Editing Audiophile (section)

==Audio playback components==
An audio system typically consists of one or more source components, one or more amplification components, and (for [[stereophonic sound|stereo]]) two or more [[loudspeaker]]s.<ref>{{cite web
 |url=http://www.mediacollege.com/audio/01/sound-systems.html
 |title=Sound Systems
 |publisher=Media college.com
 |access-date=3 July 2012
}}</ref>

[[Audio and video connector|Signal cables]] (analog audio, speaker, digital audio etc.) are used to link these components. There are also a variety of accessories, including equipment racks, [[power conditioner]]s, devices to reduce or control [[vibration]], record cleaners, anti-static devices, phonograph needle cleaners, [[reverberation]] reducing devices such as speaker pads and stands, sound absorbent foam, and [[soundproofing]].

The interaction between the loudspeakers and the room ([[room acoustics]]) plays an important part in sound quality. Sound vibrations are reflected from walls, floor and ceiling, and are affected by the room's contents. Room dimensions can create [[standing wave]]s at particular (usually low) frequencies.  There are devices and materials for [[Acoustic treatment#Absorption|room treatment]] that affect sound quality. Soft materials, such as draperies and carpets, can absorb higher frequencies, whereas hard walls and floors can cause excess reverberation.

{{multiple image
|direction=vertical
|width=175
|image1=Turntable-floating-view.jpg|caption1=Modern turntable.
|image2=Cd-player-top-loading-and-DAC.jpg|caption2=Top-loading CD player and external D-to-A converter.
|image3=Harumphy.Quad ii.jpg|caption3=[[Quad Electroacoustics|Quad]] II, an early monoblock valve (vacuum tube) amplifier.
}}

=== Sound sources ===
Audiophiles play music from a variety of sources including [[phonograph record]]s, [[compact disc]]s (CDs), and [[audio file format|digital audio file]]s that are either uncompressed or are [[lossless compression|losslessly compressed]], such as [[FLAC]], [[Direct Stream Digital|DSD]], [[Windows Media Audio 9 Lossless]] and [[Apple Lossless]] (ALAC), in contrast to [[Data compression#Lossy audio compression|lossy compression]], such as in [[MP3]] encoding. From the early 1990s, CDs were the most common source of high-quality music. Nevertheless, [[Phonograph#Turntable technology|turntables]], tonearms, and [[magnetic cartridge]]s are still used, despite the difficulties of keeping records free from dust and the delicate set-up associated with turntables.

The 44.1&nbsp;kHz [[sampling rate]] of the CD format, in theory, restricts CD information losses to above the theoretical [[Nyquist limit|upper-frequency limit]] of [[human hearing]] – 20&nbsp;kHz.  Nonetheless, newer formats such as FLAC, ALAC, [[DVD-Audio]] and [[Super Audio CD|Super Audio Compact Disc]] (SACD) allow for sampling rates of 88.2&nbsp;kHz, 96&nbsp;kHz or even 192&nbsp;kHz. Higher sample rates allow fewer restrictions on filter choices in playback components, and some audiophiles upsample from the source rate to higher rates to achieve different filter properties.<ref>{{cite web|last1=Robjohns|first1=Hugh|title= MQA Time-domain Accuracy & Digital Audio Quality|url= https://www.soundonsound.com/techniques/mqa-time-domain-accuracy-digital-audio-quality|website=soundonsound.com|date=August 2016|publisher= Sound On Sound|archive-date=10 March 2023|archive-url= https://web.archive.org/web/20230310175409/https://www.soundonsound.com/techniques/mqa-time-domain-accuracy-digital-audio-quality|url-status=live}}</ref>

CD audio signals are encoded in 16-bit values. Higher-definition consumer formats such as [[High Definition Compatible Digital|HDCD]]-encoded CDs, DVD-Audio, and SA-CD contain 20-bit, 24-bit and even 32-bit audio streams. With more bits, more [[dynamic range]] is possible; 20-bit dynamic range is theoretically 120&nbsp;dB—the limit of most consumer electronic playback equipment.<ref name="HuberRunstein2005">{{cite book |title=Modern Recording Techniques, Sixth Edition |last=Huber |first=David Miles |author2=Robert E. Runstein |year=2005 |publisher=Focal Press |isbn=0-240-80625-5 |pages=130 |url=https://books.google.com/books?id=mounFTvtYOQC }}</ref>

SACDs and DVD-Audio have up to 5.1 to 6.1 surround sound.  Although both high-res optical formats have failed, there has been a resurgence in high-res digital files.  SACD can be stored as a DSD file, and DVD-Audio can be stored as an FLAC or ALAC file.  FLAC is the most widely used digital format for high-res with up to 8 channels, a maximum depth of 32-bit, and 655,350&nbsp;Hz sampling rate.  Uncompressed formats such as WAV and AIFF files can store audio CDs without compression.

