Anybody listen to Ohm Walsh speaker w/digital amp?

Can somebody educate me briefly on what this "class A, class D," etc. terminology means?

This is a bit technical, but with a little patience I think you'll gain a better understanding than a brief oversimplified answer with no diagrams would convey:

http://en.wikipedia.org/wiki/Electronic_amplifier#Power_amplifier_classes

Regards,
-- Al

Marty,

Are you saying you preferred the 100s with Bel Canto Class D to 100s with tube amp, but not to 100s + tube amp + sub?

That sounds reasonable to me. ANy findings though with 100s with Bel CAnto Class D versus other non tube/SS amps? Have you heard any ss amps that work better with the 100s alone than the Bel Canto Class D? If so, I'd appreciate if you could elaborate on what the differences are?

Map,

There are a lot of combinations and permutations here, so in brief.

1) 100s run full range w/ss amps

I tried the Bel Canto (switching amp) and the TAD monoblocs (traditional class AB). Both worked well. The auditions were too brief for any definitive conclusions, but the TADs are warmer amps that lend a "tube like" sense of musicality. The BC sounded more neutral. Preferences for one combo vs. the other would fall under "personal taste". (I've used Quads with extended bass to describe the sound of 100s with neutral amps like the BC. Add a just a smidge of Vandy-like warmth/sweetness to the mix for the TADs.) Again, take this with a grain of salt - listening was brief and, in this case, in 2 different rooms.

With subs,

I never used the BC amp. The TADs worked very well in this configuration for a month, buefore i subbed in my Prima Luna monos with (eventually) KT66s. These add more "texture" and a greater sense of soundstage - especially between performers. This effect is evident on many - not all - recordings. It is dramatic on some. There are tracks on Lindsey Buckingham's "Under The Skin" on which this combo "lights up" the front of the room in a way I've never before experienced in my home. (I have heard MBLs manage this trick at a dealer's showroom.)

Other output tubes have been through the rotation and caused more problems than benefits in a subwoofer set-up. I will eventually work my ARC VT-130SE into the system for more perspective, but that's for another day. I'm just enjoying the PL w/KT66s too much to play around (for the moment).

Marty

MBL lovers (Pedrillo, this means you!) take note!

Marty, thanks for sharing your findings.

"There are tracks on Lindsey Buckingham's "Under The Skin" on which this combo "lights up" the front of the room in a way I've never before experienced in my home. (I have heard MBLs manage this trick at a dealer's showroom.)"

MBL lovers (Pedrillo, this means you!) take note!

BTW, to clarify on SS with subs. I actively cross at 80hz (like the Ohm subs) and level match the subs to the mains with the room analyzer and PEq in the SMS sub controller. This has the effect of "neutralizing" the warm character of the TAD amps. I'm not quite sure why, but the inherent warmth of the TADs seemed audible (though not dramatic, especially compared to full range tube amps) when the 100s are paired up full range, and -to my ear- virtually undetectable when the bass is crossed out in the fashion described above. I'm sure the "warmth" of the TADs is a frequency effect well above 80hz, but I guess the level matching and/or subwoofer output effectively masks the phenomenon.

Marty