Features of hi end equipment. What is Hi-Fi and High-End. By definition, Hi End means

Today we will look at common problems associated with creating a Hi-Fi/Hi-End system on a PC using studio equipment.

Development of serial production Hi-Fi/Hi-End cards

Hi-End means high quality. In each area, products fall under Hi-End according to different parameters. For some products, Hi-End is the maximum number of parrots in the test (for example, video cards, processors), for others it is prohibitive cost and exclusivity, for others it is an assembly without compromise from high-quality components.

Every audiophile wants the "best sound card" so it has the best DAC, the best op amp, the best power filtering, etc. Developing and making such a card is not a problem - the problem is to put a price on the card so that it will be bought later. Today's cost serial A high-end sound card for a home system should cost $150-300. Having strict limits, the manufacturer cannot take an uncompromising path, and the presence of test programs such as RMAA does not allow customers to be deceived. Therefore, the manufacturer has to look for compromise solutions.

The stereotypes of dividing household audio equipment into Hi-Fi and Hi-End, primarily based on cost, partly apply to sound cards. Thus, inexpensive serial Hi-End cards conditionally become simply “high-quality”, and exclusive and expensive ones become Hi-End. The actual quality may be at the same level.

A couple of years ago, demand for high-quality sound cards appeared in the Asian market. The bulk of those suffering are audiophiles who have good headphones. Cards with standard operational amplifiers did not provide acceptable quality, forcing us to buy additional headphone amplifiers. Auzentech offered cards with sophisticated hardware. One problem - the cards were based on C-Media, however, the beautiful appearance of the capacitors and op-amps attracted the attention of many.

In response, Onkyo and Audiotrak released - and . Excellent bindings, screens, beautiful advertising technologies (just look at the vector construction of a signal a la “multifaceted sine” from Wavio), etc., but the use of average quality DACs makes you wonder whether there is any point in buying such cards for expensive complex? The cards may be “cool”, but they are only Hi-Fi level with a bottleneck in the form of a DAC. The calculation was made for owners of headphones ($100-300) and owners of a Hi-Fi amplifier with acoustics (with a similar cost for system components), where a top-end DAC is not needed.

The next stage of development in the sound card market was the release of a specialized high-quality ProdigyHD2 Gold card from Audiotrak, which used a high-quality top-end DAC from AKM with high-quality binding. Before this, top-end DACs remained in expensive custom-made studio boards, such as, etc. costing more than $1000. Today Audiotrak offers an equally interesting device based on the PCM 1798.

It is worth considering the large number of homemade and modified devices. At the same time, the pursuit of uncompromising quality does not always lead to adequate results for do-it-yourselfers and “High-End manufacturers”. Here we can draw an analogy with Hi-End stationary players, where a heavy chassis is made “uncompromisingly” from marble (or other stone/metal) to reduce vibrations and accurately read data from the disk. It’s paradoxical, but for some reason such stationary drives have difficulty reading stamped discs and cannot cope with CD-R/RW, but in contrast, there are portable CD players with asynchronous disc reading that cost a penny. This makes you wonder if solving a specific problem should cost a lot? Does using a higher quality component lead to a real improvement in quality? A figurative example - would a calendar poster hang more securely on a high-quality steel nail rather than on a pushpin? These are the questions that confront engineers developing mass-produced products, and as a result, a relatively inexpensive device can “match” the quality of a more expensive exclusive model.

At the same time, with piece production it is easier to put a part with excess quality into a device than to study the dependence of the quality of the device as a whole on this component, because “time = money”. And you can easily throw dust in your eyes - “our device uses the most advanced component X, which will ensure the coolest quality.” The main thing is that brilliant ideas and theories are consistent with practice. The lack of measurements, precise characteristics and a ton of talk about the “golden ear of the developer and the magical sound of the device” usually arouse fair suspicion.

The user's task is to choose a device that actually meets his requirements without being deceived by anyone.

Thanks to demand in the Asian market, companies have so far managed to further improve the quality of cards (use higher quality components) for a “standard” price, but there are still very few high-end home models on the global market.

In the Russian market, the undisputed leader is Creative with a consumer card for $300 and a professional card for $200, using the top-end CS4398. An alternative manufacturer is Razer with an AKM4396 card. ASUS should come to our market with a XonarD2 card, using one of the top DACs from Burr-Brown PCM1796. The remaining cards are only available on the Asian market, including the top-end WM8740, AKM4396 and high-quality packaging.

Many manufacturers are gradually realizing that there is no point in saving on DACs, and it is better to supply something of high quality. After all, the product cannot demonstrate anything else. But the use of a top-end DAC is more of a marketing nature, since both the design of the board and the competent use of other components are important, otherwise the same situation will turn out as with the first revision of the E-MU0404, where a card with the “pre-top” AKM4395 was inferior to Juli@ with “less” top-end DAC AKM AK4358.

The only ones that stand out are the low-end X-Fi cards with powerful DSPs for games, which in games have an advantage due to high-quality hardware audio processing, where the DAC plays a much smaller role.

