《奥运年，新空间，新搞作》——肥仔的毒气房。 [复制链接]

原帖由 东莞肥仔 于 2008-4-28 14:45:00 发表 原帖由 山河 于 2008-4-28 13:58:00 发表 房间多大？功放多少瓦？ 房间：宽3.72、长4.63、高3.05。 功放：8 ohms—250W。

麻烦了，房间接近正方形，要注意驻波啊，要搞好吸音和扩散。

功放推不好。

原帖由 末世诗歌 于 2008-4-28 18:31:00 发表 功放升级continuum？那音源也得升啦

升到continuum250是没有跳跃感的，不爽，功放的目标是312或者spectra 250。
有可能的话音源、、、说实话，50k内全面胜过他的还比较难。

原帖由 山河 于 2008-4-28 18:48:00 发表 麻烦了，房间接近正方形，要注意驻波啊，要搞好吸音和扩散。 功放推不好。

任何房间都会有驻波，就算是黄金比例的空间也会有。吸音和扩散正在研究如何高、、、

哦！山河兄听过Concerto推Mixing Monitor吗？

没有听过Concerto推Mixing Monitor
哈哈，我要的是地震效果。

还是独立的房间舒服阿，关注改造。

能不能有空的时候毒一下我，我经常到东莞出差，欢迎吗？

可以啊.欢迎指导工作!

原帖由 东莞肥仔 于 2008-4-28 20:31:00 发表 原帖由 山河 于 2008-4-28 18:48:00 发表 麻烦了，房间接近正方形，要注意驻波啊，要搞好吸音和扩散。 功放推不好。 任何房间都会有驻波，就算是黄金比例的空间也会有。吸音和扩散正在......

还好是监听型喇叭，低频50Hz 以下开始有衰减。

小空间大喇叭，套用周公的话，天使与魔鬼。功力不够不敢试。

陶瓷单元,艾......,慢慢搞叻

是一对难煲的音箱，只要在中低频单元之上;P
朋友买的新箱（之后报导）。

肥兄准备怎么搞空间呢？

有金属网罩很好，宝宝的手指就捅不进去了;P

不怕宝宝，经常多教育，我的小孩也3岁了，我从小就跟她说。她会自己去开音响，但不敢碰音箱。

应肥仔兄的要求，大致翻译了一下Avalon Mixing Monitor说明书中的一些要点：

煲箱、开声（Break-in）
箱子要有完美的声音表现，必须煲箱。推荐用数字音源重复播放或者使用FM广播来煲箱。
方法：
第一步：初始热身。先用舒缓的音乐放3-6小时。
第二步：扩展煲练。100-150小时中度音量的音乐播放，要求有动态、全频段的音乐（可参考一些专业的煲箱碟），一些舒缓的煲机碟可使用，但不能完全替代动态大的音乐。否则效果不理想。

喇叭摆放与对称性
选择合适的房间能够提供avalon专业喇叭的表现。以下是一些重点值得注意的细节：
第一，房间的左右对称对于营造平衡的声场很有帮助。
第二，喇叭距后墙的距离增大会提高音像的深度表现。
第三，当喇叭距侧墙和后墙距离不一致时，能获得较好的低频响应。（这个观点同Robert Harley在《Hi-End音响通鉴》的观点）

内凹角度（Toe-in）调整
调整内凹角度可以很好适配自己的系统和房间以获得良好的声音表现。当喇叭平行放置时，它们会营造一种庞大的、膨胀的声场，会更多的受到侧墙边界的影响。当它们向听音位转动时，音像会变得更清晰，增强聚焦。
喇叭先平行摆放，播放一段有鲜明中间音像的单声道或立体声录音。慢慢调整喇叭的内凹角度，使喇叭形成一个精确的中心聚焦。Toe-in调整需要微妙和慢慢实验来使你的听音位获得正确的内凹角度。较好的内凹角度通常在3-10度之间，千万不要超过这个数值。如果你发现要较大的内凹角度才能获得很好的聚焦，那么你的系统可能存在某些缺陷。内凹角度过大，会使音像压扁而减少声场的真实深度。

安装脚钉
略。

第一反射点
耳朵和大脑系统会整合在10毫秒时间窗口内达到的声音，控制侧墙的反射非常重要。硬调的侧墙会产生一个严重的“频率失真”效应，重建声场，而导致声音系统失去平衡。所以，推荐用户增加第一反射点的阻尼。使用一个狭窄的频率吸收装置（如Sonex）可以获得声音的平衡。自然纤维物品也是很好的替代品。
当第一反射点的声音超过40毫秒到达听者，会成为离散回音。

