Damping Factor

Damping Factor Explained (kef.com)
Can be important with conventional bass drivers for the reasons explained in the article.
It can also be important at HF with speakers that present a highly capacitive load (electrostatics) as it affects the frequency response directly because the total output impedance of the amp and the interconnect is in series with the load impedance.
ML electrostatics often have a load impedance as low as 0.9ohms at just over 20kHz. a damping factor of 9 into 8 ohms would cause the frequency response to drop by c. 6dB at 20kHz.
The output impedance is also inductive, so it can act to shift the resonance lower than the intrinsic resonance of the speaker.
So, the answer is- it depends...
 
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I checked the details about the Benchmark AHB2 power amplifier.
It's really lightweight - the non-rack-mounted version is 12.5lb.
One important reason for the light weight is the use of a switching power supply instead of the conventional EI transformer, rectifier and filter capacitors. Whether switching power supplies are good enough for audio amplifiers I won't judge. They seem to be improving over the years and are certainly a great deal smaller and lighter.
But another important aspect is that this is not a class B or AB amplifier but rather a class H design with multiple rail voltages. Considering that the typical music content has a high crest factor, class H amplifiers achieve a much reduced power consumption due to much smaller heat dissipation on the output transistors. That explains the small size, small heatsinks and low weight. And the output transistors are not in parallel but cascaded so they share the voltage and strain. Class H, if done correctly, is very interesting but a totally different beast to class AB (or B as Douglas Self likes to call them).
About negative feedback, I'm not an expert, just an involved amateur that reads a lot. And I've read the books from Douglas Self and Bob Cordel, several times, and I have come to understand that too much global negative feedback can lead to oscilation at high frequencies. Too little has a detrimental effect in distortion, output impedance and frequency response, just to name a few.
Another interesting feature of the AHB2 is the fact it employs feed forward error correction. An interesting idea that's hard to implement correctly.

Class H has an infinitely variable supply. The AHB2 is, strictly speaking, class G.
The AHB2 uses nested feedforward and feedback paths and is essentially a refinement of the Quad "current dumping" amps of the 1980s, based on the THX corp. patents which were licensed.
It is, nevertheless, highly effective.
The issue with negative feedback has always been how to get sufficient levels at sufficiently high frequency while maintaining adequate stability margins. Fortunately modern devices/design methodologies/theory allows this limitation to be very usefully extended.
I am, or at least was, an expert in the area, and not just an informed/involved amateur.
 
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Shouldn't it be damping quotient or damping ratio? I mean, if we are going to get our hands dirty and put science to work, and all...
 
Hey, Wyn, thanks for bringing your experience and joining in on this. I read the KEF page and, after some further internet digging, found some of what must be some of the earliest discussion of damping factor...by Gilbert Briggs (the founder of Wharfedale). He seems to have been either the originator, or at least early popularizer, of some of the notions about loudspeaker damping and amplifier damping factor that are what people like Augspurger and Toole (over on this side of the pond) later went to some lengths to debunk.

KEF's discussion starts off with
Damping Factor (DF) is the amplifier’s ability to control speaker motion once a signal has stopped.

Technically speaking, Damping Factor is the ratio of nominal loudspeaker impedance (the impedance the loudspeaker is rated at) to total output impedance of the system driving the loudspeaker, including the amplifier and cables.

Damping Factor changes with frequency (as does impedance) and is most noticeable at lower frequencies.

The thing is, these are three conflicting statements; not more than one of them can be true. It's late and I'm not going to try getting any more deeply into that tonight though. (It turns out physics is a complicated subject that is difficult to explain to...anyone.)

In this thread you have people quoting sloppy statements like the first and third of the quoted sentences, and spreading confusion, and people sticking to the 2nd sentence, which at least is correct (since it is a definition).

I do understand that KEF's blog is for doing marketing and that its also not possible for them to get down to full technical detail. But I don't think you can hold that up as a good reference. Do you have something on the subject with a little more technical meat?
 
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Many have already pointed out that, in response to the OPs original question, it's not really possible to have two amps with a change in damping factor being the only difference. However I do believe that I have an example that is probably as close as it's going to get.

When I decided to run my first two Yamaha P2200/P2201 amps bridged, I did a lot of back and forth comparisons between just running the P2200 on it's own. It's a tradeoff. Bridging them gave me about 3x the power output into 8-ohms, but cuts the Damping Factor in half (because the speaker impedance, as seen by the amp when bridged, is halved).

The amps have a Damping Factor of about 220 (8-ohm load), which would mean about 110 when bridged. In the end, I kept them bridged. I did not notice any downside from the decreased Damping Factor, but the extra power output is nice.

