Comparison Edifier MR4 vs Edifier R1855DB

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.

— 1.0. Single-channel(monophonic) audio system. "Alone" such speakers do not provide a sense of surround sound, but can be used as separate components for multi-channel surround sound systems.

— 2.0. Normal stereo sound: two speakers responsible for the left and right channels. Allows you to create a minimal illusion of "surround" sound by simulating the displacement of the sound source in the space in front of the listener.

— 2.1. A dual speaker system that creates a minimal illusion of "surround" sound, and a subwoofer that delivers powerful and rich sound by adding bass and ultra-low frequencies.

— 3.0. System of three speakers(centre and two front). According to some manufacturers, such systems in small rooms are capable, with some tricks, of reproducing full surround sound without rear speakers.

— 5.0. A set of five speakers(two front, centre and two rear), which allows you to reproduce a full surround sound, which is subjectively perceived by the listener not only in front, but also behind him.

— 5.1. A set of five speakers and a subwoofer for low and ultra-low frequencies, allowing you to reproduce a full surround sound, which is subjectively perceived by the listener not only in front, but also behind him. 5.1 systems ar...e one of the most popular multi-channel audio formats, widely used, in particular, in home theaters.

There are also much rarer options due to narrow needs:

— 1.1. Systems in the form of a subwoofer, on which a general range speaker is installed on top. They are found mainly in concert acoustics — it is convenient to assemble systems for powerful and rich sound from such components.

— 2.2. Further development of the idea embodied in systems 1.1 (see above); in fact, these are sets of two identical columns of 1.1 format. Such sets are produced from the considerations that for concerts, especially in relatively small rooms, it is often enough just a pair of 1.1 speakers; it is more convenient and often cheaper to buy two such speakers at once than to buy them one at a time.

— 3.1. A system of three speakers (centre and two front), as well as a subwoofer for bass and ultra-low frequencies. It is a "stripped down" version of the 5.1 system; according to some manufacturers, such systems are capable of reproducing full surround sound in the absence of rear speakers, due to which they are perfect for installation in small rooms where it is not possible to place full-fledged 5.1 acoustics.

— 4.0. A variation of 4.1 systems (see below), devoid of a subwoofer, otherwise completely similar.

— 4.1. Simplified version of 5.1 format (see above); such systems usually lack either a centre or one of the rear channels. Anyway, other things being equal, they are cheaper than full-length 5.1, but their sound quality is significantly lower.

— 4.2. This category includes mainly concert acoustics (see "Intended use"), which is an extended version of the 2.2 described above. In 4.2 systems, not one, but two total range speakers are installed above each subwoofer. Thus, you can achieve better and richer sound.

— 5.2. A variation of the 5.1 described above, supplemented by a second subwoofer — this has a positive effect on the quality and accuracy of bass reproduction. On the other hand, setting up such systems is somewhat more complicated.

— 6.1. Extended version of 5.1 format: two front speakers, a centre speaker, three rear speakers (left, right and centre) and a subwoofer for bass and extra bass. It is characterized by a more accurate transmission of surround sound in the rear sector, but is quite rare.

— 7.0. Extended version of multi-channel audio with five main channels (eg 5.1). In this case, the five main channels are supplemented with two more, which allows to achieve a more voluminous and reliable sound. Most often, additional channels are located at the back ("rear right" and "rear left"), but depending on the specific sound format, other installation options are possible — for example, on the sides of the user.

— 8.1. Systems providing 8 main sound channels plus 1 low frequency. The specific distribution of the main channels may be different, depending on the model. However, all 8.1 systems differ, on the one hand, in good reliability of surround sound, on the other hand, in high cost and complexity in setting up.

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.

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.

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.

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 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.