低音部分一般两阶 高音一般两阶 有时也用三阶
看完了还是没個权威的答案，个人觉得电路越简单越好
如何使中低音单元作到滚降陡峭？有无良方？
比如有人曾经给绅士宝中低音单元上面涂胶
摘取2004年某专题文章如下，特殊字体和颜色由我添加，以下言论不代表本人观点，仅供参考：
Designing Loudspeakers At Revel -
An Interview with Kevin Voecks, Director of Technology, Harman Specialty Group (Revel, Mark Levinson, Lexicon)
Sumit: You mentioned high-order crossovers a while back. Revel speakers have always used high-order crossovers. Several companies take the opposite approach i.e. they use low-order (first and second order) crossovers. What are the disadvantages of using low-order crossover designs? Are there any advantages to using low-order crossovers?
Kevin: Well, we were fortunate enough to have done research that has allowed us to know, to really understand, what are the characteristics that are important to sound quality and what are the characteristics that have some value but less, and those characteristics that don't have any sonic value and that allow us to make the optimum choices in the design. That all points very, very strongly to high-order crossovers because high-order crossovers are necessary in order to have low distortion which is way up there on the list of important sonic qualities. High-order crossovers are important to have good dynamic capability without compression. It would really shock audiophiles to see how much the response of most high-end loudspeakers changes at different volume levels. They are like completely different loudspeakers when played even at moderate levels, and it is something that is very directly measurable. So we really focus on making sure that not only is the timbre really accurate, but that it changes as little as possible over a very wide dynamic range. Plus the distortion is below the audible threshold; resonances are below the audible threshold because our research has shown those are really important things. If we used first-order crossovers, we would degrade the off-axis response, and therefore the timbre, we would completely degrade the distortion characteristics, we would loose our dynamic capability, our freedom from compression because tweeters and mid-ranges are then getting signals that are outside the frequency range that they are really designed to handle. So it's really mostly heat, and that heat makes the voice coil impedance go up, and as a result of that the filter network is mis-terminated because it's not seeing the termination impedance it expects to see, and then the response of the crossover is impacted. So what that means is that when speakers heat up, voice coils heat up, the crossover networks don't work right anymore and you get peaks and dips in the response, several dB peaks and dips in the response. So with high-order crossovers and with all the things that we are doing in the transducer design to keep the voice coils cool which means we are generally using a very large voice coils which spreads out the heat over a large area, and we're using in some cases multiple woofers to further spread out the heat. We are using all of these techniques including the way we vent them which forces the air through the gap at the same time, the vents are designed in such a way so that they don't create noises. It's a very sophisticated approach to solving the problem with heat. But a big part of that is the high-order crossovers. It's an essential part of it.
Sumit: What crossover slopes are typically employed in Revel designs?
Kevin: Our networks are always tweaked to result in the smoothest possible transition between transducers. Because of that, their electrical characteristics don't meet the textbook definition of classical filters, which is why we don't specify them in our literature. However, the resulting response of the transducer/enclosure acoustic and the filter's electrical response is close to a 4th-order (24dB/octave) Linkwitz-Riley characteristic.
Sumit: Have you ever heard a good loudspeaker that uses a low-order crossover?
Kevin: I have heard good loudspeakers that use low-order crossovers. I haven't heard great loudspeakers that use low-order crossovers. They run into these problems. It's inevitable.
