We will assume that your car already has a radio and four speakers installed. De facto, a car “with music” in the vast majority of cases presents the following portrait: An imported radio with an output power of 4 x 20 W - 4 x 50 W (according to the inscription on the front panel).
Front acoustics - coaxial 2 - 3-way speakers with a diameter of 13 - 16 cm. Installed in the front doors or in standard places on the dashboard.
Rear acoustics - elliptical coaxial 2 - 4-way speakers ("pancakes" 6 x 9), less often - round coaxials 13 - 16 cm, embedded in the rear shelf or (less often) installed in standard places at the rear.
There are no additional devices that affect sound quality.
The nature of the sound with slight deviations (“louder - quieter”, “louder - softer”, “with strong coloring - with weak coloring”) is the same - the sound fills the entire cabin, plays louder from behind. As a rule, they listen with loudness compensation (LOUD), bass boost (D-bass) turned on, or with the high and low frequencies turned up completely. The sound turns out to be “thumping”, the bass is smeared and loose. At high volumes, the speakers wheeze, or the panels “sing along” with them, and the radio backlight winks in time with the music. Attempts to use a fader to pull the sound forward at least a little and restore the timbral balance (timbres - at zeros) lead to a significant decrease in the level of high and especially low frequencies (“pancakes” - those at the back, fade out), the sound becomes completely uninteresting, the music plays dullly from under the dashboard. The picture is sad, and most often after such attempts everything returns to normal with the comment “this is better.”
I repeatedly carried out an experiment: I transferred the owner of the audio system just described to a car with more or less normal sound (with almost the same set of components).
Two types of reaction are observed:
- “How can I do the same?”
- “But I’m used to it playing from behind” (options: “Everyone plays like that - and it’s okay”, “For the background - it’ll do”).
Those who are inclined to the second group of answers need not read further. Of course, there is no arguing about taste, but even in order to avoid a dispute about taste, you must at least have it. But for those who are capable of a “first type” reaction, I give recommendations, each of which I have personally tested, on a VAZ-2109 car. There is nothing complicated here, no large capital investments are required, and the work described can be carried out either comprehensively or in parts, in any sequence.
When installing a radio tape recorder “for free” at places of purchase or connecting it yourself, as a rule, the cigarette lighter wires are used for power, or less often, one of the circuits connected to the ignition switch. The criterion for this choice is simplicity. The result is a limitation of the radio power at load peaks. At the same time, the backlight of the radio at high volumes can wink in time with the music, the bass loses its elasticity, and the highs become blurred.
When connecting the radio “wisely”, you should use a copper wire with a core cross-section of at least 4 square meters. mm, preferably with insulation of increased mechanical strength. The constant power cable of the radio must be connected directly to the battery terminal. The wire must be equipped with a 10 - 20 A fuse at a distance of no more than 45 cm from the terminal. The negative wire can be connected to ground at a minimum distance from the radio, but reliable contact must be ensured. It helps a lot to include a buffer capacitance in the power supply circuit of the radio - an electrolytic capacitor with a nominal value of approximately 80,000 µF for an operating voltage of 25 V. You can, of course, use two capacitors of 40,000 µF or four - 20,000 each. They must be connected in parallel, observing the polarity. In the VAZ-2109 there is a secluded place on the floor behind the radio, as if specifically for capacitors. If the operation of your car involves disconnecting the mass while it is parked, then before connecting the mass, in order to avoid high currents and sparks, you need to charge the capacitors with a low current. To do this, I advise you to use a 12 V, 21 W lamp with two soldered wires. One wire must be permanently secured under the ground harness mounting nut on the inside of the left wing, and the second wire must be connected to the negative terminal before closing the ground circuit. The light will light up and the capacitors will begin charging. After a couple of seconds, the light will go out, the capacitors will be charged, and you can turn on the mass breaker.
Power wires must be made in one piece, without intermediate solders or twists, carefully laid and fixed in the passenger compartment and engine compartment. It’s better to spend an extra half hour on this than to suffer later trying to find the location of the damage. To transfer the wire from the engine compartment to the passenger compartment, the most convenient place is the hole with a rubber seal where the headlight hydraulic corrector tubes pass. When securing the wires, it is necessary to avoid contact with moving parts: hood hinges, pedals, steering shaft, etc. I would also like to note the importance of 100% reliable contact throughout the entire circuit: at the battery terminal, at the fuse, at the capacitor and at the radio terminal. The length of the wires should be minimal - without loops for growth. Looking ahead, I’ll answer a reasonable question: “why pull thick wires from the battery if the wires on the block of the radio itself are much thinner?” The fact is that the thin wires of the radio power supply are ten times shorter than the wires to the battery, and the resistance, as is known, is proportional to the length. Therefore, the proposed option for organizing the power supply of the radio, in comparison with the basic “free” one, will provide an order of magnitude smaller fluctuations in the supply voltage at power peaks.
The effect of the work done will be noticeable to the “naked ear” already when you turn on the radio for the first time. The improvement in sound will be especially striking at higher volumes. The bass will become denser ("meat" will appear), the upper frequencies against the background of heavy beats, such as a bass drum, will no longer be "smeared". “Light music” – the winking of the display and the radio backlight – will be done away with. Now the main obstacle to power remains the speaker wires.
