Comparison KRK Rokit 5 G4 vs JBL 305P MkII

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.

— 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").

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 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 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.

Various additional features provided in the design of the column.

The list of such features may include general design nuances ( bipolar layout, magnetic shielding, horn design, Bi-Amping/Bi-Wiring, moisture protection), special types of emitters ( ribbon, electrostatic), adjustments to improve sound ( HF tuning, LF tuning, rotary tweeter), as well as special design elements to improve acoustic performance. Regarding the latter, it is worth noting that, in addition to the classic closed design, nowadays you can find sound system with bass reflexes( front, rear or bottom), acoustic labyrinths, passive radiators and acoustic spikes.

Here's a more detailed description of each of these features:

- Bipolar. Speakers of this design have two sets of emitters directed in different directions at an angle to each other (most often about 90° or slightly more). Such sound s...ystem are used in some specific cases - in particular, bipolar models are considered a good option for the rear channel in a home theater.

- Rotary tweeter. A tweeter is a high-frequency speaker that has a rotating design. This feature allows you to change the direction in which the speaker emits sound in the high-frequency range without rotating the body of the speaker itself (remember, the correct localization of such sound is quite important for adjusting the sound of the system as a whole). At the same time, there is no particular need to provide this function in stand-alone sound system: in such models, as a rule, there are no problems with rotating the entire body. Therefore, rotary tweeters are found exclusively in built-in speakers (see “Installation”) - after all, after installation, such a speaker no longer involves any movement.

— Magnetic shielding. In speakers with this feature, the housings are supplemented with special materials that are impenetrable to the magnetic field. Thanks to this, the powerful magnets that are usually equipped with speakers in modern speakers have virtually no effect on surrounding devices. This is especially important when used near sensitive electronics: plasma panels, high-end amplifiers and receivers, etc.

— Bass reflex. A device in the form of a characteristic tube installed in the column body with access to the surrounding space. The bass reflex (FI) amplifies the sound pressure and improves the sound of the speakers in comparison with similar closed-type sound system ; This is especially noticeable at low frequencies. True, the movement of air in the pipe can create additional noise; however, most models use various tricks to compensate for this phenomenon. But the clear disadvantage of such equipment is the increase in the overall dimensions of the column. We emphasize that this function should not be confused with an acoustic labyrinth (see below) - the FI is made straight and has a relatively short length.
We also note that the bass reflex can be installed in different ways: most often in the front, somewhat less often in the back, in some models - from below, and extremely rarely - from on top or from the side. And in some columns two FIs are installed at once, with different locations. These details are not indicated in the characteristics, since they can be easily determined from photographs. From an sound system point of view, it is impossible to say unequivocally which location is better - each option has its supporters and opponents, especially since the issue of sound quality is largely subjective. But from a purely practical point of view, the front FI is the most convenient: it allows you to place the speakers even close to the wall. When positioned in the rear, the speaker should be at a distance of at least 3–4 cm from the wall, and ideally at least at least the diameter of the bass reflex. The third popular option - installation from below - is found in certain models of bookshelf and floor-standing speakers equipped with stands of appropriate height, as well as in suspended models designed for a large amount of free space under the speaker.

— Acoustic labyrinth. Another device used to improve the richness and overall sound quality. In some ways similar to the bass reflex described on top, it is also an air duct of strictly selected length that connects the internal volume of the speaker with the external space. The key difference is that in this case the air duct is not made straight, but in the form of a “snake” with many bends (hence the name “labyrinth”). The walls of the labyrinth are covered with special materials that absorb sounds. This design has a number of advantages over traditional FIs. Thus, the speakers are more compact; with the same body dimensions, the labyrinth has a larger effective length, which has a positive effect on the power and saturation of low frequencies; and the winding air duct is almost not subject to the appearance of extraneous sounds (unlike bass reflexes, where in order to dampen such sounds it is necessary to very accurately calculate the design). On the other hand, labyrinths are noticeably more complex and, accordingly, more expensive, and therefore less common.

— HF adjustment. A control that allows you to adjust the sound level of high frequencies separately from the rest of the range. Due to this, you can change the color of the sound to a certain extent without resorting to external equalizers and other complex devices. This function can be combined with bass adjustment (see below), but there are also many speakers where only high frequencies are adjusted.

— Bass adjustment. A regulator that allows you to adjust the sound level of low frequencies separately from the rest of the range. Like the HF control described on top, it makes it possible to change the color of the sound to a certain extent without resorting to external equalizers and other complex devices. However, this function is very rarely used without a treble control (although such speakers also exist).

— Tape emitter. Ribbon-type emitter installed in one or more speakers; For a number of reasons, this design is used primarily in high-frequency tweeters. The difference between such devices and traditional emitters is that in this case, instead of a traditional coil, a metal strip is installed between the poles of the magnet (hence the name). This provides a number of advantages: high sensitivity, minimal distortion, wide horizontal coverage. The main disadvantages of the ribbon design are high cost and poor suitability for low frequencies.

