30 to 50 watts seems to be all I desire

I think like this.

We have speakers that has efficiency ex 86 db/w/m.

So we will use more or less 1 watt to reach our desired sound pressure in 86db.

Therefore if we use 5w amp OR 500w amplifier we will ALWAYS be using ~1w disregarding what ever of amp you're using.

But I am not saying that a 5w amp is enough that is not my point.

When looking at what Paul M at PS audio is saying.

• A over dimension toroidal then the electric circuit needed. Will give be beneficial for sound quality and they usually use bigger than needed.

Another point is that when we know that 98% of all speakers need only one watt to satisfy us.

Why is that so that most of the times it is the biggest and heaviest and most powerful amp is the one that reviewers tend to think is the best sounding one. Even if smaller models in the same amplifier line and brand.

Then what is the difference of all amplifiers that all of them is enough to drive our speakers.

Despite more complex design with more number of transistors (of the same kind) to give more watt out (that we probably do NOT need and probably the higher parts count will not contribute to better sound quality or reliability.)

But on the other hand what do the bigger amplifier have than the smaller ones don't? Yes when we sit there and listening to our 1w then the bigger amplifier has a bigger toroidal and bigger capacitors.

That is the practical difference and the path to better sound quality as i see it. And my two Satoshi.

@dynamiclinearity said "Power is used for very, very short term transients which can be 20 to 30 dB"

This misrepresents what is actually on recordings. Over two decades, I transferred over 1,000 LPs -- from rock to classical -- from LP to digital format, so spent a lot of time watching loudness levels during the transfer, using Adobe Audition. I've never seen a recording where the average loudness level allowed for 20 or 30 dB peaks.

Now, lots of recordings have "dynamic range" in excess of 30 dB, but that includes the soft parts -- perhaps a solo instrument being softly played during an orchestral recording.  But, the quieter parts of a recording are supposed to be played at a soft level.  Those soft parts are well below the average level.

Then there are rock recordings where one often sees the average level almost at the max level permitted by the media -- one may be lucky to have 3 dB peaks in such recordings -- remember the loudness wars?

Simply put, if your average recorded level is -6 dB, there is simply no place to put a 30 dB peak transient.  If it existed in the live music, its been lopped off in the recording. LPs are slightly different from digital recordings, but they also have their limits, too.

In short, to have a 30 dB peak transient on a digital recording, the average playback level would have to be 30 dB down. There aren't very many recordings that meet that criteria.

I use a Keces E40.  Measured 34 watts/61 watts at 8/4 ohms when it reaches 0.7% distortion.  Company claims up to 15 amps/channel max output.

It's a little powerhouse that's on the warmer and smoother side but retains lots detail with really good separation and stage depth.  I also own a Hegel which I may sell as the Keces is really doing it for me.

Preferred it over other amps I tried from Emotiva, Musical Fidelity M2si and Rega Brio, among others. The Emotiva had a bit more extended highs but flabbier bass and sounded 2D to me.  The M2si was gritty to me, lacked refinement and sounded more like a PA amp.   The Brio is nice enough, but more expensive and I still like the Keces better.

So, lower power but still robust for an affordable price.  IMO.

Mark Schneider, owner of Linear Tube Audio uses a single ZOTL40 to power his Maggie’s. I’ve heard them in his home and the synergy is spectacular.

I drive really low efficiency speakers (86 dB electrostatics) with 45 watts (big Class A watts, but only a max of 45 of them) with no need for any more.