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SyncMaster P2070, P2270, P2370

Exterior Design and Ergonomics

While the Touch of Color 50 series represents a compromise between beautiful design and pricing, the 70 series is going to be both more elegant and more expensive. I will try to describe the objective differences between them so that you could decide if the improvements are worth the money.

The 70 series is more rounded off and the color of the plastic has changed from dark-cherry to black. The translucent acryl coating now forms a frame surrounding the face panel.

The back panel of the monitor is ideally smooth. This smoothness is only disturbed by the depression with connectors and the hole for a lock. Alas, the 70 series does not support VESA-compatible mounts. The monitor just does not have appropriate fastenings.

The monitor is slimmer and more elegant in profile than the 50 series, but the position adjustment is still limited to changing the tilt of the screen – and in a very small range, too.

The stand again consists of two parts: an oval base and a pole. The latter is fastened to the base with one screw and its other end goes into the monitor until a click. The pole is made from translucent plastic that changes its color to blue towards the base. This looks quite pretty.

The monitor has one connector only. It is a universal DVI-I that supports both analog and digital video sources.

A DVI-D cable and a DVI → D-Sub adapter are included with the monitor. If you need to connect a monitor to an HDMI source, you have to spend a few dollars for an HDMI-DVI cable. Frankly speaking, I guess that the compatibility with analog outputs might have been abandoned and the DVI-I port might have been replaced with an HDMI connector.

You may have noticed that the 70 series monitors have an external power adapter. It is a matter of taste whether that’s good or bad. Some people don’t like to have the brick of a power adapter under their desk, but others prefer to have a thin cable instead of a stiff power cord with a large connector going to the monitor.

There is only one button you can see when the monitor is turned off. It is Power. It does not mean that, like Samsung’s SyncMaster 193P and 971P, you have to control the monitor through a software tool only.

The highlighting of the button is implemented differently than in the 50 series. In that series, the labels were shining below the buttons on a translucent acryl strip. Here, the labels are in the places of the buttons. The highlighting is white and works in two modes: it turns on automatically upon a touch or is constantly on. Its intensity can be adjusted.

Like with the 50 series, I have not a single complaint about how the buttons work. They process every touch with exquisite accuracy. The always-on highlighting mode is more appropriate here because when the highlighting is turned off, you cannot see the positions of the buttons. You have to move your finger randomly along the front panel to hit any button and thus make the highlighting shine.

The 70 series has the same onscreen menu as the 50 series except for one minor discrepancy: there are different names of the RTC modes although their number and meaning have remained the same.

Overall, I cannot say that the 70 series is absolutely superior to the 50 series externally. Each of them is going to find its customer. The 70 series is more elegant and slim but the 50 series has a more restrained, bold appearance despite the use of dark-cherry instead of black plastic in the front panel. Besides, the 50 series has VESA fasteners and can be connected to two sources of signal.

There is a chance that these two series differ in technical parameters besides exterior design. Let’s check this out right now.

 
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