It’s not difficult to make a card with a top-end DAC for “cheap”; a good example is the Club3D Theatron DTS, costing less than $100, using four top-end AKMs. The big problem is debugging drivers, introducing specific functions and explaining to the buyer why he should buy such a card, where the obvious sound advantage may be on a path starting from $1000. As a result, the paradox is that the card itself is not very expensive, but it requires an expensive path to unlock its potential.

Cards based on CMI8788 are now actually replacing consumer cards based on ENVY24XX ( , /XT/HD2, etc.). The reason for the displacement is simple - the CMI8788 supports Live DTS, unlike ENVY. Moreover, C-Media provides manufacturers with a reference circuit for top-end AKMs. Manufacturers can only repeat the scheme without investing money in development, while for ENVY24XX everything needs to be developed from scratch. The most cunning Razer and ASUS unanimously relabeled the CMI8788 into RZR35192 and AZ200, only ASUS went further and decided to use another DAC, not from AKM and CS, but from ADI - which none of its competitors have. The decision is sound, with an eye to exclusivity. However, only rare cards have top-end op-amps, or the ability to replace them without a soldering iron. XonarD2 and Barracuda use standard JRC4580, the X-Fi EP has a slightly higher op amp class. ProdigyHD2 Gold offers high-quality op-amp packaging on the stereo line output with "Triple OPAMP" technology: two OPA2134 from Burr-Brown + JRC5532. (The European version of the Prodigy HD2 uses three NE5532s, which can be replaced with other solderless op amps.) The “Hi-End” quality of this card competes only with new cards based on CMI8788 and the one planned for this year.

Studio vs Hi-Fi/Hi-End

The conference often raises the question of the differences between professional and household equipment. There is an opinion that professional equipment gives an “honest” sound, while household equipment gives a “pleasant” sound, and that it is unpleasant to listen to anything on professional equipment, since it deliberately emphasizes jambs and “unnecessary sounds”.

Let's look at the main differences that it is advisable to know about when assembling a high-quality system. Ignorance of basic things often leads users to great disappointment.

There are many sources in the studio - synthesizers, various instruments, microphones, and in addition to them there are many additional signal processing devices. All this is connected to a mixer, which can have several dozen input channels. After the mixer, the signal is sent to ADC converters (to PCs) and monitors. From the PC, through DAC converters, the signal is sent to the mixer, and then to the monitors. In fact, the mixer is a separate switching device that connects all the components in the studio. Due to the wide variety of studio configurations, the layout of the devices resembles a very flexible construction set.

At home there are very few sources, and the switch is often an amplifier. The small number of components and their location in one place place different demands on the components.

Sound cards

If in a home system all the components are nearby, and there are no special requirements for the interconnect cable (we do not touch upon cases of excellent audibility of the cable direction only in sighted tests:). In a studio, there can be ten or more meters between devices. And the longer the wire, the more interference it can pick up. To solve this problem, use balanced wires with a higher signal level. Accordingly, professional equipment has balanced, TRS or XLR inputs and outputs. To connect household appliances to professional ones, adapters and support for an increased signal level are often needed.

The main differences between Prof. cards from "multimedia/household" - this is prof. TRS or XLR connectors, mandatory ASIO support, specific functions in drivers or connectors in the form of a microphone input with phantom power at +12 or +48 V, lack of support for DirectSound3D and OpenAL. As an exception among budget profs. cards, you can find cards without a balanced signal level, such as, etc., designed specifically for home budget studios.

The main task of Prof. cards - provide ease of use. The sound quality of professional cards varies and is not always superior to “multimedia/consumer” cards.

A figurative example is a universal jeep against a roller, crane, bulldozer, formula 1 car.

More information about ASIO and flexible signal routing options.

Cards with flexible signal routing (DirectWire for ESI/Audiotrak, PatchMixDSP for E-MU, CreationMode for X-Fi, KX DSP + Router for KX Driver, FREE Mixer for Infrasonic Quartet) have the opportunity with the help of prof. software to do almost any signal processing in real-time of any channel when playing from any program. What does this give, besides the use of “improvers,” in terms of building Hi-End systems?

You can use filters with a high cutoff slope - this allows you not only to narrow the transition zone, but also to significantly relieve the load on the speakers. So, for the tweeter you can choose a lower crossover frequency, without the risk of distortion
you can use phase-linear filters
You can adjust the delays between speakers to compensate for speaker locations
Additionally, you can do equalization, suppressing resonant frequencies

If you have an inexpensive Midi controller, you can make adjustments very quickly and efficiently, and arrange blind tests between different filter settings.

Blind tests are always important when making better/worse verdicts, but, unfortunately, this is neglected (and sometimes panicked) by fans and Hi-End developers, relying on their “absolute” hearing and keen eyes. There are many possibilities in this approach, but you must have the proper qualifications to work with prof. software.

The cost of a compact PC with the appropriate software is comparable to hardware studio DSPs, and at the same time provides greater capabilities. An example of such solutions is the Helix Legacy Audio $53,000 system using $5,000.