Damping Factor supposedly has the largest impact on bass, which makes sense since that is obviously when the cone is moving the most and has the most inertia. I like music with lots of bass and I often push my woofers close to their limits. When the cone exceeds XMech, the voice coil hits the pole piece creating a very loud POP. It's pretty hard to miss, and clearly undesirable. Having good cone control is obviously important and something that would be very problematic in my case if it wasn't adequate. Clearly 110 is enough, at least for my speakers.

So while I'm trying to avoid generalizations about Damping Factor, I hope that I've provided at least one useful data point. I also wonder about context when I see others posting their experiences. Someone contending that Damping Factor matters a lot might be talking about the difference between 10 and 30, while someone else who says it doesn't matter might be talking about the difference between 100 and 300. I think most would probably agree that Damping Factor does matter if it gets low enough. The real question is how low?
 
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Hey, Wyn, thanks for bringing your experience and joining in on this. I read the KEF page and, after some further internet digging, found some of what must be some of the earliest discussion of damping factor...by Gilbert Briggs (the founder of Wharfedale). He seems to have been either the originator, or at least early popularizer, of some of the notions about loudspeaker damping and amplifier damping factor that are what people like Augspurger and Toole (over on this side of the pond) later went to some lengths to debunk.

KEF's discussion starts off with


The thing is, these are three conflicting statements; not more than one of them can be true. It's late and I'm not going to try getting any more deeply into that tonight though. (It turns out physics is a complicated subject that is difficult to explain to...anyone.)

In this thread you have people quoting sloppy statements like the first and third of the quoted sentences, and spreading confusion, and people sticking to the 2nd sentence, which at least is correct (since it is a definition).

I do understand that KEF's blog is for doing marketing and that its also not possible for them to get down to full technical detail. But I don't think you can hold that up as a good reference. Do you have something on the subject with a little more technical meat?

Ok. The KEF description is a good non-technical reference and indeed all three statements are true, if limited.
Yes, they do seem to conflate "damping factor" with "output impedance" and they certainly can be criticized for that, but the general ideas are reasonable.
Frankly, I am reluctant to approach this from a highly technical sense less those who shall remain nameless get their "knickers in a twist" (yes, I am a Brit), and increasing the technical level enough to be consistent and informative without raising someone's ire has proven to be impossible in the past.


This is a reference for the methodology that I sometimes use to model the driver units.
Electrical Model of Loudspeaker Parameters | PROJECT RYU
When modelling the behaviors of my amplifier/speaker cable/loudspeaker interface I use different levels of complexity, depending on circumstances.
1. a "lumped equivalent model" where I represent the amplifier, speaker cable and loudspeaker as impedance elements.
This works well for my current loudspeakers- ML Montis, as the Bass unit has a built in power amp designed for that task, and the remaining element is an electrostatic panel.
The interconnect impedance function is lumped, but it includes elements for RLC and skin effect.
Sometimes speaker impedance curves are provided by the manufacturer, sometimes HiFi mags provide them as part of their evaluation, sometimes programs like REW or Virtins can be used to measure the unit. I've used all three methods at various times.
This is very useful for simply evaluating the frequency response of a system, including resonances. It makes inserting transmission line elements for the lumped elements in the interconnect cables easy and avoids some of the convergence issues that appear when trying to simulate combinations that are near instability.
2. A "full" model including elements derived as in the white paper above. and an opamp like model for the driving amp with feedback, and in some cases non-linear, load dependent elements that allow me to perform transient simulations. These are very good for evaluating dynamic behavior, but often have convergence problems that limit their use in cases where the system is marginally stable.

One final comment. The AHB2s have very low output impedance/high damping factor, and Benchmark has explained the value of this by focusing on the frequency response implications just due to the voltage divider aspects of the amp output impedance/interconnect cable/speaker load impedance combination.
Deviations in frequency response as low as 0.25dB over broad regions are audible and can change the character of the system. This implies that the "damping factor" should be in the order of 50 or higher over the entire audio spectrum- whatever the speaker load presented is.
If the load, at some frequency, is 1ohm, then the output impedance should be 20mohms which would give a damping factor of 400 into 8ohms.
If the 1ohm is at 20kHz, then achieving such values is quite challenging.


This has gone way off topic
 
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I may have missed it, but I didn't see anyone post how damping factor is measured, which tells more of what it actually is. An amp is played with a sine wave at rated output with no load. Then is put under load and the drop in output voltage is measured. The original output voltage is divided by the drop in voltage. So a 200 watt amp running 40V RMS into 8 ohm; drops .15V under load. 40/.15=266.7 So that amp would have a damping factor of 267 at that test frequency. Frequencies throughout the amps audio range are tested and the lowest should be used. In essence, this test is directly related to the frequency response of an amplifier.
 
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I have a Benchmark AHB2 coming in. I will let you know what I think.....
I purchased one of my units used from a local audiophile friend. It was underpowered for his needs and he didn't like it much- so he sold it shortly after buying it.
I use two and they sound excellent to him in my system.
 
