In this short article, we tried to maximize the main information about various types of professional acoustic systems, methods for connecting and calculating the power of the amplifier, based on the power of acoustics.

Acoustics by the method of connecting is divided into transformer and low-level.

Transformer acoustics

Transformer acoustics Designed for objects that do not require very good sound quality, as it is lower than the lowest one. The main feature of this type of acoustics is the possibility of connecting acoustics per line, each other. Thus, a parallel connection is obtained, which allows you to make enough long lines with a large number of speakers.

Advantages of transformer acoustics:

1. the ability to make long chains of columns, connecting a large amount of speakers to one line
2. easy connection and saving cables due to such a switching option
3. it is cheaper of its low-level analogs
4. the drop in the power signal on the transformer line is significantly less

Disadvantages of transformer acoustics:

1. quality is worse than the low-level
2. transformer speaker line is always mono signal

How to identify the transformer column

An example of a description of the column:

Ceiling acoustic system with a transformer. Power: 5-10 (100B); Frequency range: 78Hz-19kHz; Weight: 0.9 kg.

Sign:

In the description of transformer acoustics, its working voltage is always indicated. Transformer columns can work on various voltage, but the most common is 100 volts. Therefore, the chain of speakers, often called " foodline".

How to identify a transformer amplifier

Example description of the amplifier:

Bittner Audio XV200.

Power amplifier: 2 x 100 W / 100 V; class AB; Earth malfunction detection; sequential switching on; 15 kg; 2U.

Sign:

In the description of the amplifier for transformer acoustics, the working voltage is indicated.

Power calculation rule for transformer acoustics

Total total power of columns must be less Power amplifier.

An example of calculating the power of the amplifier:

To connect 20 CS6 / T speakers, the power of each of which is 10 watts, an amplifier is required of at least 20 pieces * 10 watt \u003d 200 watts. Thus, the BitTner Audio XV200 amplifier for these purposes is suitable.

Audio Cabers for Transformer Acoustic

Transformer columns are connected by a standard acoustic cable, for example, such as:

• Tasker C275
• Tasker C102-1.50
• Tasker C102-2.50
• Tasker C192.

Low resistant acoustics

Low resistant acoustics It is divided into two main categories: active and passive columns.

Advantages of low-level acoustics:

1. higher sound quality
2. more options for coloring, species, forms. For example, all the options for household acoustics are low-level.

Disadvantages of low-level acoustics:

1. in fact, it is impossible to make long transmission lines
2. in one line it is impossible to connect a large number of columns

Active columns:

Active speakers Do not require an additional amplifier, as it is already built into the speakers themselves. Perhaps the main disadvantage of active acoustics is the need to bring not only the beep, but also electricity to the column. The active column has several cases in several options in the inputs, thereby allowing the signal of various formats.

Example description of the active column:

Active speaker system; 2x6 "Dynamics + 1" neodymium tweeter with titanium diaphragm; Amplifier class "D" Power: 200 + 30W; Frequency range: 65Hz-20kHz; Dimensions: 53.2x25x26cm; Weight: 9.5 kg

Sign:

In the description, as a rule, the type of the built-in amplifier is specified. This description shows that this column has a built-in amplifier of class "D" with a power of 200 + 30 watts. The first digit indicates the power for medium and low frequencies, and the second digit reflects the power to play high frequencies.

Passive columns:

Passive speakersUnlike active, the built-in amplifier does not possess. They have different variants of internal resistance, the most common of which are 4 and 8 ohms. It is the characteristic of the internal resistance of the column that plays a major role in choosing a suitable amplifier.

Amplifiers for connecting such acoustics, in the overwhelming majority, stereo / dual-channel, i.e., you can connect 2 columns, or two pairs of columns.

An example of a description of the passive column:

Passive speaker system; 10 "Speaker + 1.4" Driver; Power: 500 W; Resistance: 8 ohms; Frequency range: 52Hz-18kHz; Max. audio pressure 125 dB; Weight: 16.3 kg.

Sign:

The description always indicates the internal resistance of the column. In this description, it can be seen that this column has an internal resistance of 8 Ohm and a power of 500 watts.

In professional work with sound, it is very important to understand the basic principles of switching of different types of equipment, this makes it easier and faster to achieve high-quality sound and extend the life of the equipment.

Considering in this light, three types can be distinguished:, and acoustic systems. For each view there are features that we consider in this article.

So, believe that you bought it. After unpacking the equipment, the first thing is a connection question arises.

Active acoustics. The main difference between active acoustics from passive - the presence of an amplifier built into its body. This means that the summit of the sound signal to the active speaker system (hereinafter the AC) is significantly less than the passive one. Therefore, this acoustics use their cables and connectors designed for less current and voltage.

