Power Matching

The power of the speaker should match the output power of the amplifier.Generally speaking, the rated power of the speaker should be slightly less than the output power of the amplifier to ensure that the speaker will not be overloaded when used for a long time. At the same time, also pay attention to the power reserve of the amplifier, in order to provide a greater dynamic range when needed again! Power Matching For high fidelity listening, power ratings should be determined based on optimal listening careers. We all have this feeling: volume hours, sound powerless, thin, dynamic out of the way, no luster, low-frequency significantly reduced, poor fullness, the sound of a good idea to get out of the inside again. When the volume is appropriate, the sound is natural, rounded, clear, soft, full, powerful and dynamic. But the volume is too high, the sound is hard, not kneaded, frizzy, and have a feeling of ear piercing.Thus playback SPL is more related to sound quality,Provides that the sound pressure level of the listening area is preferably 80 ~ 85dB (A weighting), we can listen to the distance from the listening area to the speakers and the characteristic sensitivity of the speakers to calculate the rated power of the speakers and the rated power of the amplifier.

Impedance Matching

The impedance of the speaker should match the output impedance of the amplifier.It refers to the rated output impedance of the amplifier, which should be consistent with the rated impedance of the speaker. At this time, the amplifier is in the best design load line state, so it can give the maximum undistorted power, if the rated impedance of the speaker is greater than the rated output impedance of the amplifier, the actual output power of the amplifier will be less than the rated output power. If the rated impedance of the speaker is less than the rated output impedance of the amplifier, the audio system can work, but the amplifier has the danger of overload, the amplifier is required to have a perfect overcurrent protection measures to solve the problem of tube amplifiers in terms of impedance matching requirements are more stringent. In common audio systems, the speaker's impedance is usually 4Ω or 8Ω, and the output impedance of the amplifier should be adjusted accordingly. Impedance mismatch may lead to sound quality degradation, power loss or even equipment damage.

Power Reserve Matching

Speaker: In order to enable it to withstand the impact of bursts of strong impulses in the program signal without damage or distortion. Here is an empirical value can be referred to: the nominal rated power of the selected speaker should be three times the power obtained by theoretical calculation.

 Amplifiers: Tube amplifiers require different power reserves compared to transistor amplifiers.

This is because the overload curve of tube amplifiers is gentle. The peak of the music signal overload, tube amplifier does not obviously produce clipping phenomenon, just make the tip of the peak rounded. This is what we often call flexible clipping. The transistor amplifier in the overload point, the nonlinear distortion increases rapidly, the signal produces a serious clipping, it is not to make the peaks rounded but it is neatly cut and flattened. Some people use resistance, inductance, capacitance composed of composite impedance simulation loudspeaker, several kinds of high-quality transistor amplifier to test the actual output capacity. The results show that in the case of loads with phase shift, which has a nominal 100W amplifier, in the distortion of 1% when the actual output power is only 5W! From this for the transistor amplifier reserve selection:

 Hi-Fi amplifier: 10x

 Civilian high-grade amplifier: 6 to 7 times

 Civilian mid-range amplifier: 3 to 4 times

Tube amplifiers, on the other hand, can be considerably smaller than the above ratios.

  For the average sound pressure level of the system and the maximum sound pressure level should be left how much redundancy, depending on the content of the broadcast program, the working environment. This redundancy is a minimum of 10dB, for modern pop music, bouncing and other music, you need to leave 20 ~ 25dB redundancy, so that the sound system can make the safe and stable work.

Matching Of Damping Coefficients

The damping factor KD is defined as: KD = rated output impedance of the amplifier (equal to the rated impedance of the loudspeaker) / internal resistance of the amplifier output.

As the amplifier output resistance has actually become the speaker's electrical damping device, KD value determines the amount of electrical damping of the speaker. the larger the KD value, the heavier the electrical damping, of course, the amplifier's KD value is not the larger the better, the KD value of too much will make the speaker electrical damping is too heavy, so as to make the pulse front build-up time grows, reducing the transient response index.

Therefore, in the selection of amplifiers should not unilaterally pursue a large KD value. As a home hi-fi amplifier damping coefficient has an empirical value for reference, the minimum requirements: transistor amplifier KD value greater than or equal to 40, tube amplifier KD value greater than or equal to 6.

Ensure that the sound of the steady state characteristics and transient characteristics of good basic conditions, should pay attention to the equivalent mechanical quality of the speaker factors (Qm) and amplifier damping coefficient (KD) with the cooperation, this cooperation needs to be the speaker's feeder as a part of the audio system as a whole to consider. Should make the speaker feeder equivalent resistance is small enough, small enough to be negligible compared with the rated impedance of the speaker. In fact, the power loss of the speaker feeder should be less than 0.5dB (about 12%) to achieve this kind of cooperation.

