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Comparison Cambridge CXA81 vs Marantz PM8006

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Cambridge CXA81
Marantz PM8006
Cambridge CXA81Marantz PM8006
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Main
Separate midrange knob on the front panel.
Device typeintegrated amplifierintegrated amplifier
Element basetransistortransistor
Toroidal transformer
Amplifier parameters
Number of channels42
Frequency range5 – 60000 Hz5 – 100000 Hz
Power per channel (8Ω)80 W70 W
Power per channel (4Ω)120 W100 W
Signal to noise ratio105 dB106 dB
Signal-to-noise ratio (Main)125 dB
Signal to noise ratio (Phono MM/MC)87 dB
Damping factor110100
Harmonic distortion0.02 %0.02 %
Channel sensitivity / impedance
Line input
370 mV
43 kOhm
200 mV
20 kOhm
Main input
 
 
1.6 V
15 kOhm
Phono MM/MC
 
 
2 mV
47 kOhm
Connectors
Inputs
 
USB B
coaxial S/P-DIF
optical
RS-232
control input (IR)
Phono
 
 
 
 
control input (IR)
To amplifier (Main)RCA/XLRRCA
RCA4 pairs5 pairs
XLR (balanced)2 шт
Trigger1 шт
Outputs
Pre-Amp
to subwoofer
 
Pre-Amp
 
control output (IR)
For acoustics4 шт4 шт
REC (to recorder)1 pairs
Trigger output1 шт
On headphones6.35 mm (Jack)
Front panel
indicators
headphone output /3.5 mm/
indicators
headphone output
Features
Adjustments
 
 
 
level adjustment
bass control
treble adjustment
balance adjustment
level adjustment
More features
By-pass/Direct
 
 
 
Bi-Wiring
external devices control
Bluetooth
By-pass/Direct
auto power off
ММ phono stage
additional speaker connect
Bi-Wiring
external devices control
 
General
Remote control
PSUinternalinternal
Power consumption750 W220 W
Standby consumption0.5 W0.2 W
Dimensions (WxDxH)430x341x115 mm440x379x128 mm
Weight8.7 kg12 kg
Color
Added to E-Catalogjanuary 2020january 2018

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 (4Ω)

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.

Signal to noise ratio

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 (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)".

Signal to noise ratio (Phono MM/MC)

signal-to-noise ratio when the amplifier is driven through the Phono input. This interface is for connecting turntables; its features are described in the “Inputs” section below, and for the meaning of any signal-to-noise ratio, see the corresponding section above.

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.

Line input

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.
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