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ENCYCLOPEDIA OF RADIO ELECTRONICS AND ELECTRICAL ENGINEERING What to look for when listening. Encyclopedia of radio electronics and electrical engineering
Encyclopedia of radio electronics and electrical engineering / Speakers There are a few common drawbacks to loudspeaker sound that need to be addressed. Although some of them are unavoidable (for example, with cheap speakers), a speaker system that exhibits too many of them should be immediately excluded from the list of applicants. Pay attention to the dull, slow and booming sound of the bass. One of the most tiresome characteristics of bad speakers is bass that is coloured, loose and lacking in tone. Bass notes should have a distinct pitch, not a low-pitched "one-note" hum in the background of the music. Male speech well reveals the color of the upper bass; it should not have an overly accentuated or unnatural "box" sound. Individual bass notes should not sound louder than the rest. Listen to the piano solo, in which the descending and ascending rows of notes are played exactly in the left, i.e., low registers of the instrument. Each note should be even in tone and volume, clearly articulated. If one note sounds different from the rest, it may be a sign that the speaker has a problem with that frequency. Deep bass should be tight, clear and "fast". When it comes to bass, quality is more important than quantity. Bad bass is a constant reminder that music is played artificially, making it harder to listen to. An example of how bass should not sound is car subwoofers. Car stereos are designed to radiate maximum sound power at a single frequency, for unarticulated and unmelodious bass. Unfortunately, exaggerated bass usually indicates poorer sound quality in this frequency range from cheap to moderately expensive loudspeakers. For such loudspeakers, weak, tight and articulated bass is preferable. Listen to the synergy of the snare drum and bass guitar. Behind the sounds of the bass guitar, you should hear the dynamic bass pattern of the drum. The drum should sound rhythmic and not seem slightly delayed relative to the bass guitar. A loudspeaker that does not play the rhythm with enough power will make the sound sluggish, even slow. But if the loudspeaker correctly conveys the rhythm of the sound, your feet will involuntarily beat the beat, you will hear more "rhythmic" and involving music. Some loudspeakers can have particularly tiring midrange coloration. Fortunately, today's loudspeaker coloration levels are much lower than, say, 15 years ago. However, there are still many speaker systems with colored sound. They can be recognized by the specific sound of the vocal parts, reminiscent of the sounds of speech through the palms folded like a mouthpiece, by the nasal sound or by the selection of some vowel sounds. More common is a slight rise in this range, manifested by a ringing, metallic piano sound. A good loudspeaker reproduces vocals cleanly and openly, giving the impression that they exist separately from the loudspeakers. Problems in reproducing the middle sound range will also make it difficult to perceive the music - its sound will be as if it comes from the cases, and is not born in space. Poor high-frequency sound quality is characterized by grainy or muddy violins, cymbals, and over-emphasized whistling vocals (s and sh sounds). Cymbals spatter the entire soundstage with slaps that feel like bursts of indistinct white noise, while their sound should have some subtlety, texture, and pitch. When played well, the high frequencies are integrated with the music without drawing attention to themselves. If you find that a pair of loudspeakers is letting you know the treble is a separate part of the music, be on the lookout. Another quality of loudspeakers that you should pay attention to is their ability to sound at high volumes without overloading. Some speakers sound great at low volumes, but distort a lot at high levels. Listen to orchestral music with a crescendo - the sound should not break down and become raucous on loud, complex passages. Finally, the loudspeakers must "dissolve" into the soundstage. A good pair of loudspeakers will unfold the music in front of you in space, leaving no thought that the sound comes from two boxes located on opposite walls of the room. Singers should acquire accurate, tangible images and position themselves between loudspeakers (if they were recorded that way). The sound image of the instrument must take a certain place on the sound stage, not shifting to one side or the other when moving from one register to another. The sound of music should be open and transparent, not foggy, dark or opaque. In general, the less you notice the speakers themselves, the better. Some lower-end loudspeakers have a coloration of sound that is specially incorporated into them during development. The bass is made big and fat, the highs are too bright to create the illusion of "purity". These loudspeakers are usually extremely sensitive, so they will play louder than others unless a comparison listening session is preceded by a level matching operation. These loudspeakers can make a good impression on the listener for a two-minute demo, but become extremely tiring after you bring them home. It is unlikely that you will find such products in a real high-end store. Finally, an undoubted sign that the loudspeaker will allow you to enjoy music for a long time at home will be the fact that while listening you have received great pleasure from the music without thinking about the loudspeakers in these moments. Literature
Publication: cxem.net
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