For low-cost studios and concert acoustics, there are many active, customizable analog crossovers. If someone has free time or specific requests for speakers, then you can easily make “boxes”, insert speakers, connect them to amplifiers, and set up a crossover.

It is better to immediately forget about the future use of “improvers” in a high-quality path. The main task of popular plugins, such as Ozone, a built-in processor in the X-fi Cristallizer, is to bypass downstream flaws, similar to flavoring additives in low-quality food. This processing is best left for use in studios when creating music. An exception can only occur with low-quality recorded tracks.

Are there any cooler cards than the E-MU1212m, Prodigy HD2, X-Fi Elite Pro, Razer Barracuda, Asus Xonar D2, etc.?

Among professional cards, a step higher are complex solutions - a digital card + an external converter, like LynxAES16 + Aurora16. The cost of such solutions differs by orders of magnitude from those of the cards under consideration. The high cost is dictated by the unit production of devices and specific functions, such as:

the ability to operate several cards as one (for multi-channel systems), where you need not 5.1 channels for DVD, but 16 or more, it is quite difficult to place them all on a PCI board
ability to synchronize with external equipment

For home use such functions are not needed. Moreover, the implementation of some functions may be to the detriment of “audiophile” ones, for example, the ability to finely adjust the reference frequency led to greater jitter in the device, while the absence of this function would allow squeezing out “more quality.”

Among household cards, “a step higher” there are also complex solutions - a digital card + an external DAC. Any card with an SPDIF output that provides digital data transmission with the required degree of correctness can act as a digital board.

The main advantages of this solution

organization of external power supply
galvanic isolation from PC
Wide selection of external DACs

In some cases, the cost of an external device for non-volume production may be lower for an external device. Making a device on a multilayer board and successfully avoiding a number of problems for the internal device at home is not so easy.

Amplifiers

Studio amplifiers are designed to be rack mounted. Since volume control and source switching are done in the mixer, amplifiers often do not have volume controls and an input selector (not to mention a remote control). This “disadvantage” also applies to active monitors. In most cases there is only a channel-by-channel input sensitivity control, and not necessarily at the front. Another important feature is that most studio amplifiers have active cooling, similar to a computer’s power supply. And the last argument “against” using such an amplifier at home is its unsightly appearance, close to “homemade” :)

This amplifier from Yamaha is not the worst looking amplifier, but in appearance there is a big difference from the Hi-Fi models from Yamaha.

The development of sound cards and software gives rise to a large number of Home/Project studios where a mixer is not used. HTPC systems are also developing, where the final path is Hi-Fi speakers. Since the source selector (radio, TV, DVD) is located in the computer, the amplifier does not require an input selector. Low prices for prof. cards + slogans “a professional card requires a professional amplifier” force manufacturers to produce products that are “prettier” and “more convenient”, close to Hi-Fi. Among the inexpensive studio amplifiers ($350~450) we can note the Alesis RA300 and (the models are similar in appearance and characteristics).

Two large channel volume controls and a Power button. There is only one stereo input at the back, but it comes in different form factors: RCA, TRS and XLR, supporting both balanced and household signal levels.

At the same time, there are less attractive amplifiers like the ART SLA-1/2, with formal active cooling, where the fan turns on only when it overheats. According to owners, overheating occurs extremely rarely.

"home" studio amplifier Behringer A500 from the inside

It's funny, in audiophile circles the greatest respect is paid to top transformers in studio amplifiers with passive cooling, without taking into account the "other parts" used :). And of course, the lack of tone controls.

Just like in the world of Hi-Fi/Hi-End, the cost of studio components can reach sky-high levels.

Acoustics

First of all, the sound quality is determined by the quality of the speakers used and the optimal design of the cabinet with crossover + amplifier. Competent design of speakers is not cheap, as it requires a lot of development resources. Resources include: time, parts stock and qualified engineers. All this costs money and is included in the cost of the final product.

In the budget acoustics sector, they try to save on everything, including checking the build quality and performance of the speakers. There are often cases when the calculation of filters was made for one speaker, and in the end other speakers are installed without any adjustments to the filters or the acoustic design of the housing. Not only manufacturers of budget active acoustics, but also well-known brands are guilty of this. Regarding studio monitors sold individually and not in pairs, it is necessary to take into account that speakers from different batches may differ in sound due to the use of speakers from different batches.

There is no such thing as perfect acoustics. Any system, of any cost and design, is always a compromise solution. The success of the system depends only on the developer’s ability to squeeze out more advantages than disadvantages. For different purposes, the compromises in creating speakers are different. This is where the difference between hi-fi and studio equipment lies.

Monitors, as you might guess, are intended for use in the studio.

Respectively:

The dimensions of the speakers will be such that placing the speakers on a console or against a wall in the studio will not cause any problems. Studio floor systems are a rarity.