In the “basic version,” the speakers are connected to the radio using the wires with which the same speakers are equipped. Everything, it would seem, is logical: there are plugs, and you can’t confuse plus with minus. But these wires can only be called acoustic wires to a first approximation, much like a sine wave is a straight line to a first approximation. Some acoustics manufacturers explain that the “complete” wires are intended only to test the functionality of the speakers. This is understandable, otherwise it won’t fit into the budget. So, we were convinced of the operability of the speakers using the “complete” wires. It's time to discover new speaker capabilities through speaker wires.
The most correct thing is to buy acoustic wires, if, of course, you have where and for what. Expensive speaker wires in an entry-level system are a luxury that is not justified in any way. But if you find inexpensive ones (1 - 2 USD per meter), then it’s worth it.
The second option is to make or select the wires yourself. The rule is this: the cross-section should be 2–4 times larger than the cross-section of the “complete” wire. The wire must be copper, the wire must be stranded, otherwise it’s a matter of tricky invention.
When replacing “complete” wires with more solid ones, the effect will be the appearance of previously unheard nuances in a well-known phonogram. In some cases, the effect is similar to the sensation caused by ear cleaning. This is due to the successful selection or manufacture of wires. If unsuccessful, the effect is as if they “drove through the ears.” In short, this is a delicate matter and the reserves are inexhaustible.
In the “basic version” (for the VAZ-2109 with a low panel), the main location of the front speakers is the front door. Variations are the lower front corner or the middle of the door above the armrest. The speakers are secured with self-tapping screws to the door trim. Result: The speakers are not securely attached or not securely enough. At high volumes, the speakers rock the door trim and overtones can be heard. When only the front pair is working, the driver mainly hears the sound of “his”, the left speaker, and the passenger, respectively, the right one. The sound is tied to the speakers.
As you know, the heads must be firmly fixed in any case. In the simplest version, you need to install a support ring made of plywood on the door trim. The outer diameter of the ring is the same as that of a decorative speaker grille, the inner diameter is the same as the diameter of the mounting hole, the thickness is about 20 mm. The ring must be installed on the outside of the upholstery and secured on the inside with screws through metal spacers. Spacers of different lengths (locally) can be made from steel strips 10 mm wide and 1 - 2 mm thick. This type of fastening will increase the rigidity of the door trim. The speaker is installed externally through a rubber gasket. External design - according to capabilities and discretion: from oil paint to piano varnish.
The disadvantage of the simplest method of installing speakers is their forced orientation “face to face”, on the same acoustic axis. This was the case in the “basic version”. But now the speakers no longer vibrate at high volumes, overtones disappear, and the effect of sound binding to the heads is reduced, since this effect is partly due to overtones.
A more labor-intensive way to install front speakers is to make podiums. The option for making podiums described below allows you to orient the speakers in space in the required way, and this applies to emitters with a diameter of up to 200 mm, which can be installed without interfering with the manual drive of the windows. The proof is the already mentioned system in my VAZ-2109.
The main parts of the podium are a support ring, similar to the one described above, and a “sole”. The “sole” can be of any shape, subject to simple rules: the entire plane of the “sole” should be adjacent to the flat part of the door trim, not extend beyond it and not interfere with the window lifter handle.
The “sole” is made of plywood with a thickness of 12–20 mm. Having placed it in its place on the door trim, mark a hole that coincides with the hole for the speaker in the trim. Next, you need to determine how the support ring should be positioned in relation to the “sole” to ensure the correct orientation of the speaker. The question of orientation is often proposed to be resolved experimentally. This is not an easy matter, so I recommend a ready-made solution, acceptable for 90% of cases: try to direct the axes of the speakers towards the ceiling lamp, or more precisely, the right speaker “at the head” of the driver, the left one “at the head” of the passenger. For this option, the position of the support ring relative to the “sole” will be as follows: the ring with one edge touches the “sole”, and the diametrically opposite edge is as far as possible from the “sole”. It is allowed and even encouraged for the projection of the ring onto the plane of the upholstery to protrude beyond the front part of the upholstery, that is, so that when the door is closed, the speaker “drives” into the cabin, covering the kick panel. When installing a head with a diameter greater than 165 mm, nothing will work out without this trick, believe me. In any case, with this geometry the distance to the speakers increases, in addition, they are better protected from damage.
Having chosen the correct position of the ring, it is secured with long screws or wooden spacers, the connection is strengthened with epoxy resin with the filler, and the gap is filled with polyurethane foam. It is useful to cover the inside of the podium with thin foam rubber or felt, and decorate the outside according to taste and capabilities; this is a separate topic.
When the podium is fixed to the door trim and the speaker is on the podium, this phase of work is over and the effect can be assessed. It won’t be long in coming: the sound will “disconnect” from the speakers, overtones will disappear, low frequencies will be added, and sound transparency will improve.