Levels. Although the levels of the linear signal are standardized, inconsistencies between devices can still occur. Because in fact, the sound technique applies not one standard, but several. The most popular linear levels for sound equipment are +4 dB (1.23 V), -10 dB (0.25 V) and -10 dBV (0.32 V). As a result of the inconsistency of the output levels (for example,) and the input device (for example,), the signal may distort or get a large noise level. In this regard, on devices, we can often see the nominal output and entry level switches. If there is no such switch and no output control regulator, you will have to apply an additional matching device.

Balance and Nebalance. For high-quality signal transmission, the cable suitable for the active AC should be shielded. It is also important to understand that the connection can be balanced and non-balance. Unbalanced compound (asymmetric) is a connection using a single-core shielded wire. Balanced connection (symmetrical) is a connection with two shielded wires. One of the wires transmits an unchanged signal (+), and the second transmits a signal in antiphase (-). Such a signal transmission allows you to use devices that based on the deduction of signals help to fight well with interference and tips. In practice, the unbalanced compound is more often used as wire-jumpers between the equipment, that is, when the source and receiver are nearby. Balanced compound is recommended to use more than 20 meters at a distance and allows you to qualitatively transmit a signal to 200 meters. Methods for transmitting a signal in connected devices must be consistent, the balanced input must be connected to the balanced output. Otherwise, adapters or a signal transmission method for transmitting the signal are applied.

HI- z.. Hi-Z input is an entrance that has a great impedance and provides resistant compounds of the acoustic system and guitar pickups. That is, it is non-balanced input for an acoustic guitar, solo and bass guitar. It is also called tool entrance.

The use of additional switching adapters must be carried out with caution. It is necessary to take into account all the above characteristics, they must coincide: the input and exit must match the nominal signal level (+4 dB, -10 dB, etc.), the transmission method (balance / nonbalance) and impedance (input and output resistance).

Connectors. The set of popular connectors for active speakers includes XLR, RCA and TRS connectors.

The most popular connector in the acoustic systems - XLR.

Known with its high reliability. Sound from aviation, the XLR connector, or as it is also called "Canon", successfully passed in most of the devices of professional sound equipment. The three-contact form of the connector is most accustomed to us, although they are four, five, and sometimes more-contact. Almost always contacts on the connector are signed: 1 - body and / or ground, 2 - signal plus (+), 3 - minus signal (-). It may be planted both under an unbalanced compound (contacts 1 and 2 are used) and under the balance sheet (contacts 1, 2, 3). The connector uses a latch mechanism that fixes the position.

TRS and TS connectors. Jack connector is three-pin TRS and two-contact TS.

Abbreviation is deciphered as contact notation: 1 - Sleeve (sleeve) Earth and / or body, 2 - Tip (tip) Signal Plus (+), 3 - Ring (ring) Minus (-) signal. It is clear that the TS plug can transmit only an unbalanced signal. TRS can be planted and under the balance and under nonbalance. In size, the connector may be a quarter-to-one (TRS1 / 4 ") and 1/8-inch (TRS1 / 8", 3.5 mm), it is also called the minijack.

The connector that is often used in professional and in household apparatus is the RCA connector.

In the people, he is called "Tulip". It is not the most correct connection of devices from an engineering point of view. All because at the time of connection the first contact connects the signal, and not the earth contact as it should be. However, due to its form and low cost, it firmly occupies its position among popular connector. Transmits an asymmetrical signal with a linear level.

In almost every modern professional active speaker, the housing provides a cross-cutting output on the XLR connector.

This output can be called differently - Link Output, Mix Out, Thru Out, Line Out, but the essence is one - give the signal to the AC signal for further routing. Depending on the AC model, the output signal can be absolutely identical to the input or undergo some changes. For example, a limited signal or a signal may be given to the output after the edged RF filter. If a mixer into several channels is built into the speaker system, a signal can be given to the output only from a specific input or a total signal from all inputs. Such questions can be clarified by viewing the instructions for the AU. This concept of connections allows you to create long lines from acoustic systems without taking to each speaker cable from a mixer.

Also through output is used when connected and satellites. It is important to "plant" all speakers used in the role of the portal system, on one stereo mode of the mixer - Main Mix to control the sound in the auditorium with one fader. AU performing monitor functions are connected to separate mixer outputs. Usually, in such a situation, the sound from the mixer from the Main Mix exit is summed up to one / two subwoofers, and then the signal is supplied to the satellites using through exit.

It turns out that if one subwoofer can be connected with two satellites, and the sound is supplied at the beginning to it, the subwoofer must contain two independent channels to give stereo to satellites. Below in the figure we can see the scheme of a typical subwoofer panel with connectors.

Here the connections are made on the balanced XLR connectors. Two channels have names A and B. Outputs (Output): FullRange - a full range of the signal, HighPass - signal after RF filter. From the release of HighPassing signal from the subwoofer is given to satellites, with Full Range - to another subwoofer (in case you are used four subwoofer and two satellites).

