In the third and final instalment of this series, we take a look at flexibility, highlighting some of the important features that help ensure the Lina Headphone Amplifier can excel with any pair of headphones, and any DAC or source device.
Balanced inputs: Designing for a range of DACs and sources
The dCS Lina series comprises three products: a Network DAC, Headphone Amplifier and Master Clock. These components are designed to provide an excellent performance when used as separates or as part of a complete Lina system. Each one is compatible with a vast range of audio equipment–a core requirement for all dCS products, and one that reflects our commitment to ensuring our systems are able to support a myriad of use cases.
In the context of the Lina Headphone Amplifier, this meant creating an amp that is compatible with a vast selection of source devices, and can drive almost all available headphones, from insensitive planar magnetic headphones through to sensitive IEMs.
The amplifier has three sets of inputs: an unbalanced input on RCA connectors, and two sets of balanced inputs–one buffered and one unbuffered–on XLR connectors.
As we discussed in a previous article on linearity, the unbuffered balanced input has a lower input impedance. This offers superior performance but is harder to drive, and requires a source with lower output impedance.
The buffered balanced input, in contrast, has a higher input impedance as a result of its buffer stage. This makes it easier to drive and means it is compatible with a wider range of sources.
Having a choice of unbuffered and buffered balanced inputs is unusual: most headphone amplifiers have a single set of balanced inputs to use with a fixed input impedance.
Including both sets allows us to offer superior performance when the amp is paired with lower output impedance sources that are capable of driving an unbuffered balanced input (such as the Lina Network DAC, and other DACs within the dCS range), while also making sure the amp can be connected to whatever source a listener desires.
Controlling Gain: Driving different types of headphones
In a previous article exploring the Lina Headphone Amplifier’s drive capabilities, we discussed some of the challenges inherent in creating an amp that can drive a wide range of headphones–for example, being able to deliver the kind of power required to drive insensitive planar magnetic headphones, without overdriving sensitive IEMs so much that listeners experience a higher noise floor and poor volume control.
Controlling the amplifier’s gain is critical to achieving this. To this end, the Lina Headphone Amplifier features an adjustable gain switch. The gain switch is located on the underside of the unit beneath the volume dial, and controls the gain going into the final output stage. This helps to ensure that the amplifier–which is very powerful–does not overdrive sensitive headphones.
When the switch is set to the left-hand position, the amplifier is in low gain mode. When set to the right-hand position, it is in high gain mode. There is around a 10.5dB difference between these two settings, which allows listeners to better match the amplifier’s gain to their connected headphones.
Read in full: https://dcsaudio.com/edit/lina_amp_flexibility
Balanced inputs: Designing for a range of DACs and sources
The dCS Lina series comprises three products: a Network DAC, Headphone Amplifier and Master Clock. These components are designed to provide an excellent performance when used as separates or as part of a complete Lina system. Each one is compatible with a vast range of audio equipment–a core requirement for all dCS products, and one that reflects our commitment to ensuring our systems are able to support a myriad of use cases.
In the context of the Lina Headphone Amplifier, this meant creating an amp that is compatible with a vast selection of source devices, and can drive almost all available headphones, from insensitive planar magnetic headphones through to sensitive IEMs.
The amplifier has three sets of inputs: an unbalanced input on RCA connectors, and two sets of balanced inputs–one buffered and one unbuffered–on XLR connectors.
As we discussed in a previous article on linearity, the unbuffered balanced input has a lower input impedance. This offers superior performance but is harder to drive, and requires a source with lower output impedance.
The buffered balanced input, in contrast, has a higher input impedance as a result of its buffer stage. This makes it easier to drive and means it is compatible with a wider range of sources.
Having a choice of unbuffered and buffered balanced inputs is unusual: most headphone amplifiers have a single set of balanced inputs to use with a fixed input impedance.
Including both sets allows us to offer superior performance when the amp is paired with lower output impedance sources that are capable of driving an unbuffered balanced input (such as the Lina Network DAC, and other DACs within the dCS range), while also making sure the amp can be connected to whatever source a listener desires.
Controlling Gain: Driving different types of headphones
In a previous article exploring the Lina Headphone Amplifier’s drive capabilities, we discussed some of the challenges inherent in creating an amp that can drive a wide range of headphones–for example, being able to deliver the kind of power required to drive insensitive planar magnetic headphones, without overdriving sensitive IEMs so much that listeners experience a higher noise floor and poor volume control.
Controlling the amplifier’s gain is critical to achieving this. To this end, the Lina Headphone Amplifier features an adjustable gain switch. The gain switch is located on the underside of the unit beneath the volume dial, and controls the gain going into the final output stage. This helps to ensure that the amplifier–which is very powerful–does not overdrive sensitive headphones.
When the switch is set to the left-hand position, the amplifier is in low gain mode. When set to the right-hand position, it is in high gain mode. There is around a 10.5dB difference between these two settings, which allows listeners to better match the amplifier’s gain to their connected headphones.
Read in full: https://dcsaudio.com/edit/lina_amp_flexibility
Attachments
Last edited:
