Comparison Klipsch R-51PM vs Klipsch The Sixes

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.

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 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 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 presence of a remote control in the speaker package. Usually, this is a traditional IR remote control like those used in TVs.

The advantage of this feature is obvious: instead of having to go to the speaker every time to change the settings, it is enough to use the remote control. And some models with such an accessory in the kit are even equipped with built-in players and, in fact, are stand-alone music centers. The main disadvantage of remotes is the increase in the total cost of the speakers. In addition, additional control electronics is a potential source of interference, so such control is rarely used in Hi-End acoustics (although exceptions are possible).

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.