Comparison Avantone MixCube Active vs Magnat Tempus 77

General specialization of the speaker system.

These days, by this criterion, we distinguish home, concert, monitor, public address, outdoor, and cinema systems, as well as solutions for expanding existing AS. At the same time, the intended use isn’t a hard rule—many models also allow nonstandard use cases. However, it’s still simpler and more convenient to choose a speaker according to the application it was originally designed for. The specific features of speakers for different purposes are as follows:

— Home. A type of AS intended, as the name suggests, for individual use at home. Note that the specs of such models can vary widely—from the simplest bookshelf speakers to powerful multi-way speakers designed for home theaters and high-quality audio systems.

— Concert. A distinguishing exterior feature of AS intended for concerts is their large size and high nominal power (in some models it exceeds 1 kW). The latter is indispensable for vast spaces—halls, stadiums, etc.—where the sound also has to overpower the audience’s reaction (sometimes quite loud). Buying such speakers for home use makes no sense—not only due to the high price, but also because instead of high-level inputs (as in home AS) these systems have a connector for specialized equi...pment, musical instruments, etc. Most often concert speakers are sold in a 1.0 configuration (see “Number of channels”) so that sound engineers can assemble the required speaker setup from a specific number of components.

— Monitor. The primary purpose of monitor speakers is sound quality control; accordingly, all such models offer extremely high accuracy in reproducing every detail, a flat FR, and virtually no distortion. This makes them indispensable for professional use (for example, in recording studios): a monitor speaker will let you pinpoint all flaws in the input signal, including amplifier noise, editing inaccuracies, etc. Like concert models (see above), these systems are usually equipped with specialized inputs; however, using monitors for home listening makes little sense for another reason as well: all sound imperfections that go unnoticed on regular speakers will show up—and can noticeably spoil the impression. And the price of such models is quite high.

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— Outdoor. Speaker systems designed for installation outside. They can be used, for example, to provide sound for parties at a country house or outdoors, to play music on café summer terraces, etc. All models of this type necessarily have a moisture-resistant, corrosion-resistant enclosure (see “Water resistance”) for adverse weather; in addition, they are usually protected against UV exposure. Outdoor speakers can be mounted in different ways (see above), but suspended options are the most common.

— Cinema. Models intended, as the name suggests, for use in movie theaters—primarily not in “home-size” rooms for 6–10 viewers, but in large entertainment complexes with dozens or hundreds of seats. Cinema speakers have the following common traits. First, they are all passive, intended to be connected to specialized amplifiers; accordingly, high-voltage inputs in the form of binding posts or Euroblock sockets are used. Second, the power of such devices is quite high—100 W and above. Third, cinema speakers are usually produced in a 1.0 format (see “Number of channels”)—in other words, such models are not complete speaker systems, but individual components used to assemble a specific multichannel AS. This format makes it possible to select speakers as precisely as possible for a specific auditorium. By installation type, cinema speakers are usually floorstanding, in-wall, or wall-mounted. The latter are most often designed for installation on side walls, while the first two go behind the screen. Floorstanding versions can in fact consist of two parts—a classic low-frequency cabinet and a horn for MF and HF.

— Speaker system expansion. A specific type of speaker not intended for standalone use and used as an add-on to traditionally designed speakers. Such models are mainly used in multichannel surround systems—to extend the soundstage vertically; they have a distinctive look: relatively compact size, a slanted top panel, and a driver built into that panel. This way, the drivers aim the sound upward—so that, after reflecting off the ceiling, it reaches the listener and creates the impression that the sound source is above. Using “expansion” speakers lets you avoid specialized ceiling speakers. This is especially convenient given that ceiling speakers are usually in-wall/in-ceiling and fairly complex to install, whereas expansion modules often allow installation directly on top of the main AS components. Also note that this type of speaker may be originally designed for specific main speaker models; it’s worth confirming this before purchase.

— Outdoor. As the name implies, these speakers are designed for installation on the floor and have a corresponding design: for example, in most models, the cabinet has a large height, selected in such a way that the speakers are at the optimum height when placed on the floor. In addition, floor acoustics are designed with the calculation of the influence of the floor itself on the sound; this allows you to achieve evenness and good depth of low frequencies. Floorstanding speakers in general have the highest power among all types and are usually designed for large rooms.

— Shelf. Shelf speakers are relatively small in size and are designed to be placed on shelves or stands of a different kind, at a significant elevation from the floor (the optimal height is considered to approximately correspond to the location of the listener's head). The advantage of this placement is smooth sound at all frequencies. In addition, such models usually have less power than floor standing ones and are well suited for small spaces — besides, the shelves can be mounted on the wall like a wall speaker.

— Floor / shelf. This type includes multi-channel (see "Intended use") systems in which one part of the speakers is designed for floor installation, the other for shelf installation. The former usually include front an...d, sometimes, rear speakers, as well as a subwoofer, while the latter include a centre channel and low-power rear speakers. See above for floor and shelf installation details.

— Embedded. Speakers designed to mount directly into the ceiling or wall. Often such models do not have a case at all — its role is played by niches in which speakers are installed. According to the shape of the case, namely the mounting hole, such acoustics can be round, oval, rectangular and square. The main advantage of embedded systems is that they take up a minimum of space in the room, moreover, they can be made almost invisible, and in general they are easier to fit into the design than any other type. At the same time, built-in speakers are the most difficult to install, require the participation of a qualified specialist, and it is also very difficult to rearrange an unsuccessfully installed speaker.

— Wall. Such speakers are very similar to bookshelf speakers in a number of characteristics (see above): in particular, they are small in size and power and are designed to be installed at the level of the listener's ears. The key difference is its own mounting system, thanks to which wall-mounted models do not require shelves or other supports and are hung directly on the wall during installation. This led to another difference — acoustic characteristics: they are designed for the fact that there will be a blank wall behind the speaker. Because of this, wall models should not be placed on shelves, even if the design allows it — the sound will be far from optimal. In addition to options with a traditional design, wall acoustics also include the so-called "dipole" speakers: These have 2 speakers facing in different directions and are designed to be mounted on the side wall in premium home theater systems for maximum surround sound.

— Suspended. As the name suggests, speakers of this type are suspended from the ceiling or other base on flexible mounts during installation — these can be either cables or their own cables. Most ceiling models are informational (see "Purpose"); this is due to the fact that one of the easiest ways to block a large room is to install an omnidirectional speaker under the ceiling. At the same time, high-end home systems can also be suspended: the fact is that such placement maximally removes the speaker from shelves, walls, etc., and thus minimizes distortion caused by foreign objects (especially since they are not are always made from acoustically optimal materials).

— Landscape. In addition to an unusual appearance for acoustic systems and stylization for elements of landscape design, this type of acoustics also boasts very stable cases. So, speakers, usually, are not afraid of temperature changes, direct sunlight or precipitation. At the same time, they are designed to play music in open space. They can be freely installed in the yard, many manufacturers initially complete their solutions with a special mounting system to protect the acoustic systems from theft.

— Linear array. A line array is an acoustic system in which several speakers are stacked vertically, directly one above the other. Due to this, such a system generates cylindrical sound waves (rather than spherical, as in classical acoustics). Such waves are distinguished by good “range”, the volume of linear arrays does not decrease as the distance increases as much as that of conventional speakers. This allows you to achieve a uniform and loud sound even in large spaces such as stadiums or concert halls. But at short distances (of the order of several metres), such characteristics are not required. Therefore, the main field of application of line arrays is concert acoustics (see "Purpose").

— Active. Acoustic systems equipped with their own built-in power amplifier. A line-level signal (from the preamp) is sufficient for these speakers, making them extremely easy to use. On the other hand, the built-in amplifier requires power, so these speakers have to be plugged into an outlet as well.

