Comparison Yamaha NP-S303 vs Denon DNP-730AE

The range of audio frequencies that the audio receiver can handle. The wider this range, the more complete the overall picture of the sound, the less likely it is that too high or low frequencies will be “cut off” by the output amplifier. However, note that the range of sound audible to a person is on average from 16 Hz to 20 kHz; There are some deviations from this norm, but they are small. At the same time, modern Hi-Fi and Hi-End technology can have a much wider range — most often it is a kind of "side effect" of high-end circuits. Some manufacturers may use this property for promotional purposes, but it does not carry practical value in itself.

Note that even within the audible range it does not always make sense to chase the maximum coverage. It is worth, for example, to take into account that the actually audible sound cannot be better than the speakers are capable of giving out; therefore, for a speaker system with a lower threshold of, say, 70 Hz, there is no need to specifically look for a receiver with this figure of 16 Hz. Also, do not forget that a wide frequency range in itself does not absolutely guarantee high sound quality — it is associated with a huge number of other factors.

Signal-to-noise ratio when operating the audio receiver through the RCA line input (see below).

Any signal-to-noise ratio describes the ratio of the level of pure sound produced by the device to the level of extraneous noise that occurs during its operation. This parameter is the main indicator of the overall sound quality — and very clear, because. its measurement takes into account almost all the noise that affects the sound in normal operating conditions. A level of up to 90 dB in modern receivers can be considered acceptable, 90 – 100 dB is not bad, and for advanced audiophile-class devices, a signal-to-noise ratio of 100 dB or more is considered mandatory.

Audio file formats that the receiver is capable of working with. Among those, there may be lossy compressed (MP3, WMA, etc.), lossless compressed Lossless(FLAC, APE, etc.) and Uncompressed uncompressed formats (DSD, DXD, etc.).

In general, compression is used to reduce the volume of audio files. Lossy compression (the most common option) cuts off some of the audio frequencies (mainly those that are poorly perceived by the ear), making such files take up the least amount of space. Lossless compression preserves all original frequencies; this format is preferred by many lovers of high-quality sound, however, such files take up a lot of space, and the difference between normal compression and lossless compression becomes clearly noticeable only on high-quality equipment. Uncompressed formats, in turn, are intended primarily for professional audio work; their full reproduction requires Hi-End audio equipment, and the volumes of such materials are very large. However, these standards are quite popular among sophisticated audiophiles.

Separately, it is worth touching on the uncompressed DSD format. This standard and its direct derivatives DSF and DFF use coding using the so-called pulse density modulation. It is considered more advanced than traditional pulse-frequency modulation, and allows you to achieve more accurate sound, a higher signal-to-noise ratio...and less interference with a relatively simple element base.

A set of streaming services supported by the receiver.

Streaming (streaming) services are designed to broadcast content (in this case, mainly music) over the Internet. With such a broadcast, audio files are not saved on the receiver, but are played directly from the corresponding resource on the Internet; Nowadays, there are many such resources, varying in the range of music and access conditions. In any case, the main advantages of online streaming include a wide selection of content and almost instant access to the desired composition; Some services can also work like a radio, automatically selecting music according to the producer's preferences. Key resources include Spotify, TIDAL, Qobuz, Amazon Music.

— Airplay. A technology for transmitting multimedia data over a wireless connection ( Wi-Fi). Developed by Apple, it is intended mainly for broadcasting content from various Apple technology (primarily portable gadgets) to compatible external devices. Allows you to transfer audio files (in the audio streaming mode, see "Tuner and Playback" for details), as well as images, text data and even video. The presence of AirPlay in the audio receiver will allow you to connect Apple devices with support for this technology to it — for direct playback.

— Airplay 2. The second version of the AirPlay technology described above, released in 2018. One of the main innovations introduced in this update is multi-room support, the ability to simultaneously stream multiple separate audio signals to different compatible devices installed in different locations. Thus, for example, you can turn on the acoustics in the living room for training music from the iPhone, in the kitchen — a relaxing melody from the iPod, etc. In addition, AirPlay 2 received a number of other improvements — better buffering, the ability to stream to stereo speakers, as well as support for voice control via Siri.

