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©2008 Logitech 

Squeezebox Boom Audio Design  

 

Figure 9: Click-less volume changes in Squeezebox Boom. This volume ramping profile shows how the 
volume gently changes from one volume to another. This shows a switch from 0 to 100% volume, but any 
other volume change follows a similar. 

StereoXL Technology 

StereoXL™ is a proprietary stereo expansion technology developed by Logitech audio 
engineers. It provides a significantly enhanced stereo sound field, expanding the sound stage 
beyond the physical extents of the speakers themselves.  

I have always been wary of this type of processing for fear that it would wreck the audio quality 
in order to achieve the effect of stereo widening. However, once the engineers from the 
Logitech Audio business unit helped implement StereoXL in the Squeezebox Boom, the results 
were very surprising. The audio quality wasn’t diminished at all, but the sound seems to come 
from everywhere.  

That said it can be overdone, and the quality depends on the track used and the encoding used. 
In order to allow for varying user preferences, and track encodings there are 3 settings for 
StereoXL. The best one is typically in the middle (medium). 

Crossovers 

To produce outstanding audio quality in such a small form factor, we needed to optimize the two 
frequency extremes: low frequencies and high frequencies. This necessitated using two 
speakers (the woofer and tweeter) for each channel. Any time there is more than one speaker 
per channel, a crossover of some type is required to steer the high-frequency energy to the 
speakers with better high-frequency response, and low-frequency energy to the low-frequency 
speakers.  

There are many different types of crossover “alignments,” with various advantages and 
disadvantages. For the Squeezebox Boom, we chose a very successful crossover type known 
as a 4

th

-order Linkwitz-Riley crossover.

2

 This was chosen because of its high performance and 

                                                 

2

 Active Crossover Networks for Noncoincident Drivers; Siegfried Linkwitz, JAES Volume 24 Issue 1 pp. 2-8, 

February 1976. Available online here http://aes.org/e-lib/browse.cfm?elib=2649. 

Summary of Contents for Squeezebox Boom

Page 1: ...f contained high performance network audio system With advanced digital signal processing a high quality bi amplified speaker design an easy to use user interface line input and subwoofer output Squee...

Page 2: ...AJ7 8 L Q CQ6 O R 3 J 3 SMMID R 6 R 3 J 3 SMSID D D 2 6 9 76 2 6 R 6 9 76 R 6 0 1 Figure 1 Squeezebox Boom Block Diagram This paper will discuss the audio design starting at the I2S I2C interface bet...

Page 3: ...mize risk yet maintain top notch audio performance in an attractive package The basic configuration is a sealed enclosure consisting of a rear cup shaped case and a front panel assembly where the spea...

Page 4: ...eezebox Boom doesn t compete in bass performance with high end studio monitors but because of its advanced signal processing capabilities combined with very high quality drivers we believe we have cre...

Page 5: ...can produce great sound through the entire audio spectrum Without a subwoofer the Squeezebox Boom goes from a 3 dB response at 50 Hz at low volume settings to about 85 Hz at high volume settings all...

Page 6: ...18 L 4G L P L K QE 4G K QE P L 2 Figure 8 Block diagram of the Squeezebox Boom DSP flow with other components for reference Volume Control Regular DACs implement digital volume control by simply chan...

Page 7: ...erdone and the quality depends on the track used and the encoding used In order to allow for varying user preferences and track encodings there are 3 settings for StereoXL The best one is typically in...

Page 8: ...crossovers and eliminated the DSP processing all together instead we chose to build the best system we could while meeting our industrial design and budget requirements Bass Extension To make the Sque...

Page 9: ...e the tradeoff is that as the bass response extends lower it s necessary to drive much more power into the speakers at low frequency risking distortion At low volumes this can be done very effectively...

Page 10: ...section of this paper By applying the compensation of Figure 12 in series with a variable frequency 4th order Linkwitz Riley filter we can choose any low frequency cutoff frequency we desire as seen...

Page 11: ...ssible filter Line In The Squeezebox Boom has a line level input that can be put to many uses Since it goes into the built in ADCs in the DSP we can perform virtually any processing on it we want and...

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