主题：超级音响---静电扬声器

 

此主题相关图片如下：

说说怎么样的超级法!

偶们仓库里就有一对静电，放在那几年了，就是没去接来听过

怎么会没办法接听呀?!!?是不是少了什么东西呀?

是没去接来听哈，不是没办法

善哉善哉...

   怎么个超级法？在下告诉列位：1。静电喇叭理论失真为零，实际失真不超过1%，中、高频不超过0.2%；2。静电扬声器是商品化喇叭中瞬态最好的喇叭，振膜厚仅仅1-4微米，约为1-4毫米厚空气的质量；3。高端频响可以轻易做到100KHz；所以在中频（大于100Hz）以上，静电喇叭的音质是其它任何喇叭的“参照标准”！所以，静电扬声器堪称为极品中的极品！洋烧友对之趋之若鹜，五体投地。如果各位的静电喇叭在仓库里，那么多半是国产的假静电喇叭，正宗的QUAD2905现在索价11万大洋，恍如天籁之音，谁愿意放在仓库里？谁敢放在仓库里？

稍有点常识就会知道理论上的失真绝对不会为零!!

只想知道它怎么解决那个湿度的问题

8、9楼列位：
    静电扬声器靠交变电场推动，在振膜电荷分布为恒定时，理论失真为零，数学上不难推导。所以满足上述条件的静电扬声器实际失真几乎和功放相当。如果振膜为恒定电位，则失真很大，且不能称为“静电”扬声器，国内曾经有几家公司做过“非静电”扬声器。在下现在的静电扬声器可以在70%的相对湿度下正常工作，正在开发可以在相对湿度100%正常工作的终极静电扬声器。如果各位在深圳附近，欢迎交流。

呵呵，楼上挺牛的。佩服

此主题相关图片如下：

此主题相关图片如下：

此主题相关图片如下：

Disadvantages include a lack of bass response (due to phase cancellation from a lack of enclosure, and the unfeasible physical requirements to reproduce low frequencies with a vibrating taut film), and sensitivity to ambient humidity levels. While bass is lacking quantitatively it is often of much better quality than that of electrodynamic (cone) systems. Phase cancellation can be remedied by electronic equalization (a so-called shelving circuit that boosts the region inside the audio band where the generated sound pressure drops because of phase cancellation).

The lack of bass is often remedied with a hybrid design utilizing a dynamic loudspeaker handling lower frequencies with the electrostatic diaphram handling middle and high frequencies. Many feel that the best low frequency unit for hybrids are transmission line woofers or horns, since they possess roughly the same qualities (at least in the bass) as electrostatic speakers, i.e. good transient response, almost no box colouration, and flat frequency response.

The directionality of electrostatics is also a disadvantage in that it means the 'sweet spot' where proper stereo imaging can be heard is relatively small, restricting the number of people who can fully enjoy the advantages of the speakers simultaneously.

缺点上面也介绍了!

People often assume that MartinLogan was founded by a couple of guys named Martin and Logan, which is sort of true: Gayle Martin Sanders and Ron Logan Sutherland. MartinLogan "just sounded better than SandersSutherland," Sanders explains. (Apparently they never considered GayleRon.)

The two met in the late '70s at a high-end audio store Sanders managed in Lawrence, Kansas. Despite very different backgrounds (Sanders had trained in architecture and advertising, Sutherland in electrical engineering)) they shared a passion for music and, they soon discovered, electrostatic loudspeakers.

For anyone seeking the ultimate in sonic purity and clarity, electrostatics held enormous appeal. Unfortunately, designing and building one that will also produce the sound levels and bass extension most people expect from a loudspeaker is a formidable challenge, even today. Back then, only a relative handful of electrostatic speakers had ever been brought to market. Although most were failures, a few, such as the KLH Model 9 and QUAD ESL, were legendary among audio enthusiasts.

The KLH probably came closer than any other full-range electrostatic speaker of its day to competing effectively with conventional speakers in bass and output capability. It was very big, however, and finicky and expensive, and it didn't fit in at all with the rest of KLH's line. Consequently, sales were modest, and eventually the Model 9 went out of production. The QUAD ESL was much more successful, especially in its native England, and until MartinLogan's products came on the scene it was arguably the only commercially significant electrostatic loudspeaker in history. It suffered the classic limitations of the breed, however. Though the original QUAD electrostatic was widely regarded as the world's finest reproducer of chamber music, fans of rock and even symphonic music were inclined to look elsewhere.

Sanders and Sutherland convinced each other they could do better. They were sure they could build an electrostatic speaker that would produce adequate bass, output, and sound dispersion without arcing, blowing up amplifiers, or otherwise offending people not interested in a living-room science project. Sanders organized a small research and development team to transform an original design he had tinkered with for more than a decade into a practical, marketable electrostatic transducer.

The first prototype was ready in 1980. Naturally, it still had that science-project quality—a flat aluminum panel sprouting wires, struts, transformers, and power supplies, connected to an amplifier in Sanders' living room. It sounded even better than expected, but when they turned up the volume, a lightning storm erupted across the panel and music was replaced by a plume of smoke drifting toward the ceiling. Still, they knew they were close.

