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Why do you need a very powerful amp?

I think we can ignore the internal contradiction of the sine wave here. If an amp is 'rated' at 100W then that is for the average power of a sine wave. If it peaks at 130W then that is on the same basis, and we can work back to the peak voltage available for a short time.

For the sake of clarity: A 100W rms sinewave has peaks of 200W. So your '130' may confuse people here.

This means we need to take the 3dB into account to avoid people thinking they need absurdly high peak capability.

The actual behaviour of the amp depends on the design in a far more complex way. For example, if the rails 'sag' under continuous loading with test sinewaves, the peak capability could then be way above what the sinewave test values seem to imply.

So, no, comparing the behaviour with real music with that under "continunuous sinewave both channels driven" can be a matter of comparing chalk and cheese. The ratio may be very different to 3dB.

That's one of the reasons I always hated regulated PSUs in power amps. They may be 'convenient' but they have an impact on the peak performance. Look good for sinewave tests - at the expense of music.
 
Leaving the technical discussion to one side for a second, different types of music can demand massively different amounts of power, as this video from the Harbeth User Group website shows. Admittedly it's an extreme scenario, but an eye-opener nonetheless (or at least I thought so). Anyway, if you do play synthesized music with lots of deep bass very loud in a huge room, then you may need masses of power.
 
For the sake of clarity: A 100W rms sinewave has peaks of 200W. So your '130' may confuse people here.

This means we need to take the 3dB into account to avoid people thinking they need absurdly high peak capability.

The actual behaviour of the amp depends on the design in a far more complex way. For example, if the rails 'sag' under continuous loading with test sinewaves, the peak capability could then be way above what the sinewave test values seem to imply.

So, no, comparing the behaviour with real music with that under "continunuous sinewave both channels driven" can be a matter of comparing chalk and cheese. The ratio may be very different to 3dB.

That's one of the reasons I always hated regulated PSUs in power amps. They may be 'convenient' but they have an impact on the peak performance. Look good for sinewave tests - at the expense of music.

I must disagree with that... By your reckoning the cheaper and nastier the power supply the better the amplifier as it's likely to have a big difference between peak one channel driven power and RMS both channels driven power.
The heftier the mains transformer, thicker the wiring etc the closer it gets to a regulated supply!

A smaller than ideal mains transformer with a HUGE amount of reservoir capacitance can work well though....
 
This is one of the most repeated fallacies in audio!!! The position of the volume control has nothing to do with output Watts... You may run out of power at "number 3" or be at "number 10" and there's still loads to go... it all depends on the output level of the source and the sensitivity of the amp.
The output level of the source is 2.0V. All my sources go via a DSPeaker Anti-Mode 2, which has a maximum analogue output via RCA of 7.2V; mine is set to -11dB, which according to the calculator at www.sengpielaudio.com means that its maximum output is 2.0V.

The input sensitivity of a Supernait 2 is quoted by Naim as being 130mV, "suitable for 2V sources".

Both these factors are therefore known, as is the sensitivity of the speakers. What is not known, at least to me, is the law of the amplifier's volume control.
 
Leaving the technical discussion to one side for a second, different types of music can demand massively different amounts of power, as this video from the Harbeth User Group website shows. Admittedly it's an extreme scenario, but an eye-opener nonetheless (or at least I thought so). Anyway, if you do play synthesized music with lots of deep bass very loud in a huge room, then you may need masses of power.
Interesting video, but would have been helpful if they'd indicated what SPLs were being produced for each piece of music, both at 1m distance from the speakers and from the listening seat, to provide more context. I believe the M40.1's are 85dB/1w/1m, so in theory a peak of 750w would produce around 113.5dB from one speaker channel at 1m (correct me if my maths is wrong?!).

The video also leaves me wondering whether contemporary loudspeakers manufacturers' maximum power handling specifications are rated on the conservative side, given that the M40.1's happily coped with what appeared to be peaks of over 750wpc. I'm wondering what becomes the limiting factor / weakest link in all of this, the amount of power the voice coils can sustain before melting, or the maximum power rating of the inductors, caps and resistors used in the crossovers?

Also, the discussion in the video seemed to imply that listeners' amplifiers could be compressing (which I assume means clipping) the output without the owners being aware. While I appreciate this could be the case with valve amps that typically distort in a soft manner by 'squashing' waveform peaks, isn't the 'flat top' clipping typically exhibited by solid state amplification much more obvious to the ear when it occurs?
 
