Amp for Apogee Stage's

Doctor,

I'm the wrong person to be defending tubes. The only ones left in my stereo chain are in my DAC.

And, I won't be defending solid state either. My PWM monos have buried any interest I may have had in the best of them.

Both types of conventional amps have too many negatives.

You are right about edges. The PWM amps have sharp edges, only approximated by solid state. The PWM H2O out powers my former Pass X-600. The H2O digs deeper into the Bass, and with complete control. There is so much more information unveiled.

Muraman1,

You are correct - every type and design of component has
their strong points and weak points.

It always gets me when someone says "..X-type amp is best
for all speakers, under all conditions, for all music...."

Tubes do certain things well, others not so well - and the
same is true with solid state. Their strengths and weaknesses
are often complimentary.

Additionally, sometimes the "advantages" of one type or
another are actually distortions that someone happens to
like.

That's where you get into philosophy - do you attempt to
make the system accurate - or do you attempt to make it do
what you "like" - whatever that is.

I attempt to go for accuracy to the greatest extent possible
and not impose my prejudices on the artist's music.

Dr. Gregory Greenman

Morbius, Like you, I base my audio decisions on what I hear at live performances. My Scintillas are very close to seconding my own piano.

I have found there are a number of paths open to approximating the live event. For instance, SET systems can be convincing. TacT is effective too. So far, in my experience, no path leads from solid state. Perhaps I just haven't heard the right one.

The fact is, PWM modules are much faster, and more efficient than transistors. They can retrieve faint signals that are smeared over by solid state. H2O breathes life-likeness into the music, given the right speakers. The Stage is the right speaker.

Murahman1,

Even the live performance may not be the ultimate.

When you attend a live event, you're not listening to the
artist play - you are listening to the artist playing as
reproduced by the venue's sound system.

If you are listening to an orchestra - that's one thing - a
big orchestra doesn't need any help making sound.

But if you are listening to an artist in anything but the
smallest club - where you can hear them acoustically - then
you are listening to someone's sound system.

Comparing your own piano to piano played on your own
speakers in the same room would be interesting. If you
can get a real good recording of your actual piano in your
own room - and then have the opportunity to play back that
recording in the same room - that would tell you a lot.

The Scintillas are excellent - a case of going "all out" in
the design - without regard to certain practical limits -
like the impedance - which is why they end up at 1 ohm.

The Stages are excellent too. The only speakers that I have
actually heard that are as "real" sounding as the Stages,
are some very expensive Wilsons [ X-2 and Maxx-2 ]. The
Stages were a lot less money - so they are an excellent
value. Too bad Apogee went out of business.

Dr. Gregory Greenman

Morbius,

The Apogee may be coming back, under a new banner. Analysis Audio has made a good go at it. Word is Graz, of Down Under, is busy creating a new line of ribbon speakers.

BTW, My daughter plays viola, my son the bugle, my wife, the piano. We've been personally involved, as a family, in large and small acoustic venues for many years.

That is why I had to have the Scintilla. In a smaller room, I would opt for the Stage.