=== Amplifiers ===
A [[preamplifier]] selects among several audio inputs, amplifies source-level signals (such as those from a turntable), and allows the listener to adjust the sound with volume and tone controls. Many audiophile-oriented preamplifiers lack tone controls. A power [[amplifier]] takes the "line-level" audio signal from the preamplifier and drives the [[loudspeaker]]s. An integrated amplifier combines the functions of power amplification with input switching and volume and tone control.  Both pre/power combinations and integrated amplifiers are widely used by audiophiles.

Audiophile amplifiers are available based on solid-state ([[semiconductor]]) technology, [[vacuum tube|vacuum-tube]] (valve) technology, or hybrid technology—semiconductors and vacuum tubes.

Dedicated amplifiers are also commonly used by audiophiles to drive headphones, especially those with high impedance and/or low sensitivity, or [[electrostatic headphones]].

=== Loudspeakers ===
The loudspeaker's cabinet is known as the [[loudspeaker enclosure|enclosure]].  There are a variety of loudspeaker enclosure designs, including sealed cabinets ([[acoustic suspension]]), ported cabinets ([[bass-reflex]]), transmission line, infinite baffles, and horn-loaded. The enclosure plays a major role in the sound of the loudspeaker.

Depending on the frequencies reproduced, the drivers that produce the sound are referred to as [[tweeter]]s for high frequencies, [[Mid-range speaker|midrange]]s for middle frequencies, such as voice and lead instruments, and [[woofer]]s for bass frequencies. Driver designs include [[Electrodynamic speaker driver|dynamic]], [[Electrostatic loudspeaker|electrostatic]], [[Plasma speaker|plasma]], ribbon, planar, ionic, and servo-actuated. Drivers are made from various materials, including paper pulp, [[polypropylene]], kevlar, aluminium, magnesium, beryllium, and vapour-deposited diamond.

The direction and intensity of the output of a loudspeaker, called dispersion or polar response, has a large effect on its sound.<ref>{{cite web
 |url=http://www.enjoythemusic.com/magazine/bas/0508/
 |title=The 'Best' Loudspeaker: Revisiting Dispersion Issues
 |publisher=EnjoyTheMusic.com
 |date=May 1999
 |access-date=3 July 2012
}}</ref> Various methods are employed to control the dispersion.  These methods include monopolar, bipolar, dipolar, 360-degree, horn, waveguide, and line source. These terms refer to the configuration and arrangement of the various drivers in the enclosure.

The positioning of loudspeakers in the room strongly influences the sound experience.<ref>{{cite web
 |url=http://www.onhifi.com/features/20000815.htm
 |title=Loudspeaker Room Placement -- Part 1
 |publisher=onhifi.com
 |first=David
 |last=Hoffman
 |date=8 October 2000
 |access-date=3 July 2012
 |archive-url=https://web.archive.org/web/20161221070132/http://www.onhifi.com/features/20000815.htm
 |archive-date=21 December 2016
 |url-status=dead
 }}</ref><ref>{{cite magazine
 |url=http://www.stereophile.com/reference/1008speaks/
 |title=Getting the Best from Your Loudspeakers
 |magazine=Stereophile
 |first=John
 |last=Atkinson
 |date=3 October 2008
}}</ref> Loudspeaker output is influenced by interaction with room boundaries, particularly bass response, and high-frequency transducers are directional, or "beaming".

=== Accessories ===
Audiophiles use a wide variety of accessories and fine-tuning techniques, sometimes referred to as "tweaks", to improve the sound of their systems. These include power conditioner filters to "clean" the electricity,<ref>{{cite web
 |url=http://www.audioholics.com/reviews/power-conditioners
 |title=Power Conditioner Reviews
 |date=31 October 2006
 |publisher=Audioholics
}}</ref> equipment racks to isolate components from floor vibrations, specialty power and audio cables, loudspeaker stands (and footers to isolate speakers from stands), and room treatments.

There are several types of room treatment. Sound-absorbing materials may be placed strategically within a listening room to reduce the amplitude of early reflections, and to deal with resonance modes.  Other treatments are designed to produce diffusion, reflection of sound in a scattered fashion. Room treatments can be expensive and difficult to optimize.

=== Headphones ===

Headphones are regularly used by audiophiles.  These products can be remarkably expensive, some over $10,000,<ref>{{cite web
 |url        = http://gadgets.luxist.com/2005/12/14/sennheiser-he-90-headphones
 |archive-url = https://web.archive.org/web/20070928044824/http://gadgets.luxist.com/2005/12/14/sennheiser-he-90-headphones
 |url-status   = dead
 |archive-date = 28 September 2007
 |title      = Sennheiser HE 90 Headphones
 |publisher  = Luxist
 |first      = Deidre
 |last       = Woollard
 |date       = 14 December 2005
 |access-date = 30 June 2007
}}</ref> but in general are much cheaper than comparable speaker systems. They have the advantage of not requiring room treatment and being usable without requiring others to listen at the same time. However, many audiophiles still prefer speaker systems over headphones due to their ability to simulate an immersive, rounded sonic environment. Newer [[Headphones#In-ear headphones|canalphones]] can be driven by the less powerful outputs found on portable music players.

