# Home Audio Amps VS Pro DJ Amps?



## BleedingStar

Now, I there are definitive advantages to the home audio amplifiers such as mcintosh and other high end audio amps. However, I am still interested in the pros/cons of using professional DJ amplifiers to power your home theater.

I have just got an amazing deal on a pair of King Audios Prince 58" Electrostats. They call for 50-250 watts of power. I am currently pushing 100 watts from my Kenwood THX VR6070 Receiver.... and although they sound quite impressive, I don't feel they are getting what they deserve. 

And still I know they probably deserve something of much higher quality than this, I am interested to here the advantage/disadvantages of using a dj amp like this ( http://www.musician.com/product/Gem-Sound-XP450-Stereo-Power-Amp?sku=481217 ) for this and any other home theater use.

I would like to eventually have everything running from separate power amps, and this route would be VERY reasonably priced... but at what cost?


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## bluejay

I am interested in the same questions. I am also considering an amp upgrade. I am looking at this one; 
http://www.musician.com/product/Tapco-Juice-J1400-Power-Amplifier?sku=483049 :flex:


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## BleedingStar

Yeah i bookmarked that one too actually, = ) 

310 per channel is probably a little more than i need though.


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## Sonnie

There is some discussion about the Juice amp here and here.


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## jackfish

The Tapco Juice J-800 is 2 x 205 watts into 8 Ohms and can be had for $230. Mackie has a little bit better reputation than GEM. The low price on the Gem XP series is because they are in closeout.

http://www.musicgearreview.com/review-display/9842.html
http://www.guitargearheads.com/modules/news/article.php?storyid=112


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## BleedingStar

So, it seems like it isn't an uncommon thing to use a proamp such as the ones we are referring to for home theater power amps? Does anyone notice more distortion from going this route?


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## WmAx

BleedingStar said:


> Now, I there are definitive advantages to the home audio amplifiers such as mcintosh and other high end audio amps.


What advantage? Pride of ownership? Prettier chassis? Lack of fans(_in cases where you can not practically install the amps in a silencing cabinet, or modify the amps to run quiet_)? Those are about the only ones can think of. 

I used to run only McIntosh amplification - though this was some time back. Today, I mainly use pro amps. The pro amps? I like them better. A good pro amp is as transparent to human ears as any properly operating 'high end' amplifier. But the pro amp does not waste your money. 

-Chris


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## BleedingStar

= ) So i shouldn't feel too cheap about buying a $200 pro power amp over a $2000 home audio amp?


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## tonyvdb

The one thing with the lower cost "pro" amps is that they tend to have a poor signal to noise ratio and when used at near full power they may distort the signal and also have a high noise floor compared to a more expensive amp or receiver.


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## WmAx

tonyvdb said:


> The one thing with the lower cost "pro" amps is that they tend to have a poor signal to noise ratio and when used at near full power they may distort the signal and also have a high noise floor compared to a more expensive amp or receiver.


I have a couple of Behringer models and a couple of Crown XLS models; none of which have any audible noise unless you put your ear about 1" in front of the driver in a quiet room. As for distort near high power -- certainly if you exceed their maximum power rating this is true -- just as it is with 'high end' amplifers. You should refer to the pro amp measurements on the AVS forum. In fact, decent ones measure excellent in terms of high power vs. thd level and usually have noise floors far exceeding -100dB. It would be nice if the measurement tech on there would give FFT spectrum analysis shots of the fundamental vs. harmonics so that one could see the specific nature of the HD of each amplifier under different conditions.

-Chris


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## jackfish

BleedingStar said:


> So, it seems like it isn't an uncommon thing to use a proamp such as the ones we are referring to for home theater power amps? Does anyone notice more distortion from going this route?


The Tapco Juice amps have a THD of 0.03% at rated power. There are home audio amps and receivers with higher distortion ratings.


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## tonyvdb

WmAx said:


> I have a couple of Behringer models and a couple of Crown XLS models


I would not call these low end models.

@jackfish, dont believe everything you read, Allot of the spec's you see are not actual.


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## WmAx

jackfish said:


> The Tapco Juice amps have a THD of 0.03% at rated power. There are home audio amps and receivers with higher distortion ratings.


Chasw98 at AVS forum measured the Behringer EP2500 at about 0.046% THD, at 4.4 ohms, bridged mono, producing 1957 watts. I think this amp will be okay at high power. 

