Comparison headphone Amplifiers

— 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 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.

Frequency range supported by the output amplifier; in other words, the range that this model is capable of delivering to headphones or another analogue audio device.

Theoretically, the wider the frequency range — the richer the sound of the amplifier, the lower the likelihood that the lower or upper edge of audible frequencies will be “cut off”. However, when evaluating this parameter, several nuances should be taken into account. Firstly, the average person is able to hear frequencies from 16 to 22,000 Hz, and with age, these boundaries gradually narrow. However, headphone amplifiers often have wider operating ranges, and they are very impressive — for example, for some models, a set of frequencies from 1 Hz to 60,000 Hz, or even up to 100,000 Hz, is claimed. Such characteristics are a kind of "side effect" from the use of high-end sound processing circuits; from a practical point of view, these numbers do not make much sense, but they are an indicator of the high class of the amplifier and are often used for advertising purposes.

The second nuance is that any headphones also inevitably have their own frequency limitations — and these limitations can be more significant than in an amplifier. Therefore, when choosing, it's ok to take into account the characteristics of the headphones: for example, you should not specifically look for an amplifier with an upper frequency limit of the full 22 kHz, if in the headphones that you plan to use with it, th...is limit is only 20 kHz.

In conclusion, also note that an extensive frequency range in itself does not guarantee high sound quality — it largely depends on other factors (frequency response, distortion level, etc.).

The ratio between the overall level of the desired signal produced by the amplifier and the level of background noise resulting from the operation of electronic components.

It is impossible to completely avoid background noise, but it is possible to reduce it to the lowest possible level. The higher the signal-to-noise ratio, the clearer the sound produced by the device, the less noticeable its own interference from the amplifier. In the most modest amplifiers from this point of view, this indicator ranges from 70 to 95 dB — not an outstanding, but quite acceptable value even for Hi-Fi equipment. You can often find higher numbers — 95 – 100 dB, 100 – 110 dB and even more than 110 dB. This characteristic is of particular importance when the amplifier operates as a component of a multi-component audio system (for example, "vinyl player — phono stage — preamplifier — headphone amplifier." The fact is that in such systems the final noise of all components at the output is summed up, and for sound purity it is extremely it is desirable that these noises be minimal

Separately, it is worth emphasizing that a high signal-to-noise ratio in itself does not guarantee high sound quality in general.

The coefficient of harmonic distortion that occurs during the operation of the amplifier.

Any electronic circuits are inevitably subject to such distortions, and the quality and reliability of the sound at the output depends on their level. Accordingly, ideally, the harmonic coefficient should be as low as possible. So, as a general rule, a level of 0.09% and below (hundredths of a percent) is considered good, and a level of less than 0.01% (thousandths of a percent) is excellent. The exception is lamp devices: higher values \u200b\u200bare allowed in them (in tenths of a percent), however, this point in many cases is not a drawback, but a feature (for more details, see "Lamp").

It is also worth noting that a low harmonic coefficient is especially important when using the amplifier as part of multicomponent audio systems — for example, when listening to music from a vinyl player with an external phono stage. The fact is that in such systems the sum of distortions from all components affects the final sound — and it, again, should be as low as possible.

The presence in the amplifier of special features for connecting iPhone, iPad and other Apple gadgets.

Usually, a standard USB port (microUSB, USB-C) is used for such a connection — the same as for other portable (or even stationary) devices. However, models with this feature are additionally optimized for use with Apple products, and may also have special functions for working with such gadgets — for example, playback control via remote control on headphones connected to the amplifier. So if you are purchasing an amplifier for use with an Apple gadget, it makes sense to pay attention to models that directly declare compatibility with such gadgets.

The way to adjust the level provided in the amplifier, in other words, the way to control the volume.

Most often, a special wheel(rotary control) is responsible for such adjustment, however, there are also models with buttons. Here are the features of each option:

— Wheel. The most common type of volume control nowadays; its popularity is due primarily to two things. The first is ease of use: the control of the wheel is intuitive, and besides, such a knob can be found and turned by touch, blindly, without much difficulty (this is especially important for portable models — see "Type"). The second point is versatility: the wheel can be connected both with the simplest analogue control loop and with a digital circuit. Moreover, analogue control (considered optimal for high-end equipment) in modern headphone amplifiers is carried out only by rotary controls. The disadvantages of this option include perhaps some bulkiness compared to buttons, but even in pocket models this moment is often not critical.

— Buttons. Volume control with buttons; it can be either two separate keys or a rocker like those used in many portable gadgets. Anyway, such controls are more compact than castors. On the other hand, such control is carried out only electronically: the buttons send a signal to the control circuits, which change the volume accordingly. This format is considered less suitable for h...igh-quality audio equipment than analogue control: additional digital circuits not only complicate the design, but are also a potential source of additional noise. Therefore, push-button control can rarely be found nowadays — in certain models of portable amplifiers (see "Type"), where this solution is provided mainly to reduce the size.

Types of inputs provided in the design of the amplifier.

