The new DSP amplifier line delivers game changing features, audiophile grade circuitry, robust power and unrivaled installation flexibility.Īt the heart of the SONAMP DSP amplifier is the (Sonance Advanced Room Correction) web interface featuring 100+ Sonance designed DSP presets, preloaded for effortless DSP without the need for additional hardware or calibration and a built in 10-band parametric EQ allows for optional DSP customization.ġ50 Watts RMS per channel (Both channels driven)Ģ24 Watts RMS per channel (Both channels driven)Ĩ 5/8" x 2 1/8" x 16 13/16" (219mm x 54mm x 427mm)Ĩ 5/8" x 1 3/4" x 16 13/16" (482mm x 44mm x 427mm) Defence, Law Enforcement and Security (DLES)īuilding on the legacy of the SONAMP 260, the industry’s first purpose-built distributed audio amplifier, Sonance is pleased to announce the next generation of class-leading amplifiers.
SONANCE DSP 2 150 FULL
Have you looked at full bandwidth xtalk specs of typical 7-channel multi-channel power amps (e.g 200W/Ch typical), all sharing one power supply with their individual power cards crammed next to each other into one chassis like sardines? Maybe you shouldn't coz you won't like their xtalk specs at full power. They'd categorically reject a -60dB xtalk design as being utterly 'terrible' and not competitive, despite it being audibly innocuous. Besides, marketing would be screaming at me when they insist I have to exceed our competitors -100dB xtalk figures, with -110dB or better.a numbers game with these people. Pride and bragging rights instincts are strong amongst engineers. As an EE myself with 20+ years of low-speed but ultra-quiet designs and high-speed (10+ Gbps) circuit design experience as well, I'd prefer to set a goal of -100dB crosstalk or better across the full audio bandwidth, not because my ear can hear it if it's less, but because it lets me know I designed my product extremely well with careful PCB stack and layout, judicious use of targeted shielding, proper selection of capacitor values, etc.
My MartinLogan electrostatics measure at 0.1% in the midrange and this is a superb speaker standards, that is.ĪP's target of 60-70dB is an engineering target for the devices their measure, not one based on psychoacoustics. A good subwoofer, for example, is said to be transparent to the ear if its distortion is under 10% at high SPLs, with 5% being a really excellent figure. their main speakers which have single-digit distortion specs or worse at increasing SPLs. That's why, for example, people here frown upon devices with, for example, a 0.01% THD while praising 0.001% (or better) spec'd devices as being far more transparent.yet they ignore the big sources of distortion in their systems. Naturally, I'd like to have the best technical specs possible for all my electronic devices, if not to make me feel better. Desirable, yes, ofcourse! But psychoacoustically unnecessary. Yes, I used the FM stereo example as an extreme one to let one know that you do not NEED -100dB (or better) crosstalk figures to get the full stereo effect (HD FM radio is not much better). The ear-brain system will be preoccupied processing higher SPLs while masking out the simultaneous but much lower-by a factor-of-a-million(!) xtalk sounds. The masking effect is even more prevalent at higher SPLs than at lower ones. I believe you are making my point, probably without realizing it. They are much blunter instruments than we'd like to believe. Human ears are NOT precision instruments like the APx measurement system. You will not hear or not even be aware that it exists. So 1W of music in the left channel + 1uW from right channel xtalk => 1.000001W of combined music power, where 0.0001% comes from the crosstalk channel. You will not hear it as you are not superman with super hearing capabilities.and on top of that, your ear will be pre-occupied with 1W of music from the left channel itself. Having -120db xtalk is really nice but your brain will not have a fit if it was This means that if the right channel is playing 1 Watt of music, the left channel experiences a 1uW of xtalk or interference from the right channel. High-frequencies of 10kHz are 'masked out' or given 'less priority' by our brains, so they do not seem to contribute that much to imaging. The majority of music exists in the midrange and that's what is played the loudest. Why didn't it sound like mono with such 'poor' specs? Our ears mask a lot of musical content based on its loudness levels. You should be aware that our beloved analog FM stereo radios that have been with us for decades and provided lots of enjoyable music over the ensuing decades have stereo separation figures of -35dB to -40dB (on strong signals) in the mid-range and worse at the extremes! And yet, we enjoyed the stereo effect very much.
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