-Chris


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## WmAx

tonyvdb said:


> I would not call these low end models.
> 
> @jackfish, dont believe everything you read, Allot of the spec's you see are not actual.


Okay, I assumed these would qualify as 'low end', since they are not very expensive.

What is an example of what you consider a 'low end' pro amp?

-Chris


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## Sonnie

I know there are a lot of people using pro amps in their systems and are very happy. I really don't think we are pushing them to their extreme limits as to have that much of a problem with distortion and/or signal to noise.

I've been trying to get Chasw98 to talk to us about creating him a Amp Tests forum here at the Shack, but supposedly he is not interested in gracing our presence again for some reason. Not sure why, but I and several others have emailed him and private messaged him and he has ignored us. :huh: I figure it won't be long before he rates an amp not so good that one of the AVS advertisers sell and he'll have to remove the test or be banned. Maybe he'll talk to us then.


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## jackfish

tonyvdb said:


> I would not call these low end models.
> 
> @jackfish, dont believe everything you read, Allot of the spec's you see are not actual.


Just what do you mean by "not actual"? I understand that home entertainment amplifiers must now conform to the FTC rules but pro audio and automobile amplifiers are not covered. However, for the educated there can be discernment between manufacturer power ratings to assess relative performance. What is a problem for some people is not always what is revealed, but is often what is omitted.

The power ratings for the Tapco Juice amps don't omit much. They list their two channel power ratings as watts of Continuous Sine Wave Average Output (not the misnomer RMS) per channel, both channels driven, 20 Hz to 20 kHz, into 2, 4 and 8 ohms. Total Harmonic Distortion is stated as 20 Hz to 20 kHz < 0.03% @ 8 ohms. A call to Tapco reveals that THD is at +4 dBu, the standard pro audio voltage reference level equal to 1.23 Vrms. What is "not actual" about all of that?

So, you are saying that Tapco Juice Amps ratings are false?


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## jackfish

BleedingStar said:


> So, it seems like it isn't an uncommon thing to use a proamp such as the ones we are referring to for home theater power amps? Does anyone notice more distortion from going this route?


What do you think the commercial movie theaters use for amplification?


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## tonyvdb

jackfish said:


> What do you think the commercial movie theaters use for amplification?


they use better quality amps than Tapco Juice, Theaters use Pro grade amps like Carver, QSC, H&H, Amcron, and others not DJ amps there is a difference but there is no point in arguing this. There are goos amps to be found for a decent price you just have to look out for the ones that are cheap build quality.


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## avaserfi

jackfish said:


> Just what do you mean by "not actual"? I understand that home entertainment amplifiers must now conform to the FTC rules but pro audio and automobile amplifiers are not covered. However, for the educated there can be discernment between manufacturer power ratings to assess relative performance. What is a problem for some people is not always what is revealed, but is often what is omitted.
> 
> The power ratings for the Tapco Juice amps don't omit much. They list their two channel power ratings as watts of Continuous Sine Wave Average Output (not the misnomer RMS) per channel, both channels driven, 20 Hz to 20 kHz, into 2, 4 and 8 ohms. Total Harmonic Distortion is stated as 20 Hz to 20 kHz < 0.03% @ 8 ohms. A call to Tapco reveals that THD is at +4 dBu, the standard pro audio voltage reference level equal to 1.23 Vrms. What is "not actual" about all of that?
> 
> So, you are saying that Tapco Juice Amps ratings are false?


Just as with displays and loudspeakers there are varying methods of measurement which are more favorable for the manufacture in the numbers game. Some manufacturers use this to their advantage when rating equipment by using the test that will put their product in the best light. This is the exact reason why fully disclosed credible 3rd party measurements are imperative to truly gaining an objective perspective of equipment performance.

Please note I am not referring to Tapco itself and just the industry as a whole. I do realize not every company can be accused of such practices.


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## jackfish

tonyvdb said:


> they use better quality amps than Tapco Juice, Theaters use Pro grade amps like Carver, QSC, H&H, Amcron, and others not DJ amps there is a difference but there is no point in arguing this.


Actually, there is a point in your clarifying this. I'd like to have a dollar for every commercial movie theater implementation of the Yamaha P4500, a relatively inexpensive pro audio amp. There are thousands out there. And there isn't a whole lot of "difference" between it and the Tapco Juice amps. Please enlighten us as to the difference between "Pro grade" amps and "DJ amps." Thank You.


