Truly superb amp and considered one of the finest sounding solid state amps available. Holographic imaging, world class transparency and deep, tuneful bass. This is an original MKIII not an upgrade and is in mint condition. Was a much superior amp in comparison to my 14B-SST, FPB300C and Pass Labs X250.
D200 Mk III Specifications:
Type: solid-state single MOSFET stereo power
amplifier
Power output (per channel, continuous):
200W/8Ω, 400W/4Ω
Frequency response: 5Hz ~ 100kHz
THD: ‹ 0.05%
Noise level: › 100dBA below 100W/8Ω
Input impedance: 40kΩ balanced, 20kΩ RCA
Sensitivity: 0.77V, 1.55V, 3.1V, 3.9V (full power)
Speaker loads: down to 1.5Ω
Idle power consumption: 100 W
Dimensions: 17.6 x 6.1 x 17
Weight: 68lb
To achieve the purity and clarity that our clients demand, we have come up with a very simple and very effective solution. We only use one transistor per channel, but a very large one indeed. Using a single massive transistor allows us to tune them to sonic perfection and lay out a much simpler signal path. The transistors we use are massively expensive, but we think it's worth it, and you might agree when you hear our amplifiers perform.
Absolute Sound Recommended Component. Golden Ear Award Winner
Jonathan Valin said “the Gamut D200 has the best soundstaging I've yet heard from any amp, fully equal to the worldclass, $30,000 Lamm ML-2s that won one of my Golden Ear Awards last year - superb width, depth, focus, and layering that makes other amplifiers, even far more expensive ones, sound as if they are slightly constricting musical space
"The latest incarnation of this power amplifier should bring it even more accolades. It combines power, precision, dynamic subtlety and transparency in a way that is totally musical. if you are after the best power amp money can buy, don't ignore it just because it doesn't cost the earth - it has little difficulty moving it." - HiFi Choice, Editor's Choice
The D200 on the other hand is a flat out monster. In fact, it reminds me of a mythical dragon. It has all the power and energy you could reasonably want in an amplifier but combines that strength with musical finesse and dexterity. The D200 can play extremely loud, without sounding hard, while at the same time, it deftly reproduces subtle nuances in chamber music or a vocalist’s solo. It can drive your speakers to produce prodigious amounts of air moving bass, but doesn’t cheat you when it comes to replicating the sweet decay of the triangle or the guttural utterances of a singer who’s trying to convey that last bit emotion. The performance of the D200 sounded exceptionally accurate and natural, sounding neither like solid-state nor tubes, rather, conforming to the electronics and interconnect before it. The D200 is easily one of the most neutral amplifiers that I have heard, anywhere. Just about everyone that came by my house to listen to the amplifier had the same thing to say; that they had heard of the GamuT D200 amplifier before but had no idea it was as neutral as what they were actually hearing. It was as easy to identify the sound when I had a vacuum tube source or preamplifier in front of it as it was to identify a solid state piece. The 200 MKIII is detailed but never sounded hard or bright. Bass performance is deep and tight, but could drive speakers to pound you in the chest on some bass heavy material. With the D200 the upper frequency performance is detailed and airy with good extension. Treble could be rendered from being soft and airy to having brass instruments with a touch of bite and brassiness. The midrange portrays performers with dimensionality and made them feel as though they were present in my room. All this, the D200 did with a large degree of focus as it was easy to pinpoint images of performers, and their instruments, across the stage Brass instruments have a touch of bite and brassiness without making you cringe or want to back down off of the volume.
With the D200, the music is so focused and coherent and not just a bunch of instrumentalists mindlessly groping for sound. Every track holds a new discovery. The D200 also handles vocals flawlessly. Diana Krall's From This Moment On [Verve] was presented in my listening room with a palpable presence and three-dimensionality that caused me to open my eyes and make sure no one else was in the room on several occasions. Alexander Scriabin's Symphony No.2 in C minor [Decca], with Vladamir Ashkenazy conducting the Berlin Radio-Symphonie-Orchestra, the 1st movement is like a vast roller coaster ride where the strings pull you up higher and higher and the brass attacks plunge you headlong back to earth. With the D200 the horns had detail and definition without sounding harsh.
