Krell

"The ORIGINAL" - World class CD/SACD & Blu-ray players, Integrated, Stereo & Mono block amps, Preamps, AV Processors - Made in the USA

The Leader in Audio Engineering

http://www.krellonline.com/

High-end audio is a demanding pursuit; an ongoing quest for excellence in music reproduction that drives equipment manufacturers to strive for the absolute in design and performance. With a keen understanding of this passionate drive,
Krell Industries was founded in 1980.

For nearly three decades, Krell has earned a distinguished reputation for engineering innovation and product excellence. The company's history is replete with product introductions that have deeply impacted the high-end audio industry. The most discriminating audiophiles and product reviewers have consistently recognized Krell components for standard-setting performance. The sheer breadth of Krell amplifiers' dynamic range capabilities conveys a startling realism that transcends previous designs. Seemingly unlimited frequency response, combined with unerring accuracy and fortitude, extend a tradition that began with the first Krell amplifier; the KSA-100. The KSA-100 was the first high power, high-current, true Class A biased stereo power amplifier available to audiophiles. It was the first Krell product, and its resounding success established Krell as an important new technological contributor to high-end audio.

From the KSA-100 to the present, Krell continually "pushes the envelope" of performance in our search for greater amplifier power. Exploration of new technologies, driven by a never-ending quest to elevate the standard of excellence, has resulted in breakthrough audio designs. Over the years, the Krell line of power amplifiers, including benchmark products such as the KRS-100, KRS-200, and the Audio Standard models, has established a legacy of unparalleled sonic performance.

The Krell product line has diversified, but Krell's fundamental research into amplifier design and performance remains at the core of the company's achievements. Every Krell component upholds the legacy, incorporating unique technologies that are the direct result of Krell's discoveries in audio amplification. They provide unprecedented linearity with the control and accuracy that only comes from superior current capability. The sound is lively and unconstrained, in a manner that evokes live performance and the true sound of instruments. The Krell legacy will continue to evolve with products that deliver innovative engineering, perfection in build quality, and outstanding audio performance.

The NEW Evolution series
"It is hands down the best amplifier I've ever heard and the new benchmark for which all future cost no-object amplifiers will be judged." Andrew Robison in Evolution 402e review on www.hometheaterreview.comKrell

Krell amplifiers are best known for their ability to drive any loudspeaker to sound its best, without regard to impedance, efficiency, or driver style. It is linearity, an amplifier's ability to output an exact duplicate of the input signal, which is the ultimate measure of that amplifiers worth. Krell designs toward the common goal of linearity; through the rigorous application of Krell design principles that focus our efforts on four major performance factors: distortion, bandwidth, output impedance and current capability. The Evolution e Series excels in each of these areas, delivering supreme accuracy from whisper level to astounding, awe inspiring amounts of power with grace and elegance.

We are excited to announce the initial shipments of the Evolution 402e, Evolution 403e, Evolution 600e, and Evolution 900e have begun. The Evolution 302e and Evolution 400e are shipping in July.

BETTER SOUND
Building on the unique Active Cascode Topology foundation of the Evolution Series, the e Series amplifiers feature more precisely balanced current sharing among the seven sets of Active Cascode Quartets that make up the output stage. This greater precision

elevates an already impressive performance envelope and provides greater amplifier reliability. Audible at all volume levels, this improvement is independent of load current. Although negative feedback in the Evolution amplifiers was already extremely low, a mere 14 dB---several orders of magnitude lower than other manufacturers' power amplifiers, modifications to the feedback circuitry allow for more ideal operation completely independent of the signal level. The results are greatly enhanced inner detail and micro-dynamics with smoother high frequency response.

"I've heard a lot of great amplifiers over the years and have even reviewed a few in the months leading up to the 402e's arrival in my home and the 402e not only bested each and every one of them but it did so at a fraction of the cost." Andrew Robison in Evolution 402e review on www.hometheaterreview.com

An intense upgrade to the power supply includes a number of improvements. There is now a separate transformer for the digital power supplies. Not only does this facilitate greatly reduced power consumption in standby, but it provides still better isolation between the digital and analog power supplies. The high-current and high-voltage analog supplies have additional noise filtration circuitry to reduce high-frequency switching noise from the rectifiers. The high-current power supplies also have more reservoir capacitance than before (anywhere from 10-50% more, depending upon the model). Finally, the power supply circuit board has been redesigned for better isolation between the incoming AC power and the DC power supplies.

LESS HEAT, LOWER ENERGY CONSUMPTION
A new green standby mode reduces standby power draw dramatically. Standby power draw for all Evolution e Series amplifiers has been reduced to 2W. As an example, the Evolution 402 power draw drops from 260W to 2W in the Evolution 402e - a reduction of 99% in energy draw and a huge drop in heat output. The power indicator ring now glows green to indicate the new energy efficient mode.

"I walked away from my listening session simply amazed at how Krell was able to turn an already solid amplifier in the 402 into an amp that bordered on otherworldly
with the 402e. No matter what the genre or volume level, the 402e never ceased to amaze."
Andrew Robison in Evolution 402e review on www.hometheaterreview.com

Reviews

Awards

Reviews

Krell's expanding, entry-level range heralds a new era of affordability for the high-end marque

Krell not only epitomises the American high end, the company practically invented it: the brand is quintessentially macho, solid, muscular and aspirational, as well as being reassuringly expensive with build quality that often seems utterly, and gloriously over the top.

The very idea of a budget Krell range is a kind of oxymoron, but even Krell is not immune to what's happening in the wider world. If ever the time was ripe for an affordable range of Krell products, the current global economic slowdown has provided the perfect opportunity.

The real thing

Tested here is the entry-level Krell S-350a, which is a CD-only player. The closely related S-350av adds DVD playback (upscaled to 1080p) and the claim is that it does so without compromise to CD playback performance.

We discovered it performs as we describe below, as a CD player that is already built around a DVD mechanism. Put a DVD in the player and see for yourself.

As a CD player, the S-350a is straightforward. It has all the usual search and repeat modes, a neat and very simple backlit LCD display and you can extract the analogue audio signal in single-ended or balanced forms, using XLR sockets on the back.

But the player will deliver electrical digital outputs in (optical) TOSLINK or (electrical) S/PDIF form and it will also accept external digital signals, again both optical and electrical. It will even accept high-resolution signals – up to 96kHz anyway, which is the limit for the connector types used.

The player is also equipped with 12V trigger in and outputs and an RC-5 input, which can be used to integrate the player with system controllers from AMX, Crestron and the like. It's also equipped with an RS-232 socket for external comms, but there is no HDMI output and the AV version of the S-350 is limited to composite and S-video, which will hamstring the player as a high-performance video source component.

Internally, the S-350a is well specified, with a massive power supply section and solid build quality. It is also compatible with CD-DA, CD-R/RW and MP3 CD media. Having being made outside of the USA was not used as an excuse for second-rate construction.

Unlike previous generation Krell products, dating from their introduction in the early '80s, the S-350a is made in China, though the design comes as usual from the Krell R&D labs at Krell HQ in Connecticut.

The player takes advantage of hardware developments that were originally introduced to service the computer market. The most obvious of these is the player's slot-loading mechanism, which is becoming increasingly common instead of the more traditional loading drawer.

We first saw samples of Chinese made Krell components two or (perhaps) three years ago at CES – the world's largest consumer electronics shindig in Las Vegas – where we found Dan Agostino (co-founder and then CEO of Krell), with some prototypes, exuding a child-like enthusiasm about the fact that he was able to send the Chinese factory a set of drawings and circuit diagrams and within a few months receive back, as if by magic, a fully sorted and working product.

As far as we know, the products he had at the time never appeared on the market. They were tryouts. But he was clearly impressed with what was possible and the importer sent us an sample of the matching S-300 amplifier to try out with the review player, which provided the perfect opportunity to see how they would interact.

Krell's bells

The S-350a is shockingly heavy – the only way to explain the 11.4kg deadweight in a CD player is the inclusion of a typically Krell scale power supply with a massive torroidal transformer of a capacity more appropriate to an amplifier than a CD player – though unusually robust external metalwork is also part of the equation. No one could reasonably claim that the player is anything less than immaculately built and presented.

As usual with Krell, the S-350a has a plethora of small control buttons, far too many to take in at a single glance, which for many will make operation using the supplied remote control more natural. But in its favour, the native control set is positive and gives good tactile feedback through the fingertips.

The dimmable backlit LCD display is clear and uncomplicated, though it tends to switch to the negative when viewed from oblique angles.

The player handles discs quietly and without so much as a hint of temperament, in fact, the only features we missed and would have liked to have seen were a headphone socket and, perhaps, CD Text.

Taking all the plusses and minuses into account, including sound quality which is discussed separately, this player represents exceptional value. It is not just the most affordable way of joining the exclusive Krell owners' club, this is a player that delivers, well beyond what might have been expected.

Even and articulate

The S-350a was supplied for test with a sample of the matching S-300 integrated amplifier and the prognosis is unequivocal; they work brilliantly, separately and together. Both units – the CD player and the matching amplifier – achieve a very high standard, much higher, in fact, than we had anticipated.

By the same token, the treble sounds well integrated and highly detailed and the bass is more full-bodied than many earlier generations of Krell players. Discs are handled efficiently, with rapid track access and virtually no sound from the internal mechanism, or the spinning discs themselves.

The additive result of these factors is that the Krell is easier to listen to for extended periods and is more believable, too.

Overall it does a fine job of CD replay and it extracts a commitment and passion that is unusual from compact disc. Imagery is handled in an unusually three-dimensional way. Image depths are fully painted-in and the players bass is particularly deep and potent, too.

We were particularly impressed by the way it handled such material as Mary Coughlan's Moon Over Bourbon Street, which came across with such obvious depth and such exquisite world-weariness, it was almost too much to bear.

The top end is clean, with a convincing sense of air and space, which was shown clearly with a range of recordings, including the exquisite purity of Christianne Stotijn's mezzo in Brahms' Alto Rhapsody and Mahler's Rickert-Lieder from an Onyx album originally given away as a freebie magazine cover-mount.

This album usually reproduces well. The difference here is that the Krell made the best of what was clearly a well-conceived recording and performance, by adding a sense of air and presence that other replay systems often fail to resolve. This is the difference between plain good sound quality and a performance (with the emphasis on that word) that causes the hairs to rise on the back of the neck.

This album also demonstrated another element of the Krell: it's ability to create a very precisely delineated stereo soundstage, with properly fleshed-out depth and a beautifully articulated sense of scale and spaciousness. But this is certainly not limited to this one recording, or even a select group of them.

There was a similar quality in musically unrelated material, one example from many being the album Raising Sand from the improbable combination of Alison Krauss and Robert Plant. It was even more apparent, or at least more dramatically so, with some more obviously heavy duty material, including a Signum Classics live recording (in London's Royal Festival Hall) of Schoenberg's massive oratorio Guerre-Lieder.

The player's ability to bring off testing recordings like this without sounding excessively dense or congested, yet without loss of weight or impact, marks the S-350a out as special.

By comparison, many other broadly comparable players tend to sound flat and are difficult to become involved in, but lack of involvement was not a factor with the Krell.

Straightforward and practical

The S-350a speaks for itself. This is a straightforward, practical player that supports balanced audio and is well-enough endowed to drive compact disc a long way towards the limits of the format.

The DVD version of the player (which costs considerably more) is less convincing. Yes, the ability to upgrade the player to full DVD status is a neat trick, but it won't handle Blu-ray discs and it won't talk down an HDMI pipe, which ultimately makes this version of the player of limited value.

The minor criticisms described elsewhere in this article – no headphone socket and no CD Text – are far outweighed by what it does and does well as a dedicated audio player. It looks as if the switch from West to East with this range has done little to upset the Krell reputation.

You get the most audiophile bang for your buck without going the digital amp route, while delivering audiophile power with Krell style.

Reviewer: Jerry Del Colliano

Sonically, the highs on Krell amps have improved vastly over the years. In terms of bass - it's hard to do better than Krell even with their entry level integrated amp.......the Krell S-300i reeks of audio relevance while dripping in audiophile credibility. In a world where I can get gear for free or on loan - I wrote a check for the Krell S-300i. It's that good. It's an integrated amp that has changed the way I enjoy music by getting me out of the dedicated theater room and into the main part of my house. I couldn't ask more from an integrated amp at this price point or be happier with my investment.

I'll never forget my fourteenth birthday, as my Dad got me a killer present from Bryn Mawr Stereo which was a complete audio system including a pair of Polk speakers, a Nakamichi Music Bank CD changer and a remote controlled NAD receiver. This system would start not just my passion for audio, but would lead to a career in specialty audio that included an early gig selling gear at Bryn Mawr Stereo en route to even more high end locales in Southern California like Christopher Hansen Ltd. and Mark Levinson's Cello Music and Film Los Angeles.

20 years later as a "recovering audiophile," but still with plenty of Yngwie records ripped from old Compact Discs to iTunes - I found myself considering the purchase of an integrated amp again. While my dedicated listening/theater room is where I invested in gear like Revel Ultima Salon2s, Mark Levinson No. 436 mono amps, Classe electronics, RPG room treatments and Transparent Reference cable - it is in my living room that I found myself listening to more and more music. The days of listening to DVD-Audio and SACD discs in a dark room by myself weren't as compelling as listening to music via a ReQuest F-Series server via in-wall Creston keypad control. Over the years and specifically as media servers got better and better, my Elan digital amp was cutting it to audiophile standards. I mean no disrespect to the Elan as it still powers my PSB in-wall subwoofers today, but overall it didn't ultimately have the audiophile chops to get me there, as I had moved to a fully uncompressed audio system using AppleTV with 1440 mbps files and on-screen menus via a Panasonic 50
Pro plasma calibrated by Kevin Miller. The fact was I needed some more beef in the living room system and that is exactly where Krell comes in.

