In professional audio, a "splitter" (Distribution Amplifier) is almost invariably one beefy amplifier and 12 individual resistors.
A guide is that up-to-1/3rd of the outputs may be hard-shorted, with no strain on the amplifier. So that the remaining working lines deliver unblemished program.
Facing "600 Ohm" nominal lines, modern practice is to build-out with 60 Ohms. (This is not RF, we do not match lines.)
Assuming a dozen 60r outputs but the stands collapsed and shorted 4 of the dozen, the amplifier faces 15 Ohms. So low for line-level, but easy for loudspeaker-class amps.
Unless you have great chunks of signal coming BACK from the several loads, there is no advantage in individual amplifiers. (If you do have back-talk from the loads you feed, then this has to be specifically addressed in each buffer's design; common audio buffers do not have infinite reverse loss. If football cheer is back-fed into the Flower Hour it is gonna bleed some.)
A guide is that up-to-1/3rd of the outputs may be hard-shorted, with no strain on the amplifier. So that the remaining working lines deliver unblemished program.
Facing "600 Ohm" nominal lines, modern practice is to build-out with 60 Ohms. (This is not RF, we do not match lines.)
Assuming a dozen 60r outputs but the stands collapsed and shorted 4 of the dozen, the amplifier faces 15 Ohms. So low for line-level, but easy for loudspeaker-class amps.
Unless you have great chunks of signal coming BACK from the several loads, there is no advantage in individual amplifiers. (If you do have back-talk from the loads you feed, then this has to be specifically addressed in each buffer's design; common audio buffers do not have infinite reverse loss. If football cheer is back-fed into the Flower Hour it is gonna bleed some.)
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