In the “basic version”, 6 x 9 “pancakes” are installed on the rear shelf. The rear shelf of the VAZ-2108/09 is not designed for heavy speakers. Over time, the shelf sags and cracks appear on the sides. The simplest way to strengthen a shelf is to attach a sheet of plywood 12–20 mm thick to the entire surface of the non-folding part of the shelf. Taking into account the specific directional characteristics of oval speakers (a wide pattern along the minor axis), to level out the rear sound, it is advisable to rotate them slightly on the shelf plane so that the minor axes are directed at the listener sitting on the opposite side.
Now about the sound coming from behind. Let's ask the musicians to leave the gallery and take their place on the stage as they should. This will require surgery on the rear speakers to change them from coaxial to component. The operation is simple and does not take much time. At the end of the magnet, under the branded sticker, there is a screw that holds all the “equipment” in the center of the coaxial system. The screw is carefully unscrewed, the “equipment” is removed, and, of course, the cords and wires must be unsoldered. Now you need to stick a cap on the center of the diffuser so that it looks like “real” components. An excellent blank for a cap is the spherical bottom of an aluminum beer can. You need to drink the beer, and cut off the bottom with a file, chamfering the protruding ring along the periphery of the bottom. It is necessary to act in exactly this sequence, otherwise the aluminum filings will spoil the beer, and we have a strict budget. After the operation to remove the excess and replant the necessary one, the speaker acquires a respectable appearance, and the gap of the magnetic system is protected from dust.
When assembling a rear shelf with plywood “reinforcement”, the gap between the shelf and the plywood must be filled with cotton wool or foam rubber, and the holes for standard speakers and rear belts must be sealed - this is the main source of acoustic closure. How much more expressive the low frequencies will sound after such an operation will be obvious even to the most skeptical listener.
Don’t even think about throwing away the MF/HF emitter units of the rear “pancakes” that were released after “surgery”. They are installed on brackets in the corners of the windshield pillars, connected, as before, in parallel with the rear speakers and will now work as front tweeters.
The effect of the work done will turn the sound from head to toe (only in the horizontal plane). That is, the musicians, except perhaps the bass player, will move forward. It will finally be possible to talk seriously about the sound stage, which, thanks to the midrange/high frequency drivers placed far forward, will rise and move forward. There will be plenty of high frequencies, which means there will be no desire to “add” them, introducing unnecessary distortion.
Since there are innumerable numbers of radios, speakers, combinations of materials and geometry of components, we can say with confidence that the audio system you made according to the recommendations given is unique; there is no other one exactly the same in nature. And yet, some features of the sound stage can be predicted. Before the described alterations, no features were noticeable, since the sound stage as such did not exist. Now it exists, and with it, the effect of a “black hole” often arises in its center: the sound is normally distributed on the left and right, and in the center there is a gap. This effect can be localized using a soundtrack on which a simple musical composition with a vocal part is recorded. After listening to it on a home audio system (not necessarily an expensive and complex one), you need to remember the location of the instruments and vocals. Vocals are almost always recorded centered. If, when playing in a car, the voice “goes” very far from the center, it makes sense to organize the center channel in its simplest form. I successfully used HF emitters from front coaxial speakers as central channel speakers. The operation to “separate Siamese twins” is similar to that described in recommendation No. 4, with the difference that the central caps made from beer bottoms will be too large. We need to find something else. For example, the Kinder Surprise capsules worked great for me.
The HF heads, freed from the coaxial structure, are fixed to the rear view mirror bracket. The direction of the tweeter axes is towards “their” half of the windshield. In addition to filling the hole in the center of the newly acquired soundstage, the center channel tweeters raise the soundstage noticeably above the level of the instrument panel. The disadvantage of the center channel in its simplest form must be a certain narrowing of the sound stage, but here a compromise is inevitable.
Conclusion
It took me a year and a half to convert the sound in my car from the “basic version” to the one described above. Why so many if everything is so simple? Yes, because the lion's share of time was spent on experiments, because here I only talked about what ended successfully and what I can recommend to others. But it didn’t happen right away. You now have the opportunity to move forward. Good luck!
Series, parallel and mixed speaker connection
The most important thing when connecting speakers is to make the connection so that neither speaker is overloaded. Overloading threatens to damage the speaker.
It is important to understand that the speaker can be supplied with power either less than or equal to the rated power for which it is, in fact, designed. Otherwise, sooner or later even the highest quality speaker will fail due to overload.
It is clear that before connecting the speakers you need to define them:
Rated power ( W, W);
Active resistance of the voice coil ( Ohm, Ω ).
All this, as a rule, is indicated on the magnetic system of the speaker, or on the basket.
1W means 1W, 4Ω is the resistance of the voice coil.
Speaker brand - 3GDSH-16. The first number 3 is the rated power, 3 W. Next to it is the signature - 8 Ohm, coil resistance.
Sometimes they don’t indicate it, but you can recognize it by the markings.
Midrange speaker 15GD-11-120. Rated power - 15 W, coil resistance - 8Ω.
Speaker connection. Example.
Let's start with the basics, so to speak - clear examples. Let's imagine that we have a 6-watt audio power amplifier (AMP) and 3 speakers. Two 1 W speakers (coil resistance 8 Ω each) and one 4 W speaker (8 Ω). The challenge is to connect all 3 speakers to the amplifier.
