Comparison Edifier MR4 vs Edifier R2850DB

The general specialization of the acoustic system.

Nowadays, this indicator distinguishes home, concert, monitor, information, outdoor and cinema systems, as well as solutions for expanding existing speakers. At the same time, the appointment is not a categorical prescription — many models also allow non-standard use cases. However, it is easier and more convenient to choose a column in accordance with the method of application that was originally intended for it. The specific features of acoustics for various purposes are as follows:

— Home. A kind of speaker designed, as the name implies, for individual use at home. Note that the characteristics of such models can be different — from the simplest bookshelf speakers to powerful multi-band speakers designed for home theaters and high-quality audio systems.

— Concert. A distinctive external feature of speakers designed for concerts is their large dimensions and high rated power (in some models it exceeds 1 kW). The latter is indispensable for vast spaces — halls, stadiums, etc. — where the sound must also “shout out” the reaction of the listeners (sometimes quite loud). But it makes no sense to purchase such speakers for home use — not only because of the high cost, but also because instead of hig...h-level inputs (as in home speakers), such systems have a connector for special equipment, musical instruments, etc. Most often, concert acoustics are sold in 1.0 configurations (see "Number of channels") in the expectation that sound engineers can assemble the desired acoustic configuration from a certain number of components.

— Monitor room. The main purpose of monitor acoustics is sound quality control; accordingly, all such models are distinguished by extremely high accuracy of transmission of all sound details, smooth frequency response and almost complete absence of distortion. This makes them indispensable for professional use (for example, in recording studios): a monitor speaker will allow you to very accurately determine all the shortcomings of the incoming signal, including amplifier noise, audio editing inaccuracies, etc. Like concert systems (see above), such systems are usually equipped with specialized inputs, but it makes no sense to use monitors for home listening for another reason: all sound flaws that are imperceptible on ordinary acoustics will then appear — and can significantly spoil the impression . And the price of such models is very high.

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— Outdoor. Acoustic systems designed for outdoor installation. They can be used, for example, for sound accompaniment of holidays in the country or in nature, playing music in the summer areas of cafes, etc. All models of this type necessarily have a waterproof and corrosion-resistant housing (see "Moisture protection") in case of adverse weather conditions; in addition, they are usually additionally protected from ultraviolet radiation. Outdoor acoustics can be mounted in different ways (see above), however, hanging options are most common.

— Cinema. Models designed, in accordance with the name, for use in cinemas — and not so much in the halls of the "home" format, for 6-10 spectators, but in large-format entertainment complexes for tens and hundreds of seats. Cinema speakers have the following common features. Firstly, they are all made passive, counting on connection to specialized amplifiers; accordingly, high-voltage connectors in the form of terminals or Euroblock sockets are used as inputs. Secondly, the power of such devices is quite high — from 100 W and above. Thirdly, cinema acoustics are usually produced in 1.0 format (see "Number of channels") — in other words, such models are not ready-made acoustic systems, but only separate components from which a specific multi-channel speaker is assembled. This output format makes it possible to accurately select the speakers needed for a particular hall. By type of installation, cinema acoustics usually refers to floor, built-in or wall-mounted. The latter variety is most often designed for installation on the side walls, and the first two are behind the screen. At the same time, floor versions can actually consist of two parts — a classic speaker for low frequencies and a horn for midrange and treble.

— Expansion of the acoustic system. A specific type of acoustics, which initially does not involve independent use and is used as an addition to traditional speakers. Such models are used mainly in multi-channel surround sound systems — to expand the sound stage vertically; they have a characteristic appearance: relatively small dimensions, an inclined top panel and a speaker built into this panel. Thus, the sound from the speakers is directed at an upward angle — in order to be reflected from the ceiling, reach the listener and give the impression that the sound source is from above. The use of "expanding" acoustics allows you to do without the use of specialized ceiling speakers. This is especially convenient in light of the fact that in-ceiling speakers are usually made built-in and rather difficult to install, while expansion modules often allow installation directly on the main speaker components. Also note that this type of acoustics can be initially designed for certain models of the main speakers; this point should be clarified before buying.

Possibility of using an acoustic system for monitoring the near field. Monitoring is called sound quality control - for example, during recording in a studio; for this, columns of the corresponding purpose are used (see above). The term "near field" means that acoustics are designed for use at a short distance - up to 1.5 m from the listener; such speakers have a relatively low power and are best suited for small rooms (as well as other conditions where there is no extensive space or it is not required) - in particular, amateur and even home studios.

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.

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.

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.

The total frequency range that the speaker is capable of reproducing. Specified from the bottom of the range in the lowest frequency component to the top of the range in the highest frequency: for example, in a 2.1 system with main speakers at 100 – 22000 Hz and a subwoofer at 20 – 150 Hz, the total value will be 20 – 22000 Hz.

The wider the frequency range — the fuller the reproduced sound, the lower the likelihood that some part of the low or high frequencies will be "cut off". It is worth noting here that the human ear perceives frequencies on average from 16 Hz to 22 kHz, and from a practical point of view, it makes no sense to provide a wider frequency range in speakers. However, quite a few models go beyond this range, sometimes quite significantly (for example, there are speakers with a range of about 10 – 50,000 Hz). Such characteristics are a kind of "side effect" of high-end acoustics, and they are usually given for advertising purposes.

Thus, the lower limit of the range in modern speakers can be within frequencies up to 20 Hz, however, higher values \u200b\u200bare more common — 30 – 40 Hz, 40 – 50 Hz, or even more than 70 Hz. In turn, the upper limit in most modern speakers lies in the range 19 – 22 kHz, although there are deviations both upwards (see above) and downwards.