Best Pure Musical Amplifiers (power not important)

In my second system I have Clayton M300 monos (Class A) and Eggleston Andra III speakers and the musicality is a smoother organic whole presentation. Like a collection of instruments playing live, this melds into a "body of presentation" more so than separating out individual instruments. This is warmer and inviting but still informative listening. With 300 watts, dynamics and pace are very good, but I would also say there is comfort here. The amp also works nicely with my Piega TC 70X speakers that are brighter. The DAC in the system is a Rocktron.

Since Randy mentioned his T+A amp, the musical nature of my T+A A3000 and separate power supply is more toward the exciting and compelling than the above system. Instruments are better understood and presented with more inner beauty and expressiveness. I think this beauty is a result of presenting more of the truth of an instrument. I love a strat into an almost clean Fenderish amp slinging minor and jazz chords. The harmonics and sparkle are exceptionally there with the T+A and I am going Ohooooooo. However, instruments do play together, a group holds together as a group, and the soundstage is whole and coherent.

If the T+A is any kind of smooth it is because of diminishing noise within the notes and the lack of noise leading the note, the leading transition. An amplifier that has less noise doesn't chase me away, it draws me into the music. It removes a barrier that would prevent me from having an involvement that is musical. Noise as I describe here is more of the grunge, hash and etch kind. Present, it does not excite me.

As expected, exciting are the dynamics, slam and pace/tempo. Toe tapping is hard to stop and the bass foundation is great. A song or an album is like a journey and I feel temporally involved in that traverse with small effort on my part.

But the special musicality of the T+A amp is an effervescence that scintillates throughout the whole presentation. It is quite intoxicating for me. This isn't really a swirly sparkly coloration however, and its hard to describe. It obscures nothing and certainly leaves me thrilled.

This effervescence improved when I added the 3000 power supply. In fact, it hit me quicker than the improved bass and slam. The DAC here is the T+A 3100.

Both amps have other attributes, but the above is how they both can be musical for me. Kind of a fun exploration this thread can foster.
 
Not as much heat as you might think.i do leave the doors open slightly. I had the cabinet designed so that the area above the amps is open through the top of the cabinets.there is a fan built into each.
 
You don't see a person with Clayton's that often. I've heard them a couple times. The 40 watt stereo with various Dynaudio and the 100 watt mono driving Dynaudio's Sapphires which was a sweet sound.

Clayton, the town, is a burb here, where the amps had their beginning. I'm not sure if the family still lives here.

In my second system I have Clayton M300 monos (Class A) and Eggleston Andra III speakers and the musicality is a smoother organic whole presentation. Like a collection of instruments playing live, this melds into a "body of presentation" more so than separating out individual instruments. This is warmer and inviting but still informative listening. With 300 watts, dynamics and pace are very good, but I would also say there is comfort here. The amp also works nicely with my Piega TC 70X speakers that are brighter. The DAC in the system is a Rocktron.

Since Randy mentioned his T+A amp, the musical nature of my T+A A3000 and separate power supply is more toward the exciting and compelling than the above system. Instruments are better understood and presented with more inner beauty and expressiveness. I think this beauty is a result of presenting more of the truth of an instrument. I love a strat into an almost clean Fenderish amp slinging minor and jazz chords. The harmonics and sparkle are exceptionally there with the T+A and I am going Ohooooooo. However, instruments do play together, a group holds together as a group, and the soundstage is whole and coherent.

If the T+A is any kind of smooth it is because of diminishing noise within the notes and the lack of noise leading the note, the leading transition. An amplifier that has less noise doesn't chase me away, it draws me into the music. It removes a barrier that would prevent me from having an involvement that is musical. Noise as I describe here is more of the grunge, hash and etch kind. Present, it does not excite me.

As expected, exciting are the dynamics, slam and pace/tempo. Toe tapping is hard to stop and the bass foundation is great. A song or an album is like a journey and I feel temporally involved in that traverse with small effort on my part.

But the special musicality of the T+A amp is an effervescence that scintillates throughout the whole presentation. It is quite intoxicating for me. This isn't really a swirly sparkly coloration however, and its hard to describe. It obscures nothing and certainly leaves me thrilled.

