Hypex N core module

Yes, I have a lot of experience with the NCore line and build and sell the OEM models.  I also have a lot of experience with the Pascal units and will be getting the new ICE 1200AS in the next week or 2.  Unlike a lot of the companies who build up the NCore line, we do not use the factory wiring which is subpar - the mains are a very small gauge and the input and output wiring leaves a lot to be desired.  All the amps are built custom per order to fit your budget so depending on what you want to pay will dictate the aesthetics of the amp with a focus on fidelity first and foremost.  It has been my experience that most people when given the option do not want to pay the extra few hundred for a "fancy case."  

My opinion on the Hypex amps - totally changed my mind what class D is capable of.  We also build amps that have been compared to the D'Agostino's in A and AB and was heavily biased against class D feeling the only practical use for audiophile purposes was perhaps for a dedicated subwoofer.  I was certainly wrong and the Hypex when built correctly excels in the high and mid register.  In an active system I would use the Hypex NCore for the highs and mid and the Pascal for the low end.  The Pascal is certainly more authoritative and capable of more slam however it doesn't have the same "whimsical" upper register as the Hypex NCore line.  

In regards to the 1200AS line - I will not have my modules until next week and the chipset and topology of the amp is supposedly completely different then the 125AS line...which had some anomalies with it that prevent me from putting into the same class as the NCore based amps.  I will be offering the new ICE modules as kits but have not decided to make an OEM model yet until I get to play with them extensively.  Anything you hear about them now is from marketing teams and folks looking to presell units so I would certainly take anything you hear about them with a grain of salt until the first few weeks into Feb when they are actually in owners hands and broken in and tested.     

Hi mitch2,

     You have an excellent system..  I've never listened to either the class D Acoustic Imaging Atsah or the class A Clayton M300 monos but I've read many very positive reviews on both.
      Just the thought of comparing the diminutive Atsah class D monos at 1/4 the weight and size of the pure class A Clayton monos seems like a big mismatch to me reminiscent of David vs Goliath.  I suspect you were not very surprised that, in this modern rematch,  the favored Goliath clearly beat the underdog David,
      I appreciated your articulate description of your impressions of the sound portrayed by the Atsah:  
"In my case, I described what I heard as a soundstaging type of issue where the music sounded as if it were being played by individual players recorded separately in a sound booth, instead of a band playing on a stage together. The ambient cues were not present in relation to the musicians to the extent I was familiar with from my other amplifiers."

     Besides giving me a clear understanding of why you were disappointed by the Atsah's presentation, the thought struck me that this poor performance may be a result of a very revealing amp combined with poorly engineered  and/or poorly recorded source material.
     In an effort to be totally honest about this, I need to assure you I'm making my comments less as a definitive explanation and more a joint exploration of the forces at work in your system.
     I don't have the experience with NC1200 based class D amps that you  have but I've used 3 mid-level class D amps in my system for the last 3 years.  I'm familiar with how very neutral and revealing these amps can be of upstream components, system cabling and especially the quality of your source material; a well engineered recording will sound exceptionally good but a poorly engineered recording will reveal its flaws just as faithfully.  I've occasionally experienced a similar affect as you describe on obviously poor recordings played through my D-Sonic M-600 monos that utilize the newer Anaview/Abletec AMS-1000-2600 power modules.
     My suggestion is actually more of a question to you than a statement:
Could it be that the reason the musical material that you played through your class A Cayton M300 amps sounded so good, while the same recording played through your very accurate and revealing class D Atsah sounded so poor, was due to the musical material not being as well engineered as you originally thought?  In other words,  Do you think your class A Clayton M300 amps are less revealing and more forgiving of bad recordings than your Atsah?
      Your other impression on the Atsah, that "the ambient cues were not present in relation to the musicians to the extent I was familiar with from my other amplifiers."  I find this perplexing since, typically,  good class D amps are very accurate, neutral and detailed, not known to add or omit anything to the audio signal.
     I find it very interesting and informative that you own and have compared 2 such diametrically opposite amps: The high powered, large and heavy Clayton M300 monos which are pure class A, highly praised for their excellent sound performance that are the least efficient of amp types and the high powered, small and light Acoustic Imagery Atsah monos which are class D, praised by many for their very good sound performance that are the most efficient of amp types. 
     I recently read a quote from Bruno Putzeys, the inventor of th Hypex NCore class D technology, that may be of interest to you and other readers of this thread: 
" I can emulate the sound of pretty much any amp out there if I wanted. But so far I'm resisting. If ever I give in, it'll be obvious from the measurements and I hope someone calls me out on it. Anyhow that's why I decided I actually wanted the NC400 to have this unvarnished dead-pan delivery."
     Putzeys interestingly stated the main benefit of using class D is efficiency.
     He also stated he tweaked the Hypex NCore 1200 module in his Mola Mola Kartuga monos to differentiate his amps from the numerous OEM class D monos on the market that utilize his standard NCore module.
     Perhaps someday soon he'll tweak some modules to emulate the sound of the Clayton M300 pure class A monos in either his own or one of his OEM customers' amp. 
    Sorry this post was so long,
           Tim

      I

It is very possible to voice the NCores to emulate other amps.  Just rolling the opamps will change the sound of them as well as various caps and resistors, upgrading to ones like Sparkos makes a huge difference as well.  We have a new buffer/front end coming out that will change a lot of people's opinion on class D products and should have it available in the next 2-3 months.  It will be available as an upgrade to people who purchased the NC500 or NC1200 amps previously.  

Hi
We are Nord Acoustics based in the UK and have sold many Hypex NC500 amps into the states mainly to high end users.

We add our own Nord input board rather than using the standard Hypex one using discrete voltage regulators and Op Amps running in full Class A. The Op Amps are swappable and allow the user to change the sound. A little like tube rolling. This adds texture and depth and delivers a huge soundstage. 

We have one of the longest threads over 1000 pages on US Audioshark forum with many owners comparing our amps to many high end products and have amassed many euphoric feedback comments on our website.
We have even sold some here on Audiogon.

Hope you may find us of interest http://www.nordacoustics.co.uk/
Regards Colin

FIY I understand that the new Marantz PM-10 integrated is based on a nCore500 + SMPS600 monos plus their discrete preamp with linear PSU. Reviews have been great so far.