Amity manufactures or has manufactured the following equipment (click to expand models list):Solid State Amplifiers
Amity web site (June 25, 2009):A short comment from Anson Anderson about his circuit design theory: The most important audio character is reality: a good live recording must sound as if it is alive! All instruments have to sound as if the listener is just in front of the Instruments or on stage! when someone defines an audio system as 'warm', 'bright', 'clear' etc. this means the sound tends to be different than 'real'. When someone says his audio system sounds very close to reality and it is lots of fun and full of life, his system is extremly good and very valuable.
An Audio system has to have a large 0 volt conductor area with almost no impedance. The return current through this impedance forms a voltage working against the 'good' current through the load and it will affect the sound negatively. The audio signal should be the only current that flows on this impedance. That is why we only use symmetrical circuits, where the supporting currents flow through the +/- power supplies and not through the 0 Volt conductor. Our 0 Volt areas (including cables) have very low Impedance and are 'clean'.
Driving current has to have a source of high current as close as possible to the driving elements which deliver load current. The current source must deliver it's current fast and with almost no impedance to current drivers. Amity products power up very slowly. They are symetrical and current sources are matched. They have a delivery time at least 100 times the average drain time and and they deliver current at least 100 times faster than the fastest current impulse.
Contrary to 'normal' Audio circuits, which put audio ranges between 50 Hertz and 20 kilo-Hertz, Amity circuits free the sound and allow, - and deliver, frequencies from 10 Hertz up to 200 kilo-Hertz with an absolutely flat frequency responce. For the 'smart' people: very active music such as symphonic music is a mix of very many frequencies. The mathematic mix of additive frequencies (Fourier transforming in the other direction) forms signal frequencies and slew rates well into the 100 kilo-Hertz and 1V/0.1 micro-second slew rates. So when this is capped, the symphonic sound is put into a small cotten filled box and the stage is reduced to an unreal sound where single instruments are almost imposible to pick out of the audio soup.
Violence and fine feelings in audio is defined as 'headroom' and 'definition'. Definition is a result of freeing the frequency range and reducing noise and distortion, while violence is a result of over powering the output circuit as well as speeding it up so that it has a very fast slew rate. If a circuit can reproduce a thunderclap and rumble as well as the very sharp edge of the thunderbolt and it sounds 'real', it is an extremely good audio circuit. The cuircuit has then an extremely large head room and very fine definition. Symphonic sound will be no problem for this circuit
Amity circuits are reduced to a minimum on parts, where phase shifting is under control and reduced to a very small amount. Phase shifting away from the original, or shifting the output signal phase away from the input signal phase, is the hardest parameter to control in audio design. When the circuit phase is influenced by frequency and power changes, so that it shifts the signal away from the original, the output does not sound 'real'. Our ears are extremely sensitive to this type of distortion. This distortion delivers a sound soup no matter how good the other parameters are!