具体的喇叭型号具体的分频线路吧，不能说一阶或者高阶哪个不好，分频器又不是通用的，只有最合适为原则，不能一概而论，我只想知道D6.8单元适合几阶？
既然我上面贴的内容没人回复，那我就尝试翻译一下，或许能让人更容易理解，翻译的不好还请大家请多多指正。截取的这段专访，里面的大部分观点我还是比较认同的，不知道大家感觉如何呢？
Sumit:你刚才提到了高阶分频器。Revel的喇叭产品总是采用高阶分频器。有些厂商采用相反的思路，他们使用低阶（1阶和2阶）分频器。低阶分频器设计的缺点有哪些呢?采用低阶分频又有什么
优点呢？
Kevin: 好的，我们真的足够幸运，我们已经做过的研究让我们真正地懂得，哪些特性对于声音质量很重要，哪些特性是有价值的但不那么重要，而哪些特性对声音没有任何价值，这些真正有价
值的特性我们在设计中可以优化选择。以上的所有研究都非常非常强烈地指向高阶分频，因为，如果要获得低失真，采用高阶分频是必要的，而低失真是提高声音质量的一系列重要因素之一。
高阶分频对于音箱能压缩地获得出色的动态性能至关重要。发烧友们可能会被大多数顶级扬声器系统在不同音量下的表现差异之大所深深震惊。那些扬声器即使在中等音量下的表现，可能
也完全是另外的样子，而这些表现的差异可以很直接地测量出来。所以我们真正关注的是，不但要保证音色的准确，而且还要让系统在很大的动态范围内表现的差异尽可能地小。再加上，失真
和异常谐振在听觉阈值以下，因为我们的研究显示它们确实是很重要的因素。
如果我们使用一阶分频，离轴响应就要变坏，接着是音色变坏，还会使失真特性完全变坏，还会丧失动态性能，动态性能原本是由远离动态压缩保证的，但现在也完全丧失，因为高音和中音
会得到它们设计频段以外的信号的驱动。所以，绝大多数情况下我们真正得到的只是喇叭发热，然后这些热量让音圈的阻抗上升，结果是分频网络的工作状态由于喇叭阻抗上升而得不到理想的
端接，进而偏离设计状态，于是分频器的响应也受到了影响。
所以，这意味着，当喇叭和音圈发热，分频网络将不再正常工作，你得到的是响应曲线上若干个数分贝的峰谷。所以，采用高阶分频和我们在设计喇叭单元时所做的所有事情都是要保证音
圈尽量凉爽，这就意味着我们大体上要采用一个很大的音圈才能利用大面积来快速地散热，在某些设计里面，我们也会采用多个低音单元来分担热量。除了以上这些技术以外，我们还会在单元
上使用强制风冷散热，这种巧妙的设计并不会产生风噪。但是，以上这些为了解决散热问题所做的所有工作当中，一大部分而且是最基本的部分还是高阶分频的设计。
Sumit: Revel的设计通常都采用什么样的分频曲线？
Kevin:我们的分频网络设计通常调整曲线，使喇叭单元之间的过渡衔接越平滑越好。因此，分频器的电特性与教科书定义的经典滤波特性不一样，这也是为什么我们没有在文献当中指出来采用
的是哪一种曲线特性。然而，单元特性+箱体声学特性+分频网络电特性的总的相应接近于4阶L-R特性。
Sumit:你曾经听过采用低阶分频设计出的优秀扬声器系统么？
Kevin:我曾经听过采用低阶分频设计出的优秀扬声器系统，但我还没有听过采用低阶分频设计出的杰出扬声器系统。因为他们一样会有上面提到的问题，这是不可避免的。
看喇叭和系统搭配，一还是多，一般都是先满足耳朵（听起来舒服），再谈还原度，如果能满足耳朵的情况下，尽量少阶，声音比较真实些。
本帖最后由 liao.c 于 2016-11-1 09:54 编辑
哪些特性对于声音质量很重要，哪些特性是有价值的但不那么重要，而哪些特性对声音没有任何价值，这些真正有价值的特性我们在设计中可以优化选择。以上的所有研究都非常非常强烈地指向高阶分频，因为，如果要获得低失真，采用高阶分频是必要的，而低失真是提高声音质量的一系列重要因素之一。
高阶分频对于音箱能压缩地获得出色的动态性能至关重要。发烧友们可能会被大多数顶级扬声器系统在不同音量下的表现差异之大所深深震惊。那些扬声器即使在中等音量下的表现，可能也完全是另外的样子，而这些表现的差异可以很直接地测量出来。所以我们真正关注的是，不但要保证音色的准确，而且还要让系统在很大的动态范围内表现的差异尽可能地小。
再加上，失真和异常谐振在听觉阈值以下。
——精华所在，顶一个！~
明白了其中的缘由，一阶和多阶，其实已经不太重要。
分频器，搞咗几个月，最后高音勇、用咗四阶方觉基本满意。其实，我觉得应该跟喇叭频响及阻抗曲线有关。
二楼刘总正解
能一阶绝不高阶，可以高阶决不一阶。
skc 发表于 2011-3-31 16:06
轉載(部分):
原文:http://audioart.audionet.com.tw/0Review2002/202/special/281-283.htm
多年后再看到这个旧贴，看到这个转载，看到我都弱智了:lol
mc3362 发表于 2016-10-30 20:42
既然我上面贴的内容没人回复，那我就尝试翻译一下，或许能让人更容易理解，翻译的不好还请大家请多多指正。 ...
这才是有技术含量的好文，多谢翻译！
好文章，看了几遍
各位大神说说多阶的相移、功率损耗、元件干扰...等继续剖析，偶们菜鸟继续洗耳恭听....:)
高手云集呀:$
低音多阶，中。高音低阶