The reason SETs have that amazing 'dynamic' character is all about how they make distortion. At very low levels, the distortion is unmeasureable. But at full power, the distortion is 10% and includes odd ordered harmonics, which are loudness cues to the human ear.
Music has lots of transients. So the distortion that has the odd orders only exists on the transients, not in between. This makes the transients seem louder to the human ear with respect to the rest of the music, hence that 'dynamic' quality; distortion physiologically interacting with our ears as 'dynamic'.
I prefer a system without loudness cues- that is to say it remains relaxed at *any* volume level, even where I have to shout to be heard by someone sitting right beside me. To describe dynamic range in a system like that I use the word 'impact'.
There are Class A2 techniques that will allow a pair of 2A3s to make 10 watts. The driver circuit really has to be designed right to make it happen without a lot of distortion. OTOH a pair of 2A3s in push pull will do about 15-16 watts easily.
Music has lots of transients. So the distortion that has the odd orders only exists on the transients, not in between. This makes the transients seem louder to the human ear with respect to the rest of the music, hence that 'dynamic' quality; distortion physiologically interacting with our ears as 'dynamic'.
I prefer a system without loudness cues- that is to say it remains relaxed at *any* volume level, even where I have to shout to be heard by someone sitting right beside me. To describe dynamic range in a system like that I use the word 'impact'.
There are Class A2 techniques that will allow a pair of 2A3s to make 10 watts. The driver circuit really has to be designed right to make it happen without a lot of distortion. OTOH a pair of 2A3s in push pull will do about 15-16 watts easily.