- 积分
- 2840
- 在线时间
- 3795 小时
- 最后登录
- 2017-8-24
- 阅读权限
- 100
- 精华
- 0
- UID
- 626786
- 帖子
- 2952
- 精华
- 0
- 经验
- 2840 点
- 金钱
- 2774 ¥
- 注册时间
- 2013-10-10
|
不就让你说下 什么叫瞬态互调失真吗 你说了这么多 你想表达啥意思呢 还好上帝安排 没让你当版主 这都是命里注定 哈哈
我只针对问题 即使是超级版主 论坛管理员他来了 要说我说的不对 是不是也得讲出道理吧 不说出道理不说什么才是正确的 这不符合交流的原则呀 这是来掐架 来炫耀的 要不然发那么多英文pdf干什么呢
既然你死活不说 那就把你发的pdf里的一段 发上来 大家看看 借助网络翻译 不一定好读
SID and TIM
Which is which and what do they mean?
Unfortunately, many of the popular explanations serve to confuse rather than clarify the issue, and this short preparatory discussion will, we hope, clarify some of these points to the reader.
"TIM" stands, of course, for transient intermodulation distortion, sometimes called simply "transient distortion." If this name is taken in a literal sense, it implies a distortion mechanism which produces intermodulation when subjected to transients. A point to be noted is that if the term were understood literally, this would imply transients of both high and low frequencies and/or high or low operating levels. In other words, all transients.
In actual practice, however, transient IM occurs only for signals with simultaneous high level and high frequencies — not lower levels or lower frequencies. The key parameter of such signals is that they are characterized by high signal slopes, not just high frequencies or high levels. Neither high frequencies nor high levels in themselves necessarily result in distortion, unless their combination is such that a high effective SS is produced.
High SS waveforms are not confined solely to transient waveforms. It just so happens that musical signals which exhibit high signal slopes more often are transient in nature —a fortissimo cymbal clash, for instance. Thus, TIM is probably a descriptive term for the distortion as it occurs on musical waveforms, but the term is not totally descriptive of the distortion mechanism itself [33,34,44,52],
TIM is actually generated when the SS approaches or exceeds the amplifier SR. Thus, a more easily understood term as to what actually happens would be one which relates both to SS and SR. In an amplifier, distortion is produced when the output voltage SS approaches or attempts to exceed the SR, as the amplifier limits (clips) for such a circumstance. This can happen for either transient or steady-state signals [33, 34, 52] if they have a sufficiently high SS. Thus we feel a more descriptive term to describe the mechanism is Slew Induced Distortion [33, 58] as it is distortion induced either by the onset of or actual slewing. Other descriptive variations of this terminology are seen in print, such as "slew rate distortion" and "slewing distortion," and mean essentially the same thing [11],
Effect of Excessive Signal Slope On AmDlifier
压摆率失真和瞬态互调失真
这两个是什么意思呢?
不幸的是,许多人对流行的解释,混淆而不是澄清,这短短的筹备讨论会,我们希望澄清一些观点。
“TIM”表示,瞬态互调失真,有时简称为“瞬态失真”。如果此名称是采取在字面意义上,这意味着是经受瞬变产生互调失真的情况。有一点要注意的是,如果术语字面上理解,这将意味着低频率和高频率或低的电平和高的电平瞬变时候的失真。在实际情况中,短暂的互调失真只发生与同步高层次和高的频率的信号 - 不下级或较低的频率。这样的信号的关键参数是它们的特点是高信号的斜坡,而不仅仅是高频率或高的水平。既不高频率也不高含量本身必然导致失真,除非他们的组合是这样的,高有效SS被产生。
高SS波形不只限于瞬态波形。它只是恰巧,其表现出高信号斜坡的音乐信号,更多的时候是一过性的-a极强钹冲突,例如。因此,TIM可能是一个描述性术语的变形,因为它发生在音乐的波形,但这个词并不完全描述失真机制本身[33,34,44,52]中,
在SS接近或超过放大器的SR时的TIM实际产生。因此,更容易理解的术语,以实际发生的情况会是其中之一,以SS和SR既涉及。在一个放大器,畸变时产生的输出电压的SS接近或试图超过SR,对于这样的情况下,放大器的限制(剪辑)。发生这种情况无论是瞬时或稳定状态的信号[33,34,52]如果他们有足够高的SS。因此,我们觉得一个更具描述性的术语来描述其机制是摆引起的失真,因为它的失真引起的无论是发病或实际回转。这个术语的其他描述性的变化被视为在打印,如“摆率失真”和“回转失真”,并且是指基本相同的事情[11],
过多的信号坡AmDlifier的影响
从这里看到瞬态互调失真 其实是 说瞬态失真 并且 瞬态失真其实就是压摆率引起的失真 其实也就是说的是因为瞬态响应不足引起的失真
这个作者也说了 瞬态互调失真 这个名气起的是混淆的 他指的是个瞬态失真而已 根本没谈及互调
不要把瞬态失真 叫成瞬态互调失真了 这里面没互调 至于由于瞬态响应不足引起的失真是什么和其它频率或者电平发生调制 那是另外一回事
说到底根本就是个瞬态失真
这个和我说的是统一的 我不知道大侠 反驳我的啥呢 说我不对 却发了 跟我表达意思一样的pdf 让我看 你是几个意思呢 ?
我认为真正的瞬态互调失真是 sr远大ss 负反馈抑制相位滞后 引起的 方波振铃 才叫瞬态互调失真 这个负反馈相位滞后引起的失真 只有在高速瞬变信号时候才容易觉察 并且是会调制正在被放大的任何信号 所以才能叫瞬态互调失真 这种失真容易引起放大器自激。
|
|