Offered at an audiophile-reasonable retail price of NZ$4,500, the Krell S300i integrated amp is the easiest way to get into high-end power this side of some of the exiting digital amps out there,.... The unit packs a real 150 Watts per channel of power (into eight Ohms) including a stereotypically Krell major toroidal transformer that gives this Krell - well, it's Krell sound. The unit is remote controlled and has fully balanced operation for reportedly lower noise. The Krell S-300i has one balanced input and three pairs of single ended (RCA) inputs as well as - get this - an iPod input. This is no stuck-in-the-1970s audiophile company, as they know that the people buying this unit would likely be using a music server at some level or another. Additionally, the Krell S-300i has RS232 connection, which would be key for my installation.

The Hookup
Installation of my Krell was a bit tricky as the unit sits in my gym's cabinet, which backs up to the wall where the speakers are installed. The wires come through the wall nicely but control of the Krell was somewhat of an issue. In the past I used an in-wall keypad from Crestron to control my ReQuest F-Series server in my theater, but the cost of upgrading my Crestron keypad (even with some help from my dealer) was cost prohibitive, so we decided to use AppleTV (also installed in the gym) and a Benchmark HD DAC into the Krell, which would be run via my recently repaired Panasonic 50 inch plasma using a handheld Crestron remote. This required RS232 connections, which the Krell smartly had and all custom installers demand. IR is sketchy and RF control is clearly better, but having all of your gear hard wired makes controlling a system installed in another room a lot easier and more reliable.

The weight of the Krell S-300i is something to consider for many rooms. We first installed it on the top shelf in the gym room but the 42 pounds of Krell plus a few other components made us rethink that move; thus the unit got relocated to the bottom shelf. Later during intense listening sessions with the unit - the Samsung Blu-ray player for the gym was removed from the top of the Krell, as I was able to get it to overheat and politely go into protection. Making sure you leave some breathing room for a Krell S-300i is a good idea when planning your installation.

Performance
I started by testing the Krell S-300i with my iPod attached, as I was compelled to see how this would work out despite the fact that I wasn't going to likely use this option because of control issues based around the gear being in the other room. I am sure the Crestron programmer could have come up with something to make the iPod work in the other room but I wanted to use AppleTV for a better interface, Internet radio and the ability to use an audiophile grade DAC. Things worked out nicely with my iPod test but sonically the limiting factor of the system was the iPod itself. I had to copy some lossless files including some tracks from Electric Ladyland and Pink Floyd's The Wall onto my iPod, as I didn't have a lot of uncompressed music on it since I have been using my iPad more and more lately for portable music. The tracks sounded suitable but the internal DAC in the iPod is much better designed for ear buds or even higher end headphones than for playback in an audiophile grade system like this. I give Krell major kudos for putting in an iPod input and I think a lot of people will use it, but a source like an AppleTV with an outboard DAC (remember the current AppleTV has the same DAC as the iPod) connected digitally and/or an audiophile grade source like an Oppo Digital BD83se or the Cambridge Audio Azur 650BD DVD-Audio/SACD/Blu-ray player are more suitable for a power amp integrated like the Krell S-300i.

Back in the living room with Crestron in hand, I got down to some serious music. While I will spare you from my Yngwie indulgences, as my axes have been in storage for years and I never really got those three octave, 64 note sweep-picked arpeggios to sound even close to the real thing. What I was able to play was "Long Hot Summer Night" from The Jimi Hendrix Experience's epic Electric Ladyland. Unlike some tracks on this groundbreaking and still highly relevant album - this track has a lot of space around the instruments yet has complexities with the background vocal overdubs. On the solo, I found myself jacking the volume higher and higher (thankfully my wife wasn't home as this type of audio insanity is generally reserved for the theater room and involves a fistful of Balvenie 21 portwood with a few drops of water). Inspired by my Electric Ladyland Experience, I got up from my living room seating position and headed into my Mac Pro to find the UK (naked chick) cover art for the album and returned back to see the ladies of Polydoor Records in London in all of their glory. Jimi legendarily did really have a way with the women even in the late 1960s. As the story is told 40 years later, Hendrix returned to the English label's offices to promote the record along with a photographer and convinced all of the young women to undress for a photo for the UK album cover. (Warning - especially if you own your own company - do not try this at work today no matter how many Jimi Hendrix fans you have on your staff). On "Still Raining Still Dreaming" the bursts from the Crybaby wha-wha pedal on Hendrix's Strat were wonderfully dynamic and engaging without ever being too bold, too strong or overwhelming. They sounded powerfully controlled like you expect from bigger dollar Krell components. The organ farther back in the mix is warm, rich, yet still detailed. On lesser amps, you can lose the detail of the organ on this track. On "Voodoo Chile (Slight Return)" the first entry to the onslaught of the main musical theme held up with the grace that you expect from a true audiophile component with big inwall speakers singing at a level that I promise you most people wouldn't believe. My PSBs have never been happier then when powered with Krell.

Moving up a decade or two, I cued up a hidden demo that I really love in Van Halen's "Take Your Whisky Home" from Women and Children First. The acoustic intro speaks to the Van Halen tradition of always bringing some guitar acrobatics to all of the Diamond Dave era albums and this song delivers in spades. Like the earlier Hendrix track - you could hear space around Eddie Van Halen's acoustic guitar that had the presence that you might expect from a Dr. Chesky demo disc but then segues into the luscious "brown sound" and big Van Halen, highly produced sound - the kind of sound that has you reaching for the volume control to get more and more of. While somewhat dated today, the glossy sound of "Women In Love" with what I believe to be is an MXR Phase 90 analog pedal (another staple of "the brown sound") in full effect on Eddie's guitar - the track shows a little more finesse and space which the Krell's vast power reserve delivers in spades. In the first few notes you can almost hear the analog hiss of the effect pedal and the blur of the effect doesn't sound blurry when listening to the Krell in my system. It just sounds authentically Van Halen and my friends... that is a very good thing.

Like throwing Albert Pujols an 82 MPH fastball in the ninth inning with runners in scoring position and a playoff spot on the line - I dialed in the guilty pleasure demo track of "Hella Good" by No Doubt. Don't make fun of me here until you buy the track or better yet buy the CD and rip the sucker onto your server. This electro-pop jam opens with a tight snare and quickly adds some sick low bass as the first verse develops. Gwen Stefani's raspy, retro vocals quickly suck you in as the catchy chorus layers enough Gwen until you have one massively compelling mix. In the past, this isn't a track that I liked playing in the living room because the Elan amp couldn't produce the levels of resolution and/or deliver the bass control that the Krell can. With the Elan doing work on the two subwoofers and with the woofers dialed down a bit in the new configuration - I would play this track for anyone who wants to hear my system, including recently a former president of the Audio Engineering Society (AES) who noted that the system doesn't sound like any in-walls that he's ever heard. Thank you, Krell.

While my system isn't a 5.1 or 7.1 configuration - I don't really mind as my wife and I often play movies and TV soundtracks through this system. I think the uncompressed analog stereo outputs of most of today's best Blu-ray titles are vastly underrated in terms of audio quality. Trust me, with a little volume and well tuned subwoofers in your rig - you can get better sounding audio than you can on anything but the most cutting edge audiophile tracks from you movies. Hot Tub Time Machine (MGM) was a recent spin from a Netflix Blu-ray rental. While the movie had some issues for me including Chevy Chase basically repeating his repairman role from Fletch - the movie was laugh-out-loud funny at times. The in and out of the time machine swirling audio effects, while clearly studio manufactured, were believable, dynamic and resolute. While watching NHL hockey games like the rebroadcast of the tremendous comeback by my Philadelphia Flyers in Game 7 in this year's Boston Bruin's series (NHL Network) - the fan noise had detail and the crunches into the boards (which were well miced) had impact and power. The down three-goal comeback when down 3 games to zero in the series helped in my enjoyment too.

The Downside
The volume knob looks like the one on the Krell Evolution 707 $30,000 AV preamp, but it doesn't feel like it. It feels a bit light and plasticky. I guess compromises have to be made somewhere but if you use the unit without the remote - the volume control is a bit chintzy. The rest of the unit looks fantastic and the build quality is very solid.

Heat is somewhat of an issue but it's easily solved by installing the unit with enough room to breathe. Like a fool, I didn't do this at the start and ran into issues. I should have known better. As mentioned earlier and with most all Krell products - weight is a consideration. The S-300i doesn't weigh in like a 402e or the Krell FBI but it's also not an Onkyo receiver. This is a heavyweight fighter so prepare to give it some room.

Conclusion
With Andrew Robinson's review of the stunning Krell 402e stereo power amp, we got some reader feedback complaining on how we could call an $18,000 amp a value. Compared to $30,000 and $50,000 amps - the Krell sounds better, looks better and uses less power, but we also hear what the readers are saying as it's a Recession and not everyone has a cool $20,000 to plunk down on an amp to meet their audiophile needs. That includes me. That's why I popped for $2,500 for the Krell S-300i amp. You get the most audiophile bang for your buck without going the digital amp route (which I seriously considered) while delivering audiophile power with Krell style.

Sonically, the highs on Krell amps have improved vastly over the years. In terms of bass - it's hard to do better than Krell even with their entry level integrated amp. As with the music examples above and when using a media server like the AppleTV/Benchmark combo - the Krell S-300i reeks of audio relevance while dripping in audiophile credibility. In a world where I can get gear for free or on loan - I wrote a check for the Krell S-300i. It's that good. It's an integrated amp that has changed the way I enjoy music by getting me out of the dedicated theater room and into the main part of my house. Additionally, like the NAD receiver of my youth - the Krell S-300i has inspired me to buy more audiophile gear,.... I couldn't ask more from an integrated amp at this price point or be happier with my investment.

The KID and Papa Dock combo from Krell will change the way you look at and listen to your iPod forever.

Reviewer: Andrew Robinson - Audio Video Revolution

The KID and Papa Dock combo from Krell will change the way you look at and listen to your iPod forever. In fact, it may change how you look at digital downloads on the whole. While 128kbps downloads are wildly unacceptable and should be upped to a more robust bit rate immediately, I applaud Krell for attacking the problem head-on, not only attacking crappy downloads but making lemonade from their face-puckering sound.

I loved coming home and listening to it, for it was so simple. It auto-powers on when an iPod is present and you’re one button away from musical nirvana. Seriously Not only did I have a good portion of my music always at my fingertips, but the simplicity of my two-channel system was unparalleled with the Krell combo. I’ve become so smitten that I have not yet brought myself to reconnect my reference two-channel rig and I’m not entirely convinced that I ever will. I really, truly love the Krell KID and Papa Dock.

Introduction
When I was told Krell was developing an iPod dock, I knew I had to have it, if for no other reason other than the fact that it was a Krell iPod dock and was sure to be ridiculous. If there’s one thing I like about Krell, it’s the simple fact that every product they make goes to 11 in more ways than sheer volume. After un-boxing the Krell KID (Krell iPod Dock) and matching Papa dock stereo amplifier, it’s safe to say this system takes iPod music to the ultra-extreme. Until the KID’s arrival, my impression of an iPod dock was a cheap puck-style hunk of plastic helping to produce cheap hunk of plastic sound. Don’t get me wrong, I love the Apple iPod, truly I do, and I consider it a viable music source when handled correctly, but nearly every iPod dock is nothing but consumer electronics crap.

The KID on the other hand is all Krell from top to bottom. It’s large, solid and looks like it could hurt you if it wanted to. Most iPod docks are no bigger than a computer mouse or small cell phone, whereas the KID measures 13 inches wide by three inches high and 11 inches deep. It also weighs a fair amount, tipping the scales at a robust 10 pounds. The front façade is minimal yet elegant, displaying a touch of industrial flair with its exposed bolts and semi-brushed steel faceplate. The front features three small display screens, one each for treble, bass and volume. The screens are easily readable from several feet away and glow a nice pale blue. Below each screen are two arrow keys to increase or decrease the various functions represented in the screen. The KID has a small power/standby switch in the lower left corner and an auxiliary mini-jack input on the front for you Zune users out there. Atop the KID is the iPod cradle itself, which features a thick metal support or brace with a small pad that juts out from the top of the iPod-sized opening to give your beloved MP3 player a little something to lean on. Around back you get more goodies. For starters, there is a single composite video out, as well as an S-video out for onscreen navigation of the iPod’s menu, should you require it. Next to the video outputs rest a pair of balanced and unbalanced audio outputs, which, like the composite video output, are gold-plated and extremely robust. The KID also has an RS-232 input, as well as a detachable power cord and a 12-volt trigger.

Internally, the KID utilizes a fully differential output for the internal DAC. It also features opto-isolated digital connections between your iPod and the KID itself, as well as balanced differential Class A circuitry.

Like the KID, the matching Papa dock is another example of Krell excess and ingenuity run amok. Featuring a U-like shape and measuring 17 inches wide by roughly five-and-a-half inches tall and 16 inches deep, it tips the scales at an impressive 39 pounds. For an iPod accessory, 39 pounds is a bit much, but for a 150-watt stereo amplifier, which is what the Papa dock essentially is, the weight makes a bit more sense. However, while far from back-breaking, the Papa dock feels heavier and more solid than many traditional stereo amps I’ve encountered. The front panel features the same silver finish as the KID, with a single power switch. Toward the front half of the inner “U” is the serial port that connects the KID to the Papa dock. Around back, you’ll find the Papa dock’s plastic-wrapped binding posts that can accept banana or spade connections. The Papa dock has both composite and S-Video outputs on the back plate, since the KID’s outputs are not accessible when sitting in the Papa dock. There is an RS-232 input, as well as a 12-volt trigger and detachable power cord. While the KID can be used as a standalone piece, the Papa Dock must be used with the KID.

Which brings me to the remote. For all of Krell’s prowess in design and engineering, they still can’t crack the formula to make a remote that you want to use. But they’re nothing if not consistent with the KID remote. In true Krell fashion, it’s unbearably thin and cheap and is about as readable and usable as a third nipple. Yes, all of the functions you could possibly want on an iPod remote are present, but my God, they’re not possible to find in anything but a fully-lit room. Every button looks the same and is laid out in such a fashion that it feels like a leftover game of 52-card pickup.