— Chromecast. The original name is Google Cast. A technology for broadcasting content to external devices developed by Google. Allows you to transmit an au...dio signal from a PC or mobile device to the receiver, broadcasting is standardly carried out via Wi-Fi, while the receiver and signal source must be in the same Wi-Fi network (Chromecast media players are an exception). Chromecast technology supports two modes — the actual broadcast through special applications (available for Windows, macOS, Android and iOS) and "mirroring" content opened in the Google Chrome browser. However, the second option for audio receivers is not relevant, given the specifics of their application.

— Wi-Fi. A wireless interface originally used to build computer networks, but more recently, it also supports a direct connection between devices. It can be used in audio receivers in different formats: for network functions (streaming audio, Internet radio, DLNA, etc.), for broadcasting content via AirPlay or Chromecast (see above), and for connecting a smartphone as a remote control. An alternative option for connecting to networks is a wired LAN interface (see below), but Wi-Fi is more convenient due to the lack of wires and the ability to work through obstacles, including walls. In addition, the mentioned AirPlay and Chromecast work as standard through a wireless channel.

— LAN. Connector for wired connection to computer networks — "LAN" and/or the Internet. By itself, such a connection is less convenient than Wi-Fi (see above) due to the need to pull wires, but LAN support is somewhat cheaper, and the connection is faster and more reliable (especially when Wi-Fi channels are heavily loaded).

— Bluetooth. The technology of direct wireless communication between different devices at a distance of several metres. It can be used for a variety of purposes, but the main use of Bluetooth in audio receivers is to transmit an audio signal. At the same time, depending on the model, the sound can be transmitted both to the receiver (from a smartphone, tablet, etc.), and from the receiver to wireless speakers or Bluetooth headphones. It is believed that wireless transmission degrades sound quality, but this point is corrected in many devices using various advanced technologies such as aptX. Other uses for Bluetooth include remote control from an external gadget and file sharing between that gadget and the audio receiver's built-in memory.

— NFC chip. NFC technology is used for wireless communication over short distances (up to 10 cm). Potentially, it has many applications, but in audio receivers it is most often used as an auxiliary, to simplify the connection via Wi-Fi or Bluetooth. If there is NFC in a smartphone or other gadget, it is enough to bring it to the NFC chip of the receiver — and the devices will automatically “recognize” each other; then, depending on the settings, they will connect either automatically or after confirmation from the user. In addition, additional "chips" may be provided — for example, if music was playing on the smartphone at that moment, it will start broadcasting it to the receiver.

— DLNA. A technology used to connect various electronic devices into a single digital network with the ability to directly exchange content. Devices for which support for this standard is claimed are able to effectively interact regardless of the manufacturer. An audio receiver with DLNA is capable, for example, of playing music directly from a computer hard drive in the next room or from a smartphone in the user's hands. Connection to the Network can be carried out both wired (LAN) and wireless (Wi-Fi) way.

— USB A. The classic USB connector, familiar to most users from computers and laptops. In audio receivers, it is mainly used as an input for direct playback of music from flash drives and other drives, sometimes also for updating firmware and exchanging files between an external drive and built-in memory. Other application formats are also possible: for example, some models have a Type A output for transmitting a digital signal to an external DAC.

— USB B. This type of USB connector has an almost square shape, noticeably different from the popular USB A. The most common way to use it is to connect it to a computer as a peripheral device to control the audio receiver from a PC. However, there are other options — in particular, the use of this connector as an input for a digital audio signal.

— Card reader. A device for reading memory cards — most often various types of SD, although it's ok to clarify the specific types of compatible cards separately, as well as the possibilities for working with them. In general, this function is similar to USB Type A (see "Inputs"). Most often it is used for direct playback from memory cards, but other uses are possible — for example, copying music from a laptop to the receiver's built-in storage via a memory card.

— Internet radio. The ability to "receive" Internet radio stations using the receiver. Such transmissions are similar to conventional radio broadcasting, but are carried out not on the air, but through the World Wide Web; such broadcasting is carried out by many large radio stations, and there are also many specialized network channels. One of the key advantages of Internet radio is the lack of range restrictions, which allows you to listen to broadcasts from almost anywhere in the world and provides a wide range of choices. And for additional convenience, tools for searching and sorting Internet stations (by genres, languages, popularity, etc.) can be provided.

Outputs provided in the design of the device. Note that for receivers (see "Type") the presence of outputs for passive acoustics is mandatory by definition, and the players, on the contrary, do not have such outputs. Therefore, the presence / absence of such connectors is not separately indicated.

