Comparison Onkyo TX-8250 vs Onkyo R-N855

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.

The nominal sound power output by the audio receiver 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 both channels of the receiver work under load; when working on one channel, the rated power may be slightly higher, but this mode cannot be called standard.

Rated power can be simply described as the highest average output signal power at which the amplifier is able to operate stably for a long time (at least an hour) without negative consequences. These are average figures, because in fact, an audio signal is, by definition, unstable, and individual jumps in its level can significantly exceed the average value. However, the key parameter is still the nominal (average) power — it is on it that the overall sound volume directly depends.

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

According to the laws of electrodynamics, with different dynamic load resistance, the output power of the amplifier will also be different. In modern speakers, values of 8, 6, 4 and 2 ohms are standard; the latter option, however, is rare, therefore, in audio receivers, the power for it, usually, is not indicated at all. As for the specific values for 8 ohms, the indicator up to 50 W is considered relatively low, 50 – 100 W is average, and with more than 100 W we can talk about high power.

The nominal sound power output by the audio receiver per channel when a load with a dynamic resistance (impedance) of 6 ohms is connected to it. It is customary to specify this parameter when the receiver is operating in two-channel mode (stereo); when using only one channel, the power may be slightly higher, but this mode cannot be called standard.

Rated power is the highest average (rms) output signal power at which the receiver is able to work for a long time without failures or malfunctions. The average power is taken because the audio signal is, by definition, unstable, and individual jumps in its level can significantly exceed the average value. However, the key parameter is still the rated (average) power. It determines two points — the overall volume of the sound and compatibility with one or another passive acoustics. The higher the power of the receiver, the louder the sound it can provide; at the same time, this power should not exceed the rated power of the speakers — otherwise, overloads and even damage to the equipment are possible.

As for the resistance, according to the laws of electrodynamics, with a different load impedance, the output power of the amplifier will also be different. In modern speakers, values of 8, 6, 4 and 2 ohms are standard; the latter option, however, is rare, therefore, in audio receivers, the power for it, usually, is not indicated at all.

The nominal sound power output by the audio receiver per channel when a load with a dynamic resistance (impedance) of 4 ohms is connected to it. It is customary to specify this parameter when the receiver is operating in two-channel mode (stereo); when using only one channel, the power may be slightly higher, but this mode cannot be called standard.

Rated power is the highest average (rms) output signal power at which the receiver is able to work for a long time without failures or malfunctions. The average power is taken because the audio signal is, by definition, unstable, and individual jumps in its level can significantly exceed the average value. However, the key parameter is still the rated (average) power. It determines two points — the overall volume of the sound and compatibility with one or another passive acoustics. The higher the power of the receiver, the louder the sound it can provide; at the same time, this power should not exceed the rated power of the speakers — otherwise, overloads and even damage to the equipment are possible.

According to the laws of electrodynamics, with a different load impedance, the output power of the amplifier will also be different. In modern speakers, values of 8, 6, 4 and 2 ohms are standard; the latter option, however, is rare, therefore, in audio receivers, the power for it, usually, is not indicated at all. As for specific power indicators at a 4-ohm load, values up to 100 W...are considered relatively small for modern receivers, more than 100 W — respectively, high.

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.

— Bass adjustment. The presence in the audio receiver of a separate bass level control, in other words, bass volume. The ratio of low and high frequencies largely determines the overall picture of the sound; the optimal options for this ratio for different cases will be different, and they depend on a number of factors — from the type of audio being played to the personal tastes of the listener. Anyway, the bass control provides an additional opportunity to fine-tune the sound of the entire system. It is often combined with a treble control (see below); in fact, this combination is the simplest version of the equalizer.

— Treble adjustment. The presence in the receiver of a separate volume control for high frequencies. The meaning of this function is completely similar to the bass control described above, only it works with a different frequency band.

— Balance adjustment. The presence in the audio receiver of the balance between the channels. This setting is used in stereo sound: by changing the position of the knob, you can increase the volume for one channel and decrease it for another. Due to this, the conditional centre of the perceived sound shifts towards the speaker that sounds louder. This feature can be very useful for correcting the sound stage — for example, if the speakers have different sensitivity, badly placed, or the signal itself is n...ot properly balanced. At the same time, the balance controller introduces additional elements into the design, which increases the likelihood of interference. And therefore, in top-class models, it may not be provided at all.