Set-up
I unboxed the KID and Papa dock like a kid on Christmas morning. The KID isn’t quite plug and play. Once it’s out of the box, you have to assemble the iPod cradle by placing the metal iPod rest along the back edge of the cradle, which is a very easy procedure. Next, I had to unscrew the plate that covered the serial input on the bottom of the KID to “dock” it with the Papa dock. Once this was completed, the two fit together snugly and securely.

I went ahead and connected the Papa dock to my reference Paradigm Signature S8 v.2 loudspeakers via runs of Transparent Reference speaker cable and was ready to go. Because I chose to run the KID and Papa dock as a complete system, no additional cables were required. I plugged the Papa dock (which also powers the KID when connected) to my Transparent Power Wave 8 power conditioner and was ready to rock and roll.

I recently bought a new iPod, which has an 80GB internal hard drive. I loaded it up with a barrage of self-ripped music, as well as countless iTunes-purchased tracks, complete with their less than stellar sound quality. After about a 20-minute transfer session, I went ahead and docked the iPod inside the KID and the entire system automatically powered up and brought up the iPod’s small menu. I set everything to shuffle and prepared to let things play for a bit before getting critical. “A bit” lasted about 30 seconds, for what I heard was unlike anything I’ve ever experienced from an iPod before. It was music.

Music
I kicked things off with Coldplay’s latest album, Viva la Vida (EMI), which I purchased from iTunes in their plus format, meaning all the songs were DRM-free with 256kbps AAC encoding. This still isn’t much, but it’s better than what most iTunes are used to, which is 128kbps. Starting with the track “Lost,” the bass was extremely taut and the level of detail was startling. The texture and extension throughout the lower registers, a Krell strength, was incredible, as it changed my perceptions of what is possible from the tiny iPod. Vocals were clear, firmly placed and natural. I couldn’t hear any compression to frontman Chris Martin’s voice at all. Scale, weight, even his subtle movements behind the microphone could be heard. The snap of the handclaps was immediate and, again, compression-free with natural pop and decay. Truthfully, I had never before thought that what I heard from the KID and Papa dock combo was possible. The cymbal bits near the end of the track shimmered beautifully and, while not quite analog-sounding, were far more in league with the best CD playback then the sound of a 99-cent download. More impressive still was the scale, front to back and side to side, of the soundstage. The soundstage definition was quite shocking, given that most downloads are flat and lifeless, rather than enveloping and full of air. Dynamically, the KID/Papa combo didn’t disappoint, as the pair proved explosive yet delicate, regardless of the volume. Crank the duo and all of what I described only gets louder, without losing an ounce of composure or musicality. Truly incredible.

Next, I cued up A Perfect Circle and their hit “Judith” (Virgin), which was captured at lossless quality by yours truly. I kept my thumb on the volume button and approached critical mass. From my listening chair, I can say this: the KID/Papa dock combo is not a novelty piece. This is serious audio hardware with performance worthy of the Krell name it brandishes so boldly on its faceplate. The bass control is epic. For 150 watts per channel, the weight, depth and texture the amps rip from my Paradigm’s woofers is staggering. However, this does not surprise me, for I had a similar experience when listening to Krell’s Evolution series amps at Jerry Del Colliano’s house through his Watt Puppies. We both sat in amazement as the mighty Wilson speakers were given a workout the likes of which we had never heard before. Krell has always been about amplifiers. As far as amps go, they make some of the best there is, if not the single absolute best, and the Papa dock is no exception. Vocals were again very well-placed and full-bodied. The duo captured Maynard’s rawness, as well as pulling him a bit forward from the rest of the music and allowing him to travel a bit from side to side, which I had never experienced nor heard before. Very cool. The cymbal crashes and guitars were a welcome break and addition to the driving bass of “Judith” and held up nicely in the face of extreme volumes. Seriously, after listening to the track four times back to back, I can’t recall a time when I’ve heard it better than what the KID/Papa dock combo dished out, which is saying a lot, for there was a whole rack of reference-grade two-channel gear sitting idle nearby and at no time did I miss any of it.

Seriously, no matter what I threw at the KID and Papa Dock, be it Diana Krall or Insane Clown Posse, the results were always the same. Regardless of the bit rate or compression, the combo was always musical, always engaging and managed to clean things up a bit. Sure, the bigger the file, the better the rip and the better the overall sound, but I’m telling you, for the first time, 128kbps iTunes-bought music didn’t sound horrid. In fact, more often than not, it sounded damn good. For instance, Tori Amos’ album Scarlet’s Walk (Sony), which is available for download at 128kbps only and through other systems in my home, is largely unlistenable. The bass is soggy, the treble is rather etched and overly digital-sounding and the vocals go from in your face to inside an aluminum can at will. With the entire disc loaded up and at the ready, I hit play. The bass was still a bit fat at times, but the bloat was gone, replaced with detail that revealed subtle chord changes and decay within the drum kit itself. The bass was further assisted by its placement in the soundstage, which was further back and slightly to the side of Amos’ piano. Amos’ vocals were clearer and more consistent and the effects on her voice were easily heard and not as confusing or jarring as before. The piano was large, rich and more lifelike in its presentation. It sounded more like a real piano than a facsimile of one, which is usually what you get when you listen to iTunes-purchased music. Did the Krell combo magically fix this otherwise worthless iTunes purchase? No, not completely, but it did save it from the trash bin, took taken it off life support and placed it back in my late-night ambient shuffle. At lower volumes, the album Scarlet’s Walk is quite nice.

The Downside
While I think the Krell KID and Papa Dock combo is sheer magic, there are a few design flaws that I have to point out. For starters, while the KID can be used in a variety of systems, it sounds best when mated to its daddy. However, the Papa dock cannot be used with any other product, Krell or otherwise, which is something of a shame. Again, the dynamic duo is superb together, but I would love to know how the Papa Dock sounds with other gear, for it’s a phenomenal amplifier.

Second, I love the combo of the KID and Papa Dock so much that I don’t want to break them up, but that doesn’t leave much room for other components like a CD player. I can only imagine how untouchable the combo would be if it offered a few audio inputs as well, for the KID seems to have the chops to be a decent enough preamp.

Lastly, there’s the remote. I always seem to harp on remotes, but let’s face it, most of them are truly awful. That said, Krell could’ve used the KID as an opportunity to design and implement a remote that played more to the iPod’s design and interface then a leftover from their KAV-integrated amp.

Conclusion
The KID and Papa Dock combo from Krell will change the way you look at and listen to your iPod forever. In fact, it may change how you look at digital downloads on the whole. While 128kbps downloads are wildly unacceptable and should be upped to a more robust bit rate immediately, I applaud Krell for attacking the problem head-on, not only attacking crappy downloads but making lemonade from their face-puckering sound.

I loved coming home and listening to it, for it was so simple. It auto-powers on when an iPod is present and you’re one button away from musical nirvana. Seriously, it’s a good minute to five (depending on the system in my house) before music starts to flow out of the speakers. Not only did I have a good portion of my music always at my fingertips, but the simplicity of my two-channel system was unparalleled with the Krell combo. I’ve become so smitten that I have not yet brought myself to reconnect my reference two-channel rig and I’m not entirely convinced that I ever will. I really, truly love the Krell KID and Papa Dock.

Krell KID, a forward-thinking system which can deliver superb sounds from digital music

Reviewer: What Hi-Fi Sound & Vision

Solid, smart and well-built; five-star Krell dock is versatile and impressive; stirring dynamics, fine detail, staggering stereo imaging

We put the system through its paces with an uncompressed WAV of the Gladiator soundtrack. The results are unnervingly stirring, delivering terrifying dynamics, with rasping brass and sinister strings brought to life by brilliantly accurate stereo imaging and fine attention to detail.

Our interest was piqued when the press release for this product dropped into our inbox: "The ultimate iPod system" was the billing, and with a fairly eye-watering price. So, our hands were tied – we had to get hold of this high-end iPod affair to see if it lived up to the promise.

Slowly but surely, even the most hardened of two-channel enthusiasts is coming round to the idea of the iPod. Thanks to vastly increased hard disk drives, it's possible to store your music collection as ultra-high quality files, with formats such as WAV, FLAC and AIFF allowing for lossless, even uncompressed, CD-quality sound.

Solid and well-built, the Krell KID iPod dock is clearly designed to perform, but at the same time offers more than a cursory glance to style.

The KID comes with a cushioned, 'self-locating' cradle,, as well as balanced XLR, phono, composite and S-Video outputs (there's a 3.5mm mini-jack input, too). There's also a fully operational, if rather dull, remote control.

Such a high-quality dock requires high-quality speakers, so we partnered the KID with a pair of Martin Logan Purity speakers. These large, tall designs combine electrostatic panels with coned bass drivers, in an effort to counter the trouble electrostatics have delivering bass weight. They're fully active, so you'll need to provide mains power to release the 200 watts of amplification built in to each.

Concentrate hard on the detail
We put the system through its paces with an uncompressed WAV of the Gladiator soundtrack. The results are unnervingly stirring, delivering terrifying dynamics, with rasping brass and sinister strings brought to life by brilliantly accurate stereo imaging and fine attention to detail.

Switch to Burial's haunting Shell of Light and the system offers a clear, crisp treble that's given endless room to breathe. The snatched, chopped vocals have bags of texture and emotion, too, and come laden with plenty of subtlety and punch as necessary.

Having experimented with different components, we'd rate the KID a five-star dock,

the best I've heard in its price range, and the best I've heard, period,

Reviewer: Fred Kaplan

The Krell Cipher is a great CD player: the best I've heard in its price range, and the best I've heard, period, in my home system. Maybe it will be obsolete before the decade is out, but a lot of CDs will still be out there, waiting to be played. If I can scrounge up the change, I'm buying one.

Around the turn of the century, a review of the latest hair-raisingly expensive turntable would often begin with a soothing chant that, yes, the RotorGazmoTron XT-35000 is a tad pricey, but it will be the last piece of analog gear you ever buy—so go ahead, take the plunge. A dozen years later, pressing plants are stamping out LPs 'round the clock, and new high-end turntables are rolling off production lines at a respectable clip. So who knows whether today's Cassandras might be equally premature in bewailing the death of the Compact Disc? Which is to say that I can't in good conscience urge you to pay US$12,000 excl sales tax (NZ$16,795 incl GST) for a CD player on the grounds that the medium's about to die, so splurge now while there's still something to splurge on. But if you have the scratch, and the itch for such a product, step right up and let me tell you about the Krell Cipher.

The Cipher—a strangely inert name for such a dynamo machine—is Krell's follow-up to the slightly cheaper Evolution 505 (US$10,000, reviewed by me in the September 2008 issue). Like the 505, the Cipher is a fairly massive SACD/CD player: 29 lbs, half a foot high, and a foot and a half wide and deep, with a case of aircraft-grade aluminum (it comes in silver or black) sporting slitted edges on the side, which give it a modicum of grace. Also like the 505, and like all amps and preamps in the Evolution series, the Cipher employs Krell's proprietary CAST circuitry.

Description

As outlined in my reviews of Krell's Evolution 505 and FBI integrated amplifier (July 2007), the company's Current Audio Signal Transmission (CAST) circuitry manipulates audio signals in the current domain rather than in, as is usual, the voltage domain. It does this in the circuits within a component and—if you have a Krell preamp and a special CAST cable—the connection between two components (more about that later). In theory, this approach reduces distortion in two ways. First, the signal is a continuous stream of current; it doesn't have to be converted from current to voltage and back to current. Second, signals in the voltage domain go from low impedance to high, while signals in the current domain go vice versa. As a result, say Krell's technicians, factors that inevitably corrupt a signal—stray capacitance and inductance on a circuit board, the various effects caused by the mismatched impedances of interconnects—are reduced or eliminated. But operating in the current domain requires about twice as many transistors, which means the component must be bigger and heavier, run hotter, and thus cost more.

Except for the name on the faceplate, the Cipher looks outwardly identical to the Evolution 505. Inside there are some similarities—the disc transport still rests on a rigid aircraft-grade aluminum subchassis, and its drawer is mounted on a steel plate to maximize reading accuracy—but much has been upgraded. The disc drive—made by a Chinese company called Raymedia, and also used in the 505—incorporates newly customized firmware said to improve reading accuracy further, and extra damping material to reduce noise when it's tracking a hard-to-read disc. The separate output levels for the CD and SACD laser heads are now individually hand-calibrated. (Krell will apply this upgrade to your 505 if you send it to the factory.) Whereas the 505 had a single stereo D/A converter, the Cipher uses a pair of 24-bit/192kHz DACs, which deliver higher current to the analog stages and expand the dynamic range by 3dB. New current-mirror technology are said to generate a closer match between the hot and cold signals of the balanced circuitry. The new output stage, which requires about one-third more components than that used in the 505, is said to produce less distortion and wider dynamic range. The Cipher also uses the same anti-jitter circuit that was retrofitted to later units of the 505, and which Krell claimed reduced jitter between the transport and the DAC by a factor of five.

Setup

I did all of my listening with the Cipher resting on three Black Diamond Racing Mk.IV Cones (footnote 1)—which, as usual, tightened the transients a little bit—and plugged into Bybee Technologies' Signature Model Power Purifier, which in turn was plugged into hospital-grade wall sockets wired to a dedicated 20-amp circuit. Speakers were a pair of Revel Ultima Studio 2s. (The Cipher can play multichannel SACDs, but I didn't.) For most of the time I used Simaudio's Moon Evolution 700i integrated amplifier and Nirvana cable, but I also swapped it out for Krell's FBI integrated, so that I could test the Cipher's CAST output circuitry using a strand of Nordost CAST interconnect.

Although the Cipher offers a choice of two filters for CD playback and four for SACD playback, Krell told me that Filter 1 was the best in general. I listened to the others, but just briefly, as it struck me that Filter 1 was indeed the best. That's what I used.