Passive acoustics. Connecting passive acoustic systems should be started from checking the compliance of the power of the plug-in amplifier and the AC. This is the most important question. If the selection is wrong, distortion (overload) of the output signal of the amplifier appears, which may lead to the conclusion of acoustics. The output power of the amplifier should be equal to the power of acoustics or percent on 5 - 10 more. It is best to use an amplifier to 90% of power (which corresponds to the maximum power of the AC) than a minor power amplifier by 100%, which does not reach the maximum power values \u200b\u200bof the AC. With insufficient power of the amplifier, acoustics will not "reveal" completely. It is necessary to ensure that when selecting facilities, the power indicators of the same standards are compared.

Power.Manufacturers use power standards such as nominal, peak, sinusoidal, DIN, RMS, AES, PMPO, Program Power. And this is not all existing power standards. Some power are close in terms, but still, do not forget that these are different power! Such a lot of capacity can be justified by different standardization approaches in different countries. For Russia, natives are standards of nominal and sinusoidal power, DIN belongs to the German Standardization Institute, RMS, AES, PMPO- Western standards. The most objective is the ratings of nominal (Nominal) and the RMS Power (RMS), the most "non-serious" is considered the PMPO standard, since it is difficult to really objectively assess the power of acoustic systems. There are formulas that allow you to at least rudely translate one power to the equivalent of another.

The most simple for the buyer is the option in the selection of the AC and Amplifier - it is to choose the devices of one company, as usually large companies produce specific series of amplifiers in conjunction with specific speakers, repeating the reliability of such sets and optimizing their work. The prompts can serve as brochures produced by manufacturers, in which the optimal variants of the combination of series of amplifiers from the AU are described.

Resistance.You must not forget about the compliance of devices. So for the amplifier in technical specifications, several capacities for impedances are usually indicated (for example, 2000 W for 8 Ω / 4000 W for 4 Ohm / 6000 W for 2 ohms). The most popular resistance of the AC is 8 and 4 ohms, and with 2 ohms resistances, not every amplifier will be able to work. These features are echoing with the well-known concepts of the sequential and parallel compound of the AU. There are often situations when four speakers need to load on the stereoxylter. If, for example, connect the four 4-ohm columns to the two-channel amplifier sequentially, then their total resistance will be 16 ohms. We do not go down to dangerous resistance values, but we lose in power with such a connection. With a parallel compound, the output power grows, however, in our case, the resistance drops to 2 ohms. This means that the amplifier will be noticeably basked due to the longer. And in general, before using such a connection, you should make sure the passport of the amplifier is that it works with a 2-ohm load, and then be a misfortune. It is believed that on a 2-ohm load, the ability of the amplifier is reduced to control the diffuser movement of the dynamics, which can manifest itself in the blurred sound of the bass.

Wire section. Everything is probably understood that although the resistance of the cable is low, but it is, which means that the voltage drop is still caused. That is, the signal level drops, especially at high frequencies. The chip is that the resistance depends not only on the material and the length of the wire, and from the area of \u200b\u200bits cross section. The more cross section - the less resistance. In the technical characteristics of the cable must be indicated. This means that armed with a calculator, you can calculate, pushing out from the length you need, what resistance will be at the wires.

Phase. When connected passive speakers, it is very important to comply with the coincidence of the phases of speakers. This means that diffusers of all speakers at any time should be shifted in one direction. Usually, for convenient connection on the speakers and wires from them, the manufacturer refers to the contacts with marks (+) and (-). With incorrect phasing, the diffusers of the speakers will move in the opposite direction and thereby extinguish into zero all amplitude repeating in their signals. Since the stereo signal is almost always the bass component of the same (it means in mind the band at about 30-130 Hz), then this part of the signal in the "anti-phase" mode will disappear. In practice, you can see the picture when the two columns standing separately give a normal sound. With the simultaneous inclusion of the LF, the component disappears. This means that one of the speakers are connected incorrect contacts plus and minus.

Connectors. The most popular for professional amplifiers are SPEAKON, XLR, TS, EUROBLOCK connectors, as well as screw clamps.

XLR, TRS / TS, Euroblock - are used to connect the input to the signal amplifier.

SPEAKON, TS, screw clamps - to connect acoustic systems to the amplifier.

TS connector. Contacts are connected: to contact TIP (tip) alarm contact (+) is connected to the SLEEVE pin (-).

Speakon connectors are three types: 8-pin, 4-pin and 2-pin. The most popular 4-pin - they are used to connect two-band speakers. 8-pin is used to connect three-track. Thanks to its design, a very reliable connector. After connecting to the socket, the plug must be checked in the direction of the clockwise direction for fixing the contacts.

Screw clamps allow you to fix the wires with special metal clamps and simply stripped bare tips of the wires.