Let's look at an example first unfaithful connections of these speakers. Here is a visual drawing.
As you can see, the resistance of all three speakers is the same and equals 8 Ω. Since this is a parallel connection of speakers, the current will be divided equally between the 3 speakers. At maximum amplifier power (6 W), each speaker will receive 2 W of power. It is clear that 2 out of 3 speakers will be overloaded - those whose rated power is 1 W. It is clear that such a connection diagram no good.
If the amplifier outputted only 3 W of sound power, then such a circuit would be suitable, but a 4 W speaker would not work at full capacity - “filonil”. Although this is not always critical.
Now let's take an example of the correct connection of the same speakers. Let's use the so-called mixed connection (both serial and parallel).
Let's connect two 1-watt speakers in series. As a result, their total resistance will be 16 Ω. Now we connect a 4-watt speaker with a resistance of 8 Ω in parallel to them.
When the amplifier operates at maximum power, the current in the circuit will be divided based on the resistance. Since the resistance of a series circuit of two speakers is 2 times greater (i.e. 16 Ω), the speakers will receive only 2 watts of sound power from the amplifier (1 watt each). But a 4-watt speaker will use 4 watts of power. But it will work according to its rated power. There will be no overload with such a connection. Each speaker will operate normally.
And one more example.
We have a 4-watt audio power amplifier (UMZCH, also known as an “amp”). 4 speakers, the power of each is 1 watt, and the resistance of each is 8 Ω. A load with a resistance of 8 Ω can be connected to the amplifier output. You need to connect the speakers together so that their total resistance is 8 Ω.
How to properly connect the speakers to each other in this case?
First, let's connect all the speakers in series. What will we get as a result?
Since when connected in series, the resistance of the speakers is added, the result is a composite speaker with a resistance of 32 ohms! It is clear that such a connection scheme will not work. By the way, the same resistance (32 Ω) has the capsule of headphones - popularly called “plugs”.
If we connect such a 32 Ω compound speaker to the 8 ohm output of our amplifier, then due to the high resistance, little current will flow through the speakers. The speakers will sound very quiet. Effective matching between the amplifier and the load (speakers) will not work.
Now let's connect all the speakers in parallel - maybe this time it will work?
With a parallel connection, the total resistance is calculated using this tricky formula.
As you can see, the total resistance (R total) is 2 Ω. This is less than necessary. If we connect our speakers using this circuit to the 8 ohm output of the amplifier, then a large current will flow through the speakers due to the low resistance (2 Ω). Because of this, the amplifier may break down .
Parallel and series connection of speakers (mixed connection).
Well, if we use a mixed compound, we get this.
When the speakers are connected in series, their resistance is added up, we get 2 arms of 16 Ω each. Next, we calculate the resistance using a simplified formula, since we only have 2 arms connected in parallel.
This connection is already suitable for our amplifier. Thus, we matched the output impedance of the amplifier with the load - our composite speaker (speaker). The amplifier will deliver full power to the load without overloading.
Creators of high-fidelity car audio systems know firsthand that it is impossible to achieve an ideal sound stage in a car with traditional speaker placement. This is due to the asymmetrical seating of the listeners relative to the speaker systems. The situation can be corrected using a digital sound processor. In this case, the difference in distances to the speakers is compensated by a signal delay, individually programmable for each channel. However, in this way the correct sound stage can only be built for one listener. For others, it will be distorted even more than in the case of an unprocessed signal. But other circumstances also hinder the widespread adoption of digital processors.
If the original signal is already in digital form, additional processing is straightforward and (at least in theory) does not degrade its quality. However, in the case of an analog signal, double conversion (to digital and back) not only introduces additional distortion into the signal (already not ideal), but also significantly complicates and increases the cost of the equipment. In addition, it is often necessary to maintain at least the appearance of “equality” of listeners. Therefore, many music lovers try to do without processors. In such situations, the center channel, which came to car audio from home theater systems, can help. But in 5.1 format recordings, a separate CC signal exists initially, but in the case of two-channel stereo recordings it needs to be generated.
Ball shape...
The famous mathematician Pafnuty Lvovich Chebyshev, giving a lecture in Paris on the mathematical design of clothing, began it with the phrase: “For simplicity, let us assume that the human body has the shape of a ball.” After which the trendsetters left the hall together...
In the following reasoning, I am forced to resort to some simplifications and schematization, which will facilitate the analysis, but will not in the least hinder the extension of the result to more complex cases.
The main simplification is that we will not take into account the phase shift caused by distance and the phase relationships of the signals in the channels. Let us take into account only the direction to the signal source and its intensity. This will allow you to determine the position of the apparent signal source (ASS) using a simple vector diagram. The boundary conditions were chosen in such a way that the results are exaggerated for greater clarity.
First, let's consider the classic version with two front speakers (Figure 1a). The position of the KIZ for signals of equal intensity, taking into account the attenuation of the signal from the distant speaker, is shown in the figure. It can be seen that the central image is shifted towards the listener. Taking into account the fact that the weakening of the signal is perceived as the removal of the critical signal, the sound stage turns out to be skewed - the edge closest to the listener is compressed, and the farthest one is stretched and removed. The sometimes used switching on of one of the speakers in antiphase, contrary to popular belief, does not improve anything. The listener actually finds himself in the center of a wide, but turned to one side stage (Figure 1b).
