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Class-D amps - a different re view

Martin Colloms, the editor of HiFi Critic (ad-free mag from the UK) have recently published the review of several different Class-D amps, together with an in depth technical analysys and measurments.

His conclusions were not favourable, to say at least:

"I regret that not a single model merits unqualified recommendation. Price is not the issue; the poor listening tests speak for themselves. (...)
At present we have to take the prudent view that good sound might be possible from switching amps, but we haven't heard it yet."

BelCanto REF1000 (ICEpower) - score 10.5 pooints
"The ICE power module used has a dependable reputation, and the design is well built and finished as a whole. While I would not suggest that you shouldn't try this amp, on sound quality grounds alone I cannot recommend it for audiophile use."

Channel Islands D100 (UcD) - score 13 pooints
"While I have reservations about a number of aspects of sound quality, and advise personal audition, given the solid lab results (...) the overall performance and the moderate price, these CA Audio monos do make it to the 'worth considering' cathegory."

NuForce 8.5V2 (proprietary technology) - score 9 pooints
"Yes, the price is good for the power output. Yes it's pretty, light, small and runs cool. However, the sound quality simply does not justify recommendation." (on top of that the NuForce amp measured very poorly - Elb)

Pro-Ject Amp Box (Flying Mole) - score 5 points
"I'm sorry to say that Project (...) was a real disappointment in the listening tests, and can't be recommended."

Just as a point of reference, recently reviewed Krell 700CX scored 100 points, CJ Premier 350 - 110 points and ARC Ref 110 - 135 points.

At least someone have had the balls to say it. This is why HiFi Critic is THE mag to subscribe.
elberoth2
muralman1
1,527 posts
 
Tvad, I agree... We are not carving new territory, or supplying grand insights.

I just cannot abide anyone telling us they know there system captured the night because they taped the night. What they hear back at the lab is the tape on their system, not the music that was captured by the tape. Do you get my meaning? We are asked to take their word for it. The Von Schweikert demo is no more convincing. We weren't at the recording. The smart thing was to use a master tape.
tvad
9,467 posts
 
The Von Schweikert demo is no more convincing. We weren't at the recording. The smart thing was to use a master tape.
Muralman1 (System | Threads | Answers)
The Von Schweikert demo worked in the following manner...

A live acoustic group preformed in a ballroom and was recorded. Then, the recording was played back in the same ballroom shortly after the live performance. Same room. Same acoustics. Same electronics. Same speakers. I believe this is precisely on point.

Nevertheless, I am absolutely certain you are still unconvinced. This is the take-away from the discussion.
tvad
9,467 posts
 
11-15-07: Tvad
The Von Schweikert demo worked in the following manner...

A live acoustic group preformed...
Actually, they performed.

But if they preformed, it'd have been a really cool trick!
atmasphere's avatar
atmasphere
7,068 posts
 
Muralman1, I am sorry you took offense at my comment, but if you look at my last post and your initial reaction, it will be obvious that you attached meaning where none existed.

My point was that if you go ahead and make good quality master tapes, you will be in a position to use those recordings as reference tools, for all the reasons that I outlined earlier.

Will the results mean something? I have no idea. All I know is that these tools were invaluable for me personally and others who have done the same thing.

IOW, a system may sound great, but its always in respect to what. When you have master tapes, now you have an absolute.
muralman1
1,527 posts
 
Thank you, Atmasphere. If I were building amps, I would go that route. The closest thing I have to having that capability is a remarkable CD produced by the Royer microphone company. They purportedly transposed master tape recording to CD. I know, it isn't the tape.

The point I am attempting to make, is knowing what a live musical instrument sounds like, you don't need an intermediary such as a tape. Take my daughter's viola, for instance. If, on your playback, you cannot hear the subtle roll of horse hairs from on edge, to flat, and all points between, you are missing a whole lot in musical phrasing. You will also learn to look for the proper amount of resin.

I can see where a master tape could come in useful. The sound of the viola is indeterminate. They all sound a bit different from each other. There is no one tonal indicator.

It should go without saying, no matter the recording, wires and speakers play an enormous part in bridging the performance with a system's There is not a speaker made that can sound absolutely real. The closest I have heard is my own.
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