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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
 
Inna, I’l have to measure the cable length more carefully once I get my built in shelves in for the turntable, CD player and amp done. I’m moving the shelves to the middle of the room to keep these cables to the shortest length possible. I was thinking a little extra cable would be good to be able to move the speaker around a little for optimizing room placement. I could probably do that with inexpensive cables first I suppose, then know exactly how much I’ll need when ordering the good stuff.

I’m not prepared to lose any money on reselling cables, so I have to make a good decision the first time out. With new, I bet I could return them. I don’t know how The Cable Company handles returns with used. You make a good point. I’ll find out their policy. I’ll probably have to listen to a few brands if possible to have a reasonable base for comparison, since my only experience with high end cables is listening to one set of Audioquest cables once. I wasn’t paying much attention to the cable during the Magico A3’s demos although I did ask. I’ll have to check my notes from the demos.

Jimmy, you’re welcome. I'm learning a lot here too.

Mike




inna
7,297 posts
 
Mike, don't assume that you will always be able to return new cables for refund, you have to ask. Some dealers might only offer credit not refund. Yes, one needs some extra speaker cables length to move speakers a little. 
skyscraper OP
831 posts
 
I'll do just that. 
ieales's avatar
ieales
1,201 posts
 
Before getting too carried away, a lot of metal science is carried out at very low temperatures and DC, neither of which apply in audio. As temperatures and frequency rise, performance tends to converge.

Back in the 80’s, we found that dielectric and geometry trumped metallurgy in an audio interconnect application. Cu, OFC and LCC all sounded pretty much the same with the same dielectric and geometry. Plain Cu with better dielectric and optimized geometry bested better metal with sub-optimal dielectric or geometry.

As Galeis points out, cables alter the phase relationship across the audio spectrum. Loudspeakers, and to a lesser extent electronics, do so as well. All interact to create a unique signature for that system alone.

The goal is to achieve a reasonable balance for the best musicality.
That can only be ascertained in situ.
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
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