Wow. So after reading the whole thread and the linked article (no, I did not read tertiary linked papers):

- The OP got zero consistent response to his honest query looking for some clarity.

- There is no agreement on how much damping factor matters.

- There is no agreement on the real world effect of damping factors - what it actually does.

- We are exhorted to Google the topic, read links within links, research arcane tomes about psychoacoustics, and wire our speakers to an oscilloscope and drop something on them.

Keep it going. It may not answer any audio questions, but its a fascinating study in human behavior.
:lurk:
This is typical of this forum. Never a straight answer. But if your patient, between the pontificating and bloviating and some research on your own, typically you will either figure it out or give up…
 
This is typical of this forum. Never a straight answer. But if your patient, between the pontificating and bloviating and some research on your own, typically you will either figure it out or give up…
Well put. The ‘some research on your own’ part is the most important point you make. Reduces the need for posting here.
 
Actually, it’s just the opposite. The truth is always challenged while the wives tales get a hall pass.
Seems to me that everything gets challenged and truth is on the same footing with wives tales, half-truths, misinterpretations, and opinions.

Unless it’s about fixing a broken unit or finding a nice scroe, everything’s a cable thread.
 
Take the OPs (self-admittedly basic) core ask: what do different damping factors sound like? In order to forestall the ‘depends on the amplifier’ response, he puts in a constraint. It takes 13 posts for someone to actually address his question, and nowhere in the following 61 posts does anyone mention the actual quality of sound.

Dear OP: Damping factor does not have an easily definable ‘sound.’ It is dependent on many factors. It is also plays a small role in defining the sound of how a particular amplifier will interface with a speaker in home use.
 
Take the OPs (self-admittedly basic) core ask: what do different damping factors sound like? In order to forestall the ‘depends on the amplifier’ response, he puts in a constraint. It takes 13 posts for someone to actually address his question, and nowhere in the following 61 posts does anyone mention the actual quality of sound.

Dear OP: Damping factor does not have an easily definable ‘sound.’ It is dependent on many factors. It is also plays a small role in defining the sound of how a particular amplifier will interface with a speaker in home use.

I thought he received a good answer in the 3rd post and there were others after.

Of course that is not taking into consideration your vastly superior ways and knowledge, please forgive us lowly ones.
 
Wow. So after reading the whole thread and the linked article (no, I did not read tertiary linked papers):

- The OP got zero consistent response to his honest query looking for some clarity.

- There is no agreement on how much damping factor matters.

- There is no agreement on the real world effect of damping factors - what it actually does.

- We are exhorted to Google the topic, read links within links, research arcane tomes about psychoacoustics, and wire our speakers to an oscilloscope and drop something on them.

Keep it going. It may not answer any audio questions, but its a fascinating study in human behavior.
:lurk:

This is a discussion forum and people with different opinions are having a discussion. Does this offend you?

Well put. The ‘some research on your own’ part is the most important point you make. Reduces the need for posting here.

This could apply to almost anything. Why ever ask anyone anything when you could look it up yourself instead? Maybe people post here because, you know, it's a discussion forum, and people enjoy discussing things?

Seems to me that everything gets challenged and truth is on the same footing with wives tales, half-truths, misinterpretations, and opinions.

Unless it’s about fixing a broken unit or finding a nice scroe, everything’s a cable thread.

Is it really a bad thing when ideas are challenged? If not, who's "truth" are we expected to take at face value?

Dear OP: Damping factor does not have an easily definable ‘sound.’ It is dependent on many factors. It is also plays a small role in defining the sound of how a particular amplifier will interface with a speaker in home use.

Nice that you made at least one post that actually addressed the topic, on top of all your complaining. I also notice that your post contains nothing that is any more helpful than what many others have already posted here. Certainly, you have posted nothing that would justify your holier-than-thou posts encouraging people not to post here, disparaging those who do, and the quality of the forum in general.

The real "fascinating study in human behavior" is wondering why you are still posting here. The rest of us are having a discussion about audio on an audio forum.
 
Damping factor also varies based on frequency.

Yeah I've noticed a trend with most amps where Damping factor decreases at higher frequencies. As there obviously tends to be more cone movement at lower frequencies, that also makes damping factor more relevant at lower frequencies, so I don't think it's really an issue. A tweeter diaphragm isn't going to have very much inertia to control.
 
Yeah I've noticed a trend with most amps where Damping factor decreases at higher frequencies. As there obviously tends to be more cone movement at lower frequencies, that also makes damping factor more relevant at lower frequencies, so I don't think it's really an issue. A tweeter diaphragm isn't going to have very much inertia to control.

I don't know that it's a trend. :dunno:

I suspect it's pretty much been that way but more specs showing more than a single point.
 
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