Comparison Denon AVR-X4400H vs Denon AVR-X3400H

A digital-to-analogue converter (DAC) is an indispensable element of any system designed to reproduce digital sound. The DAC is an electronic module that translates sound information into pulses that are sent to the speakers. The technical features of such a conversion are such that the higher the sampling frequency, the better the signal at the output of the DAC, the less it is distorted during conversion. The most popular option in receivers today is 192 kHz — it corresponds to a very high sound quality (DVD-Audio) and at the same time avoids unnecessary increase in the cost of devices.

Another indicator that determines the overall quality of the digital-to-analogue audio converter. For details on the converter, see "Audio DAC Sampling Rate"; here we note that the bit depth is standardly expressed in bits, and the higher it is, the more accurately the signal at the output of the DAC corresponds to the original signal and the less distortion is introduced into it. Today, it is believed that a 16-bit indicator provides quite acceptable signal quality, and 24-bit DACs are suitable even for premium-level equipment.

The maximum number of channels that the receiver can output to external speakers. This parameter is specified for all types (see above): even AV processors that do not have an amplifier as such are often equipped with a very extensive set of audio processing tools (and this set is sometimes even wider than in models with amplifiers).

The most popular options by the number of channels today are as follows:

— 2.1. The simplest option found in modern AV receivers is the classic two-channel stereo sound, supplemented by a third channel for a subwoofer. It is worth noting here that the "volume" of such a sound is very limited: it allows you to simulate the shift of the sound source to the left or right, but does not cover the space on the sides and behind the listener. Receivers of this kind are usually entry-level devices.

— 3.1. Such a system is usually the 2.1 described above, supplemented by a third front speaker — in the centre. This provides a more authentic sound from the front. And for some 3.1 systems, design tricks are claimed that allow them to be used for surround sound, similar to 5.1. Rear channels in such systems are simulated by reflecting sound from the walls behind the user. Of course, the sound accuracy is noticeably lower than that of a full-fledged 5.1, but this option may be optimal in tight spaces where there is no space for a full set of six-channel acoustics.

— 5.1. The most popular surround sound format that can provide the effect of "environment". 5 main channels include a centre, two front (left-right) and two rear (similarly), a unit indicates a separate low-frequency channel for a subwoofer.

— 5.2. Sound format similar to 5.1 above, except for two channels for subwoofers instead of one. This improves the quality of the bass sound, which can be useful for films with a lot of special effects, live performance recordings, etc.

— 6.1. A sound format with an expanded number of main channels relative to the classic 5.1. The sixth main channel in this format is usually the centre back — this increases the accuracy of the sound transmission in the back of the stage.

— 6.2. 6.1 version of the format described above, supplemented by a second subwoofer; this improves the quality of low frequency transmission and allows you to cover a larger area.

— 7.1. With this sound format, five main channels (similar to the 5.1 system described above) are supplemented with two more. There are a lot of options for installing speakers for these channels — for example, these can be additional speakers above two front or two rear speakers, two separate side speakers, an additional “centre” pair on the rear channel, etc. Anyway, an increase in the number of channels makes it possible to achieve a more accurate transmission of “surround” sound compared to 5.1, however, much less content has been released for such systems.

— 7.2. A variation on the 7.1 format (see above) that allows the use of two separate subwoofers; this increases the accuracy of the transmission of low frequencies and expands the possibilities for their adjustment.

— 8.4. A specific variant found in single models of AV receivers. It is not so much a generally accepted sound format as an illustration of advanced configuration options: up to 8 main speakers and up to 4 subwoofers can be connected to the device, which gives very extensive fine-tuning options (however, such options are not cheap).

— 9.1. One of the most advanced surround sound formats today: it includes 5 classic main channels (similar to a 5.1 system) and 4 additional ones, the location of which can be different — for example, two side speakers and two upper ones above the left and right front, or even 4 speakers, directed towards the ceiling. The 9.1 format allows you to achieve very high fidelity of multi-channel audio transmission, but it is expensive, difficult to set up, and very little content has been released for such systems.

— 9.2. Modification of the above 9.1 format, supplemented by a second subwoofer for more accurate and high-quality reproduction of low-frequency sound.

— 11.1. Further, after 9.1, expansion and improvement of the idea of multi-channel sound. Usually in 11.1 systems, the five "classic" main channels (see 5.1) are supplemented with six more in the following way: two speakers to the left and right of the centre (in addition to the left and right front), two height speakers above the main front and two more — above main rear. This significantly increases the accuracy of surround sound transmission and adds the ability to shift it not only horizontally, but also vertically. However, the price and complexity of setting up such systems is appropriate, so they are designed more for the professional sphere (for example, cinema halls of entertainment centers) than for home use.

— 11.2. Systems almost identical to those described above 11.1, but supplemented by a second subwoofer. The latter is useful not only for reliability, but also for covering a vast area.

— 12.4. A top-of-the-line AV receiver option that is designed to handle all existing surround sound formats (including "true" 3D sound) and offers extremely wide customization options (albeit at an appropriate price).

— 13.2. Another format typical for luxury AV receivers and similar to 12.4 described above (with the exception of differences in the number of channels, which are not critical in this case).

— 15.1. A very rare and expensive option, designed for the use of mainly advanced acoustic systems — in particular, the halls of small cinemas.

