The design of the sound system is a process, not a product. If it is a product, it can be mass produced and used in many devices, just like an amplifier. A design that meets the requirements of an occasion can often be completely satisfied, and its performance is extremely poor for many users. The design process consists of a collection of fragmentary data, like piecemeal images in a jigsaw puzzle, and they are assembled together so that they do not overlap or gap. So, how do you design an audio system? Some people do it like a product catalogue that spreads out many audio products, and then draws them with strokes like throwing darts; some people do it like turning the walnut shell over and over until it finds the walnut meat; Some people are easily calculating equations that are extremely esoteric. Just like holding a sacred ritual, then a simple cone-shaped 8-inch speaker is defined for thousands of listeners.
Four design tools
As a successful sound system designer, the first tool is to know. Today's designers are much more fortunate than the designers of 35 years ago, because there is now an extremely rich source of sound engineering knowledge available. Numerous, and even countless, reference books cover all aspects of the field. There are a variety of journals available, from academic journals to business newsletters to commercial journals like the journal. There are a variety of prestigious academic exchanges, seminars and training courses that can be sourced from a variety of research institutions, including our Industrial Trade Association, National Audio and Cultural Materials Association. The accredited colleges and universities also began offering relevant courses.
Numerous reference books
From these channels, you can get an extremely large amount of knowledge. But as far as knowledge itself is concerned, it is not enough. Therefore, the designer's second tool is experience. There is a saying that we all learn to shave from the faces of others - we often have to break many amplifiers and speakers before we can clearly grasp the advanced level of our audio equipment. There is some truth to this statement. A designer who has failed can't last long.
The third tool, the most important tool so far, is good judgment. Designers must have a good understanding of people, be able to make judgments beyond technical rules, and be able to make judgments into the inner space of human beings. A technically precise design may fail because the assembler does not understand the assembly or because the user does not know how to use it. The actual user may not know how to use the system, and the manufacturer may stop producing a certain type of product because it is not ready to be replaced.
The fourth tool, which has become especially important over the past decade, is the computer. Computer simulation techniques specifically for audio and acoustic design software can greatly speed up the design, allowing them to occupy a seat in the designer's toolbox.
Hall 3D renderings, CAD plane drawing
EASE model and speaker layout
Analog sound pressure level indication map
However, it must be remembered here that the computer is not designed by itself, and only the designer can design the sound system. There was a gambler who asked a computer programmer if it was possible to compile a computer program that could predict who would win in a horse race. The programmer replied: "Of course, this is very easy, as long as Suppose a horse is spherical..."
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