Deep Recording Studios, England, London

The connectors for active acoustics will be professional, not household.
It is assumed that there will be several pairs of monitors in the studio. This allows you to make monitors tailored for specific tasks. For example, only in the line with monitors (ADAM, Dynaudio, etc.) can you see two-way models with 8" woofers, but in the Hi-Fi line there are no such models, and this is no coincidence. Does an 8" woofer play better than a 6" one? Not at all, its advantage is only in a lower cut-off frequency with worse transmission in the upper range of the reproduced frequency band of the woofer with a low crossover frequency for the tweeter. But this is not a problem for the sound engineer, since there are several pairs of speakers in the studio, selected so that each has. advantages that other models lack. The sound engineer, working simultaneously with several speakers, carefully listens to the required track parameters on the appropriate monitors. At home, “universal” speakers are needed.

black speakers are for the studio, silver ones are for the home or “home” studio. There is no analogue of S2.5 for home.

The sound direction of monitors is narrower. This allows you to get a clearer panorama, but you can only listen to the speakers in a “right triangle”. While on Hi-Fi/Hi-End speakers the directivity can be almost circular, providing less accurate, but surround sound, and which can be listened to from different points.

Is it so important whether there is a “monitor” inscription on the speaker? In the Abbey Road studio you can find high-class acoustics, including “household” ones.

High-end acoustic systems can be found both at home and in the studio, the main thing is that they meet the needs of the owner.

What disappointments can there be for an audiophile who bought a “studio Hi-End”?

Remember, about ten years ago, when watching the film “The Diamond Arm”, did you have any complaints about the color, clarity or contrast of the film recording? Did not have. But now, when watching this film on a monitor or modern large plasma, even from a licensed DVD, the question immediately arises - is this not a “screen” copy? Many people prefer to watch such films through a projector, where such a drop in quality is not very noticeable.

Time passes, the quality of converters increases, but old recordings do not get any better. Usually, when switching from built-in audio to X-Fi, Revolution5.1, Prodigy7.1 and purchasing entry-level acoustics, users notice that mp3 does not sound as good as original CDs. When switching to better technology, it turns out that not all CDs are recorded well. And in the future - that only a few are recorded with high quality, and the majority of sound engineers are deaf in both ears, and they mix everything to “boomboxes”, not caring about the owners of high-quality equipment (a joke, but with some truth) :)

This feature must be taken into account and be prepared for it, setting your priorities correctly. If in your music library most of the recordings are old, or your favorite bands are recorded in not the best studios (or in the best, but “as quickly as possible”), then when listening you will hear a lot of imperfections. As practice shows, not everyone likes this result. Discussions about the “analyticity” of Prof. immediately begin. cards and about the “musicality” of the others, including Aureal Vortex2 on an old sigmatel. Therefore, before you buy another component of the system “for a lot of money” or “with the right ideology,” listen to it in advance or buy it with money back. Perhaps what someone considers “correct and of high quality” will not suit you.

Development of top sound cards, be it prof. a card like the E-MU1212m or a high-end multimedia card like the Prodigy HD2 goes the "studio" route, where the goal is to get a signal as close to the original as possible.

Objective tests and quality

Manufacturers additionally focus on synthetic tests during the development process.

There is an opinion in the audiophile community that objective parameters mean nothing and do not show anything. By the way, the RMAA report shows the results of several tests, but in addition to them, if necessary, additional tests can be carried out at other frequencies and signal amplitudes. More meticulous users can generate their own test signals in audio editors, the main thing is that the results are correlated with subjective perception.

Inability to use prof. software, ignorance of many basic things from psychoacoustics often makes audiophiles look like fools, who call a spade a spade, confusing concepts and definitions, and sometimes cannot prove that what they hear is not a figment of the imagination or self-hypnosis.

A card showing high characteristics will a priori play well, while a card with low characteristics can play “any way”. Another point is that you need to look not at one characteristic or number, but consider many parameters as a whole, understanding which parameter affects what, and to what extent.

Unfortunately, objective tests do not always include all parameters, and some measurements require special equipment or significant time investment. Therefore, one cannot do without the subjective opinion of an expert, and his opinion does not always have to coincide with the objective one.

Bottom line

It is possible to create a high-quality system using studio components, but with this approach the “appearance” may suffer and the ease of control may deteriorate. Regarding monitors, the sound may be less universal and run counter to the ideas of “surround”, “live”, etc. sound

Does it make sense to make a home Hi-End system using studio equipment? Everyone must decide this for themselves, based on their tasks and priorities. If the main source is a PC, with debugged programs and a remote control, convenience and functionality can be at a high level (even superior to conventional component systems). At the same time, do not forget that the PC does not yet support SACD, and there are a number of problems with DVD-Audio.

What do people who have Hi-End systems get?

This is an exciting feeling of musical flow and harmony, clarity, transparency and generosity of the sound picture, the complete illusion of the presence of live performers in your room. As well as emotional pleasure and satisfaction from meeting your idol.

By definition, Hi End means

The first is the highest level of quality of everything - electronic components, body parts and of course assembly, almost always manual. The artist's signature and an individual passport often accompany such products.
The second is an uncompromising design and the most expensive high-tech solutions and methods used in production. Borrowing from the aerospace and defense industries is not uncommon.
Third, if possible, eliminate everything unnecessary from the design, reducing the number of elements to shorten the signal path and have less impact on the sound. Everything ingenious is simple.