Let's now see what the introduction of a central channel will achieve, reproducing the total signal of the right and left channels (Figure 2a). For convenience and clarity of graphical constructions, we will take the level of this signal equal to 0.5 from the original ones. It can be seen that the stage has taken on a more decent appearance, although not entirely symmetrical. However, it became narrow. Rephasing the right speaker takes the scene outside the car. Completely and inside out...(Figure 2b).
What if we rephase the Central Committee? What will change in this case? And it turns out very well - the scene becomes wide and almost symmetrical, although slightly “turned” to the side (Figure 3). Rephasing the right speaker no longer leads to terrifying consequences. In reality, the phase shift caused by the difference in distances to the speakers will lead to approximately the same results.
Let's now see how we can correct this situation. There is no need to invent anything, everything has already been invented before us. A similar situation, although in a slightly different form, was considered by the American inventor Borkin (US Patent No. 4,478,167). He proposed, along with summing the signals for the central committee, to subtract part of the right from the signal of the left channel, and part of the left from the right, in order to thus suppress the signal in the middle and expand the stereo base. Further development of the idea is reflected in US patent No. 5,113,447 May 12, 1992 (Brian J. Hatley; Richard A. Chinn, “Method and system for optimizing audio imaging in an automotive listening environment”). Hutley and Chinn proposed subtracting the CC signal itself from the left and right channels, and to improve the results they introduced adjustment of the summation coefficient. The beauty of the solution is that the phase shifts caused by the propagation delay (and the polarity of the connection) in this case have little effect on the result (Figure 4). This method of signal generation already required a special processing unit; the famous Audiocontrol processor was built on this principle.
So far we have considered “accepted for simplicity.” Now let us remember that the maximum sound information is concentrated in the frequency range from approximately 300 to 5000 Hz, the same area is responsible for the formation of the sound stage. Our brain and hearing organs are a spectrum analyzer created by nature. During analysis, the entire audible range is divided into sections, each of which uses different methods of localizing the sound source:
amplitude perception of direction operates in the range from 1700 Hz to 3500 Hz. In this range, the shielding effect of the head is felt. Localization of the sound source occurs based on the difference in the amplitudes of the signals arriving at the left and right ears;
in the range from 350 Hz to 1700 Hz, phase perception of direction operates. Localization of the sound source occurs based on the phase difference between the signals arriving at the left and right ears;
at lower frequencies, the source is localized in the direction of arrival of the sound wave; the whole body is involved in this process, not just the ears.
Since real sounds contain a lot of frequency components, all mechanisms are used simultaneously to localize the sound source, plus auditory memory (which, by the way, is why localizing a “pure tone” is very difficult). And a competent Central Committee can make this task easier.
You can generate a central channel (CC) signal in various ways. For example, sum the signal of the left and right channels at the output of the amplifiers according to the mixed mono scheme, and select the polarity of the dynamic head and the signal level on it experimentally. By introducing a trimming resistor in series with this emitter, you can obtain a control for the width and depth of the stereo image. A more convenient solution would be a separate low-power (no more than 10 W) central control amplifier. Adjusting the CD level is very useful and very convenient, since it allows you to adjust to music of different genres and to discs recorded differently (from the point of view of sound engineering).
The greatest difficulty is finding the optimal position of the central control emitter, at which it itself (the emitter) is not localized, but influences the formation of the sound stage. The frequency band reproduced by the center channel speaker also matters. In no case should it reproduce noise; in this case, it is clearly localized, and the front sound stage ceases to be such.
Our company’s specialists will quickly and efficiently connect and configure free tv channels analogue and digital terrestrial television, which are broadcast by the Russian Tele and Radio Broadcasting Network from the Ostankino TV tower.
TVs and television receivers - terrestrial television tuners (set-top boxes) are connected. Our service covers all areas of Moscow.
Terrestrial television. How to watch TV channels for free
On the territory of Moscow and the region with Ostankino, the Russian television and radio network RTRS. RF transmits 19 analog and 3 packages (30 units) digital free terrestrial TV channels. This makes it possible to receive Russian television programs without registering or paying a subscription fee. Reception is carried out on individual, located in the room, or external television antennas. The receiving antenna can be a simple wire, the length of which reaches 1-2 meters. Broadcasting is carried out using meter and UHF waves. TV channels that are broadcast can be viewed for free.
A list of suggested frequencies of free terrestrial TV channels will help you set up your TVs. If the broadcast frequency of a particular terrestrial television channel is indicated, this will speed up the setup of televisions that do not have an automatic channel sorting function. With such information, it is easier to tune TV channels on outdated TV models with incorrect operation of automatic frequency adjustment systems for the local oscillator APCG. The table has analog frequencies that are needed to watch TV channels on your TV for free. Our website allows you to download a list of free TV channels on terrestrial TV in Moscow.
