In a word, amazing. Even digitizing analog? Yes. There was nothing digital-sounding about the SM-SX100. If this technology sounded any different from a good analog amplifier, tube or solid-state, it was in its transient and dynamic performance. Both were both stunning, especially in the rendering of bass microdynamics.
The SM-SX100 sounded fast, but not zippy or thin. High-frequency transients—cymbals, vocal sibilants—were just where you'd want them: naturally smooth, yet exceptionally detailed and convincingly non-mechanical. Shakers, gourds, bells, plucked strings—all had breathtaking clarity and detail, and no etch.
If "digital" conjures up "ringy," "glazed," "airless," "flat," "suffocating," "confused and confusing," and the rest, forget them. They had nothing to do with this amplifier. The SM-SX100 sounded open, airy (when the source material was), and, for the most part, transparent.