Fun and Profit Time

So what does this all mean? First, subject to some limits, the audible differences between power amps are generally overstated and oversold. There are elements in the audio chain that differ significantly in their sound qualities. Studio power amps are not among ‘em.

This is not to say that power amps have no significant differences or that you should simply go for the cheapest unit you can find. I don’t feel shorted by my Bryston and I’m not tempted to replace it with something like the Crown D75. I need a level of constancy and stability, not to mention power output, that is simply beyond a 35 Watt amplifier. Further, for me, the issue of client confidence comes into play.

What you can do is listen for yourself. You can, with the aid of a confederate, do ABX testing for yourself. If, over 100 ABX trials, you score less than 60% correct identifications, you can reasonably say to yourself that the sonic differences between A and B are in the vanishingly small range for you, and you probably don’t need to fret about them. In that case you can make your buying decisions based on other criteria. If you hear the differences easily (more than 75% correct identifications), then you better start in on the Next Big Question: Which Amp Sounds “Better?” If you score in the range between 60% and 75%, you can think of the differences as “small” and you can accordingly adjust the level of importance you attach to them. Other factors worthy of your consideration have to do with power, client confidence, reliability, weight, speaker protection, etc. Weigh these factors as significant criteria in making your purchase decision.

In summary, there are two bits of useful wisdom to be gained from this. The first bit has to do with your subjective listening. If you are careful, you can make valid listening comparisons and judgments. You need to take your time, repeat your tests until you are satisfied with the consistency of your results, and probably you shouldn’t try to do this on the showroom floor but rather in the privacy of your own listening room or studio. The biggest pitfall seems to be small level differences.

The second bit has to do with these studio-type power amps. They have really gotten very good over the years. Contemporary units have excellent performance specs, they are reliable and they’ll drive just about anything you might have lying around. With this thought in mind, you can devote your attention to some of the more fragile sonic links in the audio chain.

Happy transients!

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