Comparison HL Audio MACK-12A-USB vs HL Audio B-10A

Speaker sensitivity.

This characteristic is indicated on the basis of how loud the acoustics are capable of producing when a signal of a certain standard power is applied to it. Simply put, the higher the sensitivity of the speaker, the louder it will sound at the same output power of the amplifier. Thus, sensitive acoustics can be effectively used even in combination with relatively low-power "amplifiers". On the other hand, low sensitivity also has its advantages: it allows you to achieve a more uniform frequency response and reduces the likelihood of overloading the amplifier. In the least sensitive modern speakers, this indicator does not exceed 84 dB, in the most sensitive it is 95 – 96 dB or more.

Note that in fact, you have to pay attention to this parameter when acoustics are planned to be used with a separately selected power amplifier. Therefore, for active systems (see "Type"), sensitivity is purely a reference value, and, usually, it can be ignored when choosing.

The highest power rating of an amplifier that the loudspeakers can handle safely. Too much input power can damage the speakers, so when connecting, make sure that the amplifier's characteristics do not exceed the capabilities of the speakers. It is worth noting that this parameter may be slightly higher than the total nominal power of the acoustics (see below), since in this case we are only talking about the safety of the equipment, and not about the absence of distortion in the sound.

The total rated power of all speaker components, in other words, the sum of the powers of all speakers. As a nominal one, they usually indicate the highest average (rms) power at which acoustics can operate for a long time without overloads and damage. In this case, individual power surges can significantly exceed this value, however, it is the rated power that is the main characteristic of any speaker.

First of all, the sound volume depends on this characteristic: the more powerful the speakers, the louder the sound they can produce if there is a suitable amplifier. In addition, in passive and passive-active models, compatibility with an external amplifier also depends on the power: the output power of the “amplifier” should not exceed the power of the acoustics connected to it, otherwise overloads and even breakdowns are possible.

Detailed recommendations regarding the choice of speakers for power for a particular situation can be found in special sources. However, in general, an indicator of up to 100 W by the standards of modern acoustics is considered quite modest, 100 – 200 W — average, 200 – 300 W — above average, and the most powerful sets give out up to 500 W or even more.

In conclusion, we note two more nuances. Firstly, when comparing different systems according to this ch...aracteristic, one must also take into account the sound format in which they work. In particular, if there is a subwoofer, it can account for a significant part of the total power — up to half or more. As a result, for example, a 2.1 set of 50 W with a 20-watt subwoofer at the main frequencies will not be able to pull out the same volume as a 40-watt 2.0 system: in the first case, each main channel will have only 15 watts, in the second — 20 watts. Secondly, in multichannel systems, the total power can be distributed among the channels in different proportions; so, say, two 5.1 systems with the same total power can differ markedly in front and rear balance at maximum volume.

Types of outputs provided in the design of the speaker system.

Outputs in modern speakers are mainly used to switch the signal coming from an external source. However, other applications are also possible: for example, a speaker with a USB port (see "Inputs") and a built-in player may have connectors for connecting additional acoustics. The most common types of exits are:

— RCA. In this case, we mean an output for working with an analogue audio signal, usually a line level (an RCA connector can also be used in other interfaces, but they have their own names). In general, this interface does not differ in noise immunity, but its capabilities are quite enough at least for home acoustics, including quite advanced ones. Note that with this connection, each audio channel requires its own connector; therefore, RCA jacks are usually installed in pairs — stereo left and right. The exception is the subwoofer outputs, which can also be performed in this format — one connector is enough for them.

— mini-Jack (3.5 mm). Standard mini-jack socket. Most often used in the same way as RCA described above — for line-level analogue audio, including connecting subwoofers. At the same time, one 3.5 mm jack can be responsible for two stereo channels at once, however, the noise immunity of such an interface is even lower than that of RCA. Therefore, such a connector among the speakers is much less common.
Separately, we emph...asize that the headphone output (see below) is indicated separately, even if it also uses the mini-Jack jack.

— Jack (6.35 mm). A connector similar in shape to the mini-jack described above, but having a larger size; as a result, it is found mainly in stationary audio equipment, and is also used in musical instruments. 6.35 mm Jack is considered more durable and reliable than 3.5 mm mini-jack, besides technically it is able to provide the so-called balanced connection (see below), although in fact this possibility is relatively rare. One of the most popular uses for this output is connecting an additional speaker to a live speaker. Along with its younger brother, the 6.35 mm Jack connector can be used as a headphone output, but headphone jacks are not included in this category and are listed separately (see below).

