Solid state amplifiers and sound stage, especially front to back "depth"


I've been enjoying my trial period with the Van Alstine SET 400 stereo amplifier. When I'm done and have collected my thoughts, I may write up a summary.

In the meantime, a question for folks with more experience. I've noticed is that the amp produces a sound stage that is nicely defined and articulate from left to right, but not as much from front to back. (My Adcom was also unable to create sound stage depth.) I know my room is capable of that sound stage because my tube amp accomplishes it.

Question: Is it typical of solid state amps to have less of a front to back sound stage than tube amps? Do they vary in this regard? Or, perhaps, am I failing to do something -- such as re-position my speakers? (After all, I immediately get that sound stage back when I switch amplifier without moving anything else.)

If you have any experience with solid state amplifiers and sound stage -- front to back, left to right, or whatever, I'm curious.

This is not about me keeping or not keeping the amp. There are many things I already really like about it. But I'm wondering about this aspect.

Thanks.
128x128hilde45
The most recent podcast from Darren and Duncan sheds some light on the issue of left right and depth soundstage, particularly the kinds of factors involved in the design responsible for enhancing or limiting them. Also some interesting comments about class D amps and soundstage. Look for the episode with the title mentioning sonic holography. 
No one is going to like this, but asides from room acoustics behind and in front of the listener, frequency changes can really alter our perception of imaging, and in this regard, I can see tube gear, more susceptible to speaker impedances, being more likely to produce some of these effects.
No one is going to like this, but asides from room acoustics behind and in front of the listener, frequency changes can really alter our perception of imaging, and in this regard, I can see tube gear, more susceptible to speaker impedances, being more likely to produce some of these effects.
On the contrary many will like what you say....
Because it is right...

An Helmholtz resonator damp some frequency and enhance and diffuse some other.... It is a physical acoustical fact...A grid of many modify the pressure zones of the room and the imaging detph perception for sure...

And you are right this have an impact on imaging and his articulation with the soundstage and also with the listener envelopment factor in relation with source width...

But tube gear or not, if the S.S. is well designed like my vintage Sansui AU 7700, it work....

For tube gear effect atmasphere explained clearly why it is so and why you are right...

But no tube gear can replace acoustic control, and  acoustic control cannot redeem a bad S.S. design....

My best to you....




Agree, Erik. 
Mahgister, helmholtz controls sound very interesting. Can you refer me to some threads where they're mentioned so I can read up on them? All the best,
Mahgister, helmholtz controls sound very interesting. Can you refer me to some threads where they’re mentioned so I can read up on them? All the best,
i never see someone who use a grid of Helmotlz resonators with tubes and pipes consisting of 2 or 3 sections with a volume and 2 necks of different diameter...i see boxes with cavities and holes which are also resonator specifically tuned for some frequency...

I created this reading an article about the first frontwave law and when arguing here with an "objectivist" about the importance of acoustic few months ago...

This article:

The relation between spatial impression and the law of the first wavefront - ScienceDirect

I can send it to you if you give me your adress...

And read that to an introduction:

https://newt.phys.unsw.edu.au/jw/Helmholtz.html

https://arxiv.org/ftp/arxiv/papers/1805/1805.04014.pdf


This is not simple but it will give you an idea why i used volume with double neck of different diameter

http://www.ica2016.org.ar/ica2016proceedings/ica2016/ICA2016-0491.pdf

I adjust all my grid by trials and errors and by ears but this will give you the "gist" of the matter:

http://hyperphysics.phy-astr.gsu.edu/hbase/Waves/cavity.html


There a plenty of materials to be inspired on the net just typing Helmholtz resonators...


The idea of the grid like i use it now around 40 tubes and pipes with orientable and adjustable neck or double neck is nowhere....i found nothing resembling my idea save "Argent lens room tuner"....

http://www.soundstagenetwork.com/noisy14.htm
But the argent lens room tuner inspire me BUT this cost thousand bucks and after my experiment i realize that i could do better a NO cost... I did....

The first article about the firstvrontwave law was the more IMPORTANT...

I realize that i must tailor the room for the speakers and not the speakers for the room (elkectronical equalization)

Then i realize that i could place some resonators near the bass driver of only one of my speakers and some other resonators near the tweeter of the pther speakers, it is the way i used to MARKING OUT for each ear each speaker with a different enhenced and damped frequency different for each speaker.... This made easier the recognition of direction of the sound in my room by the brain...

I placed many different resonators in 3 other locations after the speakers, near the lateral reflection area, and behind my listening position...

It take near 3 months of adjustment but it was fun....

It is complete now EVERYTHING sound natural.... It was trials and errors but it is way more easy to do then most people think....

Anyway the cost was near zero bucks....

And many albums now sound like if the orchestra fill the room....

I think that even if the gear is important, for average gear under 10,000 bucks, then orfinary gear, it is the acoustic which is very important way more than electrical noise floor control or vibration control...

for me passive material treatment (homemade) so good it is now was not enough.... The grid made my system a new one...

I will never upgrade because the cost will be arounf 15,000 bucks to kill my 500 bucks very satisfying system....

I feel no frustration now listening anything that is better than my system... They are better but i lag behind not too far for the price i paid. The ratio S.Q./price is the key....

If you need some information feel free to ask...

I am not an acoustician by the way but even if what i described seems complex mathematically, it is very easy to design if you are crafty.... I am not and it take me 1 hour to design my 6 first pipes....

You must use some aborbing stuff in the basis of the tube...if the tube is the volume for the neck i used straws if different diameter the smaller possible to a few millimeters...i Plugged smaller straw for example in finer one with tunable lenght by cut which made them easy to insert in one another.... I modified them on the spot with listening experiments...


Try 3 sets of 3 like the argent room lens but with tubes of diffent volume and size, it could be made not too horrible aesthetically.... If you are in a living room i am afraid that you will not be able to do that without divorce.... I am sorry....
😊
My best to you...