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Comparison Yamaha A-S3000 vs NAD C375BEE

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Yamaha A-S3000
NAD C375BEE
Yamaha A-S3000NAD C375BEE
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Device typeintegrated amplifierintegrated amplifier
Element basetransistortransistor
Toroidal transformer
Amplifier parameters
Number of channels22
Frequency range
20 – 20000 Hz /+/-0.5 дБ/
20 – 20000 Hz /A-weighted, right. 150 W/
Power per channel (8Ω)100 W150 W
Power per channel (4Ω)150 W
Signal to noise ratio103 dB
102 dB /A-weighted, right. 500 mV out/
Signal-to-noise ratio (Main)
123 dB /A-weighted, right. 150 W/
Signal to noise ratio (Phono MM/MC)93/85 dB77/76 dB
Damping factor250200
Harmonic distortion0.025 %
0.009 % /to enter Main/
Channel sensitivity / impedance
Balanced XLR input
200 mV
100 kOhm
 
 
Line input
200 mV
47 kOhm
158 mV
100 kOhm
Main input
1 V
47 kOhm
1.2 V
10 kOhm
Phono MM/MC
2.5/0.1 mV
47/0.05 kOhm
18/1.6 mV
47/0.1 kOhm
REC output
200 mV
1.5 kOhm
 
1 kOhm
Preout
1000 mV
1.5 kOhm
 
0.08 kOhm
Connectors
Inputs
Phono
 
 
 
control input (IR)
Phono
USB B /depending on modification/
optical /depending on modification/
RS-232
control input (IR)
To amplifier (Main)RCARCA
RCA4 pairs7 pairs
XLR (balanced)4 шт
Trigger1 шт
Outputs
Pre-Amp
control output (IR)
Pre-Amp /two pairs/
control output (IR)
For acoustics4 шт4 шт
REC (to recorder)1 pairs2 pairs
Trigger output1 шт1 шт
On headphones6.35 mm (Jack)
Front panel
 
dial indicators
 
headphone output
indicators
 
audio input jack /Aux 3.5mm/
headphone output
Features
Adjustments
bass control
treble adjustment
balance adjustment
level adjustment
bass control
treble adjustment
balance adjustment
level adjustment
More features
By-pass/Direct
auto power off
ММ phono stage
MC phono stage
additional speaker connect
Bi-Wiring
external devices control
By-pass/Direct
 
ММ phono stage /depending on modification/
MC phono stage /depending on modification/
additional speaker connect
Bi-Wiring
external devices control
General
Remote control
Chassis materialcopper
PSUinternalinternal
Power consumption350 W290 W
Standby consumption0.3 W0.5 W
Dimensions (WxDxH)435x464x180 mm435х396х150 mm
Weight24.6 kg15.3 kg
Color
Added to E-Catalogmay 2014january 2014

Power per channel (8Ω)

The nominal sound power output by the amplifier per channel when operating with a load having a dynamic resistance (impedance) of 8 ohms. In our catalog, this parameter is indicated for the mode when all channels of the amplifier work under load (see "Number of channels"); in the presence of unused channels, the rated power may be slightly higher, but this mode cannot be called standard.

Rated power can be simply described as the highest output signal power at which the amplifier is able to work stably for a long time (at least an hour) without negative consequences. These are average figures, because in fact, the audio signal is by definition unstable, and individual level jumps can significantly exceed the rated power. However, it is she who is the main basis for assessing the overall loudness of the sound.

This indicator also determines which speakers can be connected to the amplifier: their rated power should not be lower than that of the amplifier.

According to the laws of electrodynamics, with different dynamic load resistance, the output power of the amplifier will also be different. In modern speakers, the standard values \u200b\u200bare 8, 6, 4 and 2 Ohms, and power levels are indicated for them.

Power per channel (4Ω)

The nominal sound power output by the amplifier per channel when a load with a dynamic resistance (impedance) of 4 ohms is connected to it. See Power per Channel (8Ω) for more information on power rating and its relationship to impedance.

Signal to noise ratio

In itself, the signal-to-noise ratio is the ratio of the level of pure sound produced by the amplifier 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 70 – 80 dB in modern amplifiers can be considered acceptable, 80 – 90 dB is not bad, and for advanced audiophile-class devices, a signal-to-noise ratio of at least 100 dB is considered mandatory.

