class d

Hi Coffeey, as I have written abundantly elsewhere about what I have like in switching amps. . . I'll cover some of my less memorable experiences.

Heard the little Flying Mole monoblocks 2 years ago at RMAF. . . fuzzy, sterile, and forgettable, except for being extremely small and cute and inexpensive under $1K per pair.

Red Dragon -- heard at same show. Far too dark sounding for my particular preference.

JRDG 201 monos -- they are and older and a somewhat minimalistic design. sweet but a little cool, without the kind of subtle microdynamics that I like, nor with the dynamics that I want. They also can run out of steam and become glassy on louder passages unless the speakers are very sensitive. I heard the same problems driving Maggie 3.6, Vienna Beethoven Grands, Vienna Mahlers.

JRDG 501. Still an older design. Yet, you won't have authority problems with these. . . lots of authority in fact. . . I heard them on the same systems where I heard the 201s. Like the 201s they did not draw me into the music. While I would not call them sterile by any means, they do sound a little 'cool'. Perhaps more suited for Jazz ensambles than for female vocals or classical. JRDG has recently introduced an external PFC device called PC1 for the 501 and 201. This is said to bridge the performance of these amps much closer to that of the Continuum 500 and 312 amps. . . but I have no direct experience with PC1 in this application.

Channel Island monos -- heard last year at RMAF. . . sorry do not remember what model. Very nimble, but once again a little cool, and even a little tippy. On the other hand, these may not have been broken in, and switching amps are total bears to burn in. . . 1000 hrs or more in many cases.

The statement above about ICEPower based amps being inherently inexpensive poor performers is not quite correct. The issue is rather of how these power conversion modules are used. the same modules can be used in extremely basic and low cost devices, or can become part of much more sophisticated products costing upwards of $30K. Same as with transistors or tubes, really. And being the application of Switching modules rather new, the first design attempts were a little experimental and only moderately successful.
G.

There was a really bad review of various class-D/T amps in TAS. It is available online now, BTW. Having heard/owned some of those amps, I can only say, that I fully agree with their conclusions.

"but they didnt draw me into the music at all either."

That would sum it up for me. I'm a big SET fan. The only one that has done it for me is the Red Wine Audio 30.2.

I don't play my music that loud so I get away with what I do. If I did, Class D would be a cheap way to get a lot of watts and some of them sound better than some marquis brand traditional amps.

"That would sum it up for me. I'm a big SET fan. The only one that has done it for me is the Red Wine Audio 30.2."

That's exactlhy the problem Onemug. . . there is nothing to sum up. Like with every other technology, some class D amps will be of your liking, while others may be just. . . interesting. Some may be 'cheap' as you say, but some other ones are definitely not inexpensive. Yes, a Flying Mole and a few other ones at less than $1K are inexpensive. . . but a Nuforce at $5K? Spectron at about $8K for the stereo config and twice as much for a pair of monoblocks? JRDG Continuum 500 at $8800? or a JRDG 312 at $16K? or a JRDG 301 at $30K?

As you can see, like with SET, there are switching amps for all budgets, and for very diverse requirements. G.