Stereo Connection

1.Definitions and overview

The stereo connection method is one of the most common and basic mating methods. In this mode, the left and right channel outputs of the power amplifier are connected to the left and right speakers respectively to realize the stereo effect. This type of connection can fully demonstrate the layering and spatial sense of music, bringing a more immersive listening experience for the listener.

2.Operational steps

Preparation: First, make sure that the amplifier and speaker interfaces are intact and have the appropriate connecting cables. Usually, these connecting wires are red and black, red represents the positive pole, black represents the negative pole.

Connect the outputs: Connect the red and black output wires from the left channel of the power amplifier to the red and black terminals of the left speaker respectively. Similarly, connect the red and black output wires of the right channel to the corresponding terminals of the right speaker.

INPUT SIGNALS: Input audio signals from the left and right channel input jacks of the power amplifier respectively. These signals can come from audio devices such as mixing consoles, CD players, DVD players, and so on.

Adjusting Volume: Use the left and right channel volume control knobs on the power amplifier to adjust the volume of the left and right speakers respectively to achieve the best listening effect.

3. Advantages and scenarios

Advantages: The stereo connection method can truly restore the stereo effect of music, so that the listener can feel the spatial and hierarchical sense of music. At the same time, due to the independent control of the left and right channels, you can adjust the volume and timbre of different channels as needed.

Applicable scenes: suitable for home theater, concert hall, theater and other occasions that require stereo effect. In addition, it is also suitable for a variety of performances and meetings to provide listeners with a clearer and more realistic listening experience.

Bridged Mono Connection (BRIDGE)

1. Definition and Overview

Bridged mono connection is a way of connecting two channels of a power amplifier in parallel to output a high-power signal in mono. In this mode, the output impedance of the power amplifier is doubled, but the output power is increased to more than three times the original (four times the theoretical value). This connection method is suitable for bass speakers or special sound effects that require high power drive.

2. Operation steps

Preparation: Make sure the amplifier supports the bridge function and prepare the appropriate connection cable. Note that a specific bridging cable or adapter is required for bridging.

Connecting the outputs: Connect the two red output terminals of the power amplifier through the bridging connection cable to form a mono output circuit. Then, connect this mono output to the positive terminal of the speaker; at the same time, connect the black output of the power amplifier (or the specified bridged negative terminal) to the negative terminal of the speaker.

Input Signal: Since the amplifier becomes mono output after bridging, you only need to input the audio signal from either channel input connector of the amplifier.

Adjust the volume and impedance: the output impedance of the amplifier will be doubled after bridging, so you need to choose the appropriate bridging mode according to the impedance of the speakers. At the same time, use the volume control knob of the amplifier to adjust the output volume.

3. Advantages and Application Scenarios

Advantages: The bridged mono connection method can significantly increase the output power of the amplifier to meet the driving needs of high-power speakers. At the same time, since the input and output are balanced, it helps to reduce signal interference and distortion.

Applicable Scenarios: Suitable for bass speakers that require high power drive, stage sound systems and special sound effects.

Parallel mono connection (Parallel)

1. Definition and Overview

Parallel mono connection is a method of connecting the two channels of a power amplifier in parallel, but maintaining the independence of their respective outputs. In this mode, the output impedance of the amplifier is halved while the output power is doubled. This type of connection is usually used for low-impedance, high-power speaker systems.

2. Operation Steps

Preparation: Make sure the interface of the power amplifier and the speaker are compatible, and prepare the corresponding connecting cables.

Connect the outputs: connect the two red output terminals of the power amplifier with wires (note that only the red positive terminal is connected here, and the black negative terminal is still independent of each other) to form a parallel output. Then, select one red terminal and one black terminal as the output terminals to be connected to the speakers. Here usually choose the left or right channel output terminal to connect.

Input signal: The audio signal enters from the left channel input connector of the power amplifier (the right channel connector is left empty). Since the amplifier is still in mono output mode after parallel connection, the signal can be input from one side only.

Adjusting the volume: Use the amplifier's left channel volume control knob to adjust the volume of the speakers. Since the right channel connector is not connected to any device or signal source, its volume control knob does not work in this mode.

3. Advantages and Scenarios

Advantage: Parallel mono connection can reduce the output impedance of the amplifier.

4. Application Scenarios

High-power Speaker Driving: It is suitable for low impedance speakers that need to be driven by high power, such as large-scale outdoor performances, stadiums, movie theaters and other occasions.

Special sound effects: in some occasions that require special sound effects, such as electronic dance music performance, rock concerts, etc., parallel mono connection can provide more powerful low-frequency impact and dynamic range.

Temporary sound system: When building a temporary sound system, if there is only one amplifier and one pair of speakers with insufficient power, parallel mono connection can be used to temporarily increase the power output.