Production of Hi-End equipment

Designing and manufacturing Hi-End systems is similar to the art of creating musical instruments. This is the lot of creative, passionate people who understand how to achieve the highest sound quality. It is not for nothing that the founders and owners of many well-known companies and Hi-End brands are musicians with engineering inclinations or engineers who are seriously passionate about music.

Hi-End equipment is capable of revealing another side of very familiar and perhaps beloved music, allowing you to experience the sound palette anew and give vivid impressions. In rare recordings, many draw deep positive emotions from the skill of the great performers of yesteryear.

Our specialists with extensive experience and qualifications are happy to help you in the subtle and delicate process of selecting components for a future Hi-End system.

What does the term High End mean?

High End (Hi-End - English) is a marketing term. It denotes the highest class, belonging to the elite. As a rule, we are talking about sound amplification hardware and software. As we know, Hi-Fi in the nomenclature of modern radio electronics has its own GOSTs, as well as other technical characteristics that qualify Hi-Fi in one way or another. There are no such concepts in relation to High End. Why? Since Hi-End products declared by manufacturers contain only high-quality components, there is simply no need for this.

What is High End Audio Equipment?

Hi-End equipment is exclusive, and often extremely expensive, sound-reproducing equipment. To manufacture such elite equipment, non-traditional, non-standard technical solutions are often used. As an example, we can cite tube or hybrid (tube-transistor) equipment, as well as electrostatic, counter-aperture or horn acoustic systems.

We emphasize once again: the term Hi-End does not refer to any standard.

Hi-End equipment is considered Hi-Fi, which is manufactured using such components, the use of which is not economically justified for the production of serial equipment. In addition, hand-made equipment falls under this term. At the same time, it should be borne in mind that this also includes products that may not meet industry standards or even the stated technical characteristics in general.

What is indicated in the description of High End equipment?

This is actually a very interesting question. Because both users and manufacturers of Hi-End equipment use non-numerical measurements of parameters when describing and comparing their equipment. Numerical measurements of parameters are easily checked, as we understand, in any specialized laboratory.

This description is completely subjective! And it consists of the opinions of several listeners. Listeners describe the different sound features they experience using the same non-technical term. For example: emotional, soft, sandy, warm, cold, transparent, holographic precision, sunny soundscape, etc. True. Very unusual? That’s why High End equipment is a world of subjectivity and taste preferences of musical “gourmets”. It is clear that the circle of such people cannot be large. But such a small group of clients is ready to pay a lot of money for their addiction.

How to choose high-end equipment?

As we have already figured out, Hi-End equipment cannot be selected based on technical characteristics. Here the emphasis is on the radio components used and, often, archaic technologies. It is interesting that if such equipment is subjected to painstaking analysis in terms of technical characteristics, it will show far from “advanced” results. But subjective sensations, if you listen under certain conditions and on certain musical material, will simply show a colossal advantage of High End over ordinary budget Hi-Fi equipment.

Let's talk about cost

Hi-End is a single piece of equipment, unlike mass Hi-Fi, so cost doesn’t matter here. It is clear that priority economic feasibility is clearly indicated for Hi-Fi equipment. Here, buyers are guided by something completely different. Therefore, the owners of Hi-End equipment are audiophile fans who are willing to pay any exorbitant price for pleasure. Or these are simply very wealthy people, for whom having such a thing is a matter of prestige. In any case, Hi-End is a truly unique solution that can fully satisfy the needs of a particular “audiophile”.

But it must be emphasized that due to the very high Hi-End price category and the almost complete ideological absence of requirements for technical characteristics, a huge amount of other types of equipment is often offered along with recognized devices. This is a technique that is unreasonably overpriced. It may have an incredibly luxurious design, but it doesn't actually have the unique-sounding components or connecting cables that make it worth paying that much money for. It is clear that such equipment is also purchased by a certain category of very wealthy citizens for the purpose of prestige. But, in fairness, it is worth noting that for many buyers, Hi-End is, first of all, a luxurious and exclusive design. And, to be honest, not every listener is able to adequately evaluate the sound of music and its individual components by ear.

About High End Hardware Software

Such software is used when it comes to application software. Software is custom-made for one person or a limited group of people. It is capable of providing a solution to a full range of tasks posed by a specific consumer. It is clear that the cost of such programs is very high. But, in fairness, it must be said that they fully justify their considerable price with their status, convenience, and complete absence of failures, as well as simply excellent technical support. After all, such software is a specialized project that is developed and implemented for a specific consumer.

Instead of an afterword

Many people do not understand the choice of true music lovers. They think that everything is very exaggerated. Is it so? Let's think about it.

A simple experiment. If we listen to music on Hi-End equipment and do not see the sound source, we will never be able to distinguish the copy from the box from the original live sound from the world.

A professional will distinguish the numerous shades of sound, its beauty, life, breathing. A non-professional will listen without tension to all sorts of creaks, noises, rustles, crackles... Such a listener, in principle, doesn’t care. The creative individuality of a performer can never be felt with conventional equipment. This is the prerogative of a true music lover.

