What?
(Now I see, I added some clarification to my ramblings.)
Thank goodness for that, for a moment there I thought we were being treated to a large serving of audiophile word salad
What?
(Now I see, I added some clarification to my ramblings.)
I think he does not agree/believe in your subjective descriptions.What?
(Now I see, I added some clarification to my ramblings.)
My old Onkyo A-9155 sounds the same, to my ears, as my Hypex NC400. The difference lies in volume and inputs (the latter plays (way) louder and with a lower noise floor).What?
(Now I see, I added some clarification to my ramblings.)
I wish I could try that but I don't have the Pass Labs anymore; (as a poor guy I can't afford to keep relatively expensive gear I'm not using).Thanks for sharing.
Curious if you could try playing or streaming SACD Telarc Tchaikovsky 1812 overture and share your experience?
Level match or crank them louder so the contrast is more audible.
Thank goodness for that, for a moment there I thought we were being treated to a large serving of audiophile word salad
Subjective is fine. Poorly controlled isn’t. I’m still not sure why people use those terms synonymously, but that sort of imprecision unavoidably fuzzes up thinking.I think he does not agree/believe in your subjective descriptions.
My old Onkyo A-9155 sounds the same, to my ears, as my Hypex NC400. The difference lies in volume and inputs (the latter plays (way) louder and with a lower noise floor).
I can't tell the difference during normal use.
See my signature for system details, it isn't the most "resolving" system ever.
Subjective is fine. Poorly controlled isn’t. I’m still not sure why people use those terms synonymously, but that sort of imprecision unavoidably fuzzes up thinking.
Thank you for sharing your impressions -- don't take the skeptics around hear too seriously: they enjoy mocking and ridiculing subjective impressions.In fact, a lot of people expect distortion (even IMD) to present itself as a very unpleasing sonic signature, While this may be the case if it is mostly on the bass, one must understand that the most perceptible distortion is mostly on harmonics (of the difference of the two considered frequencies for the IMD), and therefore it will ADD strength to the signal at higher frequencies. This will obviously ("mathematically") imply two things:
1) increased volume at higher frequencies - and therefore a Purifi module will sound as if treble had been rolled off; and,
2) accordingly, higher separation at the treble, because the added artifacts will be more independent of each other, possibly resulting in a wider image, even though less stable
...
Possibly. I've previously admitted on these forums that the electronic side of the equation isn't my forté so I don't really know how these two compare on a technical level.This probably means that they are both used in their "goldilocks" region. After all, Alan Shaw of Harbeth's used to say that two competently designed amplifiers used in their proper (I would add: obviously not the marketed) parameter range would sound indistinguishable with the same speakers.
And I tend to agree.
IOW, poorly controlled. Sorry, there’s no way around that.As I replied to another message, Alan Shaw of Harbeth's use to say that two competently designed amplifiers used in their proper (I would add: obviously not the marketed) parameter range would sound indistinguishable with the same speakers. If however THD and IMD get over a certain threshold there will be audible differences. And even one Db extra loudness in the treble will change how we perceive stage. And since it is signal correlated, the stage won't sound stable. I have observed this. Yes, with my ears, and not blind, but when you feel the instruments moving laterally with some amps and not with others, well, this is quite a (subjective) telltale.
After all, Alan Shaw of Harbeth's used to say that two competently designed amplifiers used in their proper (I would add: obviously not the marketed) parameter range would sound indistinguishable with the same speakers.
... What?Very common sound characteristic of class D is being lean on male vocals, fast pace and rhythm (but with too nervous and one-note bass).
Some class D amps have a litttle roll-off highest transients (but not every, there are big differences among class D amps in that), narrow stage is standard. And my subjective opinion - boring sound. However what is good, that it is cleaner in HF that many class AB amps (AHB2 is exception).
The difference in "weight" would be even more obvious when comparing some Gryphon Amps to AHB2 and purifi class D... Mark Levinson 333 is ok. but it is not up to the best todays amps....
No controls. Don’t try to make sense of make-believe.... What?
I've been reading the TPA 3255 and the the MA12070 threads here and I don't get it. What are y'all talking about? What does pace mean in this context? Rhythm?
Why would amplification matter in these regards?! Can anyone point to actual differences in sound, or are you guys trying to convince eachother of your perceived/desired differences? If so, why is this echo chamber not challenged in this forum?
I don't wish to dismiss you outright, but again, I don't get it. Help me understand. What are the differences you hear?
but with too nervous and one-note bass
... What?
I've been reading the TPA 3255 and the the MA12070 threads here and I don't get it. What are y'all talking about? What does pace mean in this context? Rhythm?
Why would amplification matter in these regards?! Can anyone point to actual differences in sound, or are you guys trying to convince eachother of your perceived/desired differences? If so, why is this echo chamber not challenged in this forum?
I don't wish to dismiss you outright, but again, I don't get it. Help me understand. What are the differences you hear?
I've been reading the TPA 3255 and the the MA12070 threads here and I don't get it. What are y'all talking about? What does pace mean in this context? Rhythm?
Oh come on: you can't be serious! This is a list of prejudices which are all overcome. Definitely! I bought a Class D amplifier after 4 decades of Class A/B and I had to overcome this prejudices too. After comparing it with different A/B amps (admittedly sighted though) I found none of my subjective concerns proven. The Amp is based on Hypex modules btw....Very common sound characteristic of class D is being lean on male vocals, fast pace and rhythm (but with too nervous and one-note bass).
Some class D amps have a litttle roll-off highest transients (but not every, there are big differences among class D amps in that), narrow stage is standard. And my subjective opinion - boring sound. However what is good, that it is cleaner in HF that many class AB amps (AHB2 is exception).
The difference in "weight" would be even more obvious when comparing some Gryphon Amps to AHB2 and purifi class D... Mark Levinson 333 is ok. but it is not up to the best todays amps....
Ok. pace and rhythm or PRAT factor is perceived speed or attack. There are big differences in that among amps. How it is possible? I will explain.
When amp has very high dumping factor it grips the speaker driver firmly, thus bass stops fast and do not go deeper due to inertia (opposite is loose bass, that may go deeper but the accelleration from "the deeper point" takes longer time). Class D is perceided as "fast" (but in fact the rhythm is the same of course, that is only the perception of the character of the bass).