List of free TV channels - terrestrial television.
| 1 | First | 49 C1 |
| 2 | Russia 1 | 215 C11 |
| 3 | TV Center | 77 C3 |
| 4 | NTV | 191 C8 |
| 5 | Russia Culture | 567 C33 |
| 6 | Match TV | 175 C6 |
| 7 | Pepper | 483 C23 |
| 8 | Moscow region | 503 C25 |
| 9 | STS | 519 C27 |
| 10 | Disney | 535 C29 |
| 11 | Home | 551 C31 |
| 12 | TNT | 583 C35 |
| 13 | Friday | 607 C38 |
| 14 | Channel 5 | 655 C44 |
| 15 | TV channel TV 3 | 671 C46 |
| 16 | Ren TV | 695 C49 |
| 17 | YU | 711 C51 |
| 18 | Star | 759 C57 |
| 19 | 2X2 | 783 C60 |
Digital terrestrial television
Free digital channels, coming from the television tower, is received by a special antenna for digital TV. To view such channels, you need to have:
- access to a common external antenna (installed on the roof of houses);
- access to an individual (external or small internal UHF antenna);
- a TV is available, as well as a standard DVB-T2 digital tuner;
- providing MPEG 4 video compression standard and Multiple PLP mode. This may be a special device connected to the TV.
Initially, digital broadcasts were carried out by the company rtrs.rf using the DVB-T system. Some regions are still using its services. Everything is heading towards the fact that this system will be replaced by a new one. digital terrestrial television broadcasting system DVB-T2. It was she who was accepted as the standard. Televisions with set-top boxes with a DVB-T tuner will not provide the opportunity to view television programs in the new terrestrial television broadcasting system.
1, 2, 3 multiplex digital terrestrial television - list 2016
We are publishing a list of free digital terrestrial TV channels received in Moscow and the Moscow Region.
| № | Essential digital television | Frequency digital channels | № | Digital terrestrial television | Frequency digital channels |
| The first multiplex of digital television in Russia RTRS-1 | |||||
| 1 | First | 546 C30 | 6 | Match TV | 546 C30 |
| 2 | Russia 1 | 546 C30 | 7 | Carousel | 546 C30 |
| 3 | TV Center | 546 C30 | 8 | Channel 5 | 546 C30 |
| 4 | NTV | 546 C30 | 9 | OTR | 546 C30 |
| 5 | Russia Culture | 546 C30 | 10 | Russia 24 | 546 C30 |
| The second multiplex of Russian digital television RTRS-2 | |||||
| 11 | Ren TV | 498 C24 | 16 | Sport plus | 498 C24 |
| 12 | Saved | 498 C24 | 17 | Star | 498 C24 |
| 13 | STS | 498 C24 | 18 | World | 498 C24 |
| 14 | Home | 498 C24 | 19 | TNT | 498 C24 |
| 15 | TV channel TV 3 | 498 C24 | 20 | Muz TV | 498 C24 |
| The third multiplex of digital television of Russia RTRS-3 | |||||
| 21 | Sports 1 | 578 C34 | 26 | Euronews, Trust | 578 C34 |
| 22 | My Planet Science 2.0 Fight Club | 578 C34 | 27 | Music of the First | 578 C34 |
| 23 | History Cartoon Russian detective Russian bestseller | 578 C34 | 28 | A Minor, Kitchen TV, Auto plus, India TVHD Life, S TV | 578 C34 |
| 24 | Country Sundress | 578 C34 | 29 | LifeNews | 578 C34 |
| 25 | Mom, 24_DOC, IQ HD Amusement Park | 578 C34 | 30 | Our football | 578 C34 |
IN first multiplex includes a set of 10 free TV channels, broadcast on the frequency of the 30th TV channel 546 MHz using the DVB-T2 digital terrestrial television system. The second multiplex includes a set of television channels received on the 24th frequency channel 498 MHz in the DVB-T2 system. Third multiplex aired in 2015. The third multiplex of digital terrestrial television is transmitted in test mode on the vacant frequency of television channel 34, which was previously broadcast in the outdated DVB-T digital television system. In the latter you will find high definition HD channels.
Digital television dvb-t2 format coverage area of the Moscow region
Digital television in the DVB-T2 format will soon cover the entire Moscow region. In March 2016 digital TV coverage area on the map includes the following digital terrestrial television transmitters:
1) Moscow, Ostankino - RTRS-1 546 MHz, broadcasting; RTRS-2 498 MHz, broadcasting.
2) Moscow Region, Volokolamsk - RTRS-1 778 MHz, broadcasts; RTRS-2 754 MHz, standby mode.
3) Moscow region, Zaraysk - RTRS-1 778 MHz, broadcasts; RTRS-2 770 MHz, standby mode.
4) Moscow Region, Shatura - RTRS-1 730 MHz, broadcasts; RTRS-2 754 MHz, broadcasting.
5) Moscow, Butovo-RTRS-1 546 MHz, under construction; RTRS-2 498 MHz, under construction.
6) Moscow Region, Istrinsky district, Davydovskoye - RTRS-1 546 MHz, under construction; RTRS-2 498 MHz, under construction.
7) Moscow Region, Ruza district, Morevo - RTRS-1 778 MHz, under construction; RTRS-2 754 MHz, under construction.