Sound

In my review of the Evolution 505, I singled out the player's finesse at revealing the finest subtleties of a musical passage, untangling the knottiest complexities, and showering light on the tonal colors of a voice, an instrument, or an ensemble. I also praised its airy highs, its subterranean lows, and its knack for tossing up a palpable soundstage (wide width, deep depth, sharp but not Etch-a-Sketch images). Summing up the Cipher, I'd say: all that, taken up a notch or two on every count.

On "Tangled Up in Blue," from the SACD of Bob Dylan's Blood on the Tracks (Columbia CK 9032), I still heard the "extra octave of air [that] seemed to rise from the steel guitar," but the acoustic guitar's strumming was also harder, clearer, and more melodic. On Michael Tilson Thomas and the San Francisco Symphony's performance of Mahler's Symphony 9 (SACD/CD, SFSO 821936-0007-2), sounds were still "popping out all over the soundstage, very precisely but in full harmonic richness," but now with greater clarity. For instance, just before 2:00, clarinets come in under the strings for just a measure or two, but I'd never heard them jump out with such vibrancy or sound so much like clarinets, with their reediness and the wind jetting out the long narrow tube, as opposed to horn-like notes coming out of some ill-defined something

The Cipher's way with bass tones was particularly impressive. Thunderous bass has always been one of Krell's specialties, but that's not all I'm talking about here. I'm talking about the details, the melody, even the delicacies of a double bass. On "Mood Indigo," from the Duke's Masterpieces by Ellington (Columbia/Legacy CK 87043, CD), I could hear every pluck of Wendell Marshall's bass, the value of each note, and the shifts in his cadence, even when the full orchestra blares forth. This isn't mere detail for detail's sake; it's crucial to the rhythm—the "mood indigo," if you will, of the piece—which Marshall alters by lagging just behind the beat. Ditto for Charlie Haden's fingerwork on his bass's soundboard and neck—and, even more, the resonance of the wood—in Jasmine, his duet album with Keith Jarrett (CD, ECM 2165). And Jarrett's piano sounded richer than I've heard when spinning this disc in other players, perhaps because the Cipher gets the harmonic overtones just right.

Overtones have a lot to do with distinguishing an instrument from one that's similar but not quite the same. Listening to James Carter's tribute to Django Reinhardt, Chasin' the Gypsy (CD, Atlantic 83304-2), I'd never heard so clearly the difference between the steel- and nylon-string guitars. Through other players (including the Evolution 505), the start of Radiohead's In Rainbows (CD, TBD 0001) has sounded a bit like a train wreck, the drums and the electronic gnashings smooshed together; through the Cipher, they sounded not only more crisp and dynamic, but also more distinct, in terms of both space and timbre.

The Evolution 505 let me hear more vibrato from the bass strings in David Zinman and the London Sinfonietta's recording of Górecki's Symphony 3 (CD, Elektra/Nonesuch 79282-2), more attack from all strings, and more modulation in soprano Dawn Upshaw's voice, than I'd heard with other CD players. The Cipher did all that, and it let me hear much more bowing in the deep double basses in the movement's first minute (which is all but inaudible through some systems), as well as much clearer counterpoint between the cellos and the double basses in the third minute. I also heard the piano chords under Upshaw's voice with greater clarity than ever.

But I don't mean to turn this review into a checklist, or to liken the Cipher to an X-ray machine clinically spotlighting each lung and ligament of some musical anatomy. Some pieces of gear with exceptionally high resolution are like that: white light, but no warmth. The remarkable thing about the Cipher was that it unveiled all the details without losing what makes them add up to music: the seamless dynamic contrasts, the holographic imaging of a voice or instrument (especially up front), the uncanny sense that a foot is stepping on the pedal of the kick drum, that a bow is gliding across the violin, that vocal cords and even—with a really well-recorded disc, such as Lorraine Hunt Lieberson's of J.S. Bach's Cantatas BWV 82 and 199 (CD, Nonesuch 79692-2)—that a chest and lungs are heaving forth a singer's voice.

Two examples. First: At a Consumer Electronics Show several years ago, I sat in one room (I forget what components were involved) listening to Sheryl Crow & Friends' Live in Central Park (CD, A&M 06949-0574-2), amazed at how live it sounded: the eye-blinking drums, the wailing guitars, Crow's palpable presence, the ambiance of the crowd, the sheer dancing-in-your-head joy of it. Over the years, I've tried to get my various systems make that disc sound the way it sounded in that CES room, but they never quite have. I figured maybe my speakers weren't big enough, or my amp wasn't powerful enough. But with the Cipher, I heard it; I got that goose-bump sensation for the first time.

Second: Miles Davis's trumpet in his performance of Cyndi Lauper's "Time After Time," from his terrific, strangely neglected Live Around the World (CD, Warner Bros. 46032-2). I could go on about how the Cipher let me hear more of his breath on the mouthpiece, the slight sputtering, the purity of his tone in the quiet parts. But what dazzled me was the emotional depths of his playing, the mournful quality he lent to this pop tune, to a degree I'd never heard before—and I've listened to this track through other machines probably 100 times.

True, I made some similar claims in my review of the Evolution 505. I feel a bit like Nigel Tufnel in This Is Spinal Tap, saying that his guitar amp goes up to 11. But believe me: the Cipher does all that the 505 does, but more so: It goes up to 11.

Miscellaneous Comments

I regret one thing about my review of the Evolution 505. The only amp I had on hand at the time was Krell's FBI integrated. For the most part, I listened with CAST cable connecting the 505's CAST outputs to the FBI's CAST inputs. Briefly, though, I listened while using balanced cable between the balanced inputs and outputs. The difference was so jarring—the CAST connection was so superior—that I advised readers not to pay so much money for the 505 unless they also owned or bought an FBI, or a Krell preamp with CAST circuitry.

In retrospect, I think that observation said more about the FBI than the 505, or perhaps about the best way to connect two Krell CAST components. The Cipher sounded terrific hooked up to the Simaudio Moon Evolution 700i, which has no CAST inputs, meaning I had to use the Cipher's balanced outputs. (To clarify: Although the Cipher's internal circuitry is CAST, if you connect it to a non-Krell preamp, the signal is not converted to voltage mode until the output stage—you're not wasting the proprietary circuitry, or all those extra transistors, if your other gear is made by a different company.) When I connected the Cipher to the FBI, it sounded different, in the same way that the FBI sounds different from the Simaudio. (I wrote about that difference in the March 2011 issue.) Which, by the way, suggests that the Simaudio is quite neutral, imposing very little coloration at the start of an often long and bumpy signal path. In any case, my descriptions of the Cipher's sound stem from my listening to it through the Simaudio. Enough said.

One more thing: In order to compare the Cipher with another CD player in its price range other than the Evolution 505, John Atkinson briefly lent me an Ayre Acoustics DX-5 ($10,000), which has been very favorably reviewed in these pages. I didn't listen long enough to make a systematic evaluation, but my impression was that the Ayre had better midrange, and maybe more coherence, through the upper midrange—as I could hear in the brash clarity of strummed electric guitars. But the Cipher was better at disentangling musical complexities, distinguishing between similar but different kinds of instruments (ie, getting the tonal colors and overtones right), and getting dynamics right; I found it more exciting—but not overexciting. It would be great to have a player with the Ayre's mid- to upper midrange and the Cipher's everything else. I guess that's what US$20,000 CD players are for.

Conclusions

The Krell Cipher is a great CD player: the best I've heard in its price range, and the best I've heard, period, in my home system. Maybe it will be obsolete before the decade is out, but a lot of CDs will still be out there, waiting to be played. If I can scrounge up the change, I'm buying one. fluke,

It’s really only an ‘entry level’ component by Krell’s standards, most companies would be proud to offer the S-350a as their flagship CD player.

Reviewer: Edgar Kramer - Australian HiFi

The music just flows without pulling your listening attention to any one area of performance. Provided your speakers are up to it the Krells can throw a big lateral soundstage with superb image focus. This focus phenomenon is actually quite remarkable at this price-point;

In my listening sessions, I found that these Krell components just got back out of the way of the music and allowed me to just sit back—with all the remote control convenience— and enjoy. What’s more you’re safe in the knowledge that the S-350a and S-300i are both superbly built and engineered components from a company that is a high-end icon

Krell… the name conjures visions of mammoth armour-plated coffee table-sized amplifiers lined with razor-sharp heatsinks used to cool down core-of-the-earth Class-A running temperatures… at least for those reviewers who have been around long enough to know that this US company built its reputation on such products as the KSA-50 amplifier, which is now a highly sought-after classic that commands remarkably high second-hand prices 30 years on. Continual product evolution by designers whose names are legend in the world of high-end audio led to further generations of superbly-engineered amplifiers, predominantly of Class-A or variable bias design, that have defined high-end Americana. More recently, however, Krell spread its wings, and now manufactures components other than amplifiers, of which the S-350a CD player is proof.

As for the name itself, the company’s founder, Dan D’Agostino, named his company after a mysterious race of superintelligent beings that featured in the film ‘Forbidden Planet’. The Krell built a machine that was able to turn their thoughts into reality. D’Agostino thought that his aspirations for the company’s products paralleled the Krell’s mythical machine… to build such extraordinary products that they were able to reproduce recorded music with such fidelity that it would approach the actual event. Despite D’Agostino’s departure from Krell to establish another high-end audio company (eponymously named, this time around!), Krell continues apace under new management.

THE EQUIPMENT

Krell’s S-Series products are the company’s entry level offerings… not that you’d guess that from the build quality! I found the S-350a to be superbly built and assembled, rather along the lines of ‘classic’ high-end test equipment made by such US names as Hewlett-Packard and Tektronics…indeed exactly the same chassis construction is employed, using the technique of bolting together powder-coated steel plates, rather than folding thin sheets of alloy. The fascia, on the other hand, is made from thick, smartly-brushed aluminium. And check the buttons! They’re all made from metal— there’s not a bit of plastic in sight. Even the remote control is built from aluminium, rather than plastic. And although it controls the S-350a, the same remote can be used to control other Krell components (notably the matching S-300i integrated amplifier) so there are more buttons than you’ll need— so many buttons, indeed, that you’ll need to have a keen eye and a dead-eye finger to access the desired function.

The S-350a CD player uses a Teac drawer-less loading mechanism (aka ‘slotloader’) which, although very neat in terms of its minimalist visual impact on the tidy fascia, I found to be a tad quirky in use and slower than usual to load. I found that when I loaded discs, they were not always ‘grabbed’ by the mechanism on the first insertion and also that I needed to push the disc almost all the way inside the slot before it was grabbed by the mechanism and taken into the player’s innards to be loaded onto the drive spindle.

Controls are by way of small metal buttons and include the usual playback controls plus a separate cluster with four-way navigation controls surrounding a central menu button. The LCD display can be dimmed or turned off and a variety of track/disc time options are available to choose from. All functions are duplicated on the solid remote which adds direct track access. You can choose between two different digital output filter types (‘fast’ and ‘slow’) and because the S-350 will also function as a DAC, taking the digital output from a computer or some other digital source device, you can choose between the optical digital input and the coaxial digital input. On the rear of the S-350a are singleended RCA and balanced XLR connecting options for the analogue output as well as the two digital inputs mentioned previously and two digital outputs (both limited to 96kHz). The optical connections are Toslink, and the coaxials are standard RCA. Additionally, there is a 12V d.c. trigger and an RC-5 connection for remote control system integration (Crestron, et al). Krell uses its own discrete Class-A ‘Krell Current Mode’ analogue stages and has chosen matched Burr-Brown 24-bit 192kHz digital-to-analog converters for each channel for a fully balanced circuit. The S-350a is also available as an S-350av (at additional cost) which adds DVD playback capability with HDMI output at 1080p and additional component and S-Video connectivity.

I must stress once again that this unit is in no way reflective of an ‘entry level’ product; it’s really only an ‘entry level’ component by Krell’s standards: Most companies would be proud to offer the S-350a as their flagship CD player.

PERFORMANCE

The Krell ‘house sound’ has obviously been evolving over the years in terms of refinement but, generally, talk ‘Krell’ and you’re talking powerful, solid and class-leading sound, and these S-Series components keep the legacy alive… but in a more subtle 21st century way. What I mean here is stunning bass with punch, transient speed and detail but in a balanced way that blends in with the rest of the frequency range. For this review, I had the advantage (thanks to the guys at Audio Marketing) of being able to partner the S-350a with the Krell S-350i integrated amplifier, which in turn drove my Wilson reference speakers.

I found that the word ‘balance’ was appropriate to sum up these components’ sonic capabilities. The music just flows without pulling your listening attention to any one area of performance. Provided your speakers are up to it the Krells can throw a big lateral soundstage with superb image focus. This focus phenomenon is actually quite remarkable at this price-point; play a small ensemble and you’ll revel in identifying where each player is positioned; vocalist dead centre with bass player to the left, piano behind to the right and drummer central and further back (but not too far) in ‘Temptation’ (Holy Cole’s cover of Tom Wait’s works)… each image solid and discrete.

Another outstanding quality is the ability of both the CD player and the integrated to resolve musical ideas: these guys just cruise along when given the most complex of material… and the sound is fast-paced and nimble with great rhythmic propulsion. Renaud Garcia-Fons’ trio can play a world/jazz fusion storm in Arcoluz. Generally all three players let it rip in virtuosic unison with acoustic five string bass, percussion and acoustic guitar; the S-350a and S-300i provide superb separation with extraordinary amounts of detail revealing finer nuances in their instruments’ tone and in the players’ technique. A by-product of this is a heightened involvement in the musical event.

In the context of my very revealing system the Krell combo was never brash or bright. Even poor recordings fared well… the fact that such productions are below par still showed but the sound was never unlistenable, it just made you wonder what the producers and engineers were on at the time of the recording.

CONCLUSION

By comparison, many other broadly comparable players tend to sound flat and are difficult to become involved in, but lack of involvement was not a factor with the Krell.

