Comparison Kruger&Matz Spirit 2.0 vs FYNE AUDIO F300

— 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 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.

The frequency of the crossover provided in the speaker design.

The crossover is installed exclusively in the model with several stripes (see "Number of stripes"). This is an electronic filter that separates the incoming audio signal into separate frequency bands and directs each band to its "own" set of speakers. And the crossover frequency shows where the border between these ranges passes. If there are more than two bands, then there will be several similar boundaries: for example, for a four-band system, “0.15 / 0.8 / 2.8 kHz” or “0.12 / 1 / 3.8” may be indicated.

In most cases, this parameter is mainly of reference value: the built-in crossover frequencies are selected according to the performance of the speakers installed in the speaker.

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.

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.

Types of inputs provided in the design of the AU.

Note that the standard high-level terminal-based inputs used to connect passive acoustics to power amplifiers are not indicated in this list — their presence in the corresponding types of speakers is assumed by definition. The rest of the options could be:

— RCA. Inputs for working with analogue audio signal using RCA connectors (this connector can be used in other interfaces, but they have their own names). Usually, they are used in active systems and are designed for a line level signal, however, in some models, RCA is intended for connection to a power amplifier. 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.

— mini-Jack (3.5 mm). Standard connector for most modern portable audio equipment. The speakers are mainly used to connect similar equipment — primarily pocket media players. It uses analogue signal transmission, while the resistance to interference, like RCA, is not high, and the quality may even be lower due to the fact that both channels of stereo sound are transmitted over the same cable.

— 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, it is technically able to provide the so-called balanced connection (see below), although in fact this is rarely possible. To do this, this connector can be combined with an XLR connector (combo port), which allows you to connect one of the types of plugs of your choice.

— 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, but 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. Can be combined with a Jack (6.35 mm) connector (combo port), which allows you to connect one of the types of plugs of your choice.

— 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 cancellation 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 is, along with the coaxial one described below. In this case, the signal is transmitted via a TOSLINK fibre 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. Professional interface used to connect the signal from the power amplifier to the speakers. It is used in the technique of the corresponding class, in particular, concert systems (see "Purpose"). Due to the features of the connectors (presence of latches, high degree of isolation) it can be used even with the most powerful amplifiers.

— USB port. The USB interface in speaker systems can have different purposes and use different types of connectors; these points should be clarified separately. So, one of the most popular formats for using this input is connecting speakers to the USB port of a PC or laptop to work as computer acoustics; models with this capability are equipped with USB Type B connectors — a characteristic square shape. Such acoustics will be useful, in particular, if the computer's specialized audio inputs are busy, out of order, or not available at all; in addition, it is often equipped with high-end built-in DACs and allows you to achieve higher sound quality than the average sound card.
There is another option — speakers with USB A inputs and built-in players that can independently play music from a flash drive or other external drive, as well as charge various gadgets like smartphones via USB.

Passive models (see "Type") are usually equipped with so-called high-level inputs designed for a signal from a power amplifier; this is a separate category of connectors installed in such models by default.

The presence or specific version of the Bluetooth module installed in the speaker system.

The most common way to use such a module is to broadcast sound from smartphones, tablets, laptops and other Bluetooth devices to acoustics. The main convenience of such a connection is obvious — it is the absence of wires and the corresponding freedom of movement, especially since the Bluetooth range is usually at least 10 m (within line of sight). However, note that without special technologies, the audio signal during such a transmission is highly compressed, which affects the final sound quality; so aptX support is required to achieve good quality (see below).

In addition, Bluetooth can be used for other purposes; the most popular option for such an application in the AU is remote control from an external device. However, such features are much rarer.

As for different versions of Bluetooth, they differ both in terms of bandwidth and accessibility. Here is a description of the different options used in the AU.

• Bluetooth v2.0. The oldest of the versions found nowadays. Provides only basic capabilities and up to 2.1 Mbps communication speed, and is also much more prone to compatibility issues than newer standards. Therefore, this version can be found mainly among frankly outdated acoustics.
• Bluetooth v2.1. An updated version of the 2.0 standard, which received a number of improvements regarding the compatibility of...different types of devices and connection security. It is a kind of "classic of the genre", all newer generations of Bluetooth are basically v2.1 plus various additions and improvements.
• Bluetooth v3.0. A version in which a high-speed channel of 24 Mbps was added to the basic capabilities of Bluetooth 2.1 — for exchanging large amounts of data. At the same time, the Bluetooth module automatically determines the amount of transmitted information and selects which connection to use — regular or high-speed.
• Bluetooth v4.0. A fundamental update (after version 3.0), which introduced another data transfer format — Bluetooth Low Energy (LE). This protocol is designed mainly for miniature devices that transmit small amounts of information. Nevertheless, it allows you to significantly save energy when working with larger equipment, such as speakers — in particular, the energy costs for transmitting small service data packets are reduced.
• Bluetooth v 4.1. Development and improvement of Bluetooth 4.0. One of the key improvements was the optimization of collaboration with 4G LTE communication modules — so that Bluetooth and LTE do not interfere with each other. So if a 4G smartphone is often in close proximity to Bluetooth speakers, it is desirable that these speakers have a module with a version of at least 4.1. Another interesting innovation is the ability to simultaneously use a Bluetooth device in several roles (for example, to remotely control an external device while simultaneously streaming music to headphones). However, this point is more relevant for signal sources than for speakers.
• Bluetooth v4.2. Further, after 4.1, the development of the Bluetooth standard. It did not introduce fundamental updates, but received a number of improvements regarding reliability and noise immunity, as well as improved compatibility with the Internet of Things.
• Bluetooth v5.0. Version introduced in 2016. One of the key innovations was two special modes of operation of Bluetooth low energy: speed up mode (by reducing the range) and long range mode (by reducing the speed). In addition, a number of improvements have been introduced regarding the simultaneous operation with numerous connected devices.