— Headphones. Dedicated headphone output. Most modern "ears" have mini-Jack plugs (see above) — respectively, and this output is equipped with just such a connector. Occasionally there are speakers with Jack jacks, but this point is not important — a 3.5 mm plug can be connected to a 6.35 mm jack using a simple adapter (such adapters are even supplied with many headphones). Headphones can be useful, for example, at a later time of the day when loud music is undesirable — or vice versa, in a noisy environment, in order to hear the sound better; at the same time, the speaker is often closer to the listener than the player or other signal source, and it is most convenient to connect the “ears” to the speaker.

— Balanced XLR. XLR connectors have three pins, according to the number of cable strands. They can be used to transmit a different type of signal, however, in this case, an analogue balanced connection is implied. With this connection, one channel of audio is transmitted per connector, and a fairly large part of the interference that occurs during transmission is extinguished by the cable itself. The latter ensures the purity of the transmitted sound even at fairly large distances (of the order of several metres). Balanced XLR refers to professional interfaces and is found mainly in speakers of the corresponding class.

— Balanced digital AES/EBU. A variation of the XLR interface, designed to transmit a signal in digital format. It also belongs to professional ones, uses the same connectors and cables and the same balanced transmission method, which ensures the damping of most interference; however, due to differences in the type of signal, it has a large bandwidth and allows even multi-channel audio to be transmitted through one connector.

— Optical. One of the varieties of the S / P-DIF standard — along with the coaxial described below. In this case, the signal is transmitted via a TOSLINK fiber optic cable. The main advantage of this interface is its complete insensitivity to electrical interference, while its capabilities are sufficient even to work with multi-channel audio. Among the shortcomings, it is worth noting the high price of connecting cables, as well as the need for careful handling of them.

— Coaxial. An electrical version of the S / P-DIF standard, using a coaxial cable with a “tulip” connector for signal transmission. Do not confuse this interface with the analogue RCA described above — despite the identity of the connectors, these standards are fundamentally different: "coaxial" works in digital format and even multi-channel audio can be transmitted over a single cable. Compared to optical S/P-DIF, this interface is less resistant to interference, but more reliable because electrical cables are not as delicate.

— Speakon. A professional interface used to work with the signal coming from the power amplifier. It is used in the equipment of the corresponding class, in particular, concert systems (see "Purpose") — in this case, we are talking about connecting additional passive speakers to such a speaker. Thanks to the features of the connectors (presence of latches, high degree of isolation), the Speakon interface can be used even with the most powerful amplifiers.

The diameter of the tweeter (speakers) speakers. Since size primarily affects the range of the speaker (as the diameter increases, the operating frequencies decrease), in HF components it can be quite small. More detailed information can be found in special sources.

The diameter of the woofer or combined woofer/midrange speaker(s). The larger the speaker, the lower its operating frequencies and the more sound power it can provide. Therefore, you should pay special attention to this parameter if you want to get high-quality rich bass - especially if we are talking about an audio system without a subwoofer. More detailed information about speaker sizes can be found in special sources.

The material from which the cabinets of the speakers included in the speakers are made. Not only the appearance, but also the sound characteristics depend on this parameter. The most common options are:

— MDF(Medium Density Fiberboard — medium density fibreboard). The most popular material today, found in almost all price categories. At a rather low price, MDF has good acoustic characteristics, almost as good as natural wood.

— Tree. Wood can be classified as a premium material: it looks nicer than MDF, but in terms of acoustic properties it does not have significant advantages, but is noticeably more expensive. Because of this, this material is found mainly among high-end speakers designed for demanding users.

— Plastic. Plastic is low cost and easy to process. Its acoustic properties are worse than those of MDF and, moreover, wood; however, this shortcoming can be easily compensated for. So such cases are very popular nowadays, they are found even in high-end speakers.

— Metal. Most often, metal speaker cabinets are made of aluminium alloys. This provides an elegant appearance, in addition, such cases are very durable, reliable and are not afraid of scratches, dirt and moisture. On the other hand, metal is not cheap, and in some models it gives the sound a specific coloration that may not be to every...one's liking. To eliminate this effect, various design tricks can be applied, which, again, additionally affect the cost.

Note that for systems with a subwoofer (2.1, 5.1, etc., see “Number of channels”), this parameter specifies the material of the main speakers, while the subwoofer is in most cases made of MDF.

The total weight of all components of the speaker system.