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©2008 Logitech 

Squeezebox Boom Audio Design  

proven track record. The extreme flexibility of the networked music player plus a completely 
software controlled audio architecture allows us to continue to improve the product over time 
and make these updates easily available to customers. 

 

Figure 10: 4th order woofer/tweeter crossover implemented in Boom. 

The Squeezebox Boom architecture is unique among the desktop systems we have evaluated 
in its ability to be optimized up to, and beyond its manufacture date. We were willing to spend 
more in component cost to bring the absolute best system to market possible and meet our 
time-to-market demands. We could have saved cost by using analog (passive or active) 
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 Squeezebox Boom sound fantastic at moderate to low listening levels, we need to 
extend the bass response. A typical bass control is a very different concept from true bass 
extension. The red line in Figure 10 shows the measured bass response of the Squeezebox 
Boom, without any bass extension.

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 In the absence of a large anechoic chamber, it is difficult to make free-field acoustic measurements down to 20 Hz. 

For low-frequency measurements we use a method developed by Richard Small (of Thiele-Small parameter fame) 
that uses a microphone inside the sealed enclosure. For more information on this technique, see Simplified 
Loudspeaker Measurements at Low Frequencies, JAES Volume 20 Issue 1 pp. 23-33; February 1972. 

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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