Yamaha Power Amplifier

White Paper

August 2008

Table of Contents

1. About EEEngine ...............................................................................................................2

1.1. Introduction...............................................................................................................................................................2
1.2. Explanation of different amplifier topologies ...........................................................................................................2
2. Yamaha technology..........................................................................................................5
2.1. Dual mono-amplifier structure..................................................................................................................................5
2.2. Full resonance switching power supply ....................................................................................................................5
3. Behavior of the amplifier under heavy load condition ..................................................6
3.1. Importance of stable 2 ohm load capability ..............................................................................................................6
3.2. Comparison of amplifiers at lower impedance situations .........................................................................................7
3.3. Explanation of results of listening test using music source.......................................................................................8

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1. About EEEngine

1.1. Introduction
Yamaha Power Amplifier Philosophy
Our approach to manufacturing power amplifiers is
simple; pure and natural amplification of the input signal.
Mixed audio is sent to the amplifier from the mixing
console, to be amplified before final “coloring” or
“flavoring” through the loudspeakers. The role of
amplifiers in a sound system should not be to add its
[ Fig.3 ] Output signal of Yamaha T5n amplifier; Natural and true to the input
own color, but to be faithful to the input signal to give
you maximum control over the final sonic performance.
Reliability is another important feature of Yamaha
amplifiers. All Yamaha products are also tested under
severe conditions and must comply with Yamaha’s strict
quality assurance standards. Read more about Yamaha’s
quality assurance testing and standards at:
http://www.yamahaproaudio.com/topics/leading_technol
ogy/quality_control/index.html

1.2. Explanation of different amplifier

topologies
There are many different amplifier topologies, or circuit
[ Fig.1 ] The input signal, 70Hz burst sine wave. design principles that are used in professional power
amplifiers. The majority of the high power amplifiers
seen in the professional audio industry today can be
classified as derivatives of three major technologies;
Class H, Class D or a hybrid of Class AB and Class D
such as Yamaha’s EEEngine (Energy Efficient Engine).

Class AB
Class AB technology is the foundation of professional
amplification. Even to this day, Class AB amplifiers can
be found in many professional audio applications. This
topology, which had been the norm in the industry for
[ Fig.2 ] Output signal of a typical competitor amplifier. decades, offers a simple circuit configuration and superb
sound quality. Yamaha’s older amplifiers such as P2200
released in 1976 and PC2002M, released in 1982 were
Class AB amplifiers. Class AB topology, however, has a
drawback of always requiring its output stage to drive at
maximum voltage output, resulting in a great deal of
heat dissipation. This low efficiency is the reason why
Class AB amplifiers are comparatively limited in output
power considering their unit size and weight. When

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driven with typical program material with occasional
clipping (1/8 power), Class AB topology typically
achieves around 20% efficiency*, meaning that 80% of
power drawn is lost as heat. Various methods have been
developed to overcome this drawback which led to the
development of Class H and Class D topologies.

* Efficiency rate within this document refers to overall

efficiency of the power amplifier including its mains power
supply. Efficiency is calculated at 1/8 of rated output power,
[ Fig.5 ] Class H operational waveform.
which is a reference of typical program material with
occasional clipping.
Class D
Often misunderstood as an abbreviation for “digital”,
Class D utilizes PWM, or Pulse Width Modulation. First,
a PWM signal is created from the input audio signal.
The power supply voltage is then switched according to
the pulse width, creating a high power PWM signal to
drive the loudspeaker. The elements used for the
switching operation require only a minimum of voltage,
allowing vast improvements in efficiency compared to
[ Fig.4 ] Class AB operation waveform.
previous amplifier topologies. Class D amplifiers
typically have efficiency of around 60%. However, to
Class H convert the audio signal to a rectangular wave PWM
Class H uses a method that switches the power supply signal, a high power consuming low-pass filter must be
voltage level according to the input signal. This can
used at the output stage to eliminate pulse, or the
vastly improve output stage heat dissipation by original audio signal cannot be recovered. The audio
providing low voltage when the signal level is low. signal’s frequency response, distortion, and damping
However, as the signal level increases, the system
factor are affected by the low-pass filter. High power
functions in the same way as a Class AB system, and PWM signals also have the side effect of emitting
efficiency is lost. Class H loses efficiency when fed harmonic electromagnetic (EMC) waves within the
music signals with a wide dynamic range. A system that
radio frequency range of up to a few megahertz. Class D
uses a multi-step voltage switching method may easily amplifiers may be convenient on the efficiency side, but
come to mind to overcome this problem, but this would often face difficulties in achieving optimal sonic quality
create many complications such as increased switch loss,
and many manufacturers are attempting to work their
making it impractical as a solution. Class H amplifiers way around this problem.
typically have efficiency of around 30%. Yamaha’s
P5002 amplifier released in 1982 was an early adopter
of Class H topology.

