Comparison Roksan Kandy K3 Power Amplifier vs Roksan Kandy K3 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.

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.

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.

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.

— 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.