— Preamplifier output (Pre-Amp). A preamplifier is an electronic unit designed to amplify an audio signal to line level. Accordingly, outputs of this type are actually line outputs for outputting sound to an external power amplifier, active acoustics, etc. For players (see "Type"), these are the main analogue audio outputs, and in receivers, Pre-amp outputs can be used in including for connecting equipment that works in parallel with passive speakers, which provides additional features for expanding the audio system. Most often, this interface uses paired RCA connectors (“tulips”), one for each stereo sound channel; less often — balanced XLR, also paired, for more details see "Inputs".

— To the subwoofer. A separate output for connecting a subwoofer — a specialized speaker designed for low frequencies. Usually uses an RCA ("tulip") interface, but there may be other options. Anyway, this output receives the signal from the crossover, which "cuts" the mids and highs, leaving the bass with which the speaker works. This simplifies the connection and eliminates the need to look for external equipm...ent for the normal operation of the subwoofer — for example, the same crossover (although an external amplifier may be needed for passive "subwoofers").

— Coaxial S/P-DIF. A kind of S/PDIF digital audio interface that uses an electrical coaxial cable with RCA connectors (“tulip”) for connection. Such a cable, unlike optical, is subject to electromagnetic interference to a certain extent, but is more reliable and does not require special care in handling. And the connection bandwidth is enough to transmit multi-channel audio up to 7.1. Note that, despite the identity of the connectors, the coaxial digital interface is not compatible with analogue RCA; and even cables for S / P-DIF are recommended to use specialized ones.

— Optical. A variation of the S/PDIF digital audio interface that uses a TOSLINK fiber optic cable connection. In terms of throughput, it is completely similar to the coaxial interface, but it compares favorably with its complete insensitivity to electromagnetic interference. On the other hand, due to their design, optical cables are sensitive to sharp bends and mechanical stress — for example, accidentally stepping on such a cable can damage it.

— Balanced digital (AES/EBU). An interface used primarily in professional audio equipment. It can use different types of connectors, but is most often implemented via XLR. For more information about this connector and the principle of balanced connection, see “Inputs — XLR (balanced)”, however, these two interfaces should not be confused: AES / EBU works with a digital signal transmitted over a single cable, regardless of the number of channels.

— Composite (video). This output is usually provided in models equipped with a video input of the same standard. For composite connectors in general, see "Inputs". Here also note that the role of composite audio outputs in this case is played by the main outputs of the receiver, to which acoustics are connected — in other words, the sound accompanying the video is output directly to the standard speakers of the audio system.

— BNC. Bayonet type connector used to connect coaxial cable. Theoretically, it can be used for various purposes, but in fact it is most often used similarly to coaxial S / P-DIF (see the relevant paragraph), for digital analogue audio. BNC connectors are more reliable in connection due to the bayonet lock; there is also a version with a threaded fixation.

— Trigger. The trigger output is used to automatically turn on other audio system components connected to the receiver. When the receiver itself is turned on, a control signal is sent to this output, which “wakes up” the connected device (for example, an amplifier) and relieves you of the need to turn it on manually. Of course, to use this function, the external device must be equipped with a trigger input.

— Control output (IR). The control output allows you to use the receiver's built-in IR receiver to control other components in your audio system from the remote control, such as an amplifier in another room, out of range of the remote control. With this scheme of operation, the audio receiver actually plays the role of a remote sensor, receiving commands and transmitting them through the control output to another device. Note that the very presence of such inputs and outputs does not guarantee the compatibility of various devices, especially if they are produced by different manufacturers; Sharing details should be clarified in the official documentation.

A function designed to automatically turn off the audio receiver after a specified time. The name "sleep timer" can be interpreted in two ways. First, at the end of the countdown, the device is put into sleep mode; secondly, one of the most common ways to use this feature is to turn on relaxing music before going to bed and set a timer so that you can fall asleep calmly to the music and not be distracted by turning off the audio system. Of course, there are other ways to use the timer.

The power consumed by the audio receiver during normal operation. Note that this parameter can be indicated in different ways: for example, some manufacturers measure it when the amplifier is operating at full power, while others measure it at 80% or 50% power. In addition, the power consumption of modern receivers is usually not so high as to put a serious strain on the power supply systems. Therefore, power consumption information usually plays a supporting role.