This effervescence improved when I added the 3000 power supply. In fact, it hit me quicker than the improved bass and slam. The DAC here is the T+A 3100.

Both amps have other attributes, but the above is how they both can be musical for me. Kind of a fun exploration this thread can foster.
 
I think you are correct for the most part. I was told the company does a lot of business overseas.

For others interested:

Clayton Audio is a St. Louis based company dedicated to producing reference quality amplification for those who value the palpability and elegance of natural, live sound. To that end, we only make pure, class A amplifiers of reference quality. Our amplifiers are the creation of a retired IBM engineer who specialized in power supply design and who wanted to bring some of his expertise to the field of audio. All our amplifiers use the new Motorola semiconductors that are receiving their first audio application. These bipolar output transistors are multiply paralleled for smooth sound, long term reliability, and extreme stability (the amplifiers do not produce speaker-destroying on/off thumps). Our power supplies are built to a standard that would do justice to much higher-powered audiophile designs with temperature tolerances superior to those of many well-known amplifiers.
All Clayton amplifiers are conservatively rated and have enormous current reserves to drive virtually any speaker load with aplomb. They will double their power output into 4 ohms and increase further down to 1 ohm. Carefully selected audiophile grade parts are used throughout, including the finest audiophile wiring from D.H. Labs and capacitors from Sprague, as well as binding posts and RCA inputs from WBT, Germany. The faceplates are finished to meet the most exacting cosmetic standards. Our amplifiers were designed to handle difficult loads in a manner that has all the traditional strengths of solid-state --- bass control, power, current delivery, wide frequency response --- while producing a refined, grainless sound with good depth and imagining that recalls --- without seeking to imitate --- the best tube equipment. Well-recorded classical music and acoustic jazz are especially well-served by our products. But rock also takes on a new clarity and weight with our products. Visit Clayton Audio's website at www.claytonamp.com to learn more!

Interesting regarding the Clayton town. The company seems very low key and very small.
 
In my second system I have Clayton M300 monos (Class A) and Eggleston Andra III speakers and the musicality is a smoother organic whole presentation. Like a collection of instruments playing live, this melds into a "body of presentation" more so than separating out individual instruments. This is warmer and inviting but still informative listening. With 300 watts, dynamics and pace are very good, but I would also say there is comfort here. The amp also works nicely with my Piega TC 70X speakers that are brighter. The DAC in the system is a Rocktron.

Since Randy mentioned his T+A amp, the musical nature of my T+A A3000 and separate power supply is more toward the exciting and compelling than the above system. Instruments are better understood and presented with more inner beauty and expressiveness. I think this beauty is a result of presenting more of the truth of an instrument. I love a strat into an almost clean Fenderish amp slinging minor and jazz chords. The harmonics and sparkle are exceptionally there with the T+A and I am going Ohooooooo. However, instruments do play together, a group holds together as a group, and the soundstage is whole and coherent.

If the T+A is any kind of smooth it is because of diminishing noise within the notes and the lack of noise leading the note, the leading transition. An amplifier that has less noise doesn't chase me away, it draws me into the music. It removes a barrier that would prevent me from having an involvement that is musical. Noise as I describe here is more of the grunge, hash and etch kind. Present, it does not excite me.

As expected, exciting are the dynamics, slam and pace/tempo. Toe tapping is hard to stop and the bass foundation is great. A song or an album is like a journey and I feel temporally involved in that traverse with small effort on my part.

But the special musicality of the T+A amp is an effervescence that scintillates throughout the whole presentation. It is quite intoxicating for me. This isn't really a swirly sparkly coloration however, and its hard to describe. It obscures nothing and certainly leaves me thrilled.

This effervescence improved when I added the 3000 power supply. In fact, it hit me quicker than the improved bass and slam. The DAC here is the T+A 3100.

Both amps have other attributes, but the above is how they both can be musical for me. Kind of a fun exploration this thread can foster.

I like your description of the T+A amplifier. Coming from a similar situation with my amplifiers, I love my SET amps and find them intoxicating, but I also feel when I am in the mood for Solid State amplification the T+A is not a compromise. Instead I would refer to it as a different take.

