Originally Posted by Rdrcr
Sounds very fair to me too! +3
In addition, all the talk about the D-Sonic vs. W4S has me a little confused with all the "upgrades" that have been discussed. I was hoping that you might outline the differences between my amplifier (MC500) and the comparable D-Sonic.
There are many sonic differences between our amplifier and the D-SONIC. The main reasons are held within our direct-coupled, balanced, dual FET input stage (input buffer). Not only does this raise the input impedance to 61.9K ohms which allows source equipment to easily and accurately drive the amplifier.
The standard ICE modules which are found in the D-SONIC amplifiers have 8K ohms on the positive input and 10K ohms on the negative input to the ICE amp. So if you’re using RCA’s for instance, your source would be driving an 8,000 ohm load which isn’t really bad, but much harder to drive than 61.9K ohms. The lower impedance your source has to drive, the more you will experience lower volume levels, and slightly higher distortion going into your amplifier. This normally changes the way a preamp can amplify the signal applied, thus giving you less than optimal sound.
Balanced amplifiers (differential, driven from + and – signals) have a much better performance when driven balanced, which ours does. All the parts you will find on our input buffer are of the best quality. We use Dale Rn55D copper leaded resistors, Wima, and MUSE audio grade capacitors, and a thick traced PCB to connect everything. Audio signal doesn’t sound as good through standard magnetic steel leaded resistors, and electrolytic capacitors.
Inside the FETs on all of our input buffers, there is a voltage to current conversion. This is where we get the sweeter sound. The way a FET works is the current that flows from the output (the drain to source current) is controlled by the voltage on the input (the gate). This has a softening effect that complements the slight brightness and edgy sound of the Class D amplifier. It tends to make everything softer, smoother, and accurate. Given that the function of the amplifier, our input stage (buffer) has unity gain (no gain produced), and is ultra transparent.
We also perform modifications to the modules in every amplifier to enhance its’ performance. We bypass critical input coupling caps to allow audio to freely flow through while still allowing for DC protection, and “beef-up” the servo (feedback) circuit for enhanced bottom-end extension. Every module is connected to the binding posts with 14AWG 99.9% OFC high strand pure copper paralleled with 14AWG high strand PURE silver wire.
One of my favorite benefits with this amplifier is the sound stage, and AWSOME imaging. If the imaging is correct, you should be able to listen to your speakers R/L, and not hear each one as being separate. Instead, they should blend together and sound like one, half way between the two. Sound stage depths are also much more prominent. You should be able to hear differences vertically, horizontally, and even depth (front to back). Your speakers would obviously have to be able to produce these as well, but nearly all hi-end loudspeakers should be able to produce such results.
Another option that our amplifier has over ALL the competition is the built in active crossovers. A good read for FYI knowledge would be http://sound.westhost.com/biamp-vs-passive.htm
. This would mainly be used for the purpose of using our amplifier in a Bi-amp or Tri-amp set-up, which GREATLY improves sound quality. NO OTHER AMPLIFIER OFFERS THIS FEATURE, to my knowledge.
There many benefits on using our built-in active crossovers from passive crossovers, even on speakers that already have built-in crossovers. Unfortunately, I must post that in another post to keep this one from taking the complete page.