On some AV receivers, particularly higher-end ones, you’ll find an option called something like “amp assign”. In most cases, you’ll need to tell the AV amp the speaker configuration you’re using, whether that’s 5.1 or 7.1, or even 7.1.4 (for Dolby Atmos), but with many amps you won’t need to specify that you’re using the pre-outs at all. Now you need to calibrate the speakers using the AV amp’s built-in, mic-driven set-up. Then use standard analogue interconnects to connect the front-left and front-right pre-outs of the AV amp to the AV input of the stereo amp. Simply plug your front-left and front-right speakers into the terminals on the stereo amp, and all of the other speakers (centre, sub, surrounds and height speakers, if using) into the relevant terminals on the AV amp. Once you’ve got your AV amp and stereo amp, wiring is pretty straightforward. That’s a more fiddly and less precise way of doing things, but it works just fine. If you’re set on using an amp that doesn’t have a dedicated AV input, you can do so by setting the volume control at the same level whenever you want to use it in tandem with your surround amp. All volume controls add a small amount of distortion and affect transparency, too, so removing one is almost always a good thing. Why is this feature useful? By bypassing the stereo amp’s own volume control the AV amp is in complete control of the volume and has more control over sonic character. On Musical Fidelity amps, such as the M2si pictured below, the appropriate input is labelled 'HT'. On many amps this will be labelled as an AV input, but some also use proprietary names for the feature – ‘Main In’ on Onkyo amps, for example, and ‘Power Amp Direct’ on Pioneers. In theory, a system such as this can be set up with any stereo amp that has standard RCA inputs, but ideally you want one that has a dedicated input for the task – one that bypasses the unit’s own volume control and other equaliser functions.
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