8) Moscow Region, Naro-Fominsk district, Pozhitkovo-RTRS-1 546 MHz, under construction; RTRS-2 498 MHz, under construction.
9) Moscow, Troitsky Autonomous District, Rogovo-RTRS-1 546 MHz, under construction; RTRS-2 498 MHz, under construction.
10) Moscow Region, Chekhov - RTRS-1 546 MHz, under construction; RTRS-2 770 MHz, under construction.
11) Moscow Region, Stupinsky district, Alfimovo - RTRS-1 778 MHz, under construction; RTRS-2 770 MHz, under construction.
12) Moscow Region, Voskresensky district, Bogatishchevo - RTRS-1 546 MHz, under construction; RTRS-2 770 MHz, under construction.
13) Moscow Region, Orekhovo-Zuevsky district, Likino - Dulevo-RTRS-1 730 MHz, under construction; RTRS-2 754 MHz, under construction.
14) Moscow Region, Shchelkovsky district, Petrovskoye-RTRS-1 546 MHz, under construction; RTRS-2 770 MHz, under construction.
15) Moscow Region, Sergiev Posad district, Mishutino-RTRS-1 546 MHz, under construction; RTRS-2 754 MHz, under construction.
16) Moscow Region, Dmitrovsky district, Podcherkovo - RTRS-1 546 MHz, under construction; RTRS-2 770 MHz, under construction.
17) Moscow Region, Dmitrovsky district, Novoselki - RTRS-1 546 MHz, under construction; RTRS-2 754 MHz, under construction.
18) Moscow Region, Mozhaisky district, Otyakovo - RTRS-1 778 MHz, under construction; RTRS-2 754 MHz, under construction.
19) Moscow Region, Shakhovsky district, Zhilye Gory - RTRS-1 778 MHz, under construction; RTRS-2 754 MHz, under construction.
20) Moscow Region, Stupino - RTRS-1 778 MHz, under construction; RTRS-2 770 MHz, under construction.
21) Moscow Region, Ozyory - RTRS-1 778 MHz, under construction; RTRS-2 770 MHz, under construction.
22) Moscow Region, Egoryevsky district, Kuzminki - RTRS-1 730 MHz, under construction; RTRS-2 754 MHz, under construction.
23) Moscow Region, Serpukhov - RTRS-1 546 MHz, under construction; RTRS-2 770 MHz, under construction.
24) Moscow Region, Klin - RTRS-1 778 MHz, under construction; RTRS-2 754 MHz, under construction.
How to watch DVB-T2 digital television for free?
The main task is that you need a regular decimeter antenna aimed at Moscow, and not a house antenna. This could be a regular antenna cable. If the cable does not pick up a signal, you can buy a UHF antenna - there are many different ones and the price ranges from 300 to 1000 rubles.
If your TV does not support DVB-T2, you can buy an external tuner. It connects to any TV and costs around 1000 rubles.
In order to watch both analog and digital channels, you will need a signal mixer - the video has one.
It’s good if the installer has the opportunity to use a channel-by-channel amplification circuit. However, in most cases this is considered an unaffordable luxury, and during the installation of an audio system, in nine cases out of ten there is a need to load, for example, a two-channel device with four speakers or a four-channel device with eight. Actually, there is nothing scary about this. It's just important to keep in mind a few basic ways to connect speakers. Not even several, but only two: serial and parallel. The third - series-parallel - is a derivative of the two listed. In other words, if you have more than one speaker per amplification channel and you know what loads the device can handle, then choosing one, the most acceptable circuit out of three possible ones, is not so difficult.
Daisy chaining of speakers
It is clear that when the drivers are connected in a series chain, the load resistance increases. It is also clear that as the number of links increases, it grows. Typically, the need to increase resistance arises to reduce the output performance of acoustics. In particular, when installing rear speakers or a center channel speaker, which mainly play an auxiliary role, they do not require significant power from the amplifier. In principle, you can connect as many speakers as you like in series, but their total resistance should not exceed 16 Ohms: there are few amplifiers that can handle higher loads.
Figure 1 shows how two drivers are connected in a daisy chain. The positive output connector of the amplifier channel is connected to the positive terminal of speaker A, and the negative terminal of the same driver is connected to the positive terminal of speaker B. Then the negative terminal of speaker B is connected to the negative output of the same amplification channel. The second channel is built according to the same scheme.
These are two speakers. If you need to connect, say, four loudspeakers in series, then the method is similar. The “minus” speaker B, instead of connecting to the output of the amplifier, is connected to the “plus” C. Further from the negative terminal C, a wire is thrown to the “plus” D, and from the “minus” D a connection is made to the negative output connector of the amplifier.
Calculation of the equivalent load resistance of the amplification channel, which is loaded with a chain of series-connected speakers, is carried out by simple addition according to the following formula: Zt = Za + Zb, where Zt is the equivalent load resistance, and Za and Zb are the corresponding resistance of speakers A and B. For example, we have you have four 12-inch subwoofer heads with a resistance of 4 ohms and one single stereo amplifier 2 x 100 W, which cannot tolerate low-impedance (2 ohms or less) loads. In this case, connecting woofers in series is the only possible option. Each amplification channel serves a pair of heads with a total resistance of 8 ohms, which easily fits into the above-mentioned 16-ohm framework. Whereas parallel connection of speakers (more on that later) will lead to an unacceptable (less than 2 ohms) decrease in the load resistance of both channels and, as a result, failure of the amplifier.