Modern headphone amplifiers can be equipped with audio inputs of both analogue ( mini-Jack 3.5 mm, Jack 6.35 mm, RCA, XLR) and digital formats (S / P-DIF with coaxial or optical connection), as well as USB OTG and USB type ports b. Here is a more detailed description of each of these inputs:

— Mini-Jack (3.5 mm). One of the most popular modern audio connectors. In this case, it is mainly used to connect to an analogue audio signal amplifier; this can be a line-level signal or sound from the headphone output from an external device (these nuances should be specified separately), while the connector itself most often has a classic three-pin format and is responsible for both stereo channels at once. Due to its small size, the mini-jack is very convenient for use in portable models (see "Type"). On the other hand, it is less noise-resistant than a 6.35 mm Jack of similar design, and has less extensive capabilities — in particular, it is almost never used for balanced connection. Therefore, in stationary models, this interface is much less common.
Separately, we note that other types of inputs can also be built into the 3.5 mm...type hardware port — for example, coaxial and/or optical (see below for details). However, the presence of a mini-jack is indicated only if this connector is capable of operating in a traditional analogue format.

— Jack (6.35 mm). An audio connector, in many ways similar to the mini-jack described above — in particular, it is also used mainly for connecting an analogue audio signal. The key difference is in the larger sizes. Because of this, Jack type inputs are used much less frequently, and mainly in stationary technology (see "Type"); but, on the other hand, a large diameter expands the possibilities of the connector. First, the connection is more reliable than 3.5mm jacks, with less chance of interference and accidental disconnection. Secondly, such inputs can even be used for balanced connection (although such a possibility is far from mandatory, moreover, XLR connectors are more often used for balanced connection; see below about them and about a similar connection format). Therefore, for high-quality stationary equipment, such inputs are considered more preferable than mini-jack.

— RCA. RCA is technically a type of connector that can be used for a variety of purposes. However, in this case, a very specific application is implied — in the format of a line input (for an analogue audio signal). In this format, one physical connector is responsible for one channel of sound, so this type of input usually consists of a pair of jacks — for the left and right channels. In general, linear RCA is practically not used in portable devices, but it is very popular in stationary audio equipment. It is somewhat inferior to more advanced standards (like XLR, see below) in terms of functionality and noise immunity, but this interface is often quite enough for both everyday and simple professional use.

— XLR. Initially, XLR is a connector of a characteristic round shape, with a set of contacts in the form of pins (and sockets for them) and an additional retainer on the outer ring. It can have a different number of contacts and be used in different formats. However, in headphone amplifiers, when talking about XLR inputs, they usually mean an interface for balanced connection of an analogue (line) audio signal. Such an interface usually consists of at least a pair of three-pin connectors — one for each stereo channel (a rarer option is one common six-pin connector, in fact a two-in-one version). As for the balanced connection, this is a special format that uses three wires per channel (instead of the standard two) and a special way to process the signal at the input. Due to this method, interference due to third-party interference in the connection cable is mutually canceled when it enters the amplifier; in fact, the cable itself plays the role of a noise filter. This allows you to work even with fairly long wires without compromising the purity of the sound. On the other hand, XLR connectors are quite large, and balanced format support affects the cost of the device. Therefore, in general, this interface is considered professional, it is installed in amplifiers of the appropriate level, mostly stationary (with rare exceptions).

— Coaxial S/P-DIF. A variation of the S/P-DIF interface that uses an electrical cable (as opposed to the optical cable described below). In general, the S / P-DIF format allows you to transmit several channels of sound through one connector at once, including working with multi-channel formats (although stereo is most often used in headphone amplifiers). And the electrical version of this interface is somewhat cheaper than the optical one and does not require special care when handling the cable. Its disadvantage is some susceptibility to electromagnetic interference, however, to compensate for this moment, the cable is usually made shielded.
Note that the S / P-DIF coaxial input most often uses an RCA jack as a hardware connector. However, this interface should not be confused with the analogue RCA described above: these are fundamentally different standards that are not compatible with each other. In addition, in some models (in particular, portable ones), this type of input can be physically combined with a 3.5 mm jack; in this case, one socket can work in different formats (depending on the selected settings), and a cable with a special connector (or an appropriate adapter) is required to use the coaxial interface.

— Optical S/P-DIF. A variation of the S/P-DIF interface that uses a TOSLINK fibre optic cable to transmit digital audio in stereo or multi-channel format (however, the latter is not typical for headphone amplifiers). The main advantage of such a connection over the coaxial one described above is complete insensitivity to electromagnetic interference. On the other hand, the optical cable is quite delicate, it does not tolerate strong pressure and bending.
It is worth saying that in some amplifiers — especially portable ones — the optical input can be built directly into the 3.5 mm jack, and to work with such an input, you need a cable with a plug of the appropriate design. The connector itself can work in different formats — depending on the settings and the connected cable.

— USB (OTG). Initially, USB OTG is a standard that allows you to connect various USB peripherals (such as flash drives) to portable gadgets like smartphones or tablets. However, in headphone amplifiers, this function has its own specifics, it should be specified separately in each case. So, most models with USB OTG are portable, and in them this input is used in the classic format — to receive a digital audio signal from microUSB, USB-C or another similar connector in a portable gadget (if the gadget initially provides such an opportunity). But in stationary amplifiers (see "Type"), the name "USB OTG" can denote an interface for connecting to a PC, if this interface does not use USB Type B, but another type of connector. These nuances should be clarified separately.

— USB (Type B). Interface for connecting the amplifier to the USB port of a computer and transmitting sound in digital form; in other words, a connector for using the amplifier as an external sound card. Formally, USB Type B is a strictly defined type of USB connector that has a characteristic square shape; it is this connector that is usually installed in stationary models. But in portable devices, this role can be played by ports of a different type — for example, microUSB; however, they are also referred to as USB Type B in such cases.

Anyway, the point of connecting an amplifier in the format of an external sound card is, first of all, that the built-in sound cards of modern computers usually have rather modest characteristics, and much better sound can be achieved on external equipment.