@secretguy in regards to how tube technology actually works, I believe you are correct. And also according to traditional Class D design feedback is needed, correct? My understanding of electrical design is very rudimentary, please feel free to correct me where I’m wrong.
Given all of that … the design feature that attracted me the most to my Lyngdorf tdai 2170 is, in essence, what I understand to be the wire with gain concept. I’m sure someone can explain it better than I can, but my understanding is that that is a little more about correct presentation. Or shall we call it a true unadulterated signal.
My understanding is that the other electrical design element that makes the Lyngdorf approach to Class D design unique and also very high performance is what they call Intersample Clipping Correction.
The thing I like most about both the design and the sound is that because the signal is 100% digital and there is no need for digital to analog conversion.
The sound is so entirely pure. I’m not referring to the signal, I’m talking about the sound. We tend to overuse this word, but the term that actually describes the sound I’m getting the best is organic.
It would be interesting to start a thread on how different the quote Lyngdorf sound is … because, to my experience anyway, it was SO different when I first started listening to it that, tbh, it took some getting used to.
But I’ve had it long enough now, that I can now recognize the sound as being literally completely natural.
I know others will be familiar with the idea that a piece of equipment will sound so good that it will either expose your weakest link or confirm that you have synergy.
It would also be interesting to hear other peoples thoughts on the way Lyngdorf approaches tone control on their tdai amps. It seems to me that these guys are just doing things so uniquely differently than any of the other designers that it’s almost difficult for people to compare to other designs. Their voicings is what I’m referring to specifically.
I’m currently using a pair of Usher BE-718 bookshelf speakers that have an ability to go very low with a lot of accuracy. Like I’m not even using a subwoofer. So, to get the bass response I want out of them occasionally I will use the Bass 2 voicing. Instead of boosting! the bass on that voicing, they adjust the curve so that it’s reducing! the higher frequencies and middle frequencies to allow more of the lower frequencies to come thru proportionally. The example I’m illustrating is how that’s such a novel approach to, in essence, tone control.
What sounds best all the way around, even with these small speakers, as opposed to my Martin Logan Summits is the neutral voicing because it’s completely balanced. But under certain circumstances, ie: no subwoofer, it’s nice to be able to tailor my sound.
@mahgister When you take into account that literally straight out of the box their Room Perfect software, which is easy peasy use and took me every bit of :20 to execute, completely tamed my difficult room situation.
The thing that took the most getting used to, was losing the bass bloat effect that apparently I had gotten confused with having my bass truly grounded and rock solid. It is now and baby I’ve got the power to go along with it at 170 watts at 4 ohms.
All of this ^^^ and what nearly every single reviewer I’ve read has called the blackest background ever.
Would love to hear others compare and contrast all of that with the tube gear experience. Please feel free to correct me where I am wrong.
Would love to hear from the OP.