[ Fig.6 ] Class D operational waveform.

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EEEngine
EEEngine combines the sound quality of Class AB
circuitry while maintaining the efficiency of Class D
circuitry. Combining positive aspects of both Class AB
and Class D may seem simple by concept, but it took
years of extensive engineering efforts to achieve this
technology on a mass production base.

[ Fig.7 ] EEEngine operational waveform

EEEngine overcomes problems conventional amplifier
topologies while providing advantages in all areas,
EEEngine vs competitor technology
offering a dramatic leap in power amplifier design. It
There is one well respected amplifier manufacturer with
realizes efficiency that matches Class D without
a proprietary amplifier topology which shares the same
compromising the sound quality of a Class AB amplifier.
concept of combining Class AB amplification and Class
The patented EEEngine technology is scalable and can
D power supply operation. Both technologies track the
be found on a wide range of Yamaha power amplifiers
audio signal to always provide the minimum power
from the value class P series to the flagship TXn series.
required for the final output stage. Two technologies are
different however, in its tracking operation methods.
EEEngine tracks the audio signal to always provide the
minimum power needed for the final output stage,
Signals of higher frequencies require a higher slew rate*,
allowing for surprising improvement in efficiency. It
and are harder to track. Slew rate is a measure of the
utilizes Class D operation to provide the power at the
ability of an amplifier to respond to very fast changes in
final output stage of Class AB operation. Almost all of
signal voltage. To compensate for the inability to keep
the current energy is output as the audio signal, and just
up with changes in signal voltage, this competitor
a small fraction of the remaining energy is emitted as
technology adds a delay to the input signal. This delay
heat dissipation through the heatsink.
gives the Class D power supply more time to respond to
sharp changes in voltage, but it must be noted that
With the final output stage operating as Class AB, the
manipulating the audio signal will inevitably have effect
output signal is of remarkably high sound quality. There
on the final sonic quality.
is none of the deterioration of frequency response and
damping factor or unwanted EMC, as conversion of the
Yamaha’s EEEngine takes a different approach to
audio signal to a PWM signal does not take place. Plus,
compensate for Class D power supply’s limitation in
EEEngine is designed to operate perfectly while keeping
keeping up with sharp changes in voltage by adding an
the power amplifier heat generation to a minimum,
auxiliary “high speed buffer” power supply. This high
regardless of the load requirements. All together
speed power supply circuit is activated only when Class
EEEngine offers Class AB sound quality with efficiency
D power supply alone is not able to keep up with the
that matches Class D. EEEngine circuitry was uprated
speed. This “high speed buffer” mechanism allows
for TXn and Tn series amplifiers with a new high
EEEngine to respond to quick voltage changes without
efficiency electrical current buffer FET driver circuit to
manipulating the audio signal and degrading sound
withstand the power and 2 ohm loads that the amplifiers
quality. The elimination of unwanted and excessive
will drive.
components to the audio line is a reflection of Yamaha’s
philosophy of delivering natural output signal that is
faithful to the input signal.

* Slew rate affects the ability of an amplifier to accurately

render complex waveforms at high power levels. A higher

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 slew rate is however, preferable only to a point. A higher slew channel amplifiers incorporating a symmetrical dual
rate will give the amplifier a wider bandwidth, and when in
mono-amplifier design, with each mono amplifier
excess it will ultimately result in amplification of signals even
in the radio frequency range. This will waste energy, create having its own power supply. Dual mono-amp structure
distortion and also put undesirable stress on the speaker unit. plays an important role in achieving separation between
the two channels. Having a dedicated power supply on
each mono-amplifier minimizes interference between
the channels, preventing powerful bass notes on one
channel from taking power away from the other channel,
for example. The two power supplies operate in opposite
phases, synchronizing to cancel noise and lowering
electromagnetic interference.