Reviewer: Alvin Gold - Tech Radar

Alvin Gold awards the Krell 350A 5-1/2 STARS out of 5!

There are some obvious mechanical elements of the performance available from this player (and indeed the matching S-300 amplifier) that come across clearly at an early stage. The midband, for example, is very smooth, even and articulate, and essentially free of the flatness and lack of perspectives endemic with many lesser players, as well as some of Krell's early disc-playing hardware. By the same token, the treble sounds well integrated and highly detailed and the bass is more full-bodied than many earlier generations of Krell players. Discs are handled efficiently, with rapid track access and virtually no sound from the internal mechanism, or the spinning discs themselves.

The additive result of these factors is that the Krell is easier to listen to for extended periods and is more believable, too.

Krell's expanding eastern-made, entry-level range heralds a new era of affordability for the high-end marque

CommentsKrell not only epitomises the American high end, the company practically invented it: the brand is quintessentially macho, solid, muscular and aspirational, as well as being reassuringly expensive with build quality that often seems utterly, and gloriously over the top.

The real thing

We discovered it performs as we describe below, as a CD player that is already built around a DVD mechanism. Put a DVD in the player and see for yourself.

Krell's bells

The dimmable backlit LCD display is clear and uncomplicated, though it tends to switch to the negative when viewed from oblique angles.

The player handles discs quietly and without so much as a hint of temperament, in fact, the only features we missed and would have liked to have seen were a headphone socket and, perhaps, CD Text.

Even and articulate

The additive result of these factors is that the Krell is easier to listen to for extended periods and is more believable, too.

The player's ability to bring off testing recordings like this without sounding excessively dense or congested, yet without loss of weight or impact, marks the S-350a out as special.

By comparison, many other broadly comparable players tend to sound flat and are difficult to become involved in, but lack of involvement was not a factor with the Krell.

Straightforward and practical

The S-350a speaks for itself. This is a straightforward, practical player that supports balanced audio and is well-enough endowed to drive compact disc a long way towards the limits of the format.

Wilson Audio’s Sasha is particularly demanding, yet the EV-402e sailed through,

Reviewer: Martin Colloms - HIFI CRITIC

With use one’s respect for the 402e increases, and its near-state-of-art sound quality score puts in the highest class. Positive factors include innate neutrality and consistency, versatile input matching, a degree of immunity to mains quality variations, very low electrical and mechanical noise, and not least superb build and finish.

“At first one might mistakenly think the amplifier is a little withdrawn, a touch reticent dynamically, and a little slow on its feet. Then one recognises that is almost free of false tonal colour, exaggeration or emphasis.”

“the 402e remains a very powerful and load capable power amplifier, one of the best of its type. It has low distortion, predominantly and desirably of low harmonic order, very low noise, and will drive anything to a high standard with accuracy and linear frequency responses”

For some years Krell’s now discontinued FPB700cx was my long term reference amplifier: more than good enough to deliver solid listening pleasure, yet capable of driving any loudspeaker load with hardly any change in sound quality. It had a kind input impedance with single-ended, Krell CAST and balanced inputs, was DC stable, and could drive the more challenging electrostatic speaker loads. It could provide nearly 900W/ch into 8ohms, 2.4kW into 2ohms, and could supply a generous 50-60A of linear peak current.

That was the last of the ‘super power’ stereo chassis, a sequence which effectively began with the KSA 200, followed by the FPB 600, the ‘700 and finally the 700cx. Competition was provided by the Conrad Johnson 350SA, which is somewhat smaller in both power and current delivery but still generously rated, with a little more clarity and liveliness, a sense of greater emotional involvement, a more upbeat nature, and slightly better timing. The ‘700cx remained a great power amp, with more power, better versatility and consistency with load variation, but the Conrad Johnson was just that bit more musical and has therefore served as my personal reference more recently.

A few years back, EU regulations changed the rules for amplifier design, specifically the amount of distortion current that’s allowed to be imposed onto the mains supply; the manufacturing methods and other mains related design issues relevant to large amplifiers were also revised. Lead alloy based solder and related lead content electronic components were to be phased out in Europe, Japan, and some early adopting US states such as California. Power supplies now required significant revision to meet requirements for imposing much less distortion and noise onto the mains, and since power supplies can be a crucial influence in amplifier sound quality, meeting the new regulations potentially had an adverse impact on the audio performance. Furthermore, many designers believe that lead-free solder connections are inferior to those containing lead, and put forward interesting arguments that question whether applying this legislation to hi-fi electronics will have any perceptible environmental gain. Indeed some say that it may actually result in a net loss due to poorer reliability, and hence earlier scrapping of lead-free electronic products. Despite this view, many audio manufacturers have complied with these new rules despite the difficulties. A number of companies were disadvantaged by these changes, since initially, and certainly at the prototype stage, regulation - compliant versions often sounded disappointingly inferior to their predecessors. Indeed, several designers were convinced that they would never regain their former sound quality. Aware of this new performance obstacle, Krell explored previously peripheral design aspects which now proved vital in restoring the
required audio performance.

In 2006, soon after the introduction of its new compliant range, I evaluated four Krell products: the EVO ONE and EVO TWO pre- and power flagships (which were very good if also exceptionally costly), and subsequently the EVO 202 two-box pre-amp and the £13,450 EVO 402 stereo power amp (Hi-Fi News Jan 2007). At that time I felt that there was a characteristic ‘new’ Krell sound; it was not very obvious but was nonetheless heard as a degree of masking ‘whiteness’ and lightness of timbre, albeit rather less than ‘chromium plate’ in character, plus some loss of exuberance. Pricewise the EVO 402 was effectively a replacement for the outgoing FPB 700cx, and while the overall sound quality of 70 points was very worthy, it fell short of the earlier model’s record breaking 100. (With hindsight, the EVO 402 might have been seen as a replacement for the outgoing FPB 400cx, which historically also scored 70 anyway.) The unavoidable fact was that all these newer products were now more difficult to make, and were therefore bound to cost more.

Four years on, events led me to consider revisiting the EVO 402, which had now established itself as a ‘natural’ model for the UK. Lent EVO 600 monoblocks for the Wilson Audio MAXX3 review, it was clear that these amplifiers had class leading sound quality, well beyond expectations based on the 402. Another factor was the supply of a current production 402 to use alongside my Conrad Johnson SA350 when reviewing the Wilson Audio Sasha loudspeaker (HIFICRITIC Vol4 No4). This speaker came with a ‘difficult load’ health warning of a severe 1.8ohm minimum in the upper bass, and larger Krells are designed to tolerate such very low impedance loads. At first this late series 402 seemed somewhat underwhelming, but after a few days it obviously ran in to the extent that stereo image depth and low level detail gained about 40%. It also sounded very neutral, rather better than I remembered from the earlier sample, so fresh appraisal seemed worthwhile. However, after work had begun, Krell announced a new ‘eco’ 402e version, so activity was suspended awaiting developments.

A £17,999 402e arrived here in early May, from the Munich High End Show. While some publicised fine tuning is said to have enhanced the sound quality, most of the promotion has concerned an ‘enhanced standby’ mode with a low 2W consumption (now indicated by green power button illumination), establishing its eco credentials, at least when not replaying music. The two previous states of ‘standby preheat’ (250W) and full operation (410W) remain user selectable.

Our sample was finished in anodised satin silver alloy, and it’s also available in black. The new amplifier sells for around £18,000 (depending on exchange rates, and a significant increase over its predecessor), is rated at a nominal 2x400W/8ohm, and weighs a hefty 61kg. The fascia is dominated by a large power switch, illuminated red for idle and blue when operational. Idle is ‘pre-heat mode’ and comes back up to ‘good’ sound quality within a few minutes; a rear panel switch can turn it off completely if required. Eco mode may also be set, and when pressed turns blue for full operation, in essence bypassing the pre-heat idle mode.

Power is fed via a detachable 16A IEC connector cable with a captive UK 13A plug. Speaker connection is via high power, high pressure goldplated wing nut insulated binding posts, suitable for spades and dressed bare wire only. The three input types include Krell’s CAST, balanced XLR, and single-ended RCA phono, the latter at a high impedance that provides easy loading for valve, passive or transistor sources. Those sharp-edged external heat-sinks of old have been replaced by a clean finished if unprepossessing alloy box, where internal chimneys funnel cooling air through heat dissipating fins. 12V trigger systems are present for link system operation, home cinema and suchlike applications.

The 402e uses cascode circuitry developed for the EVO ONE, founded on discrete circuitry gain blocks with ultra wide bandwidth and highly linear operating points. Local current feedback is used for very short transit times and consequently low phase shift. Balanced differential noise rejecting topology has been voiced for improved clarity especially at higher frequencies. Fully regulated power supplies help distinguish Krell from much of its competition, so regardless of mains supply variations or demands of varying programme and the power sucked out by the load, the core electronics amplify with precision and low noise.

While negative feedback can be a useful element of amplifier design, helping to stabilise gain, broaden the frequency response, lower distortion and inimise output impedance, it may be responsible for an unnatural, even forced character if used to excess. The 402e output stage has some mild local feedback, while overall feedback is a very low 14dB, which should help maintain an ‘open’ and expressive character alongside a sweet and natural mid and treble quality.

This amplifier has cross-coupled circuitry for good common mode and power supply noise rejection, maintaining compatibility with single-ended and balanced sources. A large number of powerful output transistors are used in parallel, which gives large peak current reserves and maintains temperature stability and linearity under high transient load demand. Upgrades for the e series comprise more closely balanced current sharing among the seven sets of active cascode quartets that make up the output stage. The benefit is a claimed improvement in sound quality, and reduced dependence on load current. Modifications to the feedback circuitry reduce the dependence of feedback on signal level, which is claimed to enhance inner detail and micro-dynamics and provide smoother high frequencies. A separate transformer is now provided for the control and monitoring sections, facilitating the greatly reduced standby power consumption, and providing isolation between the control and amplification power supplies. Both the high current and high voltage analogue supplies now have filters to minimise high frequency switching noise from the rectifiers, while the high current supplies have increased reservoir capacitance. Finally, the power supply circuit board has been redesigned for improved isolation between incoming AC power and the output DC supplies.

The build is modular and easily serviced. Some measure of input power conditioning is present, compensation for second harmonic distortion, the DC component that’s sometimes present, together with heavy duty RFI filtering. While the FPB series was fully balanced from input to output and used microprocessors to monitor and control output power and required plateau bias current levels in a pseudo Class A scheme, the Evo series manages to deliver the required power from a single ended configuration. A moderate power pre bias is used plus fast dynamic tracking of the anticipated demand. The amplifier is also is DC coupled, and small offsets are corrected by a servo with a very long time constant, ensuring clean deep bass. It is fully protected against short circuit, overload, thermal overrun, and ultimately by a circuit breaker/power switch at the back.

The Evolutions 302e 400e 402e, 403e, 600e, and 900e are now avaiable.

Sound Quality

Beginning with the earlier, pre ‘e’ 402, once properly installed, mentally focusing onto its sound quality was not easy. Somehow it seems to shake itself free from attempts to corral it mentally. For sure its imperfections are real enough, yet they remain so unobtrusive that one is more than happy to let it get on with the job. Some might describe it as lacking character and musically uneventful, even frustrating, since it makes discussing the finer subtleties of the music, imaging, or dynamics rather redundant.

Its lack of character could be described as boring, but that would be a mistake. Rather it reproduces a music signal with a notable lack of alteration, regardless of the volume level, or the severity of the speaker load. I had greatly valued the consistency and imperturbability of my old ’700cx, and found much the same with the EVO 402, which really does approach that fabled ‘straight wire with gain’.

Where lesser amps showed changes in quality with level and load, the 402 remained resolutely neutral at almost any realistic volume level. At first one might mistakenly think the amplifier is a little withdrawn, a touch reticent dynamically, and a little slow on its feet. Then one recognises that is almost free of false tonal colour, exaggeration or emphasis. Remember that after start-up from cold it needs a few minutes use to come on song, so to avoid leaving it permanently on standby (especially in the summer), power it up 10 minutes before serious listening and all will be fine, though still slowly improving thereafter.

It has an almost ethereal, grainless clarity and spaciousness, together with deep and informative lower frequencies. Take your pick according to your preferred control source and connection. The electrical and mechanical noise floors are so low that the 402 is completely silent at the listening position, even with relatively sensitive speakers.

Referenced to the 402, the 402e initially showed moderate improvements in bass definition and attack, in mid dynamic expression and in treble definition and clarity. Improved transparency and micro detail then helped you begin to hear far depth and detail that you did not know was in your music.

While Krell, like many electronics manufacturers, would rather not know about accessory and cable interactions, and state their thesis that the special filters and supply correction installed obviates the need for anything more than the supply cord in the box, the fact remains that supply quality does affect the sound to a degree, and steps taken to improve the mains supply, including the cables, are audible. Using a 60A spur connection, I was able to compare Transparent MM2 mains cable with several alternatives, and found that the 402e showed significantly firmer, crisper bass, better image focus and depth, and sounded more ‘open’ with a sweeter high frequency range when using MM2.

The EVO 402e sounds very neutral, and the shadings of colour ascribed previously to some Krell products now seem to have been cleared away in my view, leaving improved clarity and resolution. While this amplifier does not quite have the full measure of crisp rhythmic agility that’s possible from smaller, simpler specialist designs, it does deliver enough to create an involving, powerful and upbeat musical experience. The overall quality is so well balanced and so even over the frequency range, it’s easy to underestimate how good this amplifier is, and one only finds out what might be missing when substituting other references. These may sound relatively boomy, lacking in deep bass, uneven in frequency response, pinched and coloured in the mid and upper mid, lacking in transparency and dull or grainy in the treble. Their sound may also be more dependent on loudness level and loading. You can play 402e right to full volume and not be aware of it working hard until it actually clips (at about 420W/ch with program material and a typical load). I found the degree of progress Krell has made with this model over the past few years fascinating, and enough to change my view of both late 402 production and the current 402e.