Routing.Most modern stereoxes are available for routing modes STEREO, PARALLEL, BRIDGE. Usually two channels are signed by the notation "A" and "B". Mode Stereo Provides the operation of two independent channels, mode Parallel Provides a parallel signal supply from the input A to the output A and B, while the input B is not active, but for each output there is its own volume control, and the bridge mode (bridge mode) will help to provide maximum power to one column, while the regulator A is active. .

Connection diagram (Stereo mode):

Connection diagram (Parallel mode):

Connection diagram (Bridge mode):

In the above schemes, the connection of the AU in the bridge mode is made on the screw clips connector. However, this is not the only connector on which the bridge mode can be implemented. Consider the detail connection on the Speakon connector. Connector contacts:

To connect the bridge mode, the wires are summarized to channels of the channel A (contacts 1+ and 2+):

Connecting columns to the amplifier on the SPEAKON connectors for parallel and stereo models are performed equally, the difference only in the routing itself inside the amplifier.

Street:

Parallel mode:

From the schemes it can be seen that the stereo connection can be performed both on the two SPEAKON connectors and on one. With a double connection, each connector uses 1+ and 1, when connected on one connector of two columns in one plug, all four contacts 1+, 1-, 2+, 2- are used. Changing modes in the amplifier can be implemented as a physical switch or in the DSP processor control menu.

Frame separation. The next question is inextricably linked with the previous one. Since a professional amplifier equally successfully operates both wideband ac and subwoofers, it is very convenient when the amplifier is equipped with a built-in crossover. This allows you to get rid of the need for additional hardware and additional switching. Since when using satellites with subwoofers, it is recommended to cut the LC component, the amplifier with the built-in crossover must implement three functions - the LF filter, the RF filter, the full range.

Consider the options for connecting the AC to one two-channel amplifier with a crossover. Let's start with a simple.

Normal stereo mode with two broadband columns:

Mono Mode with one subwoofer and one satellite:

This mode is preferable to use when, the stereo signal is not required, and increased requirements are presented to the bass characteristic.

Biamping and Bivearing (Bi-amping and Bi-Wiring). To consider the next connection you need to understand what biamping is. Biamping is a connection diagram in which each dynamics of a two-band speaker system requires a separate amplifier channel. That is, in such an speaker, there is simply no built-in crossover and each of the two channels contemplated to the column must be adjusted to the LF or SC / RF band. Bivearing is a diagram of a connection, at which one channel of the amplifier is supplied separately by the wires to the LF. Dynamics and SC / HF. Since they are connected anyway to one amplifier channel, it turns out that it should be broadband, which means in the acoustic system there should be a LF and an HF filter for each speaker. That is, the same crossover, only on some separate design with filters. The benefit from this method of connection is doubtful, unlike biamping. Biamping may be useful in cases where for any reason in the AC cannot be placed crossover.

Connecting two-band speakers according to the Biamping scheme:

All principles of coordination of the amplifier and speakers are also relevant for multichannel amplifiers. The difference only in the number of channels and acoustic systems is also complicated by the routing of such amplifiers. Any multichannel amplifier can theoretically be replaced by a set of two and single-channel amplifiers.

In addition to the connections considered by us of active and passive acoustic systems, you can still affect a separate direction - connecting translational acoustic systems.

Translation acoustics. This equipment is fundamentally different from passive and even more so from active acoustics. The peculiarity of broadcasting systems is that, thanks to the use of lowering and increasing transformers in the structures of amplifiers and the speakers, a high-quality transmission of sound is achieved over long distances. Therefore, this voicing system is in demand in enterprises, in offices, supermarkets, etc. It is natural that, without having much experience, it is very difficult to design and configure the broadcast system, it is better to entrust this work to professionals.

Consider the basic principles of connecting translational acoustic systems:

• there are broadcast lines with a voltage level of 240 V, 100 V, 70 V, 30 V and others. CU conclusions must correspond to the line voltage, that is, to have the appropriate input voltage;
• when connecting acoustic systems, the amplifier should be remembered that their total power should not exceed the power of the amplifier;
• with the available modes on the amplifiers 100 V and 70 V, the acoustic systems can be switched from line 100 V to a line of 70 V. At the same time, the power of these speakers will fall twice, at the same time their number can be increased twice.
• some speakers have conclusions not only on high-quality load, but also to low-level. Usually, the package is signed on the package, it is important when connected not to confuse them.
• selecting the colors of the AC transformer - the smaller the resistance of the AC you select, the greater the power it will be given.

How to connect and appease columns?

In this article, we will talk about connecting acoustic systems to sound power amplifier (UNG).

If you find an old Soviet amplifier and columns in the balcony in your balcony, then do not hurry to throw them out. By connecting all these rarities to the linear output of the computer, you can get quite good results with a practically for nothing.

The disadvantage of many Soviet amplifiers had unsuccessful schemes of tone regulators. When used as a source of a computer signal, you can easily compensate for this disadvantage using a software equalizer that has any audio card.