The team began a series of experiments with new aerospace materials that led to a design breakthrough. Constructed with state-of-the-art conductive coatings, insulation, and adhesives, their revised transducer sandwiched a clear, ultra-light Mylar diaphragm between two perforated-steel stators.

The new speaker looked elegant and could play loudly without arcing, but Sanders still struggled with how to achieve satisfactory high-frequency dispersion without compromising sound quality. (Large transducers tend to radiate high frequencies in a narrow beam rather than fanning them over a wide area.) The solution came in a midnight session when Sutherland sketched a theoretical sound wave to illustrate how sound disperses. Sanders envisioned a horizontally curved panel, the curvilinear line-source, or CLS, transducer central to the design of every MartinLogan electrostat since.

With only a mock-up and some photographs, Sanders and Sutherland exhibited their speaker concept at the 1982 Consumer Electronics Show (CES) in Chicago. An instant hit, the design was honored with a CES Design and Engineering Award. Excited by the response, they headed home to Kansas to translate their ideas into a working prototype.

Through a network of high-technology manufacturers, Sanders and Sutherland enlisted the help of other engineers with cutting-edge expertise and interest in the project. The company that fabricated the space shuttle's filtered windows and the people who created Teflon-coated cookware joined the design team. From their combined effort emerged a patented vapor-deposition process, an optically transparent diaphragm that could support a 5,000-volt charge, and a conformal coating that uniformly insulated each perforated stator to a charge of up to 10,000 volts.

By the time of the 1983 Consumer Electronics Show (CES), they had developed a full-range hybrid electrostatic loudspeaker they called the Monolith. A renowned high-end audio company used a prototype pair in its room at the show to demonstrate its electronics. Dealers who heard them were bowled over by the sound of the visually stunning, see-through Monoliths and, more importantly, eager to sell them. It was at this point that Sanders and Sutherland put their middle names to the venture and set about satisfying the demand they had created. MartinLogan finally took flight.

The first couple of years were touch and go. Working with just one full-time and one part-time employee, they built and shipped the first 10 pairs of Monoliths. Despite specially designed cartons, three pair were ruined in freight—a near-catastrophic loss for the young company. Undeterred, they rebuilt the speakers and pressed on, establishing in the process the guaranteed-satisfaction policy that stands behind MartinLogan quality and workmanship to this day.

Sales started to surge in 1985, and the company was finally on a firm footing. Sutherland departed to return to his first love, electronics. The next year MartinLogan moved to its current location. At the same time international distribution for the Monolith took off with startling success.

Steady growth followed. By 1988 sales had increased tenfold and the plant had expanded to include a large, dedicated production space. In 1989, and again in 1990, Inc. magazine recognized MartinLogan as one of the 500 fastest-growing privately held companies in the United States.

In the early 1990's MartinLogan released the world's first electrostatic home cinema center-channel speaker and on-wall surround channel speakers, establishing MartinLogan as a major player in the emerging home theater market. It was during this time in the early 90's that some of MartinLogan's most beloved classic electrostatic speakers were introduced, including the Aerius, SL3, Quest, and Cinema.

The Statement Generation

MartinLogan's most ambitious product to date began to take form in 1997. The resulting 2000-pound Statement e2 loudspeaker shocked the audio world and today is still considered by many to be the apex of no-holds-barred loudspeaker design. The innovative design and engineering behind the Statement e2 fueled the next generation of MartinLogan electrostatic speakers (not to mention ML's first non-electrostatic product). Released in 1999, the Prodigy electrostatic loudspeaker incorporated much of the design and engineering knowledge gained during the Statement project. Prodigy in turn inspired an entire new generation of electrostatic products including the Odyssey, Ascent, Aeon and Theater. All the while sales and distribution continued to expand.

[edit] Subwoofers

What followed was one the greatest challenges ever faced by MartinLogan engineers - the design of MartinLogan's first non-electrostatic product. In 2001 the legendary Descent subwoofer (featuring servo-control and BalancedForce technologies) took the market by storm establishing MartinLogan as a major player in the growing subwoofer market.

[edit] The Design Series

In 2003 Design Series was launched. MartinLogan's high-end pedigree and years of design know-how allowed the design and engineering team to produce this increasingly smaller and more affordable line of speakers without sacrificing the quality and performance that the MartinLogan name has come to represent.

[edit] In-Wall Speakers

Now firmly established as a loudspeaker 'technology' company (not just an 'electrostatic' company) MartinLogan ventured where few high-performance speaker companies dare to tread... inside of a wall. The Voyage and Passage in-wall loudspeakers (released 2004) challenged the entire audio industry by releasing in-wall speakers with true high-performance sound.

[edit] The ESL Series

In January of 2005 MartinLogan once again raised the bar for high-performance audio with the release of the Summit electrostat. A major departure from all things that came before, Summit combines dual independently powered woofers with MartinLogan's most advanced electrostatic transducer to date - the XStat.

[edit] MartinLogan Today

In October of 2005 ML was acquired by a subsidiary of ShoreView Industries. ShoreView is a financial firm that makes investments in entrepreneurial, well-run private companies. ShoreView recognizes MartinLogan's commitment to quality performance audio products. ShoreView is a passive investor that is not from the loudspeaker or audio business and is not involved in day to day operations.

Today, MartinLogan is a growing company with an internationally recognized brand, a well-organised team, superior technology and design, and a large customer base.

顶