Comparison Tangent Ampster BT II vs Tangent Ampster BT

— 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.

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.

— Euroblock. Analogue audio input (usually line level) using a Euroblock connector. This connector, used mainly in professional audio equipment, is remarkable in that it is attached to the wire using terminals. This is extremely convenient when working with stripped wires (which is often required in professional applications): screwing such a wire to the plug once and connecting / disconnecting the plug to the Euroblock connector is much easier than constantly unscrewing / screwing the terminals. In addition, such a connection is often made balanced (see "XLR (balanced)" below). Inputs of this type are found mainly in information and information-concert amplifiers (see above).

— Phono. Dedicated input for connecting to the amplifier turntables; often has a suffix indicating the type of cartridge that is compatible, such as "Phono MM" or "Phono MM/MC" (see "Advanced — Phono Stage" for details). Despite the proliferation of digital formats, these players are still highly regarded by audiophiles for their high quality and fidelity, and are often used in premium audio systems. However, connecting a "turntable" has its own characteristics — in particular, it requires a phono stage (for more details, see ibid.) — and standard inputs are unsuitable for this purpose. Therefore, a Phono jack is a must if you want to connect your turntable directly, without an external phono stage.

— USB B. The USB interface is widely used in com...puter technology for various peripherals. The presence of a type B input means that the amplifier can be connected to a computer as an external controlled device (slave). Most often, with this connection, it is used as an external sound card or audio interface — this provides higher sound quality and more extensive options for its settings than most built-in sound cards, even expensive ones. However, the matter is not limited to this: in some models, via USB type B, you can update the firmware or change the special parameters of the amplifier.

— Coaxial S / P-DIF. Digital audio input, a variation of the S/P-DIF interface based on a conventional electrical signal (the second variation, optical, is described below). Usually uses a common RCA connector, known as a "tulip", but has rather strict cable requirements. The bandwidth of any version of S / P-DIF is quite sufficient even for high-quality multi-channel sound, and the coaxial version itself is simpler, cheaper and more reliable than the optical one, but more susceptible to interference.

— Optical. Input for transmitting digital sound using light signals, via TOSLINK fiber optic cable; one of the versions of the S/P-DIF standard. The main advantage of optical fiber over traditional electrical cables is complete insensitivity to electrical interference; at the same time, it is more expensive and requires rather careful handling (in particular, it does not tolerate sharp bends).

— Balanced digital ( AES/EBU). The AES/EBU interface is used in the professional field to transmit audio in digital format. It can use several connection types; in this case, it means transmission over the so-called balanced line using an XLR connector. Both the principle of balanced connection and the connector itself are described in detail in the “XLR (balanced)” section below — however, in the case of AES / EBU, we are talking about a digital signal, not an analogue signal.

— COM port ( RS-232). A connector used to control the amplifier from a computer. Through it, you can change the settings, incl. and quite thin, and in some models even update the firmware. Usually, for such purposes, special software is required, which can be supplied with the amplifier.

— Control input (IR). Connector for connecting an external infrared remote control receiver. When properly placed, such a receiver will allow you to use the remote control even in places where the signal from the remote control cannot reach the main (built-in) sensor — for example, in another room. For such purposes, not only sensors can be used as a separate device, but also system components that are compatible with the remote control — for example, players or tuners.

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.

— Display. The presence of a display on the front panel of the amplifier. Such displays may have a different design and size, but they are all used to display service information: operating mode, selected signal source, special notifications, overload messages, errors, etc. This provides additional ease of use.

— Indicators. In this case, it means that there are indicators on the front panel that indicate the currently used signal source. Usually they look like a row of light bulbs with the appropriate signatures — "Phono", "CD", "Tuner", "AUX", etc. Such pointers are not as versatile as the display, but they are still very convenient.