[ Fig.8 ] Circuit of a competitor amplifier. To allow Class D power supply more

time to respond to quick changes in voltage requirements, all audio goes
through a delay. Effect on sonic quality cannot be avoided with this
manipulation of the audio signal.

[ Fig.10 ] Dual mono-amp structure. Each channel has a dedicated power

supply.

The amplifiers are also carefully designed to suppress

internal vibration within the amplifier that could have a
negative impact on sound quality. The top surface of the
heatsink is reinforced to reduce vibration to the power
transistors that are located on top of it. The heatsink
itself is fastened to the chassis side panels at numerous
strategic points with special insulators that are designed
to absorb vibration and chassis resonance that interfere
[ Fig.9 ] EEEngine’s “High speed buffer” is activated only when Class D power with optimum reproduction.
supply is not able to keep up with sharp increases in sound. This circuitry
allows EEEngine to maintain a preferable slew rate without manipulating and
degrading the audio signal. 2.2. Full resonance switching power supply
The power supply plays a crucial role in the quality of
2. Yamaha technology any amplifier. Full resonance switching power supplies
found on TXn, Tn and PC1N series amplifiers processes
2.1. Dual mono-amplifier structure two types of switching; Zero Voltage Switching and
Yamaha power amplifier technology – mechanical Zero Current Switching. Full resonance power supplies
design provide voltage and current waveforms with natural
curves, significantly reducing harmonic components
The TXn, Tn and PC9501N series amplifiers are 2
from switching noise. Typical switch mode power

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 supplies employ what is typically called “hard 3. Behavior of the amplifier under heavy
switching,” which induces more noise into the DC
load condition
output and gives square waveforms rich in high
frequency harmonics, requiring an additional filter to
remove them. “Soft switching” as seen in full resonance 3.1. Importance of stable 2 ohm load capability
switching on the other hand, produces natural Tn and TXn series were developed with the concept of
waveforms that are desirable for music playback. stable operation under 2 ohm load. We do not
necessarily suggest power amplifiers to be configured
for a 2 ohm load setup. However, we recognize that
stability under extreme low impedance is very important
for professional use power amplifiers. For example, in
the use of dual subwoofers, woofer units with nominal
impedance of about 6 to 8 ohms are typically connected
in parallel, giving the amplifier a load of 3 to 4 ohms.
Line array speakers are also often connected in parallel,
requiring stability at lower impedance. The actual
impedance curve of a speaker unit is complex and its
load varies greatly depending on frequency. A
loudspeaker’s lowest actual impedance is usually lower
than its nominal impedance. Because of this impedance
curve, an operator may unknowingly put extreme stress
[ Fig.11 ] Current and voltage of a typical competitor power supply. Visibly to the amplifier with a source that repeatedly hits the
much higher noise content can be observed (circled in red). Voltage
waveform shown in yellow, and current waveform shown in blue. frequencies most demanding (lower impedance) for the
loudspeakers. Because an amplifier is put under
extremely demanding conditions at times, it is important
that there is enough headroom to keep the amplifier
from clipping.

When an amplifier clips, its output signal is distorted

and a rectangular waveform is observed. A rectangular
wave contains very high frequency and this causes voice
coils of the loudspeakers to burn out. Clipping of the
output signal, which may potentially destroy speaker
units in the system, must be prevented in a professional
audio system. An amplifier’s ability to maintain stable
operation at lower impedance is essential as an amplifier
is more likely to clip under lower impedance.
[ Fig.12 ] Yamaha’s Full-resonance switching power supply. Smooth, natural
waveforms with minimum switching noise. Voltage waveform shown in yellow,
and current waveform shown in blue.