Well founded, well supplied, and well warmed up, my 402 sound quality score was an impressive 120, for both balanced and single-ended modes (the latter with the XLR shorting links, and in my case also with a discrete ground link between the channels conveniently picked off the supplied shorting links). The amp works perfectly well with single-ended sources without this XLR link, but in my view drops about 12 marks, losing some rhythm, focus and bass dynamics. My score fell about 5% to 112 via the CAST connection, which is still very, very good.

Once the 402e had settled in for a few days after its Munich holiday, I awarded an excellent score of 150 for overall sound quality. Just 10 marks short of an interim 160 for those impressive EVO 600 monoblocks, so this is quite an achievement for the new model.

As it bedded in, the 402e began to surge ahead of the 402, delivering clearly better bass definition and tune playing, slightly more upbeat tempi, and significantly greater detail and transparency. Delightfully enhanced speed and dynamic contrasts were achieved with a sweeter, more open and more exciting upper midrange, intriguingly with no false timbre or brightness. Depth and transparency were clearly better at all volume levels, so claims that dynamic modulation effects had been improved would seem to be vindicated.

Lab Report (402e)

Played loud the average power input can rise to about 600W, but this peak draw is intermittent. (On the test bench at full power with both channels driven, it consumes some 4kW!) It reaches full power from 3.15V input into a very kind 100kohm impedance (200kohm balanced), and an input of 158mV raised the standard 1W output. This is a very easy input load and compatible with both transformer type, passive, solid state and valve control sources, both single-ended and balanced. The low impedance (70ohm) Krell CAST input is designed to sink the current fed to it across a very wide bandwidth, and is largely cable length and type independent. Signal-to-noise ratios were excellent: 117dB A weighted, 115dB (CCIR 1kHz) for full power, and 92dBA for 1W. Despite the huge power transformer, unweighted noise still reached a very good 106.5dB ref 400W.

Krell amplifiers are well known for their load independence, and there was no problem confirming this behaviour. I measured 2x438W into 8ohms at the edge of clipping, 840W for one channel into 4 ohms and 1,656W for one channel short term (1s) into 2ohms. Because a capable 5kW transformer is fitted, the single and dual channel drive results were very similar, save perhaps for a slightly limiting effect of my mains supply.

Peak current achieved a very good 63A, even higher than specified (though the latter could be an RMS value). While it might not be quite as big as the FPB 700, this is still massive power delivery that will clearly drive any conceivable loudspeaker load.

Despite the willingness of more powerful amplifiers to take on difficult speaker loads, I have long argued that there is always going to be a penalty, so I explored this Krell’s variation of distortion with reducing load. At a moderate listening level (1W, 2.83V), the ‘no load’ distortion was -100dB (0.001%), while 8/4ohms loading gave -78dB/-77.8dB, some 22dB poorer but better than the earlier 402.

If a cruel speaker load can increase the distortion in an amplifier of this quality, I cannot imagine that there will not be some consequence for sound quality. Why should so many speaker designers impose such difficult loadings on the amplifier and cable industry? Is it really just to win on pure subjective loudness in a crude A/B comparison at the dealers?

Distortion was generally very good, better than 0.01% at moderate powers (8ohm, 20Hz-20kHz). At 400W I measured -82dB (0.008%) at 20Hz and 1kHz, and 0.1% at 20kHz. Two-tone high frequency (19.5/20.5kHz) intermodulation was also very good: 0.0015% at full power, and a super -103dB at 1W, both significantly better than the 402 results. The distortion spectrum was predominantly low order, a desirable balance of second and third harmonic products, and channel balance was an excellent 0.005dB.

A very wide frequency response spanned better than 1Hz-150kHz at -3dB, and registered +0/- 0.2dB 10Hz-20kHz. DC offset was negligible and servo noise very low. The squarewave response indicated first rate stability with fine behaviour on 0.1uF and 2uF of capacitance, providing further evidence of fine load independence and drive consistency. The output impedance is very low at just under 0.05ohm, despite the low feedback, so there will be no perceptible frequency response variation with loading. Channel separation was fine, even 98 dB at 20kHz.

I wanted to find out why I subjectively preferred a shorting pin in the negative section of the otherwise open XLR connector when listening via the singleended (phono) connection, and also why I liked the channel grounds linked by a local short wire in this mode. (Incidentally, without these ‘tweaks’ it would be easy to assume that a ‘balanced’ connection actually sounds better than the ‘single-ended’ one, which wasn’t the case.

I was gratified to find that the noise floor for single-ended inputs was 10dB better with that XLR plug with pins 1-2 shorted in place, and this now matched the very good balanced input result. (This measured noise is inaudible of itself but probably has other consequences.) Theory predicts this lower noise result, but it’s gratifying to see that theory, sound quality and measurement all agree.

The aforementioned inter-channel signal ground link relates to the FPB-series topology. Both audio inputs float off the chassis ground and from each other. In my experience linking the input grounds of such designs in single-ended connection mode delivers more focused stereo and better timing, as it did in this case. I even add this link with adjacently located monoblock amplifiers, which provides slightly better focused stereo and rhythm.

Conclusions

Krell power amplifiers used to deliver outrageously generous power outputs, well exceeding their ratings. The need to meet ‘eco’ legislation and the use of internal heat-sinks have put paid to such excesses, yet the 402e remains a very powerful and load capable power amplifier, one of the best of its type. It has low distortion, predominantly and desirably of low harmonic order, very low noise, and will drive anything to a high standard with accuracy and linear frequency responses. Wilson Audio’s Sasha is particularly demanding, yet the 402e sailed through, delivering a very fine sound. Other speakers simply sounded like themselves, showing very little amplifier signature with both this and the newer 402e version.

The sound quality of the 402 has improved significantly in later production, while the 402e gives a truly substantial increase in sound quality, with power and current reserves within a couple of dB of the old ‘700 warrior, alongside full compliance with the subsequently introduced legislation, unmistakeably shows that a true successor to the FPB 700cx has arrived. UK pricing for US imports is unavoidably high, but Krell has a fine track record in making amplifiers of this quality and power, so a very strong recommendation for this delightful power amplifier is indicated.

Does it work? Absolutely. Even with low-res music files I've never heard an iPod sound so good.

Reviewer: Andrew Robinson - HomeTheatre review.com

The high frequency performance is not at all digital sounding and the midrange is full, rich and natural as opposed to the thin, recessed quality I was used to hearing from the iPod itself. The biggest improvement the KID brought to the table was in the bass response, which plunged deeper with greater control, detail and dynamics than I ever thought possible.

No product that I can think of has revolutionized the way we store, interact and enjoy our music collections quite the way the Apple iPod has. For better or for worse the iPod is here to stay and with it low resolution audio files. While non-audiophiles may not take offense to low res MP3 files purchased off iTunes or the like, audio enthusiasts do, which is why a number of audiophiles have either taken it upon themselves to rip their own music or have stayed away from the iPod altogether when it comes to critical listening.

As a manufacturer it's hard to simply ignore the iPod, because doing so alienates you from an entire sector of the marketplace looking for iPod-based music solutions. However, if you're a manufacturer like Krell, with a reputation for cost-no-object high performance equipment, you can't simply make any run-of-the-mill iPod dock or peripheral and call it a day. If you're Krell you have to make THE iPod dock, which is exactly what they've done with the introduction of their new KID or Krell Interface Dock.

The KID is unlike any iPod dock you've ever see. Part iPod dock, part preamplifier, the Krell KID is a statement (like all Krell products) that takes the shortcomings of low res audio files and poor sound quality and says "no more." The KID itself is rather large, almost the size of an average CD or DVD player, with a slot resting front and center along the KID's top for docking of an iPod, iPod Touch and even an iPhone. The KID is built to the Krell standard, which means it's built like a brick-you-know-what-house complete with a brushed aluminum faceplate showcasing three blue LCD displays that show bass, treble and volume figures. The front of the KID also features an Aux input, which can be used for other portable devices such as a Microsoft Zune player.

Around back the KID features a composite and S-Video out as well as both unbalanced and balanced analog audio outputs. The KID has a RS-232 port as well as a 12-volt trigger and a detachable power cord. Underneath, hidden behind a small metal plate, is an input allowing the KID to be docked to Krell's own Papa Dock (sold separately), which is essentially a dedicated stereo amplifier that the KID sits comfortably in for an all-in-one iPod based integrated amplifier solution.

The Krell KID can be integrated into any system the same as you would a CD player. If you want to use the KID with the Papa Dock for a standalone iPod-based music system, you'll have to shell out for the Papa Dock.

Inside the KID uses discrete, differential, Class A analog circuitry to propel the iPod's lack luster sonic performance to the next level. Does it work? Absolutely. Even with low-res music files I've never heard an iPod sound so good. I'm not saying the KID can take a 192kbps file and make it sound as if it was being played from a CD on a $10,000 player, but it's leaps and bounds better than simply plugging your iPod into your preamp or processor's Aux input. With higher resolution files and/or uncompressed files stored on an iPod the Krell KID is a revelation, possessing all the openness, detail, dynamics and control you'd expect from a traditional, high-end source component costing three times as much if not more. The high frequency performance is not at all digital sounding and the midrange is full, rich and natural as opposed to the thin, recessed quality I was used to hearing from the iPod itself. The biggest improvement the KID brought to the table was in the bass response, which plunged deeper with greater control, detail and dynamics than I ever thought possible.

High Points
• The KID's build quality is top notch and far superior to the iPod itself, though I wish some of the edges were a bit smoother to the touch, especially surrounding the iPod dock or cradle itself.
• The Krell KID charges your iPod while its docked.
• The level of control you have with the KID via its remote is not only handy but also enjoyable. The ability to change tracks or switch between albums from your listening chair is a huge benefit.
• The sound quality of the KID is amazing. From the highest frequencies to the lowest bass notes nothing escapes the KID's grasp. With properly recorded and ripped music files the KID's performance is on par and perhaps better than most dedicated CD players costing as much and a bit more.
• The KID is a great way to essentially add a music server to any system that uses an interface many consumers are familiar with while still allowing your music to be portable. When you're done listening to your iPod via the Krell KID, simply undock it and take it with you for enjoyment on the go or in your car. Try and do that with a ReQuest or Kaleidescape.

Low Points
• Those using the KID in a two-channel system without a video monitor or third party control device such as a Crestron may have a more difficult time discerning track information from their iPod's screen at a distance of three or more feet.
• The KID's remote has all the control options one could ask for though its layout and build quality are not on par with the KID itself. I really wish Krell had invested a few more dollars and/or time into the remote's design and implementation.
• The Krell KID plays the part of a preamplifier for an iPod or other portable device and is a damn fine preamp at that. That being said, I wish Krell would've included a pair of analog audio inputs to allow for another source component (think budget CD player) to be connected to the KID so it too could benefit from the KID's magic and make the KID a true modern preamplifier. I think if Krell included analog audio inputs and made the KID an affordable, modern two-channel preamp they'd have one hell of a gateway product on their hands.

Conclusion
Lets face it, for an iPod dock it isn't cheap when you consider most iPod docks cost less than $100. However no iPod dock sounds as good as the Krell KID. The Krell KID does a phenomenal job improving the substandard performance of the iPod itself, elevating it to a level never before heard while still keeping all of the convenience and day-to-day livability intact. If you're an audio enthusiast in love with the iPod, the Krell KID is a product tailor-made for you. If you're a die hard audiophile dead set against the iPod, then the Krell KID is the product that just might change your mind. I absolutely adore it.

Krell's audio prowess is something to behold. The S-1200U/S-1500 combination sounds huge, immersive, richly detailed, full-bodied and smoother than a panther wearing a smoking jacket.

Reviewer: Richard Stevenson - TechRadar Issue 184

More impressive still is how this naturalness translates with music, both multichannel and stereo. Krell's heritage in the audiophile amplifier market shines out from the first disc, blending its silky smooth and even hand with detail resolution like no other AV amplifier.

.....hook the S1200U and S-1500 to a decent speaker system, feed it a diet of Hollywood's HD finest, and the cost seems an irrelevance in a world of utterly immersive movie and music entertainment.

It plays by its own rules and sets its own prices. Krell has an undisputed reputation for true high-end Hi-Fi

Oscar Wilde would have bought Krell amplification. In fact, any man whose mantra is 'I have the simplest tastes, I am always satisfied with the best' would do well to peruse the Krell catalogue for some high-end retail therapy.

I do, as a voyeur, of course, contemplate the aural merits of an Evolution 707 processor (£33,000) and seven Evolution 900 power amps (£140,000). Or, I could pay off the mortgage... Hmm choices, choices.

Krell is a brand that either needs no introduction, or lots. To those familiar with the US marque, they will respect the 30-year heritage at the high-end of audio engineering – particularly amplifiers. They will appreciate the superb build, the immaculate attention to detail and revel in the prestige of owning the brand.

To those who have not heard of Krell Industries, they may feel that £20K for the S-1200U processor and S-1500 power amp is a little rich. They might also think that anyone even contemplating spending that sort of money on an amp has a tenuous grip on reality.

You see, Krell is the Rolls Royce of the global audio industry. Like the flying lady herself, Krell simply doesn't play specification trumps with the competition. It's not pushing the boundaries of absolute power, it's not festooned with features and it won't go round corners as fast as a Lotus Elise.

Krell does its own thing in its own way and is responsible for a long and prestigious line of exquisite-sounding audiophile products stretching over three decades. It is a hi-fi brand that has status, kudos and a pride of ownership second to probably no other on the planet.

What we have here is Krell's entry into the top-end of the 'realistic' AV amplifier market, a little before the price tags move into cost-no-object territory.

The S-1200 is a fully-featured AV processor coming in at just over £10,000 in basic form and £13,000 as tested here with its 'U' suffix. This denotes the inclusion of the video upscaler grafted from the Evolution 707, offering full 1080p output and 48bit colour depth with any video input.

The processor is mated to the S-1500 power amplifier, as tested here in seven-channel guise at a smidge under £7,500.

