However, all of the above does not make any sense without speakers - it is this device that allows you to hear and evaluate the result of all the painstaking work of installing “music”. Fortunately or unfortunately, it’s hard to say, but over the past 100 years, both the principle of operation and the structure of the speaker have not changed much. Its main task remains the conversion of electrical vibrations into air vibrations. Of course, new materials are used, design also takes not the last place, but the essence is the same.
Then what's the problem? He disconnected the speakers from the home acoustics and dragged them into the car: they are so powerful and big! But car sound is a thinner thing. You can even say sensitive - because it is in sensitivity that the first difference between "car" music and "home" lies. Native walls, albeit with difficulty, but still can allow you to include at the same time countless musical bells and whistles, albeit at the cost of de-energizing the entire house. The car is limited to onboard 14 V. Add to this the cramped interior, engine noise, rubber and other nasty things … It would seem that there is no place for good music here!
Speakers with sensitivity from 87 dB / W / m to 90 dB / W / m will be able to overcome this cacophony. True, with a skillful approach, the upper limit can still be raised. Do you think the range is small?
Then we decipher the notation: the sensitivity of the speaker shows the sound pressure level at a distance of 1 m with an applied power of 1 W. So it turns out that with a decrease in sensitivity, for example, by 3 dB, to achieve the same sound pressure level, you will need to double the input power. Do we need this doubling? And it seems to me that not very!
MIDBAS SEPARATELY, TWEETERS SEPARATELY
The speakers are divided by size and purpose. Tweeters are tweeters with a diameter of 19 to 28 mm. Reproducing the middle (midrange) and low (midbass) frequencies have a diameter of 7 to 20 cm. Subwoofers start from 20 cm. But this is for reference. So as not to slip you a sub-sized matchbox on the market.
Someone advised excellent coaxial acoustics, and you accidentally and precisely today forgot your explanatory dictionary at home? Do not worry, nobody wanted to offend you. There is also component acoustics, and between them, as they say, two big differences!
Coaxial means that the tweeter (in common people - the tweeter) is on the same axis as the midbass. In the component, they are separated in space, that's all … In short, in the first case, the tweeter is attached to the midbass, and in the second to something else, for example, to the windshield pillar.
A serious advantage of coaxial acoustics is the equal distance of the speakers from the listener - in the articles about creating a sound stage, the importance of this nuance is described in paints. A no less serious minus is that this soundstage is at the level of the lower body of the listener. Of course, nothing terrible, but still more familiar when the scene is at eye level. Component acoustics gives us such an opportunity, but the distance to the listener from the midbass installed, for example, in the door, and the tweeter on the dashboard have to be aligned in very clever ways (they are all described in previous issues). Decide for you which option is better, which is worse, no one can. In the end, in addition to musical preferences, the listener's parameters are also important here. If coaxial speakers play well above your knees and the soundstage is exactly where you need it, you can only envy. This is such a savings! No need to go broke on a modern headunit, time delay settings and sound reflection games … Especially if you are not indifferent to the result.
SILK, TILL AND RESIN
The best minds are struggling to create the perfect speaker. Not that what they have already created would be useless, but it falls short of the ideal. A perfect speaker should not weigh anything and have maximum rigidity. The materials for this purpose are adapted by the most diverse, but the human factor plays an important role. It's not about someone stepping another invention from the factory, but about musical preferences. For those who want to feel, without leaving a warm car, how the snow crunches underfoot on a frosty morning, titanium is perfect, delicate trills of a flute or Shufutinsky’s back vocals will play silk in the best way. Aluminum, no matter how absurd it sounds, is something between textiles and titanium. Mylar is the most accessible material, the speakers from it are inexpensive and have no musical preferences. Particular attention should be paid to the material when choosing tweeters: it is they who set the tone for the automobile "orchestra".
Suppose you have already decided on everything. Material, size, design, type of acoustics - everything is decidedly chosen the way you wanted. Do you think all parameters are taken into account? In vain relaxed …