Capacitor capacitance
The total capacitance of the capacitors installed in the power supply of the amplifier. Usually, for ordinary lovers of high-quality sound, this indicator is not practically significant: the capacitance is selected in such a way as to optimally (or at least minimally) match the characteristics of the amplifier. However, for demanding audiophiles who pay attention to the smallest details of audio system components, capacitors are also often of interest.
The fact is that they are an important part of the rectifier circuit — they smooth out current fluctuations that arise both due to the imperfection of the rectifiers themselves and due to various external factors. Knowing the total capacitance of the capacitors, one can also evaluate the efficiency of their work: the higher this indicator, the more stable the power supply will work and the lower the likelihood of sound distortion due to its fault. There are special formulas that allow you to derive the optimal capacitance of capacitors depending on the type, power and other parameters of the amplifier; they can be found in specialized sources.
Number of channels
The maximum number of channels the amplifier can handle. The choice for this parameter depends primarily on the intended format of using the device.
Most modern amplifiers have
two channels for normal stereo sound, which is enough for listening to music or radio programs. There are also models designed for multi-channel "surround" sound, but they are much less common. This is due to the fact that such sound is most often used as an accompaniment to high-quality video — and therefore a home theater receiver is usually used for processing, rather than a separate audio amplifier.
Among the top-class models, there may be
single-channel amplifiers — they provide maximum opportunities for fine-tuning the sound, but you have to purchase several such devices, one per channel. Another specific variety is amplifiers designed to add a certain number of channels to those already available; the most popular of these options is
3-channel, capable of turning an existing stereo system into a multi-channel one.
Frequency range
The range of audio frequencies that the amplifier is capable of handling. 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 look for an amplifier 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.
Power per channel (8Ω)
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.
Power per channel (6Ω)
The nominal sound power output by the amplifier per channel when a load with a dynamic resistance (impedance) of 6 ohms is connected to it. See Power per Channel (8Ω) for more information on power rating and its relationship to impedance.
Signal-to-noise ratio (Main)
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)".
Damping factor
The damping factor describes the quality of interaction between the amplifier and the speaker system connected to it.
Due to the design features, any speaker is prone to the occurrence of so-called parasitic oscillations — oscillations that continue after the main impulse from the amplifier has ceased (similar to how a string continues to vibrate after a pluck). This phenomenon has a negative effect on sound quality, and manufacturers use various means to reduce it to an absolute minimum; suppression of parasitic oscillations is called damping.
The most effective type of damping is electrical, by reducing the output impedance of the amplifier. The lower this resistance, the better the amplifier keeps the speakers from unnecessary vibrations. To evaluate this effect, they introduced the concept of “damping factor” (damping factor) — the ratio of the load resistance (impedance) to the output resistance of the amplifier. The minimum value of such a coefficient for Hi-Fi class equipment is 20; indicators at the level of 100 – 120 can be called good, and among the Hi-End segment there are numbers of the order of several thousand.
At the same time, it is worth noting that when increasing to three-digit numbers, the original meaning of this parameter is, in fact, lost, and other points appear. The most important of them from a practical point of view is that models with a high damping factor are very demanding on the quality of the connection to t...he speakers — the high resistance of cables and connectors can negate the damping properties of the amplifier itself. There are other nuances associated with this indicator (in particular, recommendations for choosing an amplifier and speakers for each other); they are described in detail in specialized sources.
Harmonic distortion
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.
Balanced XLR input
The sensitivity and dynamic impedance of the amplifier when a signal is applied to the balanced XLR 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.