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## tonyvdb

The term "DJ" amps is not really the right one but Its simply build quality thats the big difference. The internal components are not as good. For example Yorkville amps will do the job but are not in the same league as Carver or QSC.


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## conchyjoe7

jackfish said:


> Please enlighten us as to the difference between "Pro grade" amps and "DJ amps." Thank You.



The enlightenment comes with the listening and the quality of the associated equipment (especially speakers) being "amplified". Some can hear it, some can't; arguing over it is a complete waste of time as neither camp will admit or concede anything to the other...and it's been argued and will continue to be argued forever! 
Cheers,
Konky.


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## WmAx

conchyjoe7 said:


> The enlightenment comes with the listening and the quality of the associated equipment (especially speakers) being "amplified". Some can hear it, some can't; arguing over it is a complete waste of time as neither camp will admit or concede anything to the other...and it's been argued and will continue to be argued forever!
> Cheers,
> Konky.


I would be difficult for me to care what some one thinks they hear with an amp in non controlled conditions. Now, demonstrate audibility in properly controlled, level matched, blinded test conditions with statistically significant results demonstrating an audible difference, and then it might be interesting. If this happens, let's just measure the amplifiers properly and the culprit should appear rather obviously. 

-Chris


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## Sonnie

WmAx said:


> I would be difficult for me to care what some one thinks they hear with an amp in non controlled conditions. Now, demonstrate audibility in properly controlled, level matched, blinded test conditions with statistically significant results demonstrating an audible difference, and then it might be interesting. If this happens, let's just measure the amplifiers properly and the culprit should appear rather obviously.
> 
> -Chris


I think this is something I have overlooked with some of my experiences in the past.


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## bobgpsr

IIRC Steve Callas did blind testing (3 people involved) of his Carvin pro amp versus some more normal (expensive) home audio amps. Maybe he will chime in and contribute but from what I recall - the judges could not pick out a difference.


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## conchyjoe7

WmAx said:


> I would be difficult for me to care what some one thinks they hear with an amp in non controlled conditions. Now, demonstrate audibility in properly controlled, level matched, blinded test conditions with statistically significant results demonstrating an audible difference, and then it might be interesting. If this happens, let's just measure the amplifiers properly and the culprit should appear rather obviously.
> 
> -Chris


As I said in my previous reply, and that is confirmed by the reply above. Both camps think they're right and neither will give any leeway. You see, it's difficult for me to care what someone thinks they don't hear (or actually doesn't hear) with an amp in non controlled conditions. Does anyone know anyone that has bought an amp, receiver, or for that matter a TV or DVD player, car, refridgerator, etc. under the conditions outlines above? Also notice that even were all of those conditions met and quote "statistically significant results demonstrating an audible difference" was found, even then quoting above again "then it might be interesting"...it might be interesting...IOW, nothing would convince. That said, in totally uncontrolled conditions that are merely played and not rigged (another favorite accusation) most people still find what they perceive to be an audible (or visual) preference and difference in most things. 
I've said this many times before...If you can't hear any difference; good for you: Just think of how much money you have (or can) save(d) by being able to buy a $499.99 HTIB and it sounds as good to you as anything out there. I imagine to some an IC output device also does as good a job and sounds for all intents and purposes identical to a totally discrete output stage; especially at high SPLs... I will admit that it does seem a little strange to me that the people that almost always seem to be attempting to justify and defend their purchases are ones that have bought "pro" gear or other ummm, shall we say less expensive equipment with 10 zillion watts per channel into 0.0000001 THD even though it costs $200.00 and weighs in at 12 lbs, and not the people that have bought "high(er) end" gear and are delighted with it. It does make one wonder that what with no differences, why Abbey Road Studios would see fit to use B&W 802D speakers and power them with Classe Audio amps...hmmm?! As I said in my first response...this argument will never go away. If you're happy with what you have; that's great irregardless of what you have...

Whatever you have; enjoy the music and movies...I believe THAT is the point!

Cheers,
Konky.


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## imbeaujp

To me, the the problem with pro amp is the fan noize !

I am considering a Pro amp to drive my sub but not for the full range mode.