When more than one speaker is connected in series to the same amplification channel, the output power will inevitably be affected. Let's return to the example with two 12-inch heads connected in series and one 200-watt stereo amplifier with a minimum load impedance of 4 ohms. To find out how many watts the amplifier can deliver to the speakers under such conditions, you need to solve another simple equation: Po = Pr x (Zr/Zt), where Po is the input power, Pr is the measured power of the amplifier, Zr is the load resistance at which the measurements of the real power of the amplifier, Zt is the total resistance of the speakers loaded on a given channel. In our case it turns out: Po = 100 x (4/8). That is 50 watts. We have two speakers, so the “fifty dollar” is divided into two. As a result, each head will receive 25 watts.
Parallel connection of speakers
Here everything is exactly the opposite: with a parallel connection, the load resistance drops in proportion to the number of speakers. The output power increases accordingly. The number of loudspeakers is limited by the ability of the amplifier to operate at low loads and the power limits of the speakers themselves, connected in parallel. In most cases, amplifiers can handle loads of 2 ohms, less often 1 ohm. There are devices that can handle 0.5 ohms, but this is truly a rarity. As for modern loudspeakers, the power parameters range from tens to hundreds of watts.
Figure 2 shows how to connect a pair of drivers in parallel. The wire from the positive output connector is connected to the positive terminals of speakers A and B (the easiest way is to first connect the amplifier output to the “plus” of speaker A, and then pull the wire from it to speaker B). Using the same circuit, the negative terminal of the amplifier is connected to the “minuses” of both speakers.
Calculating the equivalent load resistance of the amplification channel when connecting speakers in parallel is somewhat more complicated. The formula is: Zt = (Za x Zb) / (Za + Zb), where Zt is the equivalent load resistance, and Za and Zb are the speaker impedance.
Now let’s imagine that the low-frequency link in the system is again assigned to a 2-channel device (2 x 100 W per 4 ohm load), but operating stably at 2 ohms. Connecting two 4-ohm subwoofer heads in parallel will significantly increase the output power, since the load resistance of the amplification channel will be halved. Using our formula we get: Zt = (4 x 4) / (4 + 4). As a result, we have 2 Ohms, which, provided the amplifier has a good current reserve, will give a 4-fold increase in power per channel: Po = 100 x (4/2). Or 200 watts per channel instead of 50 obtained by connecting speakers in series.
Series-parallel connection of speakers
Typically, this circuit is used to increase the number of speakers on board a vehicle in order to achieve an increase in the total power of the audio system while maintaining adequate load resistance. That is, you can use as many speakers as you like on one amplification channel, if their total resistance is within the limits we have already indicated from 2 to 16 Ohms.
Connecting, for example, 4 speakers using this method is done as follows. The cable from the amplifier's positive output connector is connected to the positive terminals of speakers A and C. The negative terminals of A and C are then connected to the positive terminals of speakers B and D, respectively. Finally, a cable from the negative output of the amplifier is connected to the negative terminals of speakers B and D.
To calculate the total load resistance of an amplification channel that operates with four heads connected in a combinatorial manner, the following formula is used: Zt = (Zab x Zcd) / (Zab x Zcd), where Zab is the total resistance of speakers A and B, and Zcd is the total resistance of speakers C and D (they are connected in series to each other, so the resistance is summed).
Let's take the same example with a 2-channel amplifier operating stably at 2 ohms. Only this time, two 4-ohm subwoofers connected in parallel no longer suit us, and we want to connect 4 LF heads (also 4-ohm) to one amplification channel. To do this, we need to know whether the device can withstand such a load. With a series connection, the total resistance will be 16 Ohms, which does not suit anyone. With parallel - 1 Ohm, which no longer fits into the parameters of the amplifier. What remains is the series-parallel circuit. Simple calculations show that in our case one amplification channel will be loaded with standard 4 ohms, while driving four subwoofers at once. Since 4 Ohms is a standard load for any car power amplifier, no losses or gains in power performance will occur in this case. In our case, that's 100 watts per channel, equally divided among four 4-ohm speakers.
Let's summarize. The main thing when building such schemes is not to overdo it. First of all, with regard to the minimum load of the amplifier. Most modern devices can handle 2-ohm loads quite well. However, this does not mean at all that they will work at 1 ohm. In addition, at low loads the ability of the amplifier to control the movement of the speaker cone is reduced, which most often results in “washed out” bass.
All three examples given above concerned exclusively the low-frequency section of the audio complex. On the other hand, theoretically, on one two-channel device you can build the entire speaker system in a car with mid-bass, midrange and tweeters. That is, with speakers playing in different areas of the frequency spectrum. Therefore, you will have to use passive crossovers. It is important to remember here that their elements - capacitors and inductors - must be matched with the equivalent load resistance of a given amplification channel. In addition, filters themselves introduce resistance. Moreover, the further the signal is from the passband of the filters, the greater the resistance.
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