A few words about the power of acoustic systems.

The columns (acoustic systems) differ in the magnitude of the signal output signal. Distinguish between the nominal, maximum and peak power. Peak power is sometimes called maximum short-term power and even negotiate its exposure time.

It must be said that the value of the power of the column, due to the importance of this parameter for a large group of music alphas, is interpreted differently by marketers. Often in marketing purposes, maximum permissible power is greatly overestimated.

As for the Soviet columns, the value of the maximum power supply to them can be found in the accompanying documentation or here.

The documentation usually indicates two parameters, nominal and passport power.

Rated power, this is the resulting signal power, in which the speaker system can work for a long time without significant distortion.

Passport power, this is the resulting power of the signal at which the AU, allegedly, can work limited time. In fact, use this parameter for practical purposes is rather problematic if it concerns multi-band acoustic systems.

Judge yourself. For example, at your disposal there is a 2x100 watt sound amplifier with a load of 4 Ohm and once popular columns 35as (S90) 4 ohform resistance with a passport power of 90 watts.

If such an amplifier is connected to a computer and using an equalizer to send all the power of the signal to high-frequency speakers (sakes), the power of which is only 10 watts with a resistance of 8 ohms, it turns out that we can direct the power of about 50 watts into the dynamic head calculated on the rated power. Total 10 watts and passport, let's say, 20-30 watts. In other words, in this situation, only a miracle can save "sakes" from destruction.

The golden rule of connecting the columns is that the power of the columns in any case exceeds the power of the amplifier and the more excess, the better for the speakers.

Multibone acoustic systems.

Acoustic systems differ in the amount of frequency bands, which are separated by the output signal of the amplifier.

In single-band speakers, the entire output signal of the amplifier is supplied to one or more identical speakers.

In two and three-band columns, the amplifier signal is divided by passive filters that are inside the column housing. In such systems, dynamic heads are used for reproducing a specific sound frequency band.

The speakers are divided into four groups: high-frequency, mid-frequency, low-frequency and broadband. By their name, you can guess what frequency range they are reproducing.

There are also multi-band acoustic systems that do not contain dividing strip filters. For such systems, the signal is required already separated on the corresponding bands of the strip. In such cases, multi-band amplifiers or external filters (crossovers) are usually used.

Connecting columns.

In the simplest, but often encountered case, the signal from the amplifier is fed to the column along a two-pole cord. The cord has either the connecting connection with the columns is either indefinite.

The connector connection may look different, but in any case, the terminals are somehow marked. If the label "+" is missing, the plus is considered the red color of the terminal.

On the opposite side, the cord, or must have a plug for connecting to the amplifier, or simply curtain ends if the amplifier is equipped with special clamping terminals.

Soviet columns were connected to the Soviet amplifiers with three types of forks.

The picture shows forks in the order of appearance in the trading network.

Five hundred plug (sometimes three-grayscrew similar design);

A two-pole fork designed for a barrel with mechanical fastening;

A two-pole plug for nockets intended for printed mounting.

The plugs of the type "2" differed from the forks of the type "3" by the fact that one of the contacts they had in short and, in some cases, it led to the fact that they did not provide reliable contact with the sockets intended for printed mounting.

When connecting columns to the amplifier, the connection polarity should be observed.

Purpose of conclusions (pinout) forks.

"Corpus" - Connects to the amplifier housing, which is connected to the shared power wire.

"+" (plus) - Connects to the output of power amplifier.

You can use a multicore two-wire cable, including the network, as a cable. However, it is better to take advantage of a special audio cable that can be found on the radio machine. This cable has one of the wires or painted, or has a labeling, which makes it easy to observe the polarity of the connection.

Connecting the amplifier to the column.

The figure shows the scheme for the correct connection of the low frequency amplifier to the speaker system.

The red arrow indicates the direction of movement of the diffuser of the low-frequency dynamic head, with a positive high-wave voltage at the output of the amplifier.

If you connect the battery instead of the amplifier, then you can easily spare acoustic systems, in case the cable is not marked, and there is no cable for cable.

We refine the radio engineering S-90 (35as-212) Passport power ... 90 W

Rated power ... 35 W

Nominal electrical resistance ... 4 ohms

Range of reproducible frequencies ... 31.5-20000 Hz

Nominal sound pressure ... 1.2 Pa

Overall dimensions of the ... 360x710x285 mm

Mass of speakers no more ... 30 kg

S-90 is a classic of Soviet column construction. As the manual says, the S-90 speaker system is designed for high-quality reproduction of sound programs in combination with various types of household radio equipment.

Well, for the beginning of the 80s it was really outstanding columns with high sound quality. However, foreign column construction develops, and now at the beginning of the new century, the S-90 sound is perceived otherwise.

