Who tried Class D only to return to S/S or Tube

I have 2 Class D setups currently.

My main system with Bel Canto ref1000m amps and ARC sp16 tube pre-amp that run a variety of speakers and my second family room system built around a Bel Canto C5i integrated.

I added the C5i recently to test the waters of a digital /Class D amp versus the tube/Class D hybrid approach.

My take is on Class D is that the technology delivers again perhaps the most neutral, dimensional and seemingly "perfect" sound.

Will that alone float everyone's boat?

Not likely. I suspect no one particular sound will.

But I will say I think building around a Class D amp to tailor the sound to what one will like is perhaps the most versatile and prudent approach out there today.

Reason is Class D is so clean neutral and dimensional. It's the best place to start, kind of like starting with vanilla ice cream. From there, no way to know what "flavor" will be preferred.

My two Class D setups sound nothing alike, even when using the same speakers essentially with both. But each is musical and enticing in its own unique way. If I had to choose just one, it would a very tough choice.

I have auditioned many tube amps in teh process but have never owned one. The Ci did replace Tube Audio Design Hibachi monoblocks which were SS amps designed by a tube guy as a reasonable alternative and those very quite nice in their own way as well.

I have gone back and forth about once a week for the past year. The only Class D I have owned is my current NC1200 Acoustic Imagery Atsahs. I also own a McCormack DNA-2 LAE that received Steve's Signature Edition upgrades (the best) in 2014. Before that, solid state with Clayton Class A M300s and M200s, Lamm Hybrid M1.1s, and top SS amps from Cary, Herron, BAT, and McCormack (DNA-500).

It has been difficult to decide whether I like the McCormack or the Atsahs better and I am set up so I can easily switch between them, which has been interesting. From a purely sonic standpoint, the Clayton M300s were the best I have owned but the Atsahs and McCormack are close, and have ergonomic advantages over the Claytons. The McCormack and the Atsahs have slightly different sonic presentations but the differences are not large and both sound great. I would say the McCormack sounds a bit cleaner and more extended while the Atsahs have a touch more tonal density. Both have great bass and, again, the differences are small.

Hi Tim and AIT, I more than sympathize with your shell-shocking experience with class D.... AIT you summarize it best when you describe the NewForce monos as "awful - harsh and screeching "... That was exactly my impression.... Let us not forget cardboard-like bass and completely lifeless treble... That is whenever treble does not screech to high heaven instead. As for Wyred4Sound, Tim you are being kind IMO... I tried to listen to the brand several time at RMAF, and the things were yowling like bobcats with ingrown claws... I typically resist a couple of minutes in the suite... As for Flying Mole... Meh!

It is funny how exactly the same module will make fab music in one amp (Bel Canto REF1000M), and screech in another amp. But after all, we should not be surprised... There is quite more than bare modules in Bel Canto amps... Those little boxes are designed by John Stronczer, an engineer/designer who has a profound understanding of what music sounds like.

Besides, Mapman is 100% correct... No matter how wonderful some class D amps might sound to some of us, their relative neutrality will make them inherently unpalatable to the lovers of much warmer sound... And... Vive la difference, n'est pas?!

Guido

I've owned Densen B-350 Class A mono-amps, Classe Audio (Class AB), Parasound A21(Class AB), Peachtree Audio(Class D), Jeff Rowland M525(Class D) and have tried the Bryston 4bsst2 (Class AB). I currently own the Jeff Rowland Class D Continuum S2 and submit it's the most musical amp that I've owned. In addition, I love the fact that I can leave it on 24 hours a day and it doesn't get hot. I'm currently debating the Jeff Rowland 625 S2(Class AB), not because of my dissatisfaction with Class D, but my own stupidity. Unfortunately, I keep trying to go to the next level and incremental improvements are expensive!

It's interesting to follow the development and different incarnations of Class-D amps, and lately Devialet and in particular the NCore-based solutions have caught my attention the most - sadly not via auditions in my own setup.

To me though the choice of amp comes down to the choice of speakers first and foremost, and being that I favor speakers of high(er) sensitivity (not necessarily as a means in itself, but as a function of their design/principle and the sound this produces), I'm not sure generally high-power Class-D is the best option. Here the first watts or less are what counts, and Class-D topology seems to be "more happy" going beyond these lower thresholds.

Interesting as well is reading the notions of the supposed "neutrality" of Class-D amps, which appear to be influenced to some degree by an array of their measured performances as an "objective" criteria. The criteria essentially can only be what is actually heard, and if what is heard distances itself the most from any mechanical, dynamically restrained and tonally inauthentic imprinting, the more natural and "neutral" it is in approximating a live, acoustic sound, to my ears.

The development in my setup, as per before mentioned desirable sonic traits, has lately gone from Class-D to SS Class-A, and who knows whether a 3-4 watt SET would take the reign in the near future to come. Certainly not a "modern" development, indeed it's rather old fashioned, but why should one care? On the other hand, should a Class-D based iteration cross the way and level the Class-A/SET alternatives with high sensitivity speakers of choice, well then, it's a hassle-free and greener solution for sure.