Comparison Orange Crush Mini vs Marshall MS4

Rated power of the device.

Let us recall that in acoustics the rated power is the highest average (root mean square) power of a sound or signal that a device can produce for an indefinitely long time. Individual volume jumps can be several times higher than this indicator, but the key characteristic is the average value. But the specific meaning of this parameter depends on the type of equipment (see above). So, for combo amplifiers, this paragraph usually gives the power of the built-in speakers; The capabilities of your own amplifier, by definition, correspond to this figure, so for such equipment the rated power determines solely the overall sound volume. The power of the acoustics is also indicated for cabinets, but here another point becomes relevant - compatibility with an external amplifier (primarily the “head”). The output power of this amplifier should not be higher than the rated power of the cabinet to avoid overloads; and ideally, these characteristics should match - this will allow you to use the speaker at full power without sound distortion.

For the head, accordingly, this paragraph provides the rated output power, which determines the ability of the amplifier to operate with a specific cabinet or other speakers. However, it is worth noting that the maximum possible power value is indicated as the nominal value for heads, which is not always achieved. Thus, many models provide several sound outputs - for passive acoustics with different...impedances (remember, standard impedance values are 2, 4, 8 and 16 Ohms); and the higher the impedance of the connected speaker, the lower the actual power will be. Other heads have the ability to limit the maximum power - for example, so that at the maximum level the device produces not 100 W, but 50 W or even 25 W. Sometimes these features are combined in one device.

In any case, when choosing according to this indicator, it is worth taking into account the features of the planned use of the equipment. For example, it hardly makes sense to purchase even a 40-watt “combination” for practicing at home - for these purposes 15 watts, or even less, will be quite enough. And if we are talking about a tube device, then in our example the maximum recommended power will be only 5 W - the specificity of tube circuits is such that with the same rated power they are more effective than transistor ones in terms of audibility. For rehearsals in a group without a drum kit (for example, two guitars plus a bass), a higher power is desirable, about 40 “transistor” watts, and if there are drums, at least 60 watts. Transistor devices with a power of up to 150 W and tube devices with a power of up to 40 - 50 W are suitable for specialized rep bases and concerts in relatively small rooms, and higher figures are found mainly in equipment for large-scale events. Detailed recommendations regarding optimal power for certain conditions can be found in special sources.

It is worth mentioning bass amplifiers separately: it is believed that for normal coordination with each other, the power of a bass “combination” should be twice as high as the power of a guitar one.

The number of speakers provided in the design of the device.

This parameter is indicated in cases where there is more than one speaker. Its meaning may vary. Thus, in some models several speakers are provided to be divided into frequency bands (see “Number of bands”); in this case, a small high-frequency emitter can be installed directly in front of the low-frequency one (the so-called coaxial circuit). In other devices, several speakers of the same type are used to provide the necessary sound power - for a number of reasons this is preferable to installing a single powerful speaker.

The diameter of the woofer or woofer installed in the combo amplifier. The specific value of this parameter may be different, depending on the number of lanes (see above). In three-way systems we are talking about bass dynamics, in two-way systems — about the dynamics responsible for low and medium frequencies; and if the amplifier does not have band separation, this paragraph indicates the diameter of the main radiator.

In general, the larger the radiator, the louder it can sound and the richer the bass from such a speaker is. At the same time, we note that the speaker diameter is selected by the manufacturer based on the power of the built-in amplifier and the expected sound volume. So the main indicator when choosing is still the rated power, and the size of the speaker is more of a reference value.

The number of channels provided in a combo amplifier or a separate “head” (see “Type”).

This parameter is specified only if the device has more than one channel. The channel in this case can be described as a kind of “path” for the audio signal, which has its own specific set of settings. If there are several such “paths,” then each of them can be configured at your discretion and you can switch between sound options with just one click of a button (in extreme cases, by switching the instrument to another input). The most typical example of using this function looks like this: one channel is used for clean sound, and the second is used for “overdrive” using the built-in distortion or overdrive (see “Effects”). Without channel separation, the sound would have to be changed either by reconfiguring the amplifier (setting the parameters again each time, which is simply inconvenient), or by using external “gadgets” (and this is not always the best option for a number of other reasons).