=== Design variety ===

For music storage and playback, [[digital audio|digital]] formats offer an absence of clicks, pops, [[wow (recording)|wow]], [[Flutter (electronics and communication)|flutter]], [[acoustic feedback]], and [[Rumble (noise)|rumble]], compared to vinyl records.  Depending on the format, digital can have a higher [[signal-to-noise ratio]], a wider [[dynamic range]], less [[total harmonic distortion]], and a flatter and more extended [[frequency response]].<ref>{{cite news|url=http://www.mastersonaudio.com/audio/20030101.htm |title=The Decline of Vinyl and Its Timely Death |author=Ian G. Masters |date=1 January 2003 |website=mastersonaudio.com |url-status=dead |archive-url=https://web.archive.org/web/20050906014840/http://www.mastersonaudio.com/audio/20030101.htm |archive-date=6 September 2005 }}</ref><ref name=Masters>{{cite news|url=http://www.soundstageav.com/mastersonaudio/20050415.htm |title=Vinyl Hooey |author=Ian G. Masters |date=15 April 2005 |website=mastersonaudio.com |url-status=dead |archive-url=https://web.archive.org/web/20060320173912/http://www.soundstageav.com/mastersonaudio/20050415.htm |archive-date=20 March 2006 }}</ref> The [[digital recording]] and playback processes may include degradations not found in the analog processes, such as timing jitter and distortions associated with band limiting filter choices.<ref>{{cite web|last1=Fourre|first1=Remy|title= Jitter & the Digital Interface |url= https://www.stereophile.com/reference/1093jitter/index.html|date=October 1993|publisher=Stereophile|archive-date=18 August 2004|archive-url=https://web.archive.org/web/20040818201002/https://www.stereophile.com/reference/1093jitter/index.html|url-status=live}}</ref><ref>{{cite web|last1=Story|first1=Mike|title=A Suggested Explanation For (Some Of) The Audible Differences Between High Sample Rate And Conventional Sample Rate Audio Material |date=September 1997|url=http://sdg-master.com:80/lesestoff/aes97ny.pdf |publisher=dCS Ltd|archive-date=28 November 2009|archive-url=https://web.archive.org/web/20091128021651/http://sdg-master.com:80/lesestoff/aes97ny.pdf|url-status=live}}</ref> Vinyl records remain popular and discussion about the relative merits of analog and digital sound continues (see [[Comparison of analog and digital recording]]).  Note that vinyl records may be mastered differently from their digital versions, and multiple digital remasters may exist.

In the amplification stage, [[vacuum tube|vacuum-tube]] electronics remain popular, despite most other applications having since abandoned tubes for [[solid state (electronics)|solid state]] amplifiers.  Vacuum-tube amplifiers often have higher [[total harmonic distortion]], require rebiasing, are less reliable, generate more heat, are less powerful, and cost more.<ref>{{cite news|url=http://www.mastersonaudio.com/audio/20020901.htm |title=The Ongoing Debate about Amplifier "Sound" |author=Ian G. Masters |date=1 September 2002 |website=mastersonaudio.com |url-status=dead |archive-url=https://web.archive.org/web/20070830120742/http://www.mastersonaudio.com/audio/20020901.htm |archive-date=30 August 2007 }}</ref> There is also continuing debate about the proper use of [[negative feedback]] in amplifier design.<ref>{{cite magazine|url=http://www.hificritic.com/downloads/Archive_6.pdf|title=A Future Without Feedback?|date=January 1998|magazine=Stereophile|archive-url=https://web.archive.org/web/20130619065311/http://www.hificritic.com/downloads/Archive_6.pdf|archive-date=2013-06-19|author=Martin Colloms|access-date=9 May 2007}}</ref><ref>{{cite web
 |url=http://www.linearaudio.nl/linearaudio.nl/images/pdf/Volume_1_BP.pdf 
 |title=The 'F' word, or why there is no such thing as too much feedback 
 |author=Bruno Putzeys 
 |publisher=Linear Audio
 |date=February 2011 
 |access-date=19 March 2013 
 |url-status=dead 
 |archive-url=https://web.archive.org/web/20130711222233/http://www.linearaudio.nl/linearaudio.nl/images/pdf/Volume_1_BP.pdf 
 |archive-date=11 July 2013 
}}</ref>