— Loudness. The presence of a loudness system in the audio receiver. This function is used to further adjust the tone of the sound when the sound volume is low. Its necessity is connected with the fact that the human ear perceives a quiet sound differently than a loud one; because of this, even high-quality sound at low volume will seem “blurry”, not clear enough. Loudness corrects this by boosting certain frequencies. Usually this mode is enabled by the user at will.

— 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.

— Lossless formats. The receiver's support for audio formats that use lossless compression. Unlike lossy compression (in the same MP3), with this compression, the sound is not cut, all its details are preserved as much as possible. Nowadays, there are several lossless formats, including FLAC and APE; the specific set of standards that the player is compatible with should be clarified separately. However, anyway, this function will be useful to those who appreciate the most complete and reliable sound.

— Formats without compression (uncompressed). Receiver support for non-compressed audio formats. Most of these standards are professional, they provide very high quality and reliability of sound, but they also take up a lot of space. Examples of uncompressed formats include DSD and DXD.

— RS-232. Also known as a COM port. Service connector to control the audio receiver, used to connect the device to a computer or specialized equipment. Such control can provide more options than using the original control panel or remote control.

— I2S support. The presence in the receiver of an input and/or output for a digital audio signal in the I2S format. This format is mainly intended for signal transmission within audio devices, but sometimes it is also used for communication between devices; the latter is implied in this case. The I2S interface does not have a standard connector; it can use ports of various types — in particular, BNC, RJ-45 (LAN) and ev...en HDMI. Anyway, the purpose of this connector is similar to the coaxial S / P-DIF (see "Inputs", "Outputs"); while the I2S standard, on the one hand, provides higher quality and noise immunity, on the other hand, it is less common and significantly affects the cost of devices.

— Multizone. Possibility of simultaneous transmission of signals from different sources to acoustic systems located in different places (zones). For example, in a large house, you can simultaneously broadcast music from the player into one room, and a radio programme into another. Another use case for Multi-Zone is entertainment centers with several rooms of different types (for example, a table tennis room, a roller skating rink and a cafe).

— Direct connection (By-pass/Direct). The ability to feed the audio signal coming to the input of the audio receiver directly to the amplification stages, bypassing all additional controls (timbre, balance, etc.). Direct connection not only minimizes distortion in the processed signal, but also ensures that the sound is as close to the original as possible, which allows demanding listeners to appreciate the skill of sound engineers. For such a connection, either a separate set of Main connectors (see "Inputs") or a conventional line interface switched to By-Pass/Direct mode by a special regulator can be used.

— Smartphone control. The ability to control the receiver from a smartphone, tablet or other gadget with a special application. In this case, the connection is usually carried out via Wi-Fi or Bluetooth, and the specific capabilities and features of such control may be different, depending on the model. However, the app is often more convenient and visual than using a control panel or even a traditional remote control; and some functions of the receiver can only be accessed via a smartphone.

— Voice assistant. The ability to control the receiver using one or another voice assistant. It is worth noting that own voice assistants in this technique are not provided, and we are talking about compatibility with external devices that have this function (for example, with a smartphone or tablet). The most popular voice assistants nowadays are Google Assistant, Apple Siri and Amazon Alexa.

— Connecting an iPod/iPhone. Extended capabilities for working with portable devices from Apple — primarily the iPhone and iPod touch, often also the iPad. The specific set of such features may be different, it should be specified separately in each case. So, in some models, an “apple” gadget can be connected using a dock or a special cable and used as a signal source, controlling playback from the remote control or receiver panel and at the same time recharging the gadget. In other devices, the connection is made via Wi-Fi or Bluetooth, while the iPhone / iPod can work not only as a signal source, but also as a remote control (see "Control from a smartphone"). Other additional features may be provided, such as synchronizing the multimedia libraries of the receiver and the Apple device.

The number of line inputs in the design of the audio receiver using the RCA interface are characteristic “tulip” connectors. This interface allows for an analogue connection to transmit only one channel of sound per connector, and audio receivers traditionally work with stereo sound. Therefore, it is customary to consider a pair of two RCA connectors (one for the left and right channels) as one output, and the calculation of the total number is carried out precisely by pairs, and not by individual sockets.

When connected to a line input, the signal goes through all the stages of processing provided in the device — for example, adjusting the balance or frequencies (see "Adjustments"). In this respect, this input differs from Main (see "Inputs"). The number of connectors determines how many signal sources can be simultaneously connected to the audio receiver. 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 through the remote control or control panel than to fiddle with reconnecting every time. As for the specific number of RCA inputs, most often it does not exceed three, however, there are exceptions.