At this point I think I am going to take my T+A amp off the market. I have several people enquire about it but none have pulled the trigger. I feel it is far too good of an amp to give away, and the price I was offering is a give away for an amp this good. I think I would rather keep it as my SS backup and keep the McIntosh more as a show piece and place in my heart for my home town!
 
I think you are correct for the most part. I was told the company does a lot of business overseas.

For others interested:

Clayton Audio is a St. Louis based company dedicated to producing reference quality amplification for those who value the palpability and elegance of natural, live sound. To that end, we only make pure, class A amplifiers of reference quality. Our amplifiers are the creation of a retired IBM engineer who specialized in power supply design and who wanted to bring some of his expertise to the field of audio. All our amplifiers use the new Motorola semiconductors that are receiving their first audio application. These bipolar output transistors are multiply paralleled for smooth sound, long term reliability, and extreme stability (the amplifiers do not produce speaker-destroying on/off thumps). Our power supplies are built to a standard that would do justice to much higher-powered audiophile designs with temperature tolerances superior to those of many well-known amplifiers.
All Clayton amplifiers are conservatively rated and have enormous current reserves to drive virtually any speaker load with aplomb. They will double their power output into 4 ohms and increase further down to 1 ohm. Carefully selected audiophile grade parts are used throughout, including the finest audiophile wiring from D.H. Labs and capacitors from Sprague, as well as binding posts and RCA inputs from WBT, Germany. The faceplates are finished to meet the most exacting cosmetic standards. Our amplifiers were designed to handle difficult loads in a manner that has all the traditional strengths of solid-state --- bass control, power, current delivery, wide frequency response --- while producing a refined, grainless sound with good depth and imagining that recalls --- without seeking to imitate --- the best tube equipment. Well-recorded classical music and acoustic jazz are especially well-served by our products. But rock also takes on a new clarity and weight with our products. Visit Clayton Audio's website at www.claytonamp.com to learn more!

Wilson Shen, owner/designer of Clayton Audio did in fact move out of his Clayton MO home a year or so ago.
The fast escalating property values along with additional congestion nudged him to make the move.
He is still in the St. Louis area though.
FWIW
 
Most musical amps I have owned are the Cary Audio V12R monoblocks. Big amps and hard on tubes. But man, when everything was working they sounded fantastic.
 
From Randy: "At this point I think I am going to take my T+A amp off the market. I have several people enquire about it but none have pulled the trigger. I feel it is far too good of an amp to give away, and the price I was offering is a give away for an amp this good. I think I would rather keep it as my SS backup and keep the McIntosh more as a show piece and place in my heart for my home town!"


Options are nice, but like quarterbacks, it is good to have a worthy backup just in case the first string goes down.
 
What I am really referring to is being so "musical" that you forget the amplifier, you forget the world for a time. Just something, that to you was almost spiritual in how it draws you in. Just special sounding. I know this may be different for everybody but I am just hoping to have a discussion about what amps that you have "lived" with had the ability to "take you there".

Simply put, what amps have had that special something for you :D...

My last home had a far better rom from an acoustically viewpoint. There I forgot the time and listened till deep in the night. For me, acoustics play a far greater role as does bit perfect playback and the dac. Especially acoustics are a far under appreciated field as it is difficult to prognose the effect while with equipment we take the time to listen and get them on trail.

i would advocate a good Dirac/Trinnov system will get you in that ‘musical’ state. Maybe Lyngdorf too but in my system it made trumpets sound off. It could be operator error of course. I currently play with Arcam AVR550 with Dirac and it helps a lot with my current acoustically unsound room :P.
 
I continually and fully immersed in my MC501 amplifiers and with the recent implementation of Roon here, I won't be coming up for air anytime soon. :)

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Awesome Michael! Finally got you to get Roon :)... now you need to up your game on digital, maybe HQPlayer and a DSD DAC :D...

Just kidding my friend! Your Mc setup is top notch...
 
By the way, the Black Treasure CV-181Z tubes that Vladimir recommended arrived today. Moving the CBS brown base to go along with the Sylvania Bad Boys in the pre-amp has lifted the SET amp to an even higher level!!!
 
