Comparison Topping L50 vs iFi Audio ZEN CAN

— Portable. Amplifiers designed to be carried all the time. They are small enough to fit in a bag or pocket and are powered by either a built-in battery or a USB port (see "Power Type"). Such devices can also be used as stationary ones, but constant use in this format is hardly justified: the functionality and power of portable amplifiers are generally quite modest, and with similar characteristics, they are noticeably more expensive than stationary counterparts.

— Stationary. Amplifiers designed to permanently stay in one place. They use power from outlets and do not have such size restrictions as portable models, which makes such devices more advanced. So, they can provide higher power than portable ones, the ability to work with professional high-impedance headphones, numerous different adjustments, high-quality signal processing circuits, multi-channel layout, etc. Of course, the specific functionality of such an amplifier may be different; however, if the headphones are not planned to be used “on the go”, and the sound quality is crucial for you, you should pay attention to this particular variety.

The number of audio channels supported by the amplifier; only specified if the number is greater than one.

Since we are talking about dedicated headphone amplifiers, the term “channel” is used in this case in a slightly different sense than is usual in audio technology. This term most often means a set of two traditional channels (left and right), which allows you to provide full stereo sound in headphones. Simply put, the number of channels is the number of stereo sound sources that can be connected to the amplifier at the same time, and the number of headphones that can simultaneously output the signal from these sources. However, in addition to this, other types of channels can be provided — for example, monophonic. However, anyway, each channel uses its own signal source, its own headphone output (or other playback device) and its own set of adjustments.

Thus, on a multi-channel amplifier, several people can simultaneously listen to different sound sources in headphones; and some models are capable of reproducing individual channels also on external acoustics. At the same time, such functionality complicates the design of the device, increases the likelihood of interference and significantly affects the cost (including due to the need to take measures to compensate for interference). Therefore, there are relatively few multi-channel models nowadays, and these are exclusively stationary solutions (see "Type"), designed mainly for professional use....r>
Also note that the number of headphone outputs can be greater than the number of channels; in such cases, several connectors are “attached” to some channels at once, usually of different types (for example, Jack and XLR), which allows the user to choose the option depending on the headphones at hand. Theoretically, the outputs of one channel can be used simultaneously, but it's ok to clarify this possibility separately.

The sampling rate of the digital-to-analogue converter (DAC) installed in the amplifier. Recall that such a converter is responsible for converting digital audio into an analogue audio signal, which is then processed by the main amplifier and fed to the headphones (or other analogue audio device).

The sound in digital form is most often recorded as follows: the original sinusoid of the analogue audio signal is divided into separate sections (samples) — “steps” of a certain length and height, and each of these steps is encoded with its own set of numbers. The sampling rate determines how many such steps there are in a certain section of the original audio signal. Accordingly, the higher this frequency, the more accurately the digital record corresponds to the original signal; on the other hand, an increase in the number of samples per unit of time increases the volume of files and increases the requirements for the hardware power of digital circuits.

Specifically, for a DAC, the native sampling rate of such a module is, in fact, the maximum sampling rate of the incoming digital signal that the converter can effectively handle. With higher input values, the sound quality will at best be limited by the capabilities of the DAC, at worst, the amplifier will not be able to work correctly at all. Anyway, higher numbers in this paragraph (ceteris paribus) mean a more advanced and high-quality converter; on the other hand, this moment significantly affects the...cost, and you can evaluate all the capabilities of a high-end DAC only on audio materials of the appropriate quality.

As for specific numbers, the lowest value that can be found in headphone amplifiers is 44 kHz. According to the laws of physics, it is this sampling frequency that is the minimum necessary for the full transmission of all human-audible sound frequencies (16 — 22,000 Hz), and it is this frequency that is used in the Audio CD format. Many models provide values in 96 kHz and 192 kHz (this is already enough to work with different types of DVD-Audio), and in the most advanced devices this figure can reach 384 kHz and even 768 kHz.

The capacity of the digital-to-analogue converter (DAC) installed in the amplifier. Recall that such a converter is responsible for converting digital audio into an analogue audio signal, which is then processed by the main amplifier and fed to the headphones (or other analogue audio device).