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Much better to have a 50W(RMS) amp with a sodding great power supply that can provide a nice dollop of amperage for transients and to drive loud but without distortion than a 100W(RMS) amp with a weedy power supply that can’t cope with sudden, quick loads.
 
The output level of the source is 2.0V. All my sources go via a DSPeaker Anti-Mode 2, which has a maximum analogue output via RCA of 7.2V; mine is set to -11dB, which according to the calculator at www.sengpielaudio.com means that its maximum output is 2.0V.

The input sensitivity of a Supernait 2 is quoted by Naim as being 130mV, "suitable for 2V sources".

Both these factors are therefore known, as is the sensitivity of the speakers. What is not known, at least to me, is the law of the amplifier's volume control.

This implies 130mV is the minimum required to drive it to full output but that it will not clip any pre amp stage before the vol control with 2V... then there is hugely variable playback level between recordings.... so no.
 
This implies 130mV is the minimum required to drive it to full output but that it will not clip any pre amp stage before the vol control with 2V... then there is hugely variable playback level between recordings.... so no.
Indeed. Depending on to what I am listening I need between -22dB and -2dB approx attenuation for a similar sound output level from my DAC. I should point out that the DAC has been set to give 0.53V output for 0dB input else with my amps I'd have the speakers on fire.

One thing that I haven't seen mentioned above is the phase angle response of speakers. This is important because under certain conditions a (say) 50W amp will deliver less into the speakers and use the rest to cook the output devices. This is another reason why a beefy amp performs better. Its not the power per say nor to go louder but the ability to handle difficult loads under any condition. What struck me about my amps was the dynamics and timbre of the instruments that made the performance sound real. Also using an spl meter these more powerful amps sounded louder but the measured average spl was lower. I guess that this is due to the ability to cleanly handle the dynamics of instrumental waveforms (when present) over the whole audio frequency spectrum.

Cheers,

DV
 
But isn't an amp working on full power all the time anyway?

A volume control is just an attenuator.

Turning the volume up is releasing the choke on the amp's power.

An amp has no way to know if music is louder of softer.

i always thought of conceptualizing what amplifiers 'do' as kind of 'modulating' mains current ... volume control or not
 
Am I the only one here who thinks OP should stop listening to other people and start using his ears? :)
 
... so no.
I understand all the other stuff, but not this bit.

It seems to me that it is the law of the volume control which determines whether the amplifier will be told to produce something close to its maximum output at (for example) 70% or 99% of the maximum available setting.
 
I understand all the other stuff, but not this bit.

It seems to me that it is the law of the volume control which determines whether the amplifier will be told to produce something close to its maximum output at (for example) 70% or 99% of the maximum available setting.

Only on a sinewave input of level calibrated to just hit say 1% clipping at 100% of vol control rotation.. re-read what myself and Darth Vader said earlier:)
 
Interesting video, but would have been helpful if they'd indicated what SPLs were being produced for each piece of music, both at 1m distance from the speakers and from the listening seat, to provide more context. I believe the M40.1's are 85dB/1w/1m, so in theory a peak of 750w would produce around 113.5dB from one speaker channel at 1m (correct me if my maths is wrong?!).

The video also leaves me wondering whether contemporary loudspeakers manufacturers' maximum power handling specifications are rated on the conservative side, given that the M40.1's happily coped with what appeared to be peaks of over 750wpc. I'm wondering what becomes the limiting factor / weakest link in all of this, the amount of power the voice coils can sustain before melting, or the maximum power rating of the inductors, caps and resistors used in the crossovers?

Also, the discussion in the video seemed to imply that listeners' amplifiers could be compressing (which I assume means clipping) the output without the owners being aware. While I appreciate this could be the case with valve amps that typically distort in a soft manner by 'squashing' waveform peaks, isn't the 'flat top' clipping typically exhibited by solid state amplification much more obvious to the ear when it occurs?

I agree with your points. The video doesn't give an absolute SPL reference. The interest for me was the relative difference between the very loud (whatever 'loud' means) baroque chamber music and the very loud (whatever 'loud' means) synthesized music. The synthesized music seemed to demand loads of watts in order to drive the 12" woofers of the Harbeth M40.1s.

