High end Class D amps?

Probably already mentioned but how about Lyngdorf?

@jaytor @noble100

i agree that a huge benefit of an active preamp/linestage is impedance matching -- this has a real impact on the sound we hear - the impedance matching and compatibility between 2 devices in a signal chain is something that is often underappreciated, is difficult to measure and gauge without careful listening

noble, i also agree that your levinson unit is doing what it is doing all time, it doesn’t know what is passing through it... that been said, signal rise time, slew rate, power supply stiffness and speed are all attributes that affect transient response and clarity in any amplification device/buffer -- and the way a good linestage does this can be so helpful in a mild ’rounding out’ of the sound (esp. at higher volume levels) that in turn pleases our ears a great deal...

Missing from the calss D story is, of course, the linear A/B amp is what allows for such a great stereo image. Note the story stops at having purchased the preamp. I trialed a dual-mono stereo D-Sonic; didn't like it so sent it back. I recall being happy with the strong dynamics and powerful grip, but if I recall correctly they had bad imaging as with most class D I've tried and a messed up / unconvincing midrange, again as with most class D -- dry and thin. They also had a really weird unstable soundstage while they were burning in. And finally, the Achille's heel of class D, the deadly lack of musicality / engagement. 

Unlike the D-Sonics (Pascal modules I believe), the VTV Purifi I'm trialing now has mediocre dynamics -- something I'm sure would be improved with a monoblock or dual-mono system. Unlike other class Ds I've heard, the Purifi seems to have taken steps to return richness to the sound, and this is somewhat successful IMO. The midrange is unconvincing / sloppy / blurry. Imaging is...present but not wonderful. Possibly better input buffers would improve this. There is some depth and height, but width isn't that great, doesn't extend past the outside edge of the speakers. Imagine solidity is okay. I fear that the lack of musicality is still a problem; all today I didn't feel like listening, that's a bad sign. When I have sat down to listen, I don't feel like I'm being engaged / drawn in. Up until now I've been willing to overlook that for the sake of burn-in but it's getting to the point where I'll have to accept that burn-in isn't the issue.

I'm bringing in another Odyssey, this time a Kismet that's 3 years old. It's used so there shouldn't be any burn-in required. I suspect it's going to crush to VTV, but we'll see. It's coming tomorrow. I'll be sure to update everyone on my findings.

Hello madavid0,

     I have the D-Sonic M3-600-M monoblocks, their previous model that I bought about 6 years ago and that utilizes Anaview/Abletec class D power modules.  D-Sonic's current model are the M3A-600-M monoblocks, that utilizes Pascal Pro2 power modules.  These are the same modules that Jeff Rowland chose for his very expensive, but also very positively reviewed, Rowland Continuum 2 integrated amp.
     The owner of D-Sonic, Dennis Deacon, told me years ago that he determined that neither of these modules requires an input buffer and that performance and sound quality didn't improve when he used one, so neither of these models use an input buffer.  He also stated he was forced to source newer class D power modules in the M3 monos model because the prior Anaview/Abletec modules were discontinued.  He said he chose to utilize the newer Pascal Pro2 modules because he thought they offered slightly better sq performance but, overall, they sounded very similar to the older Anaview/Abletec modules. 
     I'd suggest you consider either a used pair of M3 monos, if you can find a pair for sale, or a new pair of theM3A monos.  I can state with certainty that neither of these amps have any of the deficiencies you described.  In fact, I consider their exceptionally smooth and detailed midrange and treble performance, along with presenting a 3-D stereo sound stage illusion with very solid, stable and palpable images, as two of their main attributes. 
     While it's true that these are only two of the numerous positive attributes these amps possess,  they're also two of my favorite and must have attributes in both a peamp and an amp.   I definitely enjoy these qualities far too much in a home audio system to even consider buying any preamp or amp that lacked them. 
    Hopefully, your used Odyssey Kismet amp will also possess these qualities in spades.

Merry  Xmas,
   Tim   

I didn't feel like listening

I think you hit the nail on the head. Some 35 years ago I purchased from a gentleman who after our 1st 2 transactions became a friend who shared what was valuable and I've found to be true, that any gear we have should make us *want* play music more. Everything else (soundstaging, detail, bass, etc etc) is just icing. We freely lent each other gear to try out for a while to see longer term what gave us the *feeling* of "I almost can't wait" to turn on the gear. I've found that *sensing* so to speak, to be the "magic" and can get lost when swapping pieces in search of improvements in resolution, soundstage, bass, etc. After all these years, I still miss the higher noise/hiss Infinity FET preamp I bought from him and traded to someone else that brought a Bedini over.
 FWIW,  They had a well used grand piano that his wife played and how I discovered Maggie Tympanis and ARC gear, I carried in amps too heavy for him lol.