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## avaserfi

conchyjoe7 said:


> As I said in my previous reply, and that is confirmed by the reply above. Both camps think they're right and neither will give any leeway. You see, it's difficult for me to care what someone thinks they don't hear (or actually doesn't hear) with an amp in non controlled conditions. Does anyone know anyone that has bought an amp, receiver, or for that matter a TV or DVD player, car, refridgerator, etc. under the conditions outlines above? Also notice that even were all of those conditions met and quote "statistically significant results demonstrating an audible difference" was found, even then quoting above again "then it might be interesting"...it might be interesting...IOW, nothing would convince. That said, in totally uncontrolled conditions that are merely played and not rigged (another favorite accusation) most people still find what they perceive to be an audible (or visual) preference and difference in most things.


The human brain is a very interesting thing that works in ways most don't realize. First off humans like to categorize things into various groups this is because of the wiring within our minds. For successful categorization there must be differences between these items. If differences don't exist often times our minds will fabricate them; this is one form of bias which is extremely common in uncontrolled environments.

You are correct in saying it is unlikely that someone would be able to ABx or double blind test every purchase they make, but it is possible to avoid this step with credible measurements and application of various research in the field. If one understands what aspects could make an amplifier audible with a certain pair of speakers at required SPLs then it is completely feasible for someone to purchase an amplifier based on measurements alone that will be completely inaudible with any given speaker.



conchyjoe7 said:


> I've said this many times before...If you can't hear any difference; good for you: Just think of how much money you have (or can) save(d) by being able to buy a $499.99 HTIB and it sounds as good to you as anything out there. I imagine to some an IC output device also does as good a job and sounds for all intents and purposes identical to a totally discrete output stage; especially at high SPLs... I will admit that it does seem a little strange to me that the people that almost always seem to be attempting to justify and defend their purchases are ones that have bought "pro" gear or other ummm, shall we say less expensive equipment with 10 zillion watts per channel into 0.0000001 THD even though it costs $200.00 and weighs in at 12 lbs, and not the people that have bought "high(er) end" gear and are delighted with it. It does make one wonder that what with no differences, why Abbey Road Studios would see fit to use B&W 802D speakers and power them with Classe Audio amps...hmmm?! As I said in my first response...this argument will never go away. If you're happy with what you have; that's great irregardless of what you have...


Being delighted with a piece of gear has nothing to do with it being quality or not as shown by companies such as Bose. 

As far as the Classe amps paired with the B&W802Ds this is likely a packaged purchase. Simply put the B&W802Ds are some of the highest quality monopolar speakers on the market especially as it relates to studio monitoring. This is due to their extreme linearity and lack of all audible coloration. Classe happens to be owned by the same company that is owns B&W. So it is likely a deal in which the parent company 'sponsored' the studio occurred where they got a "one company" system.

For more on the subjective/objective debate as it relates to amplifiers please focus your responses to this thread.



imbeaujp said:


> To me, the the problem with pro amp is the fan noize !
> 
> I am considering a Pro amp to drive my sub but not for the full range mode.


This is normally an extremely easy fix if you don't mind opening up your unit. For some pro amps you can just pop in a replacement fan that has a lower noise floor. For others you can solder a resistor in the line that slows the stock fan down. This weekend barring time I will be replacing the fan in my EP2500 and plan on taking pictures for a mini tutorial.


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## tonyvdb

imbeaujp said:


> To me, the the problem with pro amp is the fan noize !


There are pro amps that are convection cooled you just have to look a bit harder for them Samson has some great convection cooled amps (there servo line for example)


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## Sonnie

Check out the Quieter fan mod for Behringer EP2500.


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## thxgoon

jackfish said:


> Actually, there is a point in your clarifying this. I'd like to have a dollar for every commercial movie theater implementation of the Yamaha P4500, a relatively inexpensive pro audio amp. There are thousands out there. And there isn't a whole lot of "difference" between it and the Tapco Juice amps. Please enlighten us as to the difference between "Pro grade" amps and "DJ amps." Thank You.


The difference is that some of the more 'pro' amps usually won't inflate their power ratings as much, have better circuit topology and cooling abilities to allow them to run hot for a long time without dying and they're built to withstand a fall out of the back of a truck. But for the most part any decent amp (dj amps included) running within their design constraints are going to sound the same with a normal load.


