Originally Posted by MichaelJHuman
He's right though. Damping factor has been discussed. You might want to pick up Douglas Self's book on amplifier design. Even if you don't have a background in electronics, he discussed some stuff pretty clearly without formulas and circuits.
But there's some good online articles on damping factor. As I recall, when you start factoring in the affect cables have on damping factor, the amplifier damping factor (inverse of output impedance) turns out to be less significant. I think there's an audioholics article on it.
Here's one article on damping factor (not the most concise, but lots of info)http://sound.westhost.com/impedanc.htm
MJHuman -- If you mean the Reciprocal of Impedance(Z), that is known as Admittance (Y) to be exact, and yes all my years at Stanford in EE were still embedded somewhere here...
and before that ME undergraduate, Ughh...
Y=Admittance=1/Z, where Z=Impedance which is defined for exponentials as the ratio of voltage to current, and includes the Capacitance and Inductance within the circuit, as well as the DC Resistive component.
Electrical impedance, or simply impedance, describes a measure of opposition to alternating current (AC). Electrical impedance extends the concept of resistance to AC circuits, describing not only the relative amplitudes of the voltage and current, but also the relative phases. When the circuit is driven with direct current (DC) there is no distinction between impedance and resistance; the latter can be thought of as impedance with zero phase angle, or just simply put a DC Resistance with no impedance, since there is no AC component within the signal.
But since all audio signals are AC in nature, and hopefully have no DC offset component about ground (not a good thing), all resistive, capacitive, and inductive loads have to be considered thoroughly.
Look at it's equivalent in ME Discipline of Vibration Analysis, we use the Logarithmic Decrement to analyze the Damping Factor. Ideally you want designs to be Critically Dampened in so that there is No Overshoot, or for that matter Undershoot, and will take their displacement excursion, and come back to their neutral position as fast as possible without over/under shooting their free state, and no sustained ringing out as a function of time.
All these technical details should be considered by the Designers of our Speakers, Amps, etc. Now, assuming they (the Mfg. designers) have done their Job correctly, what are we adding to the equation -- Ah, a Power Cable, some Interconnect Cables from sources to AVR or Pre/Pro, or from Pre/Pro to Amp, and some Speaker cables.
So in essence, this seems to me one factor of which we should focus on the many issues upon us regarding any degradation in Sound Quality -- Cabling.
Over, your Turn !!