As for the number of channels, in multi-channel models there are most often just two of them - this gives the mentioned additional capabilities and at the same time does not particularly affect the cost of the device. This option is optimal for beginning musicians, but is also found in professional equipment. Increasing the number of channels makes it possible to provide more advanced options for preset settings (for example, “clean ringing”..., “clean warm”, “Crunch” and “Overdrive”), but it significantly complicates and increases the cost of the design. Therefore, the higher this number, the fewer models with such characteristics are presented on the market. The maximum value found in modern guitar amplifiers is 6; a similar amount can be found in individual professional models, mainly with a digital element base (see “Type”).

The type of line input provided in the amplifier.

The line input is used to supply sound from an external source to a guitar amplifier (“amplifier” or “head”). In this case, the incoming audio signal is sent to the input of the power amplifier and through it to the built-in speaker or external cabinet. In any case, this function allows you to combine the “live” sound of the instrument with additional accompaniment: for example, you can connect a player with a recorded drum and bass part to the line input and learn the guitar part with accompaniment - or perform in a “one-man orchestra” format.

Different types of connectors can be used for line input:

— Mini-Jack (3.5 mm). A socket for a standard 3.5 mm mini-Jack plug. This interface is used mainly in portable audio equipment; Jack 6.35 mm and RCA are more popular in stationary devices.

— Jack (6.35 mm). A connector similar in design to the 3.5 mm mini-Jack and differing only in size. Actually, due to its size, this type of plug is practically never found in portable audio equipment, but is quite popular in stationary ones. Theoretically, a Jack type connector can be used for a balanced connection (see below), but in guitar combo amps a regular unbalanced input is more common.

- RCA. Connector for coaxial cable with tulip type plug. It is used exclusively in stationary audio equipment. A standard RCA input consists of two jacks (for...stereo sound, left and right channel), but in guitar combo amplifiers there is only one connector, since there is no point in using stereo in this case - one channel is enough.

— Balanced XLR. The characteristic connector is round in shape with three contacts and is quite large in size. The term “balanced” describes the specifics of signal transmission: it is carried out not through two, as with a standard connection, but through three wires, two of which operate in antiphase. Due to this, most of the interference induced on the wire is extinguished by itself, without the use of any special filters, which allows the use of long cables without compromising signal quality. Balanced connections are found mainly in professional audio equipment. As with the RCA described above, the standard XLR input includes two jacks (stereo left and right), but guitar amps use a simplified, single jack version.

Some combo amplifiers are equipped with several types of line inputs at once - for example, Jack and RCA. This usually means having separate connectors for each type. Theoretically, multiple inputs allow you to simultaneously connect several signal sources, but in practice this possibility should be clarified separately.

The type of headphone output provided in the design of the amplifier.

Headphones will be useful especially in a situation where you can not make noise — for example, when practicing the guitar at a late time. And the options for their connection can be as follows:

— Mini-Jack (3.5 mm). Output for a standard 3.5 mm mini-Jack plug. This plug is equipped with most modern headphones, especially entry-level and mid-range. However, in terms of the quality and reliability of the connection, it is noticeably inferior to the larger Jack 6.35 mm (see below), so it is relatively rare in combo amplifiers.

— Jack (6.35 mm). The connector is quite large, designed mainly for stationary audio equipment. As the main connection method, it is rarely found among headphones, these are mainly professional models. At the same time, you can connect headphones with a 3.5 mm mini-Jack connector to such a jack using a simple adapter (in many “ears” such adapters are even included in the standard package); and the connection itself is tight, reliable and with a minimum of interference from the point of contact. Due to this, most "amps" use this type of connector.

Type of output (outputs) to the cabinet provided in the design of the device.

Let us remember that cabinets are specialized passive acoustics for guitar amplifiers; See "Type" for details. Accordingly, outputs to such acoustics, by definition, are available in almost all “heads” (see ibid.); The only exceptions are a few models that were originally intended for use with headphones and do not have full-fledged power amplifiers. In addition, this type of output is found in many full-fledged “combinations”, as well as some active cabinets. At the same time, the format of its use can be different: in some models, the external cabinet can work in parallel with the built-in speaker, in others you have to choose one thing. Be that as it may, this feature expands the capabilities of the combo amplifier, allowing it to be used not only with built-in acoustics, but also with other cabinets that have suitable characteristics.