Based on the above, my preference is for big power. My room is 30 sq m. I use a 500wpc Hypex power amp. The speakers are 91dB. They have 12" woofers. I like listening to big symphonic stuff, e.g. Mahler. It sounds wonderful at high SPLs (OK, I know that's vague).
 
I agree with your points. The video doesn't give an absolute SPL reference. The interest for me was the relative difference between the very loud (whatever 'loud' means) baroque chamber music and the very loud (whatever 'loud' means) synthesized music. The synthesized music seemed to demand loads of watts in order to drive the 12" woofers of the Harbeth M40.1s.
Yes, I suspect the difference stems from the fact that the baroque chamber music had no (or very little) deep bass nor percussive transient attack.
 
Indeed. Depending on to what I am listening I need between -22dB and -2dB approx attenuation for a similar sound output level from my DAC. I should point out that the DAC has been set to give 0.53V output for 0dB input else with my amps I'd have the speakers on fire.

One thing that I haven't seen mentioned above is the phase angle response of speakers. This is important because under certain conditions a (say) 50W amp will deliver less into the speakers and use the rest to cook the output devices. This is another reason why a beefy amp performs better. Its not the power per say nor to go louder but the ability to handle difficult loads under any condition. What struck me about my amps was the dynamics and timbre of the instruments that made the performance sound real. Also using an spl meter these more powerful amps sounded louder but the measured average spl was lower. I guess that this is due to the ability to cleanly handle the dynamics of instrumental waveforms (when present) over the whole audio frequency spectrum.

Cheers,

DV

The conditions you name are the worst for the transistors yes but it is in the safe operating area (normally abbreviated to SOAR) that is the biggest risk under these conditions and as output power goes up the problem gets worse as we need more Volts available... hence we end up with loads of pairs of output transistors, not so much to give all this power but to not blow up when trying to! If you look at a typical high power audio output transistor data sheet you will see impressive figures like max current 16A, max voltage 200V, max power dissipation 200W, unfortunately the gotcha is that on the Volts and Amps this does not mean at the same time! In the more honest data sheets you will also find a SOAR graph and it's pretty shocking.... at 100V the max safe current is usually around 1 Amp! Above this we go into Secondary Breakdown Region of the SOAR graph and will likely get a short circuit at a random point on the die where it happens to be the weakest. As power goes up in the 300W (and far above in some powerhouse amps) range you have to have loads of output devices for them to not blow up under the conditions you mentioned! Also of course to avoid it going "power into 8R = 300W, 4R = 500W, 3R = BANG!" the same applies...

As a general rule the more output transistors you have relative to the maximum power, the less protection (or any in some cases!) is needed.

Now of course another alternative to having it go bang is protection circuitry... it's REALLY bad for the sound when protection kicks in... and although intended to come in at a certain point it's a "sliding scale" and the more it needs protecting, the harder the protection kicks in. It can start to effect things well before obvious distortion is audible! This is one of those things that are really important for sound but hardly gets mentioned!!

The main implication is that for SS amps of lets say 40-50W and above (the higher the power into 8R the worse it gets), that have only one pair of output devices, then the way they sound at especially higher volumes and into more awkward loads can often have more to do with the design of the protection circuitry and less to such things as power supplies than many would guess;) As exhibit A and B we have the Quad 405 Mk1 and 303 as extreme examples but it can happen more subtly in many other amps.
Of course if you have 8R speakers that are not "the load from hell" and don't play it really loud it's not going to even be an issue.... but if you have 4R speakers or really awkward ones and certain SS amps sound crap at higher levels then there's a very good chance this is whats going on.
 
But isn't an amp working on full power all the time anyway?

A volume control is just an attenuator.

Turning the volume up is releasing the choke on the amp's power.

An amp has no way to know if music is louder of softer.
I get where you’re coming from and I take it you’ve heard Paul McGowan’s explanation of a volume control being like a throttle on a petrol engine but no, an amplifier very rarely delivers all of it’s power capacity, just as an engine very rarely delivers all of its maximum output.

Oh, and the OP’s friend is talking a load of tosh.
 
I've never understood why speakers are designed to be a tough load? It is also never seen as bad thing, almost like it is a challenge to amp manufacturers. A sensibly designed speaker will perform with most competent amps, surely this is the way it should be?
 


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