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 3.2. Comparison of amplifiers at lower
impedance situations
Below are oscilloscope measurements to visualize
differences in behaviors of some of the better known
power amplifiers available today. The test signal is sine
wave (200 cycles of 500 Hz = 0.4 sec) followed by 1.2
seconds of interval (no signal). This frequency can be
found in many typical program materials, and an interval
was set because continuous playback of sine waves is
not realistic in actual sound reinforcement applications.

[ Fig.13 ] A typical impedance curve of a bass reflex woofer. The nominal This is a comparison of various power amplifiers in the
impedance is 4 ohms but the lowest impedance is below 4 ohms.
market, all of which are rated from 2500W to 3000W at
2 ohms. Voltage gain and input levels have been
carefully measured and adjusted for a fair comparison.

A+
0.4sec 1.2sec interval 0.4sec A-

Time 2 ohm Digital

B+
Dummy load Oscilloscope
Signal Generator

B-
500Hz x 200 cycle
sine wave
A+
Oscilloscope screen A-
2 ohm
Dummy load
B+
B-

[ Fig.14 ] Set up overview

[ Fig.15 ] The input signal. The same waveform with a higher amplitude is [ Fig.16 ] Output of Yamaha’s T5n amplifier (2500W @ 2ohms). Output signal
desired for the output signal of the amplifier. is very true to the input signal.

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[ Fig.17 ] Output signal of an amplifier, “Competitor A”. (2500W @ 2ohms) [ Fig.19 ] “Competitor C” - Rated at 3300W into two ohms, this amplifier
muted quickly after its limiter kicked in. (3300W@ 2 ohms)

The oscilloscope measurement on Fig. 17 shows strong

compression-like behavior on its output signal. The Fig.19 shows the output signal of amplifier model,
output signal shows no resemblance of the input sine “Competitor C”. Though this amplifier is rated at
wave. This behavior was not seen when the amplifier 3300W into two ohms and specified to have the highest
was driven only on one channel, but quickly became power of all the amplifiers in this comparison, the
unstable when driven on both channels. We believe this oscilloscope trace shows contradicting results. Its limiter
to be result of overstressing of the one power supply that kicked in, drastically dropping output voltage. Though
supplies power for both channels. not apparent on one still image of the measurement, it
took a few seconds for the output voltage to recover,
only to have the limiter activated once again shortly
afterwards. This behavior repeated for the entire
duration of this test.

These results show that different amplifiers behave

differently under low impedance operation. The results
of the comparison also prove that actual performance of
an amplifier cannot always be predicted from its catalog
specifications. Because there are no industry standards
for amplifier specifications, paper comparison of figures
[ Fig.18 ] An oscilloscope measurement of amplifier model “Competitor B”.
such as output power is not very practical.
(2900w @ 2 ohms)

3.3. Explanation of results of listening test

Fig.18 shows that Competitor B, rated 400 watts higher
using music source
than the T5n at two ohms, seems to start out well but
We conducted the above experiment using a music
quickly loses power and its output voltage drops. This
source. To replicate a more realistic setup, we replaced
behavior was observed when the amplifier was driven
the dummy load on one channel with four loudspeakers
on both channels.
connected in parallel. To reduce interference between
the four loudspeakers and also to reduce stress on our
ears, we verified our results from one reference
loudspeaker; the remaining three loudspeakers were
placed in a remote location.

The results of this listening test were basically

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reproductions of the oscilloscope measurements. The The amplifier muted for a few seconds before returning.
kick drums on “Competitor A” were heavily distorted, This limiter may protect the amplifier from damage, but
extremely harsh on the ears and harmful to the this behavior is unacceptable in a live situation.
loudspeakers as well. Its playback level fluctuated after Yamaha’s T5n showed positive results in this test. The
the kick drum, as was observed in the oscilloscope T5n showed minimal limiting and had the most
measurement. headroom among the competitors. The amplifier’s
output did show slight distortion when levels were high,
Competitor B’s output was considerably distorted when but the playback remained musical and had the best
louder notes were repeated. The amplifier’s limiter performance in this comparison.
kicked in on “Competitor C” after the kick drum beat.

[ Fig.20 ] Listening test set up

P.O.BOX 1, Hamamatsu, Japan

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