Today the time has come when everything can be broken down into mathematical formulas. So is the sound. But is it possible to describe the sensations with some number? The device will sort everything out “on the shelves” - it will evaluate the fidelity curve of pure tone reproduction and the harmonics introduced. But what device, soulless and dead, will distinguish the soul put into music?

People have been striving for ideal sound for a long time - from Thomas Edison's first phonograph to today's low-quality recordings - and they have achieved it. You can listen to the excellent sound of your favorite songs without distortion or extraneous noise at home for at least several decades. Reproduction technology, amplification, the media themselves and acoustics have reached incredible heights of quality, and manufacturers are trying to find at least something else that can positively affect the sound.

Hi-Fi

Hi-Fi systems (short for High Fidelity) have become synonymous with the highest sound quality for most people. And this is not at all surprising: all equipment complies with DIN 45500 and IEC 60581 standards - this is a wide range of amplitude-frequency characteristics, noise level and low nonlinear distortion. Such strict limits allowed manufacturers to compete fairly, but in pursuit of customers, many are trying to reduce the cost of production by using inexpensive materials: chipboard is used instead of natural wood, and sound processors in receivers are used from models of previous years.

It is worth understanding that the Hi-Fi equipment segment is designed for the mass consumer, accustomed to the sound of a car radio on the way to work and the droning of an old radio in the kitchen, but wanting something more. On Hi-Fi-level equipment, sounds take shape, open up, and the purity of the recording is shocking at first - all this creates an indescribable effect. I no longer want to return to the world of wheezing radio; a person becomes dependent on high-quality sound.

Rules for installing Hi-Fi components

All elements are usually made in a modern style and will fit perfectly into almost any interior, except for a very pretentious and colorful baroque. Traditionally, they have a rectangular shape and are combined with each other, even if they are produced by different vendors. Neutral tones, a minimum of decorations - one appearance can already tell everyone about the owner’s musical preferences. This technique reveals itself best in classical works, jazz, and rock.

An abundance of furniture and interior elements can significantly deteriorate the sound quality - the sound will be reflected from many surfaces and lose integrity.

The ideal placement option is a living room or office. From Hi-Fi components you can assemble a magnificent home theater that will outshine any cinema hall in sound.

Hi-End

With high-end technology everything is much more complicated. Here the issue of price is probably in the last place. These are more works of art than components for listening to music. All Hi-End equipment is beautiful both inside and out. Standards and objective measurements do not apply here - such sound is assessed from the point of view of its pleasantness, “tube-likeness,” “warmth” and a million other factors that are sometimes understandable only to audiophiles themselves.

To join the world of ideal sound, it is not enough to have good hearing; you also need to have a good income - prices for components are measured in tens of thousands of dollars. It’s difficult to say how much better a triple-shielded gold cable transmits a digital signal of zeros and ones, but experts and audiophiles tend to agree: Hi-End is the only possible option for listening to music for those who haven’t had a bear step on their ears.

It’s worth agreeing: in terms of frequency characteristics or other parameters in tests, this equipment may show itself worse than the budget Hi-Fi segment, but when listening, you will discover the incredible depth of music and sounds that you have never heard, although you know the composition by heart - it’s really worth it your money.

Rules for installing Hi-End components

In search of harmony and balance of sound, manufacturers often produce acoustics of unique shapes. By the way, most of the high-end equipment is made to order in a single copy or in a very limited batch. This tactic helps avoid creating consumer goods. An example of the balance between style and quality is the famous acoustics from B&W Nautilus. She has received awards more than once for her sound quality and special shell-shaped style.

This style of components requires a modern design in the room; the best option would be high-tech. Particularly ardent fans of ideal sound even create special listening rooms with good sound insulation and without unnecessary furnishings to prevent sound reflection. Here the design is somewhere next to the price, at the very bottom.

To fully reveal the sound of the entire system, you need to follow many rules: for example, use a filter for power supply, and the acoustics must stand on special legs or podiums - the floor under it should not resonate. But you can beautifully place the entire Hi-End system without disturbing the harmony of the sound, and charming amplifiers with overhead lamps will help give the interior a touch of steampunk.

The non-standard design of some speaker systems, created for the sake of even better sound, sometimes helps determine the style of the room itself - in the case of audiophiles, it is the interior that adapts to the style of the equipment, and not vice versa.

We can say that Hi-End is truly an uncompromising option for an audio system. Price, appearance, manufacturer - everything pales in comparison to the pursuit of perfect sound.

The article discusses the features of approaches to the development of audio equipment designed for different layers of consumers.

What is Hi-Fi and High-End

It is unlikely that anyone will argue with the fact that the impetus for the development of audio technology was the desire to get as close as possible to the live sound of music. Therefore, no matter how much sound equipment was tested, live sound was always the standard for the quality of its work. At the same time, it was the most reliable sound reproduction that received the highest rating. But that was in the old days, now everything is not quite like that.

