2. amps-preamps
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Please tutor me on some integrated amp basics.

I’ve recently purchased Magico A3 speakers and a VPI Classic 2 SE turntable with an Ortofon Black 2M moving magnet cartridge. I have a Marantz SA 8005 CD/SACD player to play the few (maybe a hundred or so) CD’s in my possession.
I’ve mostly vinyl albums and no streaming sources. I’m next going to upgrade my old amp/preamp purchased back in the late 70’s with a new, probably integrated, one and am starting to do some research.

Here’s where I need some tutoring. A lot has changed since the seventies with the advent of digital technology. As well as I need to learn more about amplification components in the high end of audio technology. I keep running across terms I don’t understand. I’ll give you a list and if someone would be kind enough to explain these basics I’d be obliged.

For instance I was reading about the Hegel H360 integrated amp that Magico’s Alon Wolf recommended for their A3’s. The review mentioned they were a Class A/B amp, another person commented Class A’s were better, and a third person said he didn’t care for Class D amps. What do these classes signify? 

A second question is about DACs. I generally understand their purpose of the DAC, converting a digital to an analog signal. However my only digital device, the Marantz SA 8005 already has a DAC, ostensibly of good quality. The turntable ’s Ortofon cartridge would not need to play through a DAC, I presume. Would I bypass the CD’s players DAC if I purchase the higher quality Hegel H360 integrated amp?. Or could I find an equivalent integrated amp without an integral DAC?

On the other side of the equation I understand the turntable’s cartridge cannot play through the Hegel without first going through a phono stage. My old Phase Linear 4000 preamp you just plugged the turntables RCA cables into the back of the preamp and you were done. What’s that about? Do they make equivalent integrated amps to the Hegel H360 with integrated phono stages already in place, so I can just plug my turntable in as I’ve been able to do before. The amps don’t seem to be well integrated at all if you have to add a pricey phono stage to make them work, and end up having an extra DAC. That’s just me whining.

Third question is what are monoblocks, how are they used, and what are their advantages to a system? They were used at one of my speaker auditions.

I figured out the answer to what amplifier damping was myself, so I’m sparing you that one, but what does the term impedance mean? I keep coming across that.

Thank goodness I don’t have to figure out the cabling nightmare yet. Thanks for any help.

Mike
skyscraper
skyscraper OP
831 posts
 
Ieales, I’ll try and find some time today to read and study the Galen articles you provided links too. I’ve been busy on another non-audio project that’s taken up enough time to not be able to get that done.

What do OFC and LCC stand for? I did remember Cu stands for copper. I wish I was an electrical engineer to understand what dielectric and optimized geometry means, but alas am only a mere mortal. I do get the drift of what you’re saying though. I’ve got to listen to each cables performance "in situ" at home with my own system and listening environment to judge its musicality. Is that close?

On my other non-audio project, with help on another forum I did manage to track down the proper electrical overload protection "heater" element for a vintage magnetic starter I’d acquired to service a 19 amp, 230 volt motor on a 1959 industrial Delta 22-101 planer. That should certainly impress any right thinking electrical engineer. I was jubilant when I finally figured it out and sourced one on Ebay. Galen, here I come. Audio and electrical engineers, look out.

Mike
ieales's avatar
ieales
1,201 posts
 
OFC - Oxygen Free Copper
LCC - Linear Crystal Copper

I’ve got to listen to each cables performance "in situ" at home with my own system and listening environment to judge its musicality. Is that close?
Spot on.

Additionally, if auditioning over several sessions, use the same material, in the same order at noted level for each selection. Ensure that the system is in the same state. Replug ALL connectors. Choose a CD that is generally representative, power the system and play it whilst out of the room. Don't audition when overly tired, aggravated, etc. The task should be approached as a pleasure not a chore.

If doing multiple evals and something sounds out in left field, immediately set it aside and revisit. It's often a good idea in long sessions to take breaks, and reset the reference with a listen to the current standard.

Whilst this might seem a bit onerous, unless you've done it extensively and are well adept at mental cataloging, it's too easy to get fooled.

Be wary of 'seductive sirens' that become tiresome.

The music should hook you, NOT the sound!
inna
7,296 posts
 
All this might not be necessary when comparing cables, or anything else for that matter. If the cables are fully burned in I usually need a minute at most to hear everything there is to hear. Very familiar and reasonably well-recorded material, of course. If you need a lot of time to compare - stop comparing and choose the least expensive cable.
I have six recordings, four analog and two digital, that I use. One minute each with each cable. Simple enough.
skyscraper OP
831 posts
 
Ieales, thanks for the definitions, I couldn't come up with the LCC on Google on my own.

I'll try to do auditions when I'm not overly tired or aggravated. although those two conditions are usually  present only when I'm sound asleep. You've certainly got this down to science and Ill heed your warnings to not get fooled by overly bright cables like the Nordosts might be. Thanks for the advice.

Mike




inna
7,296 posts
 
Mike, when a product is clearly superior you will hear it right away. Then it will be worth paying for if you can.
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