Arthouse AV

The S-1200U is gorgeous. It works as a piece of art, its smooth lines and contrasting aluminium textures complementing the bonkers-mad volume knob with a fine sense of the surreal.

The build and finish is among the best of any amplifier to grace my listening room in 20 years of reviewing. The buttons have a firm weight, the indicator LED lights are just the right intensity and the display offers the largest and easiest-to-read text characters of any AV processor on the market.

Krell's heavyweight volume knob runs on slick bearings, meaning that a solid glancing blow will run it on for 10 or more turns. I was surprised that the knob isn't motorised so doesn't spin with volume input from the remote. While this would have been even more engineering eye-candy, perhaps Krell felt the resulting gyroscopic forces might have been a problem for your equipment rack.

Around the back is a unique selection of socketry that looks a little dated in comparison to the latest Japanese high-end receivers. Just four HDMI inputs and a solitary HDMI output doesn't impress me much, doubly so as they are only v1.3 spec rather than v1.4 – although Krell assures us that the HDMI videoboard is easily changed and designed with future upgrades in mind.

There is a positive cornucopia of analogue connections, though, including composite video, component video and even S-video sockets, totalling 11 analogue video inputs.

Nestled below these are no fewer than 10 analogue stereo audio inputs, which should cater for the most ardent audiophile. Fully-balanced XLR connections are provided as the output of choice to the S-1500, and there are enough 12V triggers and data ports to keep any system integrator happy.

Under the neatly-milled aluminium hood, the S-1200U is a little different from most processors and AVRs. Rather than use standard op-amps and integrated circuits, every channel runs on a discrete Class A circuit that Krell claims offers the greatest signal purity and the highest bandwidth.

The DSP engine is at the leading edge of the field (also grafted from the Evolution 707), based on a pair of 32bit Cirrus chipsets that feed very sexy 24bit ESS Sabre DACs. For those wishing to give the S-1200U a clean analogue audio signal and soak up some of the Krell audiophile magic, a 'preamp' mode bypasses all digital circuitry and routes analogue stereo to a balanced resistor ladder volume controller.

The remote control is yet another object of engineered beauty, assuming your aesthetic penchant airs on the side of chunky, solid and bullet-proof. Feeling as if hewn from a raw block of aluminium and filled with granite, it weighs a bit in the hand.

The buttons are small but click with the sort of clunk that would have a gaggle of car designers nodding appreciatively. It's also probably the only remote to grace my house that the dog took one look at and decided not to bother trying to chew.

Solid casework

The S-1500 is housed in a similar sized and immaculately finished case, weighing in at three times the mass of the S-1200U. Behind the smooth, clean and slightly menacing fascia, the S-1500 can be specified in three, five, six or, as here, seven channels of 150W – all fully balanced.

This is where Krell soars, with a huge linear power supply, massive arrays of quick-charging capacitors and high-current surface mount technology throughout. In each channel module, Class A circuitry is employed for the input stage with solid Class A/B through the power stage.

Krell is also the only manufacturer I have come across that quotes its products' maximum heat output – the S-1500 offering 1900 BTU/hr room heating as a sideline activity to first-class home cinema amplification. Green it isn't.

Connectivity to the S-1500 is XLR by choice, with phono plugs provided in case you don't have a balanced out pre-amp/processor. The binding posts certainly make for easy connection with spades or bare wire speaker cable, but the inputs and outputs are not all directly one above the other.

This is a right royal pain if you are leaning over the beast from the front to connect it up and may cause an initial connectivity mix up if you're doing the install yourself.

Connecting up

Of course, if one purchases a Rolls Royce, one would have 'a man' to drive it for you and he would probably be called the James the Chauffeur. If one purchases a Krell, one would have 'a man' to set it up for you, and he would probably be called John the Installer.

Which probably goes some way to explain why the S-1200U has a block text onscreen interface, the look and feel of which went out of date with Betamax. Compared to the current crop of even budget receivers, like Onkyo's TX-SR608, the Krell's onscreen menus are a far cry from fancy full-colour GUI's and picture-led setup screens.

The menus are a simple cascade system and are relatively straightforward where basic set-up and operation is concerned, but I do miss the onscreen explanations of what each menu feature or function does.

So when you are deep within the S-1200U's menus and are confronted with choosing what SHAPE you want your PKING filter to be, one has to refer the manual. As this is on CD rather than paper, that in itself requires you to boot up a PC to get the answer. Sigh.

There is no auto setup routine at all and the EQ system is even less user-friendly in that it assumes John has some RTA (Real Time Analyser) software on his laptop and a calibrated mic. From his measured in-room response results, he can configure a range of filter types (notch, low pass, high pass and several shelf filters) each across three individual frequency points.

There are four EQ memories, so he can save, for example, best setup for action movies, best setup for chick flicks, best setup for multichannel music, and perhaps best setup for 'posh cocktail party with Burt Bacharach background music'.

Yeah, okay, the ethos of products like the S-1200U is, of course, based on the customer service a retailer or installer brings to the party, and there is a very useful pop-up that overlays the key input signal info whenever you change modes or volume.

So why would you want to go back into the menus once it is set up anyway? It is certainly not to engage any niche features, because the S-1200U simply doesn't have any...

Think I'm joking? I'm not. Krell's combi system has no truck with networking functionality, USB inputs, compressed audio enhancers or picture fine-tuning adjustments, not to mention Audyssey DSX, THX post- processing or Dolby Pro-Logic IIz.

But if it can sound like a chorus of angels with standard off-disc HD-audio formats and CDs anyway, do we care? Er, no.

Liquid honey

Krell's audio prowess is something to behold. The S-1200U/S-1500 combination sounds huge, immersive, richly detailed, full-bodied and smoother than a panther wearing a smoking jacket.

There is none of the tizzy fireworks and in-yer-face energy of the current crop of big AV receivers, making even the best of those sound rather harsh and feisty by comparison. This is a sound to be savoured, to fall into and stay there until the film credits are rolling, the popcorn is finished and the wine glass contains nothing but a dried red ring in the bottom.

With every film there is a real presence to the audio – something you feel and experience at a subliminal level rather than simply an audible one. it envelops you and drags you into the movie with its hypnotic charms rather than projecting the sound at you.

And this in itself makes it a difficult review. I put on The Matrix (Blu-ray) as the usual opener to get a feel of this machine's credentials and made the grand total of three lines of notes before getting engrossed in the film. Suddenly two hours had slipped by.

Even with highly processed and artificial soundtracks, such as the remastered version of Minority Report (Blu-ray), the Krells elicit a naturalness that goes about as far as an amplifier can in assisting the film's suspension of disbelief.

Having spent the last two decades listening for the depth of the bass, the spatial scale of rear effects, the projection of the dialogue etc, the Krells simply refuse to be pigeon-holed with any other AV amplifier.

The bass does not attempt to turn your spleen to jelly (like Denon), high-frequency effects do not have an almost Q-Sound-like three dimensional space (like Pioneer), and the dialogue doesn't leap out of the mix to make the actors sound like they are standing beside you (like Anthem). But as a cohesive whole, the Krell sound is so very right.

The battle scenes in LOTR: Return of the King (Blu-ray) are utterly believable, placing you in the thick of the action and the emotion. With the Oliphants charging across the plains, arrows howling through the air and orc armies meeting the Riders of Rohan, the Krells show the utmost respect for this cinematic masterpiece.

It is simply massive, potent and convincing, with no one part of the sound drawing overt attention to the actual production. Likewise, dialogue benefits from the lucid and natural balance, seemingly flowing into the room. There is admirable accuracy in the placement of each character's voice, but not so that it becomes an effect in itself.

Again, there are no artificial fireworks, no overtly excessive bass punch and no ear-searing top-end extension. What remains is the music, tantalisingly real and infectiously emotive. From the audio-definitive Legends of Jazz Blu-ray, Take Five by Al Jarreau and Kurt Elling oozes from the speakers like warm honey on a Summer's day, luring you in with its vocal articulation and musical sweetness.

The Krells offer amazing timing and ensure that any rhythm-based tune will get your feet tapping and head bobbing in seconds. Looking at upscaled video from a DVD you can't help but admire the clarity and edge definition created from the original SD signal – but do the results justify the £3K cost option of the 'U' suffix? Well, not for me, but if you watch a lot of DVDs and off-air SD TV perhaps it makes more sense. Then again, does £20K for an AV amplifier make much sense to most people anyway, even if the kudos of ownership is right up there with products bearing the silver Spirit of Ecstasy?

Probably not, but hook the S1200U and S-1500 to a decent speaker system, feed it a diet of Hollywood's HD finest, and the cost seems an irrelevance in a world of utterly immersive movie and music entertainment.

Massively powerful seemingly beyond the claimed figures; impressive bass control and punch; expansive and focussed imaging

It's very easy to be impressed by a product like the S-300i. It starts off with having the Krell name. Krell is arguably the king of high-end solid state amplification and has been there for a number of decades.

Few of this integrated's rivals have that kind of pedigree or historical performance.

Next comes weight and solidity of build. The S-300i feels as solid as a brick and weighs as much as a pallet load of the things – OK, it weighs 20kg, which is mighty hefty for an amplifier of this price.

It's human nature to equate quality with weight and most people will be impressed. Lastly, it really is a powerhouse. Take a look at the specs and you'll notice it outputs 150 watts into an 8 ohm speaker load.

That's a decent output for a product of this type, but nothing particularly special. The special bit comes into play when you see that power output doubles to 300 watts per channel as the load impedance drops.

Technically, that is ideal amplifier behaviour and strongly suggests a highly specified power supply and a very robust output stage.

Rare control over speakers

In use it means this amp will drive just about any price-compatible speaker properly. This type of control over speakers is rare at any price, let alone at what is considered the starting point of high-end amplification.

So the S-300i has scored a boatload of points before it's even connected to a system. Let it warm up for the best part of a week from new, and two qualities take pride of place.

First of all, that power figure seems too modest. This chunky integrated has enough grunt to rival our 300 watt per channel reference power amplifier, and it is terrifically composed with it.

No rival we've heard can deliver demanding bass-dominated tunes such as Kanye West's Love Lock Down with such grip and control at floor-shaking volumes.

No hardening at high volumes

Pleasingly, the amplifier doesn't harden up or get aggressive when pushed really hard, so party levels are well and truly on the menu.

That's not usually the case at this price level, where many of the Krell's closest rivals sacrifice sound pressure levels for some other sonic quality.

It's worth noting that when pushed hard the Krell does get rather warm, so make sure it's well ventilated. You'll need a large shelf, too, as the amplifier is far deeper than the norm.

We think the stereo imaging will please, too. The S-300i creates a massive sound stage and populates it with well-focused instruments and vocals.

It's stable and doesn't collapse when huge dynamic swings come into play.

If you're a fan of large-scale, bombastic classical music such as Stravinsky's The Rite of Spring or Holst's Mars we think there's much to like here. You can add top-class speed and good clarity to the list of plus points, too.

The remote is a chunky all-metal affair that feels like quality and has basic iPod control keys.

an Evolution 302e is a sure way to a life time of musical enjoyment.

Reviewer: Frank Berryman

See link for ull freview:
Conclusion:
After spending 3 mths with the Krell Evolution 302e the only conclusion possible is that it is, quite simply , a killer amplifier.
With nearly unlimited power reserves, tight0fisted control of the low frequencies, a marvelously detailed and neutral midrange and an open and extended high frequency, the Evolution 302e ticks all the boxes.
Add to that innovative design, meticulious excecution and alluring aestetics and you have the complete package. If you are intersted in getting off the upgrade train, a stop at Krell station to pick up an Evolution 302e is a sure way to a life time of musical enjoyment. Having to return its is the coal in my stocking this year.

Link to full review:
http://www.ultrahighendreview.com/krell-evolution-302e-stereo-power-ampl...

A hugely capable preamplifier that has the ability to dig deeply into any recording

Krell has been a major player in high-end amplification for decades. Through the ’80s and ’90s it dominated the market with its hugely muscular power amplifiers and no-nonsense brand of over-engineering.

With products such as the brand-new Phantom II preamplifier and the mighty Evolution 402e stereo power amplifier it remains true to its traditions.

The preamplifier is a simplified version of the original Phantom, which remains the company’s current range-topper. The most obvious difference between the two, apart from the £5000 price difference, is that the new model is a single-chassis product, while the more expensive box takes an even more purist approach and houses its power supply circuit outboard.

Take a look inside, and you’ll find the Phantom II has essentially the same audio circuitry as its big brother. That means it is a dual-mono design, which aids stereo imaging, and features such technical niceties as a precision resistor-ladder volume-control, which promises greater transparency than traditional volume potentiometers.

It also boasts no negative feedback and circuitry that works predominantly in current mode rather than voltage. The whole electrical design is geared towards maximising transparency and reducing the noise floor.

The Phantom II’s connectivity is good. There’s a plentiful provision of balanced and single-ended inputs and outputs.

Its resolution, wide and stable sound staging and tonal evenness are much appreciated.

....the sonics indeed followed suit with bass chops amongst the very best I've heard and special talents with dynamics, control and resolution I'd call of benchmark quality.

Reviewer: Jorg Dames

Psych profile. The Krell Evolution 2250e offers

• Stupendous bass with killer pressure, reach and definition beyond any shadow of a doubt.

• Ultra-precise treble without artificial edge but zero mildness, cream or diffusion either.

• A perfectly even transparent midband.

• Impressive speed and energy on both micro and macrodynamics.

• Tonally dead-on neutrality neither warm nor bright.

• Markedly grippy detail focus rather than 'connected' flow.

• For the price well above average image focus and complete soundstage freedom from the speakers.

• Plain vanilla looks but flawless build quality.

This review first appeared in the June 2013 issue of hi-end hifi magazine fairaudio.de of Germany.