High frequencies sound disgusting, the middle is simply no! And if we talk about bass - then the similar effect will be at the placement of a healthy baswitch in a large barrel ... Bubnate's bottoms on black. Listening to the music of the D & B style, Idm also travels on the ears. What is there to talk about classics and relaxed music. After an hour or two listening, the ears begin to hurt (however, the head and stomach hurts no less). Despite these shortcomings, many buy these columns.

All of the following refer to the Radiotechnika S-90A columns (AC35-212). This is one of the very first issues (and one of the best), characteristic features - 2 regulators on the front panel, the speakers of the RF and the sch are shifted from the center, pair columns, resistance 4 ohms. However, the meaning of refinement and the alteration itself can be easily applied to other S-90 (S-90B, S-90F, etc.), their analogues (orbit, amphiton, etc.), as well as homemade speakers . The main criterion is the presence of 3 bands (speakers) and phase inverter. The finalization of the columns having a closed housing (that is, without a phase inverter) is somewhat different, I will write about it later. And yet - there are many options for refinement, so something I will describe 2 ways. The most suitable will be chosen .. The list of necessary materials will not write - in most cases, everyone uses what is currently the most accessible.

According to Klipsch, create a system for vinyl playback - lighter light.

"More and more people are investing in the revived Vinyl industry. Whether due to warm and textured sound, or because of tactile sensations, but Vinyl is experiencing a return, and magically appear in homes around the world.

Some are content with cheap solutions "all-in-one" as a system for vinyl playback. Such cheap solutions usually do not use a good reputation, because they tend to spoil the players themselves, to which excessive clamping force is attached. Whatever it was, since you are reading this article on our site, you will not satisfy the level of reproduction. You want your player to give the level of the "Audiophile's Dream".

This does not mean that you should be prescribed by the prospect of purchasing an appropriate high-class system for vinyl playback. We want everything to be simple (and, at the same time, sounded cool); It was for this that we created this instruction on the use of passive and active acoustics with vinyl players.

To begin with, you should decide which speakers you want to use: active or passive. Active acoustics, such as equipped with a built-in amplifier; Passive acoustics, such as the shelf speakers, require the purchase of an external amplifier.

From now on, everything will be very simple ...

How to connect passive speakers to vinyl player

To connect passive speakers to your player, you will need a receiver, a phonocorrector, RCA cable and speakers themselves. Despite the fact that there are more components for the installation of passive acoustics than for active columns, the connection itself is slightly complicated. (Popular Passive Acoustics Models Klipsch can be found).

1. Connect the player to the phonocorrector using RCA cables (Note: Some players require grounding).
2. Connect the amplifier's phonocorrector using RCA cables.
3. Connect the amplifier to the speakers.
4. Lower the needle and enjoy!

How to connect active speakers to vinyl player

We will not modify: Klipsch Reference R-15PM is really cool. In addition to the built-in amplifier, they boast of the built-in phonocorrector. Thus, you disappear the need for an amplifier and a phonocorerer as in two separate components. But most of the other active speakers, although equipped with an amplifier, will still require a separate phonological director.

Here is a step-by-step instruction for connecting Klipsch R-15PM to your player:

1. Stretch the RCA cable and ground cable from the player to R-15PM
2. Make sure the switch on the rear panel of the columns is set to "Phono"
3. Turn on the player and R-15PM to the network
4. Put the record and enjoy!

This is the simplest way to connect decent columns to the vinyl disc player.

Installing and Setting the Player

The complexity of the installation and the settings will depend on what kind of player you are chosen. Some of them are sold ready-to-use, while others will require long-term adjustment. Of course, there are players that provide the user and the ability to replace some components, such as pickup heads.

We will not go into the smallest details of the configuration of all possible players, for it is not enough and the entire site; Let us dwell on some basic moments that you should know.

First, there are two main types of players: with passive drive and straight-driven. If you simplify, then the difference is as follows: Passionate drive players are intended for those who want to listen to the records, and direct drive players are the ones that you see DJs in different clubs.

Also vinyl players can be automatic or manual control. On the automatic player, it is enough to press the button, and the device itself will raise Tonarm and places the needle on the plate. The owner of the player with manual control should hedge the needle on the record.

The Klipsch vinyl player was presented at the CES 2016 exhibition, and if you live in Canada, you can already purchase it as part of the kit with the active columns Klipsch R-15PM. If you are not so lucky with the place of residence, do not worry: Soon this kit will be available in all countries of the world!

And, in any case, the Klipsch player with passive drive and manual control, created together with Pro-Ject, is amazing and very easy to install.

Connection diagram of a receiver or amplifier to speakers

Connecting the amplifier to the speakers.
Observe the polarity of the connection

The acoustic cable usually has an inscription on one of the 2 wires. You can use a wire with an inscription to connect the red terminals, and the wire without an inscription is for the connection of black. Compound according to color must. Otherwise, the sound will be less transparent, sometimes less loud.

