You could check what standard the line output uses, and use that as a reference for the amplifier. So if it's say, 0.5V for a headphone output, and you want to plug that into your DIY power amplifier, you need to make sure the gain isn't clipped by the maximum voltage swing of the output stage. So, if the output can go from -10V to +10V, a gain of 20 is the limit for material that uses the full -0.5V to +0.5V input scale. You could use a higher gain, but then there's a risk of clipping if the volume is carelessly adjusted for the material being played. The rest is mostly nonsense.
Non sense really?
I would add 3 to 6db headroom on the amp side of things if you use a dac. It's doubling or 4x the initial power requirement. A waste?
Maybe this is non sense maybe it's not... depend when and by who music have been produced.
https://www.productionmusiclive.com...p-what-are-inter-sample-peaks-why-they-matter
I would add 3 to 6db headroom on the amp side of things if you use a dac. It's doubling or 4x the initial power requirement. A waste?
Maybe this is non sense maybe it's not... depend when and by who music have been produced.
https://www.productionmusiclive.com...p-what-are-inter-sample-peaks-why-they-matter
@ Cracked case,
It wasn't Master of Puppets which seen no bass ( Cliff Burton was still alive) it's 'and justice for all'. My bad.
It wasn't Master of Puppets which seen no bass ( Cliff Burton was still alive) it's 'and justice for all'. My bad.
When I was young and sometimes played reggae at levels that disturbed my neighbour, I used an oscilloscope to measure the peak signal voltage. It turned out to be about 5.6 V, equivalent to 2 W sine wave power per channel into 8 ohm. I took 10 dB of headroom and built myself a two times 20 W into 8 ohm amplifier with a clipping LED that lights up for a second when the amplifier clips for a couple of microseconds. I know the LED works as it should, I have checked that, but I never see it light up during use.
High-powered monitors in radio studios are dangerous, by the way. If for whatever reason the monitor signal isn't switched off when a microphone fader is opened, you get an oscillation at a level high enough to cause hearing damage.
High-powered monitors in radio studios are dangerous, by the way. If for whatever reason the monitor signal isn't switched off when a microphone fader is opened, you get an oscillation at a level high enough to cause hearing damage.
Exactly.
In my opinion, since the OP did not ask "what should be the characteristics of an amplifier connected to a pair of loudspeakers for good listening?", but instead asked ": why do I like amplifiers with so low power?" I think his premise ("because I like them") is so subjective that the answer should not be so technical.
Agreed.
In my opinion you may like it simply because you don't expect that they sound just as they sound and may be that the emotional aspect prevails over "what" you are listening to.
It happens to me too sometimes with a 100 bucks mini-system all-in-one: I like its sound precisely because its price is ridiculously low, and that mini-system is also very "sympathic" for me, but I know that it cannot be seriously compared to "nothing" more. 😉
Everyone goes on about the bass, but no one seem to notice that 54:47 is fitted on one record, that would usually last for a maximum of 44 minutes.
Funny, I have in my ‘rack’ a 15 W RMS kx2-Amp and right next to it an ultra low distortion (7 ppm @ 200 W RMS into 8 ohms - I can’t measure lower than 7 ppm with my analyser) and it’s the 15 W amp that I enjoy the most. So, there is something about smaller, sweeter sounding amps.
😊
😊
So far we are only 3 ones to which they like
, maybe a bit too few to make it just as a rule... 🙄When they sit-down as soon as I want to listen to a piece that I like to higher volume then I don't love them that much... 😉
Last edited:
Because they often sound VERY good.
I learned early on only 1 (SE) or 2 (PP) active devices, which is a natural limit on the power available.
The ACAmini is one of the stand-outs in my collection. The VFET isn’t bad either. Or the BIG power SIT-3 (18 w), The Class A triode EL84 is also pretty good (3.2w).
dave
I learned early on only 1 (SE) or 2 (PP) active devices, which is a natural limit on the power available.
The ACAmini is one of the stand-outs in my collection. The VFET isn’t bad either. Or the BIG power SIT-3 (18 w), The Class A triode EL84 is also pretty good (3.2w).
dave
The difference in sound may be due to higher output impedance on the tube and no-global-feedback amps.
On my speakers, a small amount of series resistance will increase the overlap between the woofer and tweeter. This may sound subjectively better.
Ed
On my speakers, a small amount of series resistance will increase the overlap between the woofer and tweeter. This may sound subjectively better.
Ed
The cd ? Why should it be 44minutes limited. Redbook specify 74mn as a limit but i think i have some which are almost 90mn.
Maybe it was cut lower in level, comon practice to increase vinyl length. Lol.
I just got a couple of 10 ohm and 22 ohm resistors to raise the output resistance on a class D amp, while mulling over some more design decisions in a custom amplifier.
One thing that's funny is that the wiring in a passive XO often has such a generous gauge...
One thing that's funny is that the wiring in a passive XO often has such a generous gauge...
Last edited:
See Electronics World incorporating Wireless World February 1996 pages 140...143 for details, https://worldradiohistory.com/UK/Wireless-World/90s/Electronics-World-1996-02-S-OCR.pdf
Could be a number of things and there is no point arguing over a preference. If someone likes euphonic coloration or listening at low levels in a quiet room or has might horns that are super efficient and like what they hear good on them. It only becomes a matter of contention when it's presented as 'better' as if the sample of one makes it a fact.
The great mistake in this thread is the supposition small, weak amps sound better than large, strong amps. This is, sorry, ridiculous.
There are countless examples of bad sounding, tiny, weak amps.
As the price of an amplifier used to rise with power, more development, testing and tuning was invested in those.
Today there are very good sounding cheap amps around. High End has become available to anyone.
Maybe some here are to young to know how bad most "affordable" amps sounded 30 years ago, compared to really good ones.
I still have and use a set of speakers I build in 1979. These speakers have seen many, many amps and clearly showed me and a lot of friends how stupid the "all amps sound the same" theory is. Very often amps that were advertised as great innovations showed how little you can trust any sales talk and audio hype.
There are countless examples of bad sounding, tiny, weak amps.
As the price of an amplifier used to rise with power, more development, testing and tuning was invested in those.
Today there are very good sounding cheap amps around. High End has become available to anyone.
Maybe some here are to young to know how bad most "affordable" amps sounded 30 years ago, compared to really good ones.
I still have and use a set of speakers I build in 1979. These speakers have seen many, many amps and clearly showed me and a lot of friends how stupid the "all amps sound the same" theory is. Very often amps that were advertised as great innovations showed how little you can trust any sales talk and audio hype.