Comparison Exposure 2010s2 Power Amplifier vs Exposure 2010s2 Integrated Amplifier

— Preamplifier. Preamplifiers are designed to initially process a weak signal and bring it to a level sufficient for transmission via a linear interface to a power amplifier (see below). Such models are able to work directly with sound pickups, microphones and other similar devices, may have additional sound correction functions, play the role of switches for connected signal sources, etc., but are not suitable for outputting sound to passive speakers or headphones.

— Power amplifier. Such models are designed to take the signal processed by the preamplifier and output it to the power sufficient to operate the connected speaker system. They can already work with passive type speakers, but they cannot do without a preamplifier for the input signal. However, it is worth noting here that most modern players are equipped with built-in preamps and can be used directly with power amplifiers.

— Integrated amplifier. Amplifiers that combine the capabilities of both of the above types in one package. The main advantage of such models is obvious: instead of two specialized devices, you can buy one universal one. This saves money, time and installation space, and reduces the chance of interference as there are no external connecting cables between the preamplifier and main amplifier and the components are usually optimally matched to each other. On the other hand, th...e integrated model provides fewer options for choosing the option for your own preferences: you have to purchase the device "as is", without the ability to separately select a preamplifier and power amplifier.

— Amplifier-processor. Professional models, typically for live use, are rack mounted and often use Euroblock jacks as Main inputs (see below). In terms of general application, processors are similar to power amplifiers, however, in addition to these features, they are also characterized by an abundance of settings that facilitate the work of sound engineers.

— Subwoofer amplifier. Specialized power amplifiers designed for low-frequency speakers — subwoofers. The design of such models usually provides for crossovers with an upper limit of the transmitted range at the level of 150 – 200 Hz; this allows only “native” frequencies to be fed to the subwoofer and has a positive effect on sound quality. In addition, many amplifiers of this type have specific settings such as phase control.

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 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)".

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.

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.

The sensitivity and dynamic impedance of the amplifier when a signal is applied to the Main 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.

The number of line inputs in the amplifier design using the RCA interface. Unlike the Main input (see above), which can work with the same connectors, when connected to a linear RCA, the signal goes through all the stages of processing provided for in the amplifier — for example, adjusting the balance or frequencies (see "Adjustments"), etc. .P.

See “Amplifier Input (Main)” for details on the connector itself. Here we note that when using RCA as a linear interface, a pair of such connectors is considered one input. This is due to the fact that only one channel can be transmitted over one coaxial cable, so a pair is needed to work with stereo sound.

The number of signal inputs (of any type) determines how many signal sources can be simultaneously connected to the amplifier. Accordingly, it is worth choosing a model according to the number of inputs, taking into account the expected number of such sources: after all, it is easier to connect them all and select them through the amplifier’s remote control or control panel than to fiddle with reconnecting every time.

— Preamplifier (Pre-Amp). The presence in the design of the device of a separate output for the signal from the preamplifier. In the type of amplifiers of the same name (see "Type"), such an output is available by definition and is the main, and sometimes the only one. On integrated models (see ibid.) , the Pre-Amp output allows you to connect an external power amplifier and use it instead of the internal one. This feature can be useful, for example, to connect a more powerful speaker instead of the original one, or to work in Bi-amping mode. It is worth noting that the Pre-Amp output can also be installed in power amplifiers, playing the role of a "splitter".

— Subwoofer. The presence in the amplifier design of a separate subwoofer output. Usually, such an output uses an RCA connector (see "Input to the amplifier (Main)"), and the function itself is implemented through a crossover, which selects the low-frequency range in the signal and redirects it to a subwoofer. The "own" output makes it much easier to connect a subwoofer : it does not require any additional equipment, the amplifier itself is enough. This usually provides for the possibility of working with any type of subwoofer — both passive and active; however, in the first case, you will need an additional external amplifier.

— Coaxial S/P-DIF. The presence in the design of the amplifier of the S / P-DIF output of an electric typ...e, with signal transmission via a coaxial cable. For more information about this interface, see the relevant paragraph in the "Inputs" section.

— Optical. The presence in the design of the amplifier output for transmitting a digital audio signal over a fiber optic cable TOSLINK. For more information about this interface, see the relevant paragraph in the "Inputs" section.

— Jack (6.35 mm). Presence of TRS type outputs in the design of the amplifier. These outputs are jacks for 6.35 mm Jack plugs and may look like the corresponding headphone jack (see below). However, this similarity is misleading: TRS produce sound on the principle of "one channel per plug" (an exception may be information amplifiers). This type of Jack connector is found mainly in high-end professional amplifiers.

— Speakon. An interface used in professional audio equipment to connect acoustics to a power amplifier. It has become widespread in high power equipment, including concert amplifiers (see "Intended Use"), due to its increased reliability and suitability even for working with very powerful audio signals. But in household appliances it is rarely used.

— Control output (IR). The control output allows the amplifier's built-in IR receiver to be used to control other components in the audio system, such as a DVD player in another room, out of range of the remote control, from the remote control. With this scheme of operation, the amplifier 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.

The number of REC outputs in the design of the amplifier. This output is a kind of line interface designed to output sound to a recording device; one of its features is a constant signal level. Since RCA connectors are usually used for connection (see “Amplifier Input (Main)”), a pair of connectors is counted as one REC output — this is the only way to ensure stereo sound transmission.