The emergence of the Hi-Fi standard and the High-End concept. It was developed in 1973 in Germany. Its essence was to formalize the then minimal requirements for the parameters of audio equipment that ensure decent sound reproduction. Many believe that the High-End concept appeared later than the Hi-Fi standard and is its development. However, it is not. The fact is that the High-End concept originated much earlier, around 1962, and has nothing in common with the Hi-Fi standard.

At the same time, a distinctive feature of the High-End concept is that the only criterion for the quality of equipment is the method of expert evaluation of its sound, regardless of its technical characteristics. It is important that for such an assessment the opinion of one single person was sufficient. In the early 1960s, the High-End concept certainly had some sound grain, since the measuring technology of those years was very far from perfect, and even inaccessible.

At first, the Hi-Fi standard was a very good incentive for audio equipment manufacturers to develop and improve their products. In the 15-20 years since the advent of the Hi-Fi standard, a lot of high-end audio equipment has appeared. Moreover, many devices had a similar sound, and soon the market was overflowing with them. As a result, audio equipment manufacturers' profits decreased, and they began to look for a marketing solution that could change this situation.

"Utility" of the High-End concept. Then they remembered the High-End concept. After all, despite the technical parameters, the very criterion “But I really like the sound of this device” allows you to sell anything. The success of the High-End concept is also that
that it involves the creation of exclusive technology, namely:

made especially for you;
handmade by music lovers and connoisseurs just like you.

True, no one asks the consumer whether he needs expensive gold-plated
legs, cast metal, front panels that weigh many kilograms, and whether or not it needs a tone control - they just don’t install it and that’s it. Moreover, all these exclusive devices
They are sold at a very high price, but they bring in excess profits. Of course, the buyer had to be prepared for such a turn in the development of audio technology.

Those. explain to the buyer that the truths that seemed immutable to him are in fact incorrect, and the situation is just the opposite. In other words, the buyer must be made to believe in an impossible dream, i.e. in a fairy tale, namely in the excellent sound quality of High-End equipment, which, of course, is much better than that of Hi-Fi equipment, which is simply boring and reproduces sound correctly. And really, how can these tens of kilograms of metal, glowing with orange filaments and consuming enormous power, sound bad?

In general, adherents of High-End equipment can be divided into the following groups:

Not completely healthy and/or easily suggestible people. They have a constant desire
improve their audio equipment, supposedly striving to achieve perfection. But in the case of Hi-Fi equipment, they find themselves in a dead end - “If the parameters are already nowhere better, then what can be improved?” So they buy High-End, based on the opinions of other people who claim that yes, this device is very expensive, but it sounds the best.
Lovers of “the very, the most.” They buy only the best, and it is, naturally, the most expensive. In principle, they do not buy cheap things. They don’t want to understand that in High-End equipment the real cost of the product and the selling price differ by 10 times or more.
Connoisseurs of hand made products. Those. everything unique and unrepeatable. But there is nothing unique in mass products, so they buy High-End.

Expensive audio equipment has always existed, but only with the advent of the High-End concept
it acquired an ideological, namely ideological, and not technical justification. And the High-End ideology turned out to be able to satisfy the tastes of all three of the above groups of buyers:

group - an unlimited opportunity has opened up for them to “improve” the equipment by replacing conventional capacitors with expensive audiophile ones, conventional connectors with gold-plated ones, copper interconnect cables with silver ones, etc.
group - for them, UMZCHs are produced with an output power of 3-5 W and with a selling price of
10-100 thousand USD.
The group created a whole surge of business activity in the audio equipment manufacturing sector, leading to the emergence of hundreds of small companies producing, almost in garages, incredibly heavy products with front panels, if not of granite, then of very thick steel and with more than modest technical parameters. Only a few such products are sold per year, so the audiophile who bought it, a fan of High-End, is unlikely to encounter such a device from a similar “music lover.”

As you can see, the promoted High-End concept is nothing more than a successful marketing ploy. How is it related to the sound quality of such equipment?

Currents in the High-End concept. It seems that the above circumstances should have pushed the leading manufacturers of audio equipment and electronic components for it to support the fashionable High-End trend. They simply had to, following fashion, start producing new components with an “original” and “special musical” sound. The production of germanium transistors, on which High-End UMZCHs were assembled in the 1960s, or “very musical” DACs, first released in the early 1990s, could well be resumed.

But that did not happen. All electronic component manufacturers continue to improve
parameters of their products. At the same time, in their datasheet they recommend using both Hi-Fi and High-End equipment, only very good components. Such components are expensive, and this is one of the reasons why they are rarely used in high-end equipment.
It seems that a contradictory situation has developed - High-End adherents stand for the unique and
high sound quality, components for the production of such devices are available.

But the High-End equipment itself is often assembled from very mediocre parts, and, accordingly, sounds pretty bad. The fact is that under the general name “High-End” there are at least 4 radically different trends among audio equipment manufacturers.