More than 30 years have passed since Dan and Rondi D'Agostino launched a massive class A power amp called KSA 100 with studio-gear handles and with it the Krell brand which over the decades following left a deep mark on hifi history. Much happened since. Dan and Rondi got divorced (more newsworthy to The Sun than us) and after involvement of an investor group, Dan D'Agostino left Krell to lend his name to a new brand devoted solely to amplification. Towards the end of the 80s Krell had begun with D/A converters and the present portfolio even has streamers, iDocks and loudspeakers. Yet if my overview of current Krell amps on the German importer's website is any indication, handles are no longer with us

Which isn't to say they wouldn't come in handy. Powerful heavyweight transistor muscle amps remain a specialty of this Orange/Connecticut-based once legendary brand. For review we picked the smallest most 'portable' current stereo model. With the Evolution 2250e's fighting weight of 35kg which is how one enters the world of Krell power today, all that's relative of course.

Visually too the amp looks decidedly grown up and – well, professional. The first impression relates directly to the 42.8 x 19.3 x 48.6cm WxHxD dimensions for proper size. The second ties to a no-frills near laboratory industrial design sans flourishes or manly heat sinks. A slightly wavy profile on the cheeks suffices. Upon close inspection of the fit'n'finish one is back to professional. Immaculate surfaces and tight seams elude criticism. Whilst socketry looks nothing spectacular, it's perfectly solid in use. Four switches respond with confidence-inspiring action – two small toggles select between XLR/RCA inputs, another one in the back switches between off and standby. The big frontal button then awakes the amp from sleep mode.

This is accompanied by blue, green and red light accents – not to have each family member select their favorite color for music listening but to indicate operational status. Which begs the question as to why distinguishing between 'standby' and 'on' requires more than two colors. It's because the Krell has two types of standby. One is a 2W-consumption eco mode intuitively indicated by green, the other a ca. 40-watt warm-up mode which keeps core circuitry active as confirmed by a red light pipe.

Switching the latter to blue=listen eliminates lengthy warm-up worries before the amp operates at full potential. That said the Krell sounded perfectly passable out of cold green. The now slightly louder turn-on transient—here the circuitry gets hit with higher more sudden inrush current—is no cause for alarm though any such 'plop' is always somewhat inelegant. Be that as it may, my audition predominantly hovered between green and blue. Before I forget, selection of the stand-by modes occurs by depressing the frontal switch whilst the rearward mains is toggled.

To wrap up externals, official stock photos across the web show the heatsinks completely covered by the lid or tucked beneath silver vents. Our loaner showed them open to create a sort of striped look on top. The reason for this discrepancy is simply that the stock photos ran prototypes with still smaller heatsinks. The appearance of our loaner reflects formal final production. On inner values—250wpc into 8Ω, 136.000uF capacity, 2.500VA transformer—Krell boast of 'advanced high-speed output devices'. The plain fact here is that with the Evolution Series Krell began using resin-enclosed Sanken transistors said to exhibit higher bandwidth and lower distortion than their former metal-encapsulated Motorola parts.

Similar goals are pursued with Krell's 'unique current mode circuitry' which routes the internal signal between amplification stages in the current domain. Unlike voltage mode this allows for lower-impedance circuits of concomitantly broader bandwidth. In mixed form this concept isn't unusual but Krell claims much proprietary development for their solution.

I looked forward to this audition since the 2250e would be my first Krell. Aside from show encounters, I'd never had any up-close experience. Well, when four years ago colleague Martin did the honors on Krell's S300i integrated (oh my does time fly), I of course couldn't resist to lend a quick informal ear. That review concluded with “generally the Krell S300i is more for pleasure seekers than furry-brow analysts”, something I could relate to for the firm's then smallest model which exhibited a very unambiguous sonic profile. The same distinctiveness of sound was true for the 2250e though it pursues a clearly different direction.

Letting our tester speak for itself now, we'll first focus on its response south of the border. That a 35kg 250wpc behemoth wasn't going to fold in on matters of control and bass power was expected yet still I would be up for surprises. A good LF test is "Atlas" from New York's Math-Rock trio The Battles [Mirrored] where drummer John Stanier kicks of with fat toms before abusing the bass drum with heavy quarter grooves.

On whipper-snap dynamics of the toms, the Krell went eye to eye with my arrow-quick Audionet monos which in my book crossed off the first must-have category of this assignment. On substance and displacement the Krell actually bested my Audionets which go a bit lighter on mass and infrasonic power. This tick-off thus got an exclamation mark from me. Clearly energy problems of running dry weren't in the Krell's vocabulary. At all. When it came time to harness the full potential of my Thiel's CS3.7 woofers, the German monos by contrast seemed to actually get a bit winded. And the Krell even was superior at fully differentiating this heaving and teeming low-bass dimension. Hat off.

To nip miscalculations in the butt, tonally the Krell tracked my Audionets by playing it unassailably neutral. Whilst the 2250e can unleash hell with full fury when the music demands it, it's neither fat nor warm. The low bass was ideally precise, neutral and haute-cuisine correct. A very good start. Tonal neutrality extended to the midband and highs. Neither romantically flavored, warm or softened nor lean and overtly fresh, the American's motto seemed to be noticeably unnoticeable. That these registers still weren't common was due to other qualities.

For these I had Canadian multi-instrumentalist's Cevin Key's Music for Cats with its gloomily atmospheric yet detail-intense "Beauty is the enemy". Right from the go and thus prior even to the vocals kicking in I noticed how precise and spacious the 2250e rendered the sonic mosaic which here is made up of tiny rhythmically cycling snippets and effects shards whilst suggesting very tangible generous space. High resolving power, stupendous micro dynamics, blackground calm and brilliant image focus were clear highlights and to such an extent that an A/B against my Audionets raised eyebrows. The otherwise very sorted and accurate monos from Bochum seemed a tad diffuse and foggy by contrast. The myriad microscopic sonic plankton bits were less fixed and not as energetically direct and as such not as contrasted in virtual space.

And that was news. I've had aa score of amps through which were all over the map on price yet only the Hegel H4SE had pre-echoed similar qualities. Here a direct A/B would have been interesting but in the Hegel's absence I won't lean out the window further with any specific comparative comments. Extraordinarily controlled in the bass, dynamic to a fare-thee-well, transparently precise into the very tips of its hair and tonally neutral... these were all impressive hard skills but one must still pay attention to proper speaker matching.

Time now for less tangible 'soft' skills of the American. As what we've covered already presaged, the 2250e isn't trained to inject into the musical action a particularly fluid meandering note. My own Audionets but also amps like the recently reviewed AURALiC Merak—in matters of bass, dynamics and resolving power not the Krell's equal—apply less concentration on the ultimate teasing out of detail but in trade might seem a tad more 'connected' and flowing, i.e. less rigorously profiled. With its ultra differentiation the Krell more elaborates the singularity of individual musical events.

Before this gets too abstract, check out the acoustic guitar on "If that's how it's gotta be" from J. Mascis + the Fog's Rock project More Light. With the Krell that gets more crystallized and edgy down to clear micro nuances on the ring-out of each metal string. Ditto for the decidedly not softly recorded sibilants in Beirut's young frontman Zach Condon's delivery of the melodiously waltzing "Sunday Smile" from The Flying Cup. The Krell accentuated these sibilants more strongly than my usual amps but also had the highest treble resolution.

It's intuitive then to reach for calmer speakers which go heavier on flow and silk. I'm quite sure that the Evolution 2250e would have gotten on famously with my earlier Sehring S703SE whilst tapping them for all their worth on dynamics, bass authority and tweeter definition beyond the Audionets. With my less silken more analytical Thiel CS3.7, the 2250e made for more of a like-meets-like proposition which depending on taste and material could get a bit excessive at times..

This Krell amp was one of the most formally 'correct' power amps I've yet met as though it had emerged straight from a page of the textbook on amplifier design. The sober cosmetics already hinted at a penchant for just the facts to suggest serious rather than playful hifi. And the sonics indeed followed suit with bass chops amongst the very best I've heard and special talents with dynamics, control and resolution I'd call of benchmark quality. For listeners who laconically view fans of micro-power SETs as soft eggs, Krell's power house is without question a Best Buy in the €10.000 class. The same goes for listeners whose current speakers seem a bit restrained, lush, diffuse and dynamically coasting. Logically those very same attributes won't suit the taming of already spiky, analytical and muscular transducers in need of a special musical flair. There the sharp-cornered Yank won't compensate.

The Cipher's exceptionally lucid presentation is notable for amazing clarity and astonishing fine detail.

Reviewer: Jimmy Hughes from TechRadar

REVIEW SUMMARY: It would be equally at home in a purist twin channel system, or a multichannel surround set up. While only the most well-heeled audiophiles will be able to consider purchasing, the Cipher certainly delivers the goods and offers results that will be hard to better, regardless of price.

EXTENDED REVIEW: The Cipher is Krell's high-end SACD player and is a welcome surprise. It shows there's still a market for the medium.

True, SACD software issues are somewhat limited and the format risks being superseded by high-res downloads, but many small classical and jazz labels still support SACD and issue new titles each month.

This is where the Cipher comes in, replacing Krell's popular EV505 SACD player. It promises an improved performance – especially in terms of Red Book CD playback and while this is very welcome, it's as an SACD player that the Cipher will stand or fall.

Fortunately, Krell has spared no effort to make it as good as possible – with both formats.

Disc accuracy

The Cipher is an advanced digital disc player offering users a choice of SACD and DVD-Audio playback in two channel and multichannel surround formats. The ability to play in surround is unusual – many purist audiophile SACD players dispense with this option, offering just two channel playback.

There's a choice of three fixed-level analogue outputs: RCA (unbalanced); XLR (balanced) and – for those using Krell amplification with the appropriate inputs – a special four-pin CAST socket (CAST is claimed to offer a significant improvement in sound quality). An output for subwoofers is also included in the mix.

The Cipher's disc drive is mechanically isolated from the main chassis and the mount uses composite materials to minimise vibration-induced errors. Strategically placed damping is used to reduce mechanical resonance and Krell's customised disc-drive firmware is claimed to improve disc-reading accuracy.

SACD disc transports can be temperamental and some players gained a reputation for being mechanically noisy and unreliable. Fortunately, the transport used in the Cipher is very quiet and seems to play a wide range of discs without complaint. CDs that jump or suffer dropout on our other players, played perfectly on the Cipher.

Separate lasers for CD and SACD are employed and these are individually hand-calibrated for accuracy. All signals are fed into a custom-designed Krell anti-jitter module and this is said to reduce jitter to virtually unmeasurable levels, resulting in a perfectly clean digital signal.

D/A conversion is via a pair of balanced 24-bit/192kHz DACs. Most players use a single DAC for each channel, but Krell uses its DACs in pairs and configures them to operate in balanced mode. So, 'balanced' operation occurs throughout the signal chain – from digital through to analogue. Usefully, the Cipher can play DVD-R data discs – though not, it seems, DVD-A discs.

Prior to the launch of SACD, one or two small audiophile labels released audio-only DVDs with a sampling frequency of 48kHz. These provided better-than-CD sound quality and very long (over three hours) continuous playing time.

As an aside, EMI issued its 2005 three-CD set of Wagner's Tristan und Isoldeas a special limited edition, with a bonus audio DVD containing the complete recording on a single disc lasting three hours and 47 minutes in 5.1 DTS Surround Sound. The Cipher proved able to play this disc and could even deliver the DTS information. So, if you have any music DVDs, you'll be able to listen to them via the Cipher (most SACD players can't do this).

Another slightly unusual feature is the provision of user-selectable output filters; two for CD, and four for SACD. These alter the out-of-band frequency response and output gain.

Confidance Building

The Cipher features all-aluminium casework. Being non-magnetic, aluminium is a good material to use for hi-fi casing, reducing the effects of magnetic eddy-currents. It costs more than steel, but can be relied on to deliver a smoother, more open and natural sound.

Finish is excellent, and the 'Cipher' centre panel looks very attractive. There are about thirty small press-buttons on the front panel – something that appeals to the inner geek in all of us – giving the Cipher a complex 'techy' look.

Fortunately, the button layout is logical and intuitive, so you instinctively find the right one. The buttons have a nice solid feel and operation is smooth and confidence-building.

The Cipher is not cheap. although well made and beautifully finished, we'd not say it offers 'battleship' build quality. However, excessively heavy build is not always advantageous. From the standpoint of resonance and energy storage, a light but solid case (as here) is often best.

Sound quality is likely to be the determining factor when it comes to deciding whether or not the Cipher justifies its hefty price tag. But give it a good SACD and it delivers a quality of sound that even the finest CD players cannot equal.

Smooth tonality

The Cipher's exceptionally lucid presentation is notable for amazing clarity and astonishing fine detail. Musically, the sound is open, lean, and crisp – not the least bit warm or romantic. At the same time, there's impressive refinement and (despite the sharpness) a smooth neutral tonality.

Playing SACDs on the Cipher forcibly demonstrates the limitations of conventional Red Book CD. SACD offers a transparent openness, plus a wealth of fine detail that even the best CDs can't match. There's a predictable 'sameness' about CD that SACD eliminates – the latter has a far wider range of tone colours and dynamics.

If anything, the Cipher widens the sonic gap between SACD and CD. On difficult, demanding SACDs, the extra detail and information being delivered over CD is really apparent. Yet, despite this, CD via the Cipher proves very listenable – especially when judged on its own terms and not directly compared.

We had another SACD player on standby to provide a comparison point for the Cipher and this cheaper player made the sonic gap between CD and SACD seem less apparent. While SACD always edged it over CD, the difference between the two is much less than it was with the Cipher.

Via the latter, we experienced levels of detail and clarity that no CD player could approach. The Cipher's ability to separate-out individual voices and instruments is almost uncanny, making CD sound 'closed-in', bland, and predictable by comparison. Impressive stuff!

Stereophonically, the Cipher images exceptionally well, creating a broad precisely defined soundstage notable for the solidity of individual voices and instruments. On the right SACD, you get a holographic, almost 3D effect, with impressive width and depth. SACDs sound cleaner, too.

Playing CD, the Cipher minimises that slightly 'furry' coarseness you tend to get on massed violins