The rule of compliance with the same polarity (red - to the red, black - black) connection concerns not only the frontal (main) acoustic systems, but also of all others, too (rear, side, subwoofer).

If the wire is mounted in the wall and there is no possibility to determine the correspondence of the ends of the wires near the amplifier and near the speakersYou can try the following method:

Easy way to establish the polarity of columns connectors
(acoustic systems)

1) We find a finching battery AA (1.5 V, can satisfy).

2) Remove the protective grille from speakers (so that the speakers themselves can be seen).

3) We connect 2 wiring columns to the terminals.

4) We connect to the "minus" batteries wire going to the black terminal, and to the "plus" - the wire going to the red terminal. We look and remember which direction the course of the diffuser (membrane) is the dynamics (outward or inside).

5) We connect an acoustic cable to the columns, which columns will finally connect to the amplifier.

6) Connect the battery to this acoustic cable from the amplifier (receiver). By changing the polarity to achieve the stroke of the diffuser to the same side as in paragraph 4).

7) The wire of the acoustic cable connected to the bulk plus, connect to the red terminal of the amplifier. The second wire is to black.

Biamping and Bi-Varing

Biamping (BI-amping) - This is the connection of high-frequency and medium-low-frequency speakers to two separate amplifiers. Allows you to better align the speaker and the amplifier by increasing the load value to the amplifier. In the case of a regular (parallel) connection of both speakers, their total resistance (the overall column resistance) is less than any of the speakers. Positive result is not guaranteed.

BI-AMPING (BI-AMPING) Connect each dianmics of the speaker system to its amplifier.
The crossover allows you to more accurately output the amplifiers and speakers of the column in that area of \u200b\u200bcharacteristics,
Where they will work in a pair with the best characteristics.
A similar scheme is used in studio monitors (amplifiers are built into the monitor housing)

Bi-Wiring (Bi-Wiring) - This is the connection of high-frequency and medium-low-frequency speakers to one amplifier with two separate wires. Allows you to better agree on the speaker and the amplifier by reducing the resistance of the wires (with respect to the dynamics resistance). Positive result is not guaranteed.

BI-WIRING (BB varing) connect each speaker with its wire to the amplifier.
Very controversial sound improvement

What to choose: receiver or amplifier?

Receiver- This is an amplifier equipped with an additionally radio and decoder (decoder) encoded in different formats (DOLBY D, DTS, etc.) of multi-channel signals.

If we are going to watch movie - We can either take the receiver or take a decoder and a few (according to the total number of channels) stereo or mono amplifiers.

There is an opinion that for listening to music It is better to buy a stereo amplifier. ON-de introduces less distortion by all kinds of additional devices. But it's not always the case. Here, as usual, there is a question in price. The cost of the amplifier / receiver is orientable (not a capital truth) should be 40 - 100% of the cost of the acoustics kit (not including subwoofer).

Characteristics of amplifier

In this article (if we are talking about connecting the speakers to the amplifier) \u200b\u200bwe are talking about power amplifiers. They are characterized by the following parameters:

1) Output maximum power - This is the achieved output power of the amplifier with an abnormal coefficient of nonlinear distortion.

2) Nominal output power - This is a level of power, in which the amplifier provides the agreed coefficient of non-linear distortion.

Manufacturers are played by these values \u200b\u200bin promotional materials, so it will be useful to know the types of capacity that are found in the adoption of amplifiers:

I) RMS. (Root Mean Squared) - Power value (Radiant or root is a method of measuring the power of electrical measuring devices) specified nonlinear distortion coefficient . Measurement is usually carried out for 1 kHz signal. Power swinging until the coefficient of nonlinear distortion reaches 10%. Prior to reaching the maximum power, the nonlinear distortion coefficient is usually very small, and after reaching sharply increases.

II) Pmpo.(PEAK MUSIC POWER OUTPUT) - Maximum allowable peak (Pulse) signal value regardless of distortion per minimum time lapse (usually 10 milliseconds). This parameter is noteworthy for practical application, because Measurement is carried out at a very short period of time excluding distortion. For example, in PMPO boomboxes can reach 100 and 1000 W :) But it is not "honest" power. RMS can be 3-10 W.

III) Din Power (IEJA.) - the value of maximum power on real load With specified nonlinear distortion coefficient . Measurements are carried out 10 minutes for a sinusoidal signal with a frequency of 1000 Hz with a non-linear distortion ratio not exceeding 1%.

IHF. - The same, with the coefficient of nonlinear distortion of 0.1%.

This type of power measurements is the most "correct" characterizes the amplifier from the point of view of the consumer.

4) Frequency range - These are the values \u200b\u200bof the lower and the most upper frequency of the output signal of the amplifier, in which the level of this signal varies in the specified limits (for Hi-Fi of the order +/- 0.5-1 dB).

