is McIntosh known for good dynamics?

@atmasphere 

Call it transparency or high-fidelity, but amps can be high fidelity in different ways. Some may be faithful to the timbre, others may also be faithful to the musical impact of the dynamics. The latter is what I call a dynamic amp (or speakers, or DAC, etc.) 

I call B.S. on the idea that good dynamics is a matter of distortion. Good dynamics is a form of accuracy (in acoustic classical recordings) as acoustic classical music has the best dynamics of all. A dynamic amp sounds more like live music. I call B.S. on the idea that a distortion would give the impression I'm listening live.

@ghdprentice - dang, you’ve talked me into trying a WA5.  I’ll likely get the WA5-integrated as I’m also investigating tube sonics starting with flea watt amps on my 100db speakers.  

I call B.S. on the idea that good dynamics is a matter of distortion.

@magon I didn't say that! What I said was in 90% of audiophile conversation where the word 'dynamics' is used, you can safely replace that word with 'distortion' without changing the meaning of the conversation.

How this works is the ear uses higher ordered harmonics to tell how loud a sound actually is. This is very easy to demonstrate with simple test equipment. Ask and I'll explain how.

So if the system for whatever reason (in this case, amplifier 'X') adds higher ordered harmonics to the sound, it will be perceived as louder even though a sound level pressure meter (available as an app for your phone) will show that it is not.

If the higher ordered harmonics are a function of power, as they are in SETs, they will be showing up more on transients. Since the ear is hearing the 'loudness cues' on the transients, the result is a more 'dynamic' sound. You can read about this quite a lot with SET amplifiers, where people often comment about how dynamic they are for their apparently low power. Its simply distortion masquerading as 'dynamics'.

Good dynamics (note the emphasis; the kind that apparently both you and I like) comes from the signal and the amp will not contribute more of its own. This requires the amp to be low distortion (or at least higher ordered harmonics are masked by lower orders). A side benefit is the system will also seem more relaxed and effortless.

@atmasphere I've never encountered a discussion about dynamics that was "really" about distortion. Certainly my discussion here is not. So I have no idea what your point of posting on their thread was.

What I am discussing, and you haven't responded to my prior post on this topic, is that by good dynamics I'm referring to an accurate/transparent presentation or subjective effect of dynamics. Sudden louds should have startle factor, sudden quiets should have a compelling quality and not lose focus, and small dynamic changes should be evident and have musical impact. (By the way my reference is classical, acoustic music. Subjectively good dynamics may be described differently in rock or other kinds of music.)

Yes, the amp can affect the subjective presentation of dynamics. The signal can be getting louder and softer, of course, but that doesn't mean it will have the proper musical impact. What's going on inside the amp? I don't know. I suspect that the ability of the power supply to supply instantaneous current spikes has something to do with it. 

 I’ve never encountered a discussion about dynamics that was "really" about distortion.

@magon  Such conversations can be quite insidious so it might be that was the case without you being aware of it.

What I am discussing, and you haven’t responded to my prior post on this topic

Actually I did, in my first post on this thread, when I said

Actual musical dynamic contrast comes from the signal itself. The amp should have nothing to do with it. 

Yes, the amp can affect the subjective presentation of dynamics.

But this bit suggests my comments about distortion is relevant.

To avoid the problem of the term ’dynamics’ (which is often plural when distortion is a strong possibility in the conversation) I instead use the phrase ’dynamic impact’.

The power supply in a class A amp that won’t make much difference to this since the draw on the supply is constant, but in all other classes of operation the power supply must be beefy enough to have reserve energy on tap when big power drains occur. If not, current will be constrained at higher power levels. The more feedback the amp has, the less effect this will have but it still makes a difference. We see this in class D amps a lot; an insufficient power supply can result in the class D amp sounding ’boring’.

The bottom line is the best amps will have their ducks in a row with respect to all these factors: beefy supply and not generating higher ordered harmonics.