— Electrostatic emitter. Electrostatic type emitter installed in one or more speakers. The design of such a device is based on a thin and light membrane, fixed between two stator grids - a signal is sent to the bottom, and the membrane vibrates with an electric field. In this way, you can achieve a very reliable, clean sound, with a minimum of nonlinear distortion. At the same time, electrostatic drivers are effective mainly at mid-high and high frequencies, so for effective operation the speaker inevitably has to be supplemented with traditional speakers. Among the obvious disadvantages of such equipment are the large dimensions, high cost and specific requirements for amplifiers: a radiator of this type requires a high-quality “amplifier”, always with an output transformer. Therefore, this function is rarely found - in some premium speakers.

— Horn design. The presence in the speakers of speakers built according to a horn circuit. Such a speaker has the appearance of a characteristic bell, in the depth of which there is an emitter. Due to their narrow directivity and specific influence on the propagation of sound waves, horns improve the efficiency of sound transmission over a fairly wide frequency range. In fact, we can say that the presence of a horn increases the sensitivity of the speaker. For a number of reasons, it has turned out that the horn design of the main speaker is used mainly in information speakers (see purpose), in other cases, this form is provided for the tweeter (tweeter).

— Passive emitter. The presence of a passive radiator in at least one speaker. Such a device can be described as a low-frequency speaker from which the coil and magnet have been removed, leaving only the outer membrane of the emitter. This membrane vibrates due to sound waves created by conventional speakers, and plays the role of a resonator, enhancing the sound of low frequencies. In this regard, a passive radiator is similar to a bass reflex and an acoustic labyrinth (see on top); at the same time, unlike FI, it is almost not subject to the appearance of extraneous noise, and costs significantly less than a labyrinth. On the other hand, an additional emitter on the front panel significantly increases the dimensions of the speaker - usually in height.

- IMAX Enhanced. The IMAX Enhanced Mark of Conformity is awarded to equipment that meets the audio certification requirements of IMAX Corporation. Combined with DTS audio technology to deliver signature IMAX theater-like sound in the home. The most accurate reproduction of such audio is possible in systems with a large number of channels (5.1 or more). Note that for a fully immersive experience, IMAX Enhanced certification must also apply to video equipment for playing content (TV, projector, etc.).

— Bi-Amping/Bi-Wiring. Possibility of operating sound system in Bi-Amping or Bi-Wiring format. Models with this feature are multi-band (see “Number of bands”) and have not one, but two sets of terminals for each speaker - for low and high frequencies. This allows you to use the mentioned connection methods. So, when working in the Bi-Wiring format, each contact at the output of the power amplifier is connected by two separate wires to two terminals on the corresponding speaker at once: for example, the positive contact of the left channel - to the positive contacts of the LF and HF inputs on the left speaker, the negative - to the corresponding negative contacts, etc. This allows you to improve the frequency response: thanks to the separation into separate cables, the low-frequency signal does not “steal energy” from the rest of the range, and each band receives enough power for the corresponding speakers to operate effectively. In the Bi-Amping format, two separate amplifiers are used, each with two pairs of output contacts - as a result, each speaker terminal is connected strictly to its “own” contact. This connection method is not cheap, but it allows you to achieve even greater sound purity and frequency response uniformity; Bi-Amping is considered the ideal option for tech who do not accept compromises in matters of sound quality.

— Moisture protection. The presence of special protection against moisture in the speaker design. This feature is highly desirable in three cases: if the system is planned to be used outdoors; if the indoor conditions are not very different from the outdoor ones (hangar, large garage, etc.); or if we are talking about a place with high humidity (swimming pool, greenhouse, some types of workshops, etc.). It is worth considering that the specific degree of moisture protection may vary - from the ability to withstand exposure to rain to the possibility of complete immersion under water; These details should be clarified separately.

— Acoustic spikes. Specially shaped supports, mainly used in floor-standing speakers. In accordance with the name, such supports are made pointed, and it is the sharp ends that rest on the floor; To protect the floor from damage, special small plates are usually used. In any case, the point of such a design is to minimize the contact area of the column with the surface underneath it. This, in turn, increases the pressure at the contact points and minimizes the so-called parasitic vibrations - vibrations transmitted from the speaker to the floor. Acoustic spikes are considered an almost mandatory element of equipment for Hi-Fi class floor-standing sound system - without such equipment, the mentioned parasitic vibrations can irreparably spoil the sound of high-quality speakers and negate all their advantages. Note that speaker spikes are also sold separately; however, buying sound system that were initially equipped with such stands is often easier than looking for third-party accessories.

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.