The sound in digital form is most often recorded as follows: the original sinusoid of the analogue audio signal is divided into separate sections (samples) — “steps” of a certain length and height, and each of these steps is encoded with its own set of numbers. In this case, the "height" (level) of each step cannot be an arbitrary value — a specific value is selected from a specific list. The bit depth determines how many options this list contains: for example, an indicator of 16 bits means a list of 2 to the power of 16, that is, 2 ^ 16 \u003d 65536 level options. Accordingly, the higher the bit depth — the closer the level of each sample will be to the level of the corresponding section of the sinusoid, the smaller the deviation from the original signal in cases where the original level falls between fixed values. Thus, a high bit depth has a positive effect on the quality and reliability of the sound; on the other hand, it significantly affects the volume of audio materials and the requirements for processing power of the equipment for their processing.

Specifically, for a DAC, the native bit depth of such a module is, in fact, the maximum bit width of the inc...oming digital signal that the converter is able to effectively handle. With higher input values, the sound quality will at best be limited by the capabilities of the DAC, at worst, the device will not be able to work correctly at all. Anyway, higher numbers in this paragraph (ceteris paribus) mean a more advanced and high-quality converter; on the other hand, this moment significantly affects the cost, and you can evaluate all the capabilities of a high-end DAC only on audio materials of the appropriate quality.

As for specific values, the standard options in modern headphone amplifiers are 16 bits, 24 bits and 32 bits. The first value is used, in particular, for the Audio CD format, the second is found in the lossless APE and ALAC formats, and 32 bits may be required to work with FLAC and certain high-end standards.

Rated headphone output(s) provided by the amplifier.

Rated is the highest average power that the device is capable of delivering for a long time without overloads; individual “jumps” of the signal may have a higher level, but this indicator is the main one. The sound volume of the headphones connected to the device directly depends on it: with the same characteristics of the “ears” (primarily sensitivity), the high output power of the amplifier allows for a higher sound pressure level.

There are special formulas and tables that allow you to calculate the minimum power level required to achieve a particular volume. For example, to achieve 95 dB (the minimum required level for listening to music in silence at a satisfactory volume), headphones with a sensitivity of 100 dB will need 0.32 mW, for 105 dB (recommended level for powerful sound like rock concerts) — 3, 16 mW, and for 120 dB (the recommended level for watching movies with special effects like thunder, explosions, etc.) — already 100 mW.

At the same time, when choosing by this parameter, note that the actual power of the amplifier at the output will depend on the impedance of the headphones. This paragraph usually indicates the highest power value — with the minimum allowable resistance; for "ears" with numerous ohms, the power will be less, sometimes quite significantly. Therefore, when choosing, it is more convenient to use not a total number, but a specific power value for a parti...cular resistance (see below). The second nuance is that for multichannel amplifiers (see "Number of channels") this parameter can be indicated in different ways: in some models, the power is given for the full channel load mode (that is, we are talking about a guaranteed maximum per channel), in others — for half load or generally for working with one channel; such details should be clarified separately.

Rated power delivered by the amplifier when connected to headphones (or other load) with an impedance of 600 ohms.

By itself, the rated power is the highest average power that the device is capable of delivering for a long time without overloading; individual "jumps" of the signal may have a higher level, but in general, the capabilities of the amplifier are determined primarily by this indicator. At the same time, the physical features of the audio equipment are such that the actual power delivered to the load will depend on the resistance of this load. Therefore, in the characteristics of headphone amplifiers, data is often given for different impedance values. Specifically, this value — 600 ohms — is typical for professional "ears", and such resistance is very solid even by the standards of such models; higher performance in headphones is extremely rare.

As for the choice of specific power figures, it depends on the sensitivity of the headphones used, as well as on the sound pressure level (in other words, loudness) that is planned to be achieved by the amplifier. There are special formulas and tables that allow you to calculate the minimum required power for a certain volume at a given sensitivity of the "ears". For example, the minimum for normal listening to music in silence is considered to be a sound pressure of at least 95 dB, and for the most complete experience — at least 105 dB; with a headphone sensitivity of 100 dB, these volume levels wi...ll require at least 0.32 mW and 3.16 mW, respectively.

Rated power delivered by the amplifier when connected to headphones (or other load) with an impedance of 300 ohms.

