I am running a Trio A100 with the matching Preamp P200 and I think it depends where you have your speakers. If I pull my speakers out from the wall about 3FT I get better depth ,but that is not convenient for the family so I am stuck with them about 18 inches out. I have had the same problem with other amps so I do not think the PS Audio is to blame. Great amp and preamp very warm and neutral. I do not think this amp gets the high remarks it deserves. And also I believe it is supposed to be better than the hca 2
Do all Class D amps lack soundstage depth?
Hello!
Recently I bought a class D amp for my friend from Audiogon - PS Audio Trio A-100. In general, I liked it sound very much. Compared to the power section of my much cheaper integrated amp (NAD C320BEE), Trio A-100 sounded fresher, more transparent, richer and juicier. NAD was obviously duller and more reserved. Trio A-100 seemed to energize the air with a sort of vibrancy, while NAD seemed more lifeless. (Of course, I am exaggerating the difference between the amps a bit to make it more clear how they differ from each other.) However, Trio A-100 lacked one parameter, which is very essential for me and without which I cannot truly get lost in the music – namely, the soundstage was flat. It wasn’t absolutely flat, no – but NAD did so much better in this department. When NAD was playing, I heard which instruments and singers were farther from me and which were closer to me. When Trio was playing, everything seemed to be on the same line, equidistant from me.
The previous owner of PS Audio Trio A-100 had told to me about its sound before I bought the amp from him, and he frankly admitted that the soundstage was kind of flat. Before this purchase, I nearly bought another Class D amp – namely, Bel Canto S300. Eventually, this amp went to another buyer, but the owner shared with me his impressions about this amp and, among other things, he wrote: “There might be less depth with some recordings”.
So, at least two owners of Class D amps confessed that their amps lacked soundstage depth.
I wonder – are all Class D amps like that? Is the lack of depth something which is intrinsically inherent in Class D?
My second question is – what if I buy TWO Class D amps and use them as monoblocks – will it solve the problem with the flatness of the soundstage?
Any advice based on personal experience will be much appreciated.
Recently I bought a class D amp for my friend from Audiogon - PS Audio Trio A-100. In general, I liked it sound very much. Compared to the power section of my much cheaper integrated amp (NAD C320BEE), Trio A-100 sounded fresher, more transparent, richer and juicier. NAD was obviously duller and more reserved. Trio A-100 seemed to energize the air with a sort of vibrancy, while NAD seemed more lifeless. (Of course, I am exaggerating the difference between the amps a bit to make it more clear how they differ from each other.) However, Trio A-100 lacked one parameter, which is very essential for me and without which I cannot truly get lost in the music – namely, the soundstage was flat. It wasn’t absolutely flat, no – but NAD did so much better in this department. When NAD was playing, I heard which instruments and singers were farther from me and which were closer to me. When Trio was playing, everything seemed to be on the same line, equidistant from me.
The previous owner of PS Audio Trio A-100 had told to me about its sound before I bought the amp from him, and he frankly admitted that the soundstage was kind of flat. Before this purchase, I nearly bought another Class D amp – namely, Bel Canto S300. Eventually, this amp went to another buyer, but the owner shared with me his impressions about this amp and, among other things, he wrote: “There might be less depth with some recordings”.
So, at least two owners of Class D amps confessed that their amps lacked soundstage depth.
I wonder – are all Class D amps like that? Is the lack of depth something which is intrinsically inherent in Class D?
My second question is – what if I buy TWO Class D amps and use them as monoblocks – will it solve the problem with the flatness of the soundstage?
Any advice based on personal experience will be much appreciated.