If the specifications do not specify for which output the signal-to-noise ratio is indicated, it usually means its value for the linear input (see "RCA (par)"). This is quite enough to evaluate the quality of the device for this parameter. However, some manufacturers indicate it for other inputs — Main, Phono; see below for more on this.

Signal-to-noise ratio (Main)

Signal-to-noise ratio when the amplifier is operating through the Main input. For more details on the value of the signal-to-noise ratio, see the relevant paragraph above, about the Main input — p. "Input to the amplifier (Main)".

Signal to noise ratio (Phono MM/MC)

signal-to-noise ratio when the amplifier is driven through the Phono input. This interface is for connecting turntables; its features are described in the “Inputs” section below, and for the meaning of any signal-to-noise ratio, see the corresponding section above.

Damping factor

The damping factor describes the quality of interaction between the amplifier and the speaker system connected to it.

Due to the design features, any speaker is prone to the occurrence of so-called parasitic oscillations — oscillations that continue after the main impulse from the amplifier has ceased (similar to how a string continues to vibrate after a pluck). This phenomenon has a negative effect on sound quality, and manufacturers use various means to reduce it to an absolute minimum; suppression of parasitic oscillations is called damping.

The most effective type of damping is electrical, by reducing the output impedance of the amplifier. The lower this resistance, the better the amplifier keeps the speakers from unnecessary vibrations. To evaluate this effect, they introduced the concept of “damping factor” (damping factor) — the ratio of the load resistance (impedance) to the output resistance of the amplifier. The minimum value of such a coefficient for Hi-Fi class equipment is 20; indicators at the level of 100 – 120 can be called good, and among the Hi-End segment there are numbers of the order of several thousand.

At the same time, it is worth noting that when increasing to three-digit numbers, the original meaning of this parameter is, in fact, lost, and other points appear. The most important of them from a practical point of view is that models with a high damping factor are very demanding on the quality of the connection to t...he speakers — the high resistance of cables and connectors can negate the damping properties of the amplifier itself. There are other nuances associated with this indicator (in particular, recommendations for choosing an amplifier and speakers for each other); they are described in detail in specialized sources.

Harmonic distortion

This indicator describes the amount of non-linear distortion introduced by the amplifier into the processed signal. Such distortions are not necessarily perceived as extraneous noise, but they degrade the quality of the sound anyway — for example, they can make it more deaf. It is almost impossible to avoid them, but it can be reduced to levels inaudible to the human ear.

As a result, the harmonic distortion factor (harmonics) is one of the main parameters describing the overall sound quality in Hi-Fi and Hi-End amplifiers. The lower it is, the clearer the sound. Hundredths of a percent are considered a good indicator for modern amplifiers, thousandths and below are excellent. The exceptions are tube and hybrid models, for which rather high harmonic coefficients are allowed; see "Element base" for more details.

Balanced XLR input

The sensitivity and dynamic impedance of the amplifier when a signal is applied to the balanced XLR input.

Under the sensitivity of any input (except optical) is meant the lowest signal voltage at this input, at which the amplifier is able to provide normal nominal power values (see "Power per channel (8Ω)"). This parameter determines, first of all, the requirements for the signal source. On the one hand, the voltage provided by this source must not be lower than the input sensitivity of the amplifier, otherwise the latter simply will not give the claimed characteristics. However, a significant excess in voltage should not be allowed, otherwise the sound will begin to be distorted. More detailed recommendations on choosing an amplifier by sensitivity are described in special sources.

For any input other than optical, it is believed that the higher this indicator, the less distortion the amplifier introduces into the signal. The minimum level of input impedance in modern models is considered to be 10 kOhm, and in high-end devices it can reach several hundred kOhm.

Line input

The sensitivity and dynamic impedance of the amplifier when a signal is applied to the RCA line input.

Under the sensitivity of any input (except optical) is meant the lowest signal voltage at this input, at which the amplifier is able to provide normal nominal power values (see "Power per channel (8Ω)"). This parameter determines, first of all, the requirements for the signal source. On the one hand, the voltage provided by this source must not be lower than the input sensitivity of the amplifier, otherwise the latter simply will not give the claimed characteristics. However, a significant excess in voltage should not be allowed, otherwise the sound will begin to be distorted. More detailed recommendations on choosing an amplifier by sensitivity are described in special sources.

For any input other than optical, it is believed that the higher this indicator, the less distortion the amplifier introduces into the signal. The minimum level of input impedance in modern models is considered to be 10 kOhm, and in high-end devices it can reach several hundred kOhm.
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