Let's look at them:

They provide very good sound quality, very natural and uncolored. Such products have very good parameters (frequency band, SOI, IMD, etc.). Refinement of such products is not provided. In the name of natural sound, functional equipment is kept to a minimum. The appearance is quite strict.
The main thing here is the unique sound quality. The parameters can be very different -
from good to simply terrible from a technical point of view (for example, THD = 3...5%, or bandwidth 80 Hz...16 kHz). The sound, accordingly, can be from good to very specific, not to say very bad. Here, a lot will depend on what kind of equipment such a UMZCH works with, and the genre of music.
Everything here is the same as in group 2, but there is a beautiful and unique appearance
device, and it costs accordingly more.
Everything here is the same as in group 2, but the design of the device provides for the possibility of replacing blocks and individual parts with others of higher quality. It seems to be like a UMZCH constructor. From the point of view of equipment, devices of group 1 require the use of very good, modern parts. For groups 2 and 3, the parts can be anything, but sometimes you come across samples of such products assembled from high-quality components.
The group intends to use only audiophile elements. But there is one peculiarity here: in order for the owner to feel the difference in sound during the process of upgrading his device, such a device must initially sound “not very good”. Another option is that newly purchased blocks have a specific sound, and then the owner of such a construction set will “feel the difference.” In modern conditions, all these trends in
High-End products have the right to life because, despite all their dissimilarity, they satisfy the equally dissimilar needs of different types of consumers. But, we repeat, of course, good products belong only to the first of the groups listed above.

Awkward High-End Ideas. One of the books valued among audiophiles is Robert Harley’s “Encyclopedia of High-End Audio.” Here are some excerpts from it:

Amplifiers with the lowest distortion typically have the lowest sound quality.
The huge surface of the electrostatic loudspeaker makes it possible to more accurately reproduce the dimensions of the images of musical instruments.
The very idea of signal measurement contradicts the core values of High-End.
The audio system is forced to balance on a fine line between natural resolution and analytical sound.
Try using surge protectors, in some cases they can make a significant difference, in others they don’t, and sometimes they can lead to poor system performance.” etc. and so on.

Of course, such, to put it mildly, contradictory legends and ideas (from a technical point of view -
this is obvious nonsense) mislead technically illiterate and easily persuaded people. In the complete absence of clear canons, such artificially created confusion allows, along the way, to come up with new concepts and nuances and speculate on the eternal desire of people for the ideal. At the same time, the most ardent adherents of High-End completely reject any scientific approach to sound. For them, neither metrology, nor psychoacoustics, nor statistics exist.

They only have a large set of “concepts” that are poorly understood even by themselves and an extremely subjective feeling of “being involved in music right here and now.” Fulfilling the requests of marketers, such High-End propagandists try their best to involve the buyer in their endless games of finding “their” sound. Almost like a shaman dancing with a tambourine.

What is his “own sound”? What is this “own” sound that High-End adherents and propagandists so insistently recommend looking for? Perhaps, in fact, you can find a sound: pure, uniquely expressive, airy, detailed, clear, revealing a whole range of musical nuances. But with one caveat: this sound will suit only you. At the same time, other listeners will call him too analytical, harsh, boring and colorless. We think it’s easy to agree that this option of having “your own sound” is extremely unlikely.

But in a situation where both you and the majority of other listeners liked the sound, can we talk about its “uniqueness”? Perhaps it is simply undistorted, and that is why both you and all those who value naturalness rather than coloring liked it? Although there will always be someone who doesn’t like the sound. But there are statistics: during any blind audition, the devices with the best technical characteristics received the best ratings from listeners. But this fact is just a knife in the heart of High-End adherents.

Let us note that the overwhelming majority of audio experts, like people in general, are among those who
has normal hearing. Those. They are distinguished by their ability to distinguish and prefer a more accurate sound, close to the original, to a less accurate sound. In this regard, I would like to quote the opinion of a well-known specialist in the field of sound reproduction N. Makhamedzyanov:

“Sound engineering is a largely subjective area of creativity, and what some people like (aurally) may not like others for various reasons. For example, different preferred sound material, different listening conditions, previous musical experience, finally.”

One more point needs to be taken into account. Modern high-quality audio equipment -
This is a “ready to use” product. If there are shortcomings in his work, they will not be repeated when listening to different recordings. After all, not all audio recordings are perfect. For example,
on one of the audio tracks there is an obsessive “clicking” of high frequencies (there is such a defect). If
If you remove it by changing the settings of the audio complex, then on another, correct recording, you will feel a loss of transparency and air in its sound.

Recently, among such “correctionists” of the record, voices have often been heard advocating
"warm sound" For some unknown reason, such High-End adherents decided that the undistorted sound is “cold” and needs to be corrected by “warming it up”. It’s just not clear how and to what extent, and how they even know what should be right.

Let's summarize. If Hi-Fi equipment is designed to reproduce the original sound signal with minimal distortion, then for High-End equipment signal distortion is quite acceptable, even welcomed - the sound has become “warmer” and acquired a “unique sound.” Therefore, when choosing any audio equipment, if you prefer high-quality sound, you should always take into account the opinion of sound engineers, people who are very knowledgeable about such equipment, namely: “you need to purchase the most accurate equipment possible.”