In any case, the type of this output must match the type of input on the cabinet itself - otherwise the connection, at best, will require the use of an adapter, and at worst, it will be completely impossible. But here are the main options for such connectors that are relevant today:

— Jack (6.35 mm). One of the most popular connectors in modern audio equipment and the most common type of cabinet output in guitar amplifiers. This is due, in particular, to the fact that this connector is relativel...y small in size, and the cables for it are relatively inexpensive and are available everywhere. True, in a number of characteristics this interface is inferior to other standards described below. Thus, it does not provide a lock for additional fixation of the plug in the socket and is not suitable for high powers and currents (unlike Speakon). And a balanced connection (such as in XLR), although technically possible for Jack, is used extremely rarely in practice - guitar amplifiers and cabinets usually use two-pin connectors with a classic (unbalanced) connection. However, the need for more advanced connection options arises mainly in situations involving increased requirements for quality, power and/or noise immunity - in recording studios, large concert venues, etc. For other cases, the capabilities of this interface are usually more than enough.

- Speakon. A specialized professional connector for connecting passive acoustics, widely used in concert equipment. Provides very high-quality and tight contact, has a lock to prevent accidental disconnections, and is designed for higher currents (and, accordingly, powers) than XLR and especially Jack. In addition, Speakon sockets and plugs are also distinguished by high-quality insulation, which reliably protects live parts from moisture and human touch.
Note that such a connection can use a different number of contacts - 2, 4 or 8 (respectively, for one, two or four audio channels); however, the latter option is practically never found in guitar amplifiers. The connector itself has a round shape, with contacts located around the circumference; however, a 2-pin plug can work with a 4-pin socket, but not vice versa. It wouldn’t hurt to clarify the specific configuration of this output separately. However, in any case, the presence of Speakon is usually a sign of a powerful and advanced amplifier, designed primarily for concert use.

— XLR. A characteristic round connector with 3 contacts and a metal shell around them on the plug; such a shell is often supplemented with a lock, which additionally secures the plug in the socket. However, the main advantage of this interface is that XLR cables and connectors usually operate in the so-called balanced format. This connection format provides not two, but three wires - relatively speaking, two signal and one common “zero”; and the input signal is processed in such a way that noise induced on each wire from external sources is “out of phase” and cancels out each other. Thanks to this, a balanced connection allows you to transmit high-quality and pure analog audio signals even over long cable lengths. On the other hand, the connector itself is quite large in size, its presence inevitably affects the cost, and the real need for a balanced output to the cabinet does not arise very often. Therefore, this connector is not particularly popular.

— Jack/XLR. A combination of the two types of outputs described above in one amplifier. See above for details on each type; Let us note here that most often these are separate connectors, although another option is technically possible - a combined socket that allows the connection of both Jack and XLR. These nuances should be clarified separately. In any case, this combination makes the amplifier more versatile and means it has a balanced output (see “XLR” above); however, such versatility, as well as a balanced connection, are required in practice relatively rarely, which is why this combination has not become widespread.

— Speakon/Jack. Another combined option, which assumes the presence of the two types of outputs described above. It is slightly more popular than the Jack and XLR combination; We also note two more specific points. Firstly, in this case, different types of connectors are made exclusively in the form of separate sockets. Secondly, by the number of Jack outputs, you can determine the type of “speakon”: in this case, each 6.35 mm connector is responsible for one audio channel - accordingly, if there are two such outputs, then the only Speakon will also be two-channel (that is, four-pin).

The presence in the combo amplifier of autonomous power supply.

This feature allows you to use the device regardless of the outlets — for example, for outdoor performances. The source of autonomous power is most often replaceable batteries, for example, 6 AA cells; however, a built-in battery may also be provided. The first option is convenient because dead batteries can be quickly replaced with fresh ones, the second one is that the battery is initially supplied in the kit, and when it is discharged, it is enough to charge it, there is no need to spend money on buying new batteries.

Note that most self-powered models are relatively compact and low-power devices — powerful acoustics would require too expensive and bulky power supplies.