Class D Amplification Announcement

Well, this thread went in a direction different than what I had in mind.  I own class D amps, SET amps, and AB amps, but I didn't really want to get into the relative merits of each.  What I had in mind was to discuss the irresponsible ways that audio gurus 'infilict' their opinions and biases on us poor audiophiles.

You can assume that he has.  The journalistic integrity of TAS is unquestionable.  Furthermore, I have never heard of Mr Valin being proven wrong.  His hearing and experience are so accurate that they are virtually objective.

It may be true that some (maybe most) of the TAS staff do not like to make comparisons when they review equipment.  But still, their conclusions need to pass editorial muster, and I'm sure the editor thoroughly checks out any unsubstantiated claims.

Soix: I completely agree. To be fair, Valin includes vague comparisons in his reviews from time to time, so he is not the worst offender in this regard. But his habit of generalizing and making sweeping judgements is probably the most irresponsible thing he does. I present the Borrenson amplifier assessment as an example among many.

Soix, my post was intended to be ironic. We are in agreement.

johnlnyc, let’s just focus on this particular journal (TAS), this reviewer, and this class D amplifier.  The reviewer has stated repeatedly over the years that he has no use for class D amplification.  Recently, he has decided that class D has progressed to the point that it meets his minimum level of acceptability.  Can we assume that he has listened critically and objectively to most of the recent  implementations of class D?  Since the answer is quite clearly “No”, does it not annoy you that he is able to claim the latest Borrenson amplifier to be a game changer?  If your answer is ‘no’, then I think you are missing something.

Look, you guys are spending a lot of time, effort, and money trying to find out which class D amp is worth listening to, and I appreciate that, but Jonathan Valin has already done all the important work for you.  As he said in the most recent issue of TAS, the Aavik P-580 is the FIRST class D amp that, in his HUGE experience, is worth listening to!  So rejoice, start saving, and then go out and get one!

Andrew and Tim, welcome to this thread, you have certainly injected new life into it.  I applaud you both for engaging, names exposed, on a user's forum.  Andrew, assuming you are still affiliated with TAS, I am very appreciative of your candor. This is exactly the attitude that is needed to elevate TAS back to respect-worthy status.

TAS Editor, are you listening?   I forwarded this thread you several days ago, but you did not respond.

Harry Pearson used to claim that The Absolute Sound (title) refers to the sound of live music.  The sound of a high rez two channel system sounds nothing like live music, in the same way that a high rez home theatre doesn't sound or look like real life.  What we are looking for at home is a 'hyper-real' (as in unreal) experience.  Its a high tech trick that we have learned to enjoy.

The sound of a high rez two channel system sounds nothing like live music

Three possibilities:

-The ‘high rez’ system is not assembled well; it is not well balanced.

-Recordings being played are not very good.

-The listener is not familiar with the sound of live music.

———

The idea that there can be a high rez system (def: revealing of the recording) that is not well-balanced is, if anything, a contradiction in terms. The qualifier ‘well balanced’ is so vague as to be essentially useless.

There is no universal definition as to what constitutes a good recording, other than that it sounds good. The idea that a good recording is supposed to simulate a live performance is simply false for the vast majority of recordings.

Whether or not the listener is familiar with the sound of live music (I am) is simply not relevant- neither the recordings nor the equipment is designed to simulate a live performance. Which is as it should be. How much of the music that is consumed these days is comprised of acoustic instruments on a stage, recorded ‘live’? Virtually zero.

“…so if a system makes them sound “live” it’s manipulating the crap out of the recording and is highly inaccurate.”

I’m reminded of Yes’ album, Close To The Edge.  Not the greatest recording, but it very nicely gets the job done.  When Rick Wakeman’s church organ comes in, are we meant to believe we’ve been transported to a cathedral?  Thankfully, the recording engineer didn’t waste any effort trying to make it sound that way.