— Arrow indicators. Presence on the front panel of indicators in the form of scales with arrows. Usually, such indicators are designed to display the peak level of the output signal. They make it easy to track overloads, and many users find this option more convenient and visual than displays. In addition, the arrow scales give the amplifier a stylish appearance, and, unlike the same displays, do not have complex electronics that can distort the sound. However, this category also includes other types of indicators with scales; some of them may not use an arrow, but other indicators (for example, light ones).

— Regulators behind a hidden panel. The presence of a cover on the front panel that hides the controls of the amplifier. Many models are e...quipped with additional controls on the front panel; they can be used to adjust both the sound — volume, bass / treble, balance, etc. — and other operation parameters (for example, selecting a signal source or switching between the main and additional speakers). Sometimes these controls (as well as the front panel inputs) are provided with a cover, usually for aesthetic reasons. an abundance of small elements would give the device a sloppy appearance. The cover can also perform protective functions — for example, it reduces the amount of dust that enters the connectors.

— Input audio jack. The presence on the front panel of an input for connecting an audio signal — usually linear, in analogue format. On the one hand, such an input greatly simplifies work with signal sources that need to be connected only occasionally and for a short time — for example, MP3 players: the front panel is always in sight, while getting to the connectors on the back is sometimes very difficult. On the other hand, usually the role of the front audio jack is played by AUX IN with a 3.5 mm mini-Jack jack. This connector is not used among the main inputs, but it is quite popular in portable electronics, in particular, the players already mentioned. Some models may have a pair of RCA jacks on the front panel (see "RCA (pair)"), but this option is less common.

— Headphone output. Headphone output on the front panel of the amplifier. Headphones are portable devices, and on average you have to reconnect them significantly more often than most other components of the audio system; the output located on the front panel greatly simplifies the process.

— Direct connection ( By-pass/Direct). The ability to turn on the amplifier in By-pass / Direct mode. Its name is due to the fact that the signal is sent directly to the amplification stages, bypassing all additional controls (timbre, balance, etc.). Power amplifiers (see "Type"), by definition, use just such a scheme of operation. In integrated models, direct connection not only minimizes distortion in the processed signal, but also provides the sound closest to the original, which allows demanding listeners to appreciate the skill of sound engineers.

— Automatic power off. This function ensures that the amplifier automatically turns off if no signal is received from its input for a certain period of time. In this way, downtime is avoided — for example, if the owner left on business, forgetting to turn off the audio system. And considering that many modern amplifiers require a lot of energy even “at idle”, the savings can be quite significant. It is worth clarifying that in this case we are usually not talking about a complete shutdown, but about switching to standby mode; but the power consumption (see below) in this mode is usually so small that in fact the difference is practically not noticeable.

— MM phono stage. The presence of a phono stage in the amplifier for working with turntables equipped with MM type pickups (with a moving magnet). The phono stage itself is a mandatory attr...ibute of models with a Phono input (see "Inputs"); its necessity is due to the fact that the signal from the pickups for vinyl has specific characteristics and needs additional processing. At the same time, two types of pickups can be used in modern record players — the already mentioned MM plus MC (with a moving coil), each with its own signal characteristics. Therefore, for the normal operation of the turntable, you will anyway need a phono stage of the appropriate type. Such equipment is also available as separate devices, but it is usually easier and cheaper to buy an amplifier with a built-in phono stage.

— MS phono stage. The presence of a phono stage in the amplifier to work with turntables equipped with MC type pickups (moving coil). For more information about this function, see the subsection “MM Phono Stage” above.