— Passive. Speaker systems that do not have a built-in power amplifier. Accordingly, you need to connect such speakers to an external amplifier (or a device that has such an amplifier — for example, an audio receiver), while paying special attention to component compatibility. On the other hand, passive acoustics are considered more suitable for creating high-end audio systems than active ones: it allows you to choose a power amplifier of your choice, moreover, there are no “extra” electronics in the speaker cabinet, which reduces the likelihood of interference.

— Passive / active. Acoustic systems combining passive main speakers with an active subwoofer. For a number of technical reasons, active subwoofers are more convenient than passive ones: in particular, they save the user from having to look for a specialized low-frequency amplifier, and they provide more tuning options (the latter can be useful for “fitting” sound into a particular room). Therefore, many manufacturers produce passive-active kits.

The number of individual speakers provided in each speaker. Do not confuse this parameter with the number of bands described below — several speakers can be responsible for one band; it is believed that this can improve some of the sound parameters, in addition, it allows you to achieve high power with relatively small speaker dimensions. Otherwise, the number of speakers is more of a reference than a practically significant indicator.

If there are speakers with a different number of speakers in the set, the maximum value of this parameter is usually indicated (most often — by the front speaker). In this case, passive radiators(if any, see "Design Features") are not taken into account in the calculation.

The number of distinct frequency bands into which the sound is divided when played back through the speakers. For each such band, a separate speaker is provided, and sometimes several (for more details, see "Number of speakers").

Among multi-band consumer-level models, the most common options are 2 or 3 bands — LF / HF and LF / MF / HF, respectively. A larger number, usually, indicates a high class of acoustics, because. it is more accurately capable of reproducing the signal and, accordingly, is more complicated. But there are also small satellites with one speaker ( single-way) for the case of an undemanding listener.

Note that, in addition to integers, models are also produced with a fractional number of bands — for example, 2.5 or 3.5. This marking indicates the presence in the design of a speaker that is responsible for two bands at once: for example, model 2.5 has separate speakers for bass and treble plus a combined bass + midrange (similar in design to bass, but also loaded with mid frequencies).

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.

Impedance is the nominal electrical impedance of a speaker system. Nowadays, a set of standard impedance values are used; the most widely used speakers are 4 ohms, 6 ohms, 8 ohms and 16 ohms.

This parameter is of primary importance for passive acoustics (see "Type"). When connecting such speakers to a power amplifier, it is highly desirable that their impedance matches the speaker impedance for which the amplifier is designed; in case of a mismatch, either overload and distortion in sound (if the speaker impedance is below optimal), or a decrease in power (in the opposite case), are possible.

As for active acoustics, here the impedance is mainly of reference value — the speakers in such systems are initially selected for the corresponding amplifiers. However there is an opinion that a higher resistance reduces the level of interference and has a positive effect on the purity of the sound; however, the difference in impedance between different models is usually not so great that this effect is noticeable against the background of other factors that determine sound quality.

The crossover frequency provided in the speaker design.

A crossover is installed exclusively in a multi-band model (see "Number of Bands"). This is an electronic filter that ensures the division of the incoming audio signal into separate frequency ranges and directs each range to "its" set of speakers. And the crossover frequency shows where the boundary between these ranges lies. If there are more than two bands, there will be several such boundaries: for example, for a four-band system it may be specified "0.15 / 0.8 / 2.8 kHz" or "0.12 / 1 / 3.8".

In most cases, this parameter has mainly a reference value: the frequencies of the built-in crossover are selected to match the operating characteristics of the speakers installed in the speaker system.

Rated power of one front speaker. See "Total Power Rating" below for details on power rating. Here we note that the higher the power, the louder the system component can sound — of course, with a properly selected amplifier. In addition, this parameter is very important for matching with the amplifier: it is desirable that the output power on the corresponding amplifier channel be less than the power of the speaker. If the incoming signal is more powerful, distortions in the sound and even damage to the speakers are possible, and if it is weaker, then the sound volume will decrease (in other words, it will not be possible to use the full potential of the acoustics), but this moment will be critical only for listening at maximum volume.