By itself, the rated power is the highest average power that the device is capable of delivering for a long time without overloading; individual "jumps" of the signal may have a higher level, but in general, the capabilities of the amplifier are determined primarily by this indicator. At the same time, the physical features of the audio equipment are such that the actual power delivered to the load will depend on the resistance of this load. Therefore, in the characteristics of headphone amplifiers, data is often given for different impedance values. Specifically, a resistance of 300 ohms indicates the professional level of the “ears”, but this is far from the maximum indicator for such devices.

As for the choice for specific power values, it depends on the sensitivity of the headphones used, as well as on the sound pressure level (in other words, loudness) that is planned to be achieved by the amplifier. There are special formulas and tables that allow you to calculate the minimum required power for a certain volume at a given sensitivity of the "ears". For example, the minimum for normal listening to music in silence is considered to be a sound pressure of at least 95 dB, and for the most complete experience — at least 105 dB; with a headphone sensitivity of 100 dB, these volume levels will require at least 0.32 mW and 3.16 mW, respectively.

Rated power delivered by the amplifier when connected to headphones (or other load) with an impedance of 32 ohms.

By itself, the rated power is the highest average power that the device is capable of delivering for a long time without overloading; individual "jumps" of the signal may have a higher level, but in general, the capabilities of the amplifier are determined primarily by this indicator. At the same time, the physical features of the audio equipment are such that the actual power delivered to the load will depend on the resistance of this load. Therefore, in the characteristics of headphone amplifiers, data is often given for different impedance values. A resistance of 32 ohms allows you to achieve quite good sound quality by the standards of low-impedance headphones, while it is not so high as to create problems for the built-in amplifiers of smartphones and other compact equipment. Therefore, most wired general-purpose (non-professional) headphones are made precisely in this resistance, and if the amplifier characteristics generally indicate power for a certain impedance, then most often it is for 32 ohms.

In the most modest modern amplifiers, the output power at this impedance is between 10 and 250 mW ; values of 250 – 500 mW can be called average, 500 – 100 mW are above average, and the most powerful models are capable of delivering ...f="/list/788/pr-19429 /">more than 1000 watts. The choice for specific power indicators depends on the sensitivity of the headphones used, as well as on the sound pressure level (in other words, loudness), which is planned to be achieved by the amplifier. There are special formulas and tables that allow you to calculate the minimum required power for a certain volume at a given sensitivity of the "ears". However, in the case of 32-ohm headphones, it does not always make sense to "get into the calculations." For example, the mentioned 10 mW is more than enough to drive headphones with a modest sensitivity of 96 dB to a volume of more than 105 dB — this is already enough to listen to music at quite a decent volume. And in order to achieve the same "ears" level of 120 dB, which provides a full perception of the loudest sounds (like explosions, thunder, etc.), you need to give out a power slightly higher than 251 mW. So in fact, you have to pay attention to this characteristic and resort to calculations / tables mainly in those cases when you have to use 32 Ohm headphones with a relatively low sensitivity — 95 dB or less.

Rated power delivered by the amplifier when connected to headphones (or other load) with an impedance of 16 ohms.

By itself, the rated power is the highest average power that the device is capable of delivering for a long time without overloading; individual "jumps" of the signal may have a higher level, but in general, the capabilities of the amplifier are determined primarily by this indicator. At the same time, the physical features of the audio equipment are such that the actual power delivered to the load will depend on the resistance of this load. Therefore, in the characteristics of headphone amplifiers, data is often given for different impedance values. And 16 ohms is a rather low resistance indicator even for low-resistance "ears"; such characteristics are provided mainly in general-purpose headphones designed for pocket gadgets with low-power amplifiers.

As for the choice for specific power values, it depends on the sensitivity of the headphones used, as well as on the sound pressure level (in other words, loudness) that is planned to be achieved by the amplifier. There are special formulas and tables that allow you to calculate the minimum required power for a certain volume at a given sensitivity of the "ears". At the same time, it is worth noting that at 16 ohms, even the most low-power modern “amps” are capable of delivering about 20 mW — this is enough to drive headphones with a sensitivity of 88 dB (far from the highest figure) to a vo...lume of 105 dB (the minimum value recommended for a complete listening experience). And in most amplifiers, when operated with a given impedance, they provide much more power. So paying attention to this point and going into the calculations makes sense mainly either with low sensitivity of the "ears" (less than the mentioned 88 dB), or if you want to end up with a level above 105 dB.