避免早期反射
声音传播速度每毫秒约30cm，10毫秒大约传播3米，为了保护声音的自然，在房间中不能有来自3米距离以外的反射声。以图为例，假设从喇叭到听音位的距离为x，从喇叭到后墙反射后到达听音位的距离为y，那么y-x必须<3米，否则声音有严重的影响。

墙角处理
控制喇叭后墙角落的低频也是十分重要的，角落的低频驻波会使得声音混浊影响低频的瞬变。放置DAAD Bass Trap（低频陷阱）在房间的角落可以消除低频的染色获得干净的低频。

房间选择
房间是声音回放环节中最后一步，也是整个链中比其他内容更重要的环节。具体不译了，跟Robert Harley在《Hi-End音响通鉴》的很多观点一致，建议去看他的书。

从名字就可以看出，Mixing Monitor是为专业录音室混音之用，虽然没听过声音，但我想一定是非常准确，具备很高参考性的声音。
所以喇叭对使用环境提出了较高要求，也可以给大家调整房间环境提供一些参考。

也许稍微片面，但可以很肯定的说：空间决定一切．．．

非常感谢末世诗歌。

本人的英文很菜，很多要点译得准确，谢谢！谢谢！

我再补充几点：

Avalon认为房间的声学主要考虑以下四点：
1. Standing waves.
2. Flutter echo.
3. Early reflections.
4. Bass reinforcement.
第1—3项最好减少或消灭，第4项就根据实际情况调整。

1. Standing waves。最有效的方法将使用DAAD。
2. Flutter echo。可以利用任何软的材料来减少，布、织物、地毯或书架也行。
3. Early reflections。找准确第一反射点，利用自然材质的复杂结构来避免。如、羊毛、黄麻等厚实的物品。
4. Bass reinforcement。建议喇叭与侧、后墙距离3-7英尺，（以低音单体中心计）还推荐了一个好的比例：侧墙-左喇叭-右喇叭-侧墙 = 4：10：4。这样有利于得到好的低音。

把Avalon Room Position全文登出，E文好的自己理解吧！

8、Room Position

Introduction

The listening room forms the final link of the playback system, as important as any other component in the chain. Just as an otherwise superb system is handicapped by an inferior pre-amplifier (for example), so can a well-matched system be hindered by poor room acoustics. It is not necessary to listen to your system in a specially-designed sound chamber in order to enjoy it. In fact, a dedicated listening room usually requires additional sound treatment, due to a lack of other items in the room that can help provide proper acoustics. However, attention to the listening environment can greatly increase your system's performance.
Listening in a properly set-up room can be a startling experience. Due to the limitations of the two-channel format and the listening environment, the illusion of actually being transported to the recording site cannot usually be achieved. However, an uncanny sense of realism can be created. Perhaps it is best described as if the front half of your listening room has been removed, so that it now opens out into the recording site.
To optimize your equipment set-up and the listening-room acoustics requires a basic understanding of the principles which affect the propagation of sound in the room. Also, we will discuss the way in which our brain interprets spatial cues, and how the room acoustics can affect our sonic perceptions.

An Optical Analogy

Let us use an optical analogy to aid our understanding of acoustics. Imagine that you are in a room that is lit only by a candle in its center. There is a uniform amount of light cast in all directions. If a large mirror is held closely to a candle, one half of the room becomes darkened, while the other half receives twice as much light. This is because there are effectively two candles now illuminating that half of the room, the real candle, and the virtual (or reflected) candle. The energy that had been sent to both sides of the room has now been concentrated in one side only.

If we repeat the same experiment using a large piece of black cloth instead of a mirror, the results will be somewhat different. The side of the room behind the cloth is darkened, just as before, but the level of light on the side of the candle remains unchanged. This is because the light is absorbed by the cloth, rather than being reflected back into the room.

Thus we can see that the energy can either be absorbed or reflected. A similar situation occurs with sound waves, although we must account for the much greater wavelengths of audible frequencies. Of course no material is a perfect absorber or an absolute reflector. Furthermore, the sonic absorption coefficient of a given material usually varies with frequency.

Basic Room Acoustics

The great majority of all listening rooms are rectangular, with parallel surfaces.The walls and ceiling are typically hard surfaces, which are acoustically reflective. These large areas are the predominating factors in the overall room acoustics, although the other items in the room (furnishings, carpeting, wall hangings, doorways, etc.) will also play a role. Without going into excessive detail, there are four primary areas of potential concern:
1. Standing waves.
2. Flutter echo.
3. Early reflections.
4. Bass reinforcement.
The first three items are problems which should be reduced or eliminated. The last item, bass reinforcement, needs to be matched to the entire system for proper tonal balance.