— Limiter. The presence of a limiter in the amplifier — a device that limits the dynamic range of the processed signal. This device is also called an "audio signal compressor" (due to the fact that it "compresses" the dynamic range). In simpler terms, a limiter essentially reduces the difference between the quietest and loudest sound output from an amplifier. This feature can be useful in any situation where you have to deal with uneven sound volume. For example, a limiter can make it more comfortable to listen to a symphony that has large volume differences — so that the listener can access the slightest nuances of sound and at the same time, loud fragments, as they say, do not beat on the ears. And for professional concert activity, the presence of a compressor is almost mandatory — in particular, to compensate for changes in volume that occur when the distance from the microphone to the acoustic instrument or the vocalist's mouth changes. Of course, the limiter can also be made as a separate device; however, its presence in the amplifier itself is sometimes more convenient. At the same time, this function is complex and expensive, and therefore is found mainly in professional equipment and top-class consumer models.

— Connecting an additional speaker. The ability to connect an additional set of speakers (one or more) to the amplifier. Note that we are not talking about individual speakers, but about sets designed to work with full-length sound. In other words, if such an amplifier produces sound in stereo format at the main outputs (see "Number of channels"), then an additional set of acoustics will be able to work in this format. Models with this function are designed primarily for situations where you need to output sound to several rooms, and the signal can go either to all sets at once, or only to one at the user's choice. Also, an additional set of connectors can be used for Bi-Wiring (see below).

— Biwiring. Amplifiers with this feature use two separate channels of amplification for bass and treble, and are able to output each frequency band through a separate set of connectors. Due to this, it is possible to apply low-frequency and high-frequency signals via separate wires, and directly to the corresponding specialized speakers of the speaker system — instead of outputting a common signal to it and dividing it into frequencies using the built-in speaker crossover. In fact, this means that the Bi-Wiring connection reduces the likelihood of interference and improves the sound quality. However, keep in mind that this will require not only an amplifier, but also speakers that support this function. Note that Bi-Wiring is usually combined with the ability to connect an additional speaker described above.

— Management of external devices. The ability to use the amplifier as a control device for other components of the audio system — for example, preamplifier, turntable, etc. Control is usually carried out from the universal remote control supplied with the amplifier, and the control signal is transmitted through special connectors — this is much more convenient than adjusting each component separately. On the other hand, the construction of such systems is possible only from devices of the same manufacturer — different companies use different control standards, in most cases they are not compatible with each other.

— Bluetooth. A wireless communication technology with a range of about 10 m (more "long-range" versions are not used in amplifiers), originally created for direct connection between various devices. The functionality of such a connection may be different, but in this case, most often it is possible to broadcast to the sound amplifier from an external device — for example, a smartphone or laptop. However, other functions may be provided, for example, remote control from a mobile gadget through a special application.

— Emergency notification. The ability of the amplifier to work in an emergency warning system, more precisely, the availability of special functions and tools for working in such systems. Such tools may include, for example, connecting to fire detectors and automatically triggering warnings or evacuation messages to areas where the detectors have been triggered; selection of message type depending on the triggered sensor; connecting the notification microphone to the “priority input” and muting all other channels when sound is received from the microphone, etc. A specific set of features should be specified separately. Specialized security units may also be responsible for these functions, but sometimes it is more convenient to use an amplifier with built-in support for emergency notification.

The power consumed by the amplifier during normal operation. Some manufacturers may indicate average power values, some — indicators at maximum load. However, anyway, this parameter allows you to quite adequately assess the power consumption of the device and the requirements for connected power.

In addition, it can be useful if you have doubts about the accuracy of the claimed data on the output power (see "Power per channel (8Ω)"). The basic rule is that the total power rating of all channels cannot exceed the total power consumption of the amplifier. In addition, there are special formulas that allow you to derive the maximum possible rated power depending on the power supply and type of amplifier; they can be found in special sources.

Power consumption of the amplifier in standby mode.

In this mode, most amplifier components are disabled; power is supplied only to the control circuits. Their only task is to accept a command from the user at the right time and put the device into operation. The consumption of these circuits is extremely low and is unlikely to have a significant impact on electricity bills; at the same time, the exit from the standby mode is faster than turning it on from scratch, and the command can be accepted from the remote control (which is impossible in the absence of power). Therefore, most "off" amplifiers are usually in the standby mode.