Expanding the Class D Conversation: How Would You Characterize Their Differences?


Expanding the Class D Conversation: How Would You Characterize Their Differences?

I'm currently trialing the NAD M23 (1st gen. Eigentakt-based), and I find it intriguing enough to want to understand it better — which means understanding the broader sonic landscape of class D. So I'm crowd-sourcing.

In a recent exchange, the estimable Ralph Karsten (Atma-Sphere Music Systems) made two comments that stopped me cold. For those who missed it, here's what he said:

"IME, class D amps vary in sound more than tube amps, which is to say, quite a lot."

"IMO there is a bigger difference between various class D amps than you hear between various tube amps. IOW just because you heard one class D amp says nothing about how the next one might sound."

Link: https://forum.audiogon.com/posts/2885828

As I think through this more carefully, these are genuinely important claims. My own experience with tube amps confirms that they produce audibly distinct characters across topologies and designs. If Ralph is right and class D exceeds that range, then generalizing from one class D experience to another is even more hazardous than I assumed.

One specific question for Audiogon members:

If you have a Class D amp or have compared class D amplifiers, how would you describe their character(s)?

Here are some criteria I use:

  1. Frequency balance — Is the tonal response even across bass, mids, and treble, or does it favor certain regions?
  2. High-frequency texture — Are the highs extended and smooth, or edgy, grainy, and fatiguing?
  3. Bass definition — Is the low end tight and articulate, or loose and bloated?
  4. Midrange character — Does the midrange feel present and natural, or recessed and thin?
  5. Transient speed — Does the amp respond quickly to dynamic attacks, or does it sound sluggish and rounded?
  6. Dynamic range — Does it scale convincingly from quiet passages to loud ones, or compress the difference?
  7. Soundstage width and depth — Does it create a convincing three-dimensional image, or sound flat and narrow?
  8. Image specificity — Are instruments and voices placed precisely, or do they blur and wander?
  9. Background noise floor — Is the silence between notes actually silent, or is there grain, haze, or hash?
  10. Long-term listenability — After an extended session, do you want to keep listening, or has something been quietly fatiguing you?

If you can include relevant system context — room, speakers, preamp — please do. Those variables will help me interpret what the amp itself is contributing.

I'm less interested in rankings than in understanding what Ralph mentioned, namely the [vast] range of sonic signatures class D is capable of. Eigentakt, Hypex, Pascal, Purifi, GaN-based, etc. — all fair game.

Price is no constraint here — I'm interested in the full range of what's out there.

hilde45

it seems counterintuitive that one would distort so much more than the other as to make a readily audible difference.

@devinplombier I don't see what is counterintuitive. The ear uses higher ordered harmonics to sense sound pressure; since it has over 120 dB range, it has to be very sensitive to their presence. On top of that, the ear uses harmonics to tell the difference between sounds- like that of a clarinet vs a trumpet or strings. To do that it has to be sensitive to the differences since there are a lot of sounds in the world :)

So now we're going to add some higher ordered harmonics (as that is what you usually see when the load impedance goes down or when the amp has to deal with strange phase angles in the speaker). In a good high power solid state amp, that's not going to be much; keep in mind the ear is optimized to pick up those harmonics. The ear will interpret that as brightness, harshness and likely sounding louder due to the loudness cues higher ordered harmonics provide.  

How much that happens is a different matter, but its measurable in all amps even at low power. As a result a simple way any speaker designer can make their speaker seem to be more relaxed and detailed (two good things to have at the same time) is to keep the impedance up and the load easy. 

So I don't see what is counterintuitive.

@atmasphere 

Distortion can be audible, I get that and I totally agree. The point I question is whether low impedance alone can cause amplifiers to distort, as long as amps are similarly matched with their loads.

Not to put too fine a point on it, an amp rated 40W at 8 ohms might need 4W to achieve a certain SPL with a high-efficiency 8 ohm speaker. It would therefore operate at a 10% load, based on its 40W rating. 

Whereas another amp rated 800W at 2 ohms might need 80W to achieve the same SPL from less efficient 2 ohm speaker, yet operate at the same 10% load based on its 800W rating. I know it’s more complicated than that, but you get my point.

I understand that if one attempted to drive speakers B with amp A, the latter will distort like crazy, clip all over the place, and possibly self-immolate; although that would be the operator’s fault, not the speaker’s.

However, and that’s the counterintuitive part, if amp A and amp B are driven at the same percentage of their respective rated loads, what would cause the powerful amp to distort more than the lesser one?

 

The point I question is whether low impedance alone can cause amplifiers to distort, as long as amps are similarly matched with their loads.

@devinplombier All amps make distortion. When driving a lower impedance load, all amps make more distortion; ’matching to the load’ has nothing to do with it, although there are better matches for some amps and some speakers. 

When you compare apples and oranges like that it can be confusing. To understand how this works, the 800W amp driving 2 Ohms will make more distortion doing that than it will driving 4 Ohms, and will be even less distortion driving 8 Ohms, all while making the same power.

The 800 Watt amp might be lower distortion than the 40 Watt amp or it may not. That depends on the design of the two amps; an entirely different subject (I think we can agree that a 40 Watt amp is likely to have a very different design from one that makes 800 Watts). But in either case, to minimize distortion low impedances should be avoided. 

@hilde45 

I'm getting my hands on an AGD to try against the NAD M23.

Do you use a switcher?

@bartsw No, I don't use a switcher. Don't want it in the signal chain, plus I want to use the same exact cables.