I would have to say the McIntosh mc225 amp with Klipsch speakers. (Not sure which model) It must have been 35 or so years ago at a friends house but I was mesmerized. It’s what really got me into audiophile type equipment.
 
In the last 2.5 years I tried many candidate amplifiers that potentially could replace my 'old' Parasound JC-1's. I tried class A, A/B, D and tube amplifiers (e.g. ModWright, Goldmund, CH-precision, TAD, Alieno, NAD, Soulution, ...) but in the end the amplifier(s) that really pulled me into the music were the VAC Signature 200 IQ's. For me these amplifiers have everything I ever wanted. Of course a Goldmund Telos 1000+ has even more control, but who cares? (I would say).
 
Often the amp/preamp combo is too critical to split up. But I’ll take a stab at it:

1. VAC 200iQ/450iQ
2. Viva anything
3. SIT-3
4. Pass XA.5 with the edge to the 60.5/160.5
5. Shindo D’Yquem/WE300b
6. Dart
7. D’Ag S250
8. Audio Arts Mono II, but must be paired with the matching preamp
9. Gryphon Colosseum
10. Mc 2301’s
11. BAT VK55SE monos
12. MBL 9011/9008
13. AudioNote Ongaku
14. Luxman M900u monos/stereo

Almost too many to mention....I’m sure I’ve forgotten a few.

#1 is my amp at home (200iQ). $15K. Invest in some killer NOS tubes and you have a world class amp for $20K or less. It’s an amp that keeps pulling you back for “just one more song”, no matter how late it is.
 
Often the amp/preamp combo is too critical to split up. But I’ll take a stab at it:

1. VAC 200iQ/450iQ
2. Viva anything
3. SIT-3
4. Pass XA.5 with the edge to the 60.5/160.5
5. Shindo D’Yquem/WE300b
6. Dart
7. D’Ag S250
8. Audio Arts Mono II, but must be paired with the matching preamp
9. Gryphon Colosseum
10. Mc 2301’s
11. BAT VK55SE monos
12. MBL 9011/9008
13. AudioNote Ongaku
14. Luxman M900u monos/stereo

Almost too many to mention....I’m sure I’ve forgotten a few.

#1 is my amp at home (200iQ). $15K. Invest in some killer NOS tubes and you have a world class amp for $20K or less. It’s an amp that keeps pulling you back for “just one more song”, no matter how late it is.

Thanksa lot for sharing your view/opinion Mike. For you having the possibility toaudition, in principle, everything which is available in the audio market givesa very nice guidance for everyone who is looking for a new power amplifier.Thanksa lot for sharing your view/opinion Mike. For you having the possibility toaudition, in principle, everything which is available in the audio market givesa very nice guidance for everyone who is looking for a new power amplifier.

What are according to you the killer NOS tubes?

Best regards, Jan
 
Thanksa lot for sharing your view/opinion Mike. For you having the possibility toaudition, in principle, everything which is available in the audio market givesa very nice guidance for everyone who is looking for a new power amplifier.Thanksa lot for sharing your view/opinion Mike. For you having the possibility toaudition, in principle, everything which is available in the audio market givesa very nice guidance for everyone who is looking for a new power amplifier.

What are according to you the killer NOS tubes?

Best regards, Jan

You’re welcome. I have a small stockpile of 1960’s GoldLion KT88’s. I’m using 4 and I think I have 9 left. Gulp. The good news is that they are rated to last a very long time - tens of thousands of hours. I also have some 1950’s Sylvania 6SN7’s. I have no more of those and haven’t been able to find the exact match, so when they go, I’ll be looking for something else.
 
You’re welcome. I have a small stockpile of 1960’s GoldLion KT88’s. I’m using 4 and I think I have 9 left. Gulp. The good news is that they are rated to last a very long time - tens of thousands of hours. I also have some 1950’s Sylvania 6SN7’s. I have no more of those and haven’t been able to find the exact match, so when they go, I’ll be looking for something else.

Thanks for sharing Mike. Good to know :)
 
I’ll put in another vote for the VAC 200iQ. People think because it isn’t a Statement product it must not be great. If Kevin called it the Statement 200iQ and doubled the price, he’d probably sell more!

Also impressed with Gryphon Antileon and Dartzeel 108 v2.
 
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