How to pick up the speakers to the amplifier (practice)

Home acoustics

Buyers of the sound equipment are picking up passive acoustics, wires, hearing amplifier. But it is rather art rather than the exact method. And the optimal result of this selection (for home acoustics) is not even volume in all frequencies, but an acceptable (pleasant hearing) sound.

If you look at the technical characteristics of the amplifier and speakers, then you need to consider the following:

1) If you have chosen acoustic systems, the amplifier must be designed to work with columns, with such input resistance.

Usually in amplifiers there are mechanical or electronic impedance (resistance) switches). Before using the speakers, they must be translated into a position corresponding to the resistance of your acoustic systems.

What can the discrepancy between the resistance of the columns resist the nominal value (to which the amplifier is calculated) load (connected columns) of the amplifier? In the worst case, to the output of the amplifier. And in the usual case to a much worse quality of sound. Because The coordination of the frequency of amplifier and acoustic systems is worsening.

2) The receiver amplifier must provide power of at least 33% of the maximum power of the speakers. Wires than thicker, the better (cross section of at least 1.5 mm.kv.). And the rest is selected exclusively for rumor.

Studio equipment

For musical (studio), the studio monitors mainly apply another method. Used primarily active (with built-in amplifier) \u200b\u200bacoustics. This allows you to completely get rid of acoustic cables and in factory conditions to maximize the frequency response of the acoustic system (acoustics + amplifier).

The technique is approximately following:

In a non-free soundproof room using attorneys (verified and certified by the appropriate authorized authorities), the sound pressure meter and the signal generator is measured by the frequency response characteristic. On different sound frequencies, sound pressure is measured at a voltage signal level at the inlet of the amplifier. The selection of radio elements of the amplifier and frequency filters of the active speaker system, as well as adjusting the settings, it is possible for the same sound pressure at different frequencies.

How to pick up the speakers to the amplifier (theory)

We use this sound reproducing equipment for the following purposes:

1) listening to music

2) View Cinema

3) Cooking music (monitoring, minimizing)

For Sound equipment used to create music The main thing is to make a minimum of distortion into the reproducible phonogram.

For household audio equipment More permit to make some distortions that may even embellish sound. Therefore, there is an opinion that one system is more suitable for heavy metal, the other is for electronic music, the third is for jazz, the fourth - classics.

However, for high-quality studio monitors (The columns used in the studio when creating a musical phonogram) should not stand this question at all: for what style do these monitors suit? Yes, for anyone!

Ideally system

amplifier - Acoustic Cable - Acoustic Systems

there should be no distortion to the sound of the phonogram, which was recorded at the studio based on the sound of high-quality monitors. Musicians and sound engineers set up the sound of a musical work in such a way as to repeat its emotional effect on household acoustics.

Ears of the listener Perceive the sound pressure of the air.

Acustic systems This sound pressure is created.

Acoustic systems in turn convert electric signal Phonograms (music entry) in sound air pressure. The dependence of the sound pressure on the ears (volume) from the sound frequency (sheet height) is to be called a conditionally frequency response of the sound pressure of the columns (or the frequency response characteristic of the speakers).

If we apply a signal with the same voltage to the input speakers. (let it be 5 volts) at different frequencies (play notes of different heights), then the volume of the sound of different notes will be differentbecause Mi of the 1st octave will create, for example, pressure 1, mi of the 3rd octave - 2, and 6-octaves - 0.5. Conditional pressure values.

We can conclude:

Even if we have the perfect amplifierOutstanding in the whole sound range (for any musical note), perfect the same voltage of the electrical signalT. sound pressure (Sound volume) real acousticsconnected to this amplifier, anyway will be different for different frequencies (notes).

The effect of acoustic cable

Material on how choose and buy an acoustic cable
I recommend reading the cables page before proceeding to the outputs.

CONCLUSIONS

At home (and in laboratory, too, we are unlikely to succeed not to achieve the ideal technical characteristics of sound equipment.

Selection on rumor equipment for home theater And listening to music by extinguishing the amplifiers, cables and columns - a very time-consuming occupation with subjective (in this case sufficient) result.

For musical application: Information (Selection of volume levels, effects, etc.) and mastering (preparation of the final phonogram for recording onto the media) is required more objectively (by measuring instruments) tuned instrument. Such for home conditions can only be active monitors.

Warning immediately, with unusual, a clean monitor sound may seem the unprepared to the "fresh" listener and worse than the sound of the usual acoustics. But after the adaptation period passes, this sound becomes for true music love the best :)

As for the acoustic properties of the room, the wolf is not so scattered as its little. In another article, I considered tuning the tuning of sound in different premises.

Here it is necessary to take into account the factor that if the sound engineer knows the disadvantages of its monitor system (which he manufactures the phonogram), then it can be corrected manually. But it is - experience and art :)

If you have questions - ask them.