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## jackfish

tonyvdb said:


> There are pro amps that are convection cooled you just have to look a bit harder for them Samson has some great convection cooled amps (there servo line for example)


Samson Servo amplifiers that would meet the original poster's power requirements are cooled with continuously variable speed forced air fans. Only the Samson Servo 120A is convection cooled, probably because it is very low-powered (2 x 50 watts @ 1 kHz into 8 ohms).


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## thxgoon

Ya and in the way this listener would be using the amp he would have no problem.


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## jackfish

Ya as he probably wouldn't using the Tapco Juice J-800 either. :bigsmile:

Sorry!


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## jackfish

BleedingStar said:


> Yeah i bookmarked that one too actually, = )
> 
> 310 per channel is probably a little more than i need though.


BleedingStar, I wouldn't let the power requirement specification of your loudspeakers limit you to 200 watts per channel. There may be a significant difference in how those electrostatics perform with more power available to drive material peaks.

I have stacked double New Large Advent loudspeakers that are each rated for, I suppose, about 65 watts RMS. However, I can tell the difference having each speaker driven by an amplifier with 200 watts per channel. Transient peaks seem to sound better with the so-called dynamic headroom available to handle them.

Stacked double Large Advents driven with a Phase Linear 700 amplifier have been compared to the finest electrostatic loudspeakers available back in their day (The Absolute Sound).


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## Sonnie

Be nice guys... addle:


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## WmAx

conchyjoe7 said:


> That said, in totally uncontrolled conditions that are merely played and not rigged (another favorite accusation) most people still find what they perceive to be an audible (or visual) preference and difference in most things.


Of course. And in things such as amplifiers operating within their limitations, usually this difference disappears when controls are used to remove psychological bias. The exceptions having been when the test procedure was faulty(sloppy) or the amplifier has measured response issue(s) that correlate with known audible threshold difference(s).


> I've said this many times before...If you can't hear any difference; good for you: Just think of how much money you have (or can) save(d) by being able to buy a $499.99 HTIB and it sounds as good to you as anything out there.


That is not a fair statement. It is as if you want to lump together all things(amplifier, speakers, etc.). But this is not the case. The speakers in such units are invariably(from every one I have ever seen) worthless for hi-fi purposes. It is also probable that the amplifier used in most HTIB units is not useful for anything except the most benign loads, and very sensitive ones at that.



> It does make one wonder that what with no differences, why Abbey Road Studios would see fit to use B&W 802D speakers and power them with Classe Audio amps...hmmm?!


The 802D is one of the finest quality studio monitors at any price. It has a linear frequency response, drivers with low resonance and a cabinet system with virtually no resonance. The cabinet design used also is free of virtually all cabinet diffraction(reflection) problems due to it's shape. It is only natural for it to be paired with high-end amplifiers, even though the amplifiers are not doing anything that a QSC RMX could not do. 

-Chris


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## BleedingStar

Yes, at one point down the line I will have to be upgrading to a separate amp to run these, and I will keep in mind the power thoughts. If only I could rent out a couple different amps and try em out.. = ) However for now, I have tweaked my current amp, and I am started to get quite satisfying results.


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## pietsch288

I am also looking to purchase enough amps to configure a 5 channel setup. So my question is which DJ/pro audio amplifier is/are considered warm. I have no experience in this market so I will need names and model #'s of like.... the best 5 that are warm ( I would like to stay under 900.00 for all 5 channels) (I realize I will probably end up with an extra channel along the line....I assume I would be buying 3ea 2 channel amps). The reason I dwell on warm is I have klipsch rf-7's and they get too loud/harsh during action sceens. I was using an emotiva lpa-1 (125w X 5)....and it was pretty bright so I sold it, and am now using just receiver power (denon 2808) and its worlds better (noticeabily warmer). I would leave it the way it is.... but with the emo I did notice the sound stage was alot bigger (it seemed like all the sound was coming from the screen, I could't really notice the speakers), Now I notice the left-right-center speakers. But because the "extra brite" (compared to the emo) is gone I preffer the denon (lesser of two evils). So I'm convinced with amps.... but I do not know which to buy, that fit my budget and warm/smooth detailed sound that I am looking for. Or am I better off just buying a used 5 channel 1095 or like ect.
O....1 more question I am using an ep2500 for my subs and I had to buy a line level boost (I bought an sms-1) because I could get any volume aut of the subs.......Will I have to do that **** with the Dj amps for the 5 channel also???????


