosures? A sealed enclosure is very simple to build, whilst a ported enclosure requires some degree of tuning to ensure the port is matched decently to the driver in the ported or bass reflex design a tube extends into the cabinet allowing some air to escape from inside if correctly tuned the air that leaves the port is delayed in phase by 180 degrees, hence reinforcing the sound from the front of the cone.With a sealed enclosure the air inside acts as an approximately linear spring for the transducer cone and assuming the driver has a low Fs, a healthy bass continuation with a palliate roll-off of -12dB per octave can be expected. The disadvantages are several the enclosure may need to be quite large to achieve an acceptable Qtc (the damping order for a sealed system) and efficiency is poor. Further, with a sealed enclosure the dr iver reaches maximum excursion at resonance, which translates to greater distortion. Therefore a driver for use in a sealed enclosure requires quite a large linear bewilder to perform well. By contrast, in correctly tuned ported enclosures the driver is maximally damped at resonance, so a large linear throw is not critical and distortion is lower as a result. The basic methods of sealed and ported cabinet design shall now be explained.Sealed Enclosure DesignTo design a sealed enclosure the basic methodology is quite straightforward the essential challenge is simply to find the optimum volume for the cabinet for the chosen driver. First one must decide on the value of the damping constant Qtc the optimum value is 0.707 since it gives the lowest -3db break frequency and hence the best potential for bass extension, as well as ripe(p) transient response. If the enclosure size is too large at this optimum value hence Qtc may be increased, resulting in a trade-off between bass performa nce, transient response and enclosure volume. However, the more Qtc is increased, the more boomy and muddy the sound will become.Depending on the application, the enclosure size may not be important in this case an optimum Qtc is encouraged. Once Qtc is known, the constant may be mensurable using the below formula, where Qts is the total Q factor of the driver at resonance (this may be obtained from the prevarications data sheet). = Qtc/Qts2 1(2)Having calculated , the correct enclosure volume Vb is trivial to determine using the family below. Note that Vas is the equivalent volume of air that has the same acoustical compliance as the driver again this may be obtained from the datasheet or experimentally. Note from equation (1) that a lower Qts will result in a higher , and hence a smaller enclosure. Thus for two transducers with equivalent acoustic compliance, a lower Qts will result in a smaller enclosure.Vb = Vas/(3)Assuming the required box volume is acceptable, one may then also calculate the resonant frequency of the system (fs is the free-air resonant frequency of the driver)(4)Once fc is known the -3db break frequency may also be appoint (5)Recall that below this frequency the roll-off is -12dB per octave and one can gain a fairly good impression of the bass performance to be expected. Naturally it is desirable for f3 to be low for maximum extension into the bass area, hence a low fs is a characteristic one should look for when choosing a driver for sealed enclosure use. If it is felt that the break frequency is too high, then a different driver must be selected for the sealed implementation.Ported Enclosure DesignFor ported cabinet design, the equations are more complex and it is generally not practical to attempt to design such an enclosure by hand. Instead there are a number of free and commercial software estimators available that simplify the process. One good freeware calculator is AJ Vented Designer2. Using such a program enables the desig ner to quickly ascertain what size enclosure and port is required for a given driver and whether this is feasible for certain combinations the port may not physically fit within the enclosure for example. In addition, the program also plots the theoretical frequency response of the design, which simplifies matters greatly.Acoustic Damping and Avoiding ResonanceIn addition to the type of enclosure and the calculation of the required volume, diameter and size of ports (if ported), there are several other design considerations. Firstly, standing waves within the enclosure must be minimised. Thus enclosures are often stuffed with fibreglass, long-fibre wool or polyurethane foam.In addition to standing waves and the resonance of the enclosure, one must also bear in mind the possibility of dimensional resonances with sealed designs. To avoid this it is prudent to ensure that length, width and height of the enclosure are all different and to not centrally mount the drivers.The choice of cabinet material and thickness are also factors that require careful consideration in general wood is the most appropriate material and a thicker structure is likely to be more rugged and be less susceptible to undesirable vibration. The structure should also be disjointed from the floor since vibrations passed to a floor (especially a wooden floor) can cause the floor to vibrate which will muddy or colour the sound. Spikes or stands are commonly used to achieve this.ConclusionThere are many factors that affect speaker design but perhaps the most important is that of the enclosure itself. More exotic enclosures such as band-pass and transmission line configurations are beyond the scope of this document, however it should be noted that there are many different approaches beyond the common sealed or ported methodologies. As with any engineering problem, successful speaker design requires a careful balance of many often opposing factors to be reached.SourcesBorwick, John. (2001). talk er and Headphone Handbook, Focal Press.Dickason, V. (1995). The Loudspeaker Design Cookbook, Audio nonprofessional Publications.Rosenthal, M. (1979). How to select and use loudspeakers and enclosures, SAMS.Rossing, T. (1990). The Science of Sound, Addison-Wesley.Weems, D. (2000). Great sound stereo speaker manual, McGraw-Hill.11 Nave R, Coupling Loudspeaker to Air. http//hyperphysics.phy-astr.gsu.edu/Hbase/hframe.html2 http//www.ajdesigner.com/speaker/index.php