Note that this paragraph indicates the most advanced sound format that the receiver is capable of working with; the general set also includes simpler options. For example, 7.1 systems usually handle 5.1 without any problems, not to mention stereo.

the maximum sound power that can be delivered by the power amplifier (if the receiver has one, see "Type") per speaker channel. It is worth noting here that in this case it is customary to indicate the so-called RMS (Rated Maximum Sinusoidal), or rated power. Rated is considered the highest power that the amplifier is guaranteed to be able to produce without interruption for an hour without any failures or breakdowns. Short-term jumps in the signal level can significantly exceed this value, but the main indicator is still the rated power.

The power of the amplifier largely determines the sound volume of the speaker system connected to the device. In fact, the loudness also depends on the characteristics of the speakers — sensitivity, impedance, etc.; however, other things being equal, the same acoustics on a more powerful amplifier will sound louder. In addition, this parameter also affects the compatibility of the speakers and the amplifier — it is believed that the difference in the nominal powers of these components should not exceed 10-15% (and ideally, the powers should generally match). And since different rooms require speakers of different power, this also affects the choice of amplifier for a particular environment; specific recommendations on the ratio of room characteristics and acoustic power can be found in special sources.

Also note that if the amplifier can operate with a load of different resistance (...see "Permissible acoustic impedance"), then for different options the power per channel will be different — the lower the resistance, the higher the power. In the characteristics, in this case, the maximum value of this parameter is usually indicated — that is, the power at the minimum allowable resistance.

This indicator determines the amount of extraneous noise that accompanies the sound output by the receiver's amplifier. It is convenient because it takes into account almost all possible significant noise — both created by the device itself and due to external causes. The higher the signal-to-noise ratio, the lower the noise volume compared to the main signal, the cleaner the amplifier will sound. A reading of 70-80 dB is considered normal for most consumer electronics, but in AV receivers, which are usually premium devices, this can only be called satisfactory. In the most advanced models, this figure can significantly exceed 100 dB.

The ability of the receiver to work in Bi-amping and/or Tri-amping mode.

The basic principle of both of these modes is that the audio signal is divided into several frequency bands (LF and HF for Bi-amping, in the case of Tri-amping, mid frequencies are separated separately), and each band is processed by its own amplifier and output to its own specialized set of speakers. . In this way, a noticeable improvement in sound quality can be achieved. However, note that the specific implementation of this function in AV receivers may be different. The simplest option involves two or three built-in power amplifiers, each of which outputs the entire audio range to its own set of connectors. To such a device, you need to connect an external crossover (frequency filter) or speakers with built-in filters for each frequency band. More advanced receivers may have their own built-in crossovers, in which case only part of the frequency range is output to each amplifier with a set of connectors; this eliminates the need for external frequency filters. However, anyway, to use Bi/Tri-amping, you will need speakers that support this connection format.

The number of analogue stereo RCA inputs provided in the design of the AV receiver. The more such inputs there are, the more transmitting devices can be simultaneously connected to the receiver. Thanks to this, when choosing between them, you do not have to reconnect cables — just set the signal source in the receiver settings.

By itself, the RCA connector (colloquially — "tulip") can be used in different interfaces. However, in this particular case, we are talking about a linear audio input responsible for an analogue audio signal. RCA is the most popular connector used in modern audio equipment for such inputs; it allows you to connect the receiver to an external audio source such as a CD player.

Note that connectors of this type are usually counted in pairs; in other words, one input consists of two RCA connectors. This is due to the fact that in this case only one channel of analogue audio can be transmitted over one wire; accordingly, two RCA jacks are required for stereo transmission.

The number of composite inputs provided in the design of the receiver.

Note that in this case, we do not mean a full-size composite interface that uses three sockets (video and two stereo sound channels), but only one connector — video. This is due to the fact that the sound can be output through standard RCA audio connectors. The video output also uses an RCA type connector, usually a characteristic yellow colour.

Due to the fact that all image data is transmitted over a single cable, the composite interface is somewhat inferior to the component (see above) in terms of video quality, and the bandwidth allows you to work only with a standard definition signal (not HD); and there is no talk of volumetric sound. On the other hand, this connection method has long been used in video technology and can be useful for connecting outdated devices (such as VHS VCRs).

As for the quantity, the presence of several inputs allows you to connect several signal sources to the receiver at once with the corresponding outputs and switch between them through software settings without fiddling with switching cables.

The presence of the Phono input in the design of the AV receiver.

This type of input is used to connect turntables. Despite the widespread popularity of digital media, classic vinyl records do not leave the scene. And it's not just a matter of nostalgia: many audiophiles believe that it is the record that provides the most authentic and complete sound, which is why turntables for vinyl are quite often found in high-end audio systems. However, the sound from such a player must be passed through a phono stage, otherwise there can be no question of any quality. For these purposes, in high-end equipment, including AV receivers, the Phono input is provided: the signal received at this input is fed to the built-in phono stage. This allows you to connect turntables directly, without additional external equipment.

Note that phono stages can be designed for different types of pickups — MM or MC; therefore, before connecting, check to see if the Phono input is compatible with your turntable's cartridge. However, many receivers with this function are equipped with a universal MM/MC phono stage.