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## superchad

WmAx said:


> What advantage? Pride of ownership? Prettier chassis? Lack of fans(_in cases where you can not practically install the amps in a silencing cabinet, or modify the amps to run quiet_)? Those are about the only ones can think of.
> 
> I used to run only McIntosh amplification - though this was some time back. Today, I mainly use pro amps. The pro amps? I like them better. A good pro amp is as transparent to human ears as any properly operating 'high end' amplifier. But the pro amp does not waste your money.
> 
> -Chris


 Whatever makes you sleep better at night.


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## thxgoon

pietsch288

Have you tried playing around with the Audessey built into your Denon? Those RF-7's sure can sound bright on loud passages, I've had some experience with them. IMHO, this is not going to be best solved through the purchase of an amp and it is tough to say which amps if any are going to sound warm. The RF-7's are highly efficient so whatever amp you choose you will not need to choose it for high power rating, and so for this case I'd probably rule out DJ or pro amps as they are geared for power. I would look at some small older amps from Adcom or Parasound or Rotel or Marantz or.... could go on and on. A lot of people say Rotel sounds laid back that may be one to look at. Before you spend your money though, play around with the eq and try moving your speakers if possible. Have you done any room treatments?


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## tonyvdb

The older Yamaha M series from the mid 80's had a great warm sound there are two M80's on ebay right now that would do a great job.


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## WmAx

tonyvdb said:


> The older Yamaha M series from the mid 80's had a great warm sound there are two M80's on ebay right now that would do a great job.


If they amp really has a 'warm' sound, as could be determined in blinded level-matched tests, and/or measured and compared to known perceptual threshold research of known audibility, then I would question if this is a desirable amplifier design, as it would be substantially altering the amplitude response, or adding considerable low-order distortion harmonics, in order to be perceived as 'warmer'.

Or is this 'warm' assessment of the common non-controlled listening comparision variety?

-Chris


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## Mike P.

Maybe it just sounds "good" to some people. In the end, that's all that matters.


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## thxgoon

Speaking of....

pietsch288 have you thought about tube amplification? I'm not real familiar with them so I don't know if they'd fit your budget.


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## superchad

WmAx said:


> If they amp really has a 'warm' sound, as could be determined in blinded level-matched tests, and/or measured and compared to known perceptual threshold research of known audibility, then I would question if this is a desirable amplifier design, as it would be substantially altering the amplitude response, or adding considerable low-order distortion harmonics, in order to be perceived as 'warmer'.
> 
> Or is this 'warm' assessment of the common non-controlled listening comparision variety?
> 
> -Chris


Whats your point? Isnt the idea to get pleasing sound and not laboratory confirmed sound? We do listen to the sounds not the numbers right?


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## thxgoon

superchad said:


> Whats your point? Isnt the idea to get pleasing sound and not laboratory confirmed sound? We do listen to the sounds not the numbers right?


I think WmAx was merely trying to point out the fact that there has never been a scientific blind listening test that can confirm any noticeable difference between amplifiers with negligible distortion operating within their design constraints. If a difference is heard it is easily seen on lab equipment. This is not to say I don't believe in SQ differences, I do... but that's another story.

To quote the Jungle Book - "Now don't start that again..."


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## Sonnie

Certainly Chris is only trying to help and I must agree with him on these issues. Most of the amps today are indeed built better, have low distortion and noise. It will be hard for anyone to actually prove there are significant differences in the sound of these amps. 

The idea behind an amp is to take the signal from the source to the speakers without doing anything to that signal. The amp should be neutral. If it changes the sound of the signal then it is altering it somehow... distorting and/or coloring the sound, which is generally not desirable... at least by those who desire an accurate and unaltered signal.

This is not to say we will not try to alter the sound... we may very well do this in the form of equalization via a processor or the processing unit of a receiver. Audyssey is one way we attempt to get the more accurate sound. However, the amp is not what does this... it merely takes the signal and amplifies it to the speakers to our desired listening level.

I believe the real differences lie in the speakers we choose, the acoustics of our room and the abilities of our processing units. These are the things we should be striving to improve.

Obviously a low powered amp driving a difficult speaker load (such as some electrostatics) will struggle and possibly clip at higher volumes, therefore in certain instances we need to make sure we have enough power to appropriately drive our speakers. Once we get enough power, there should really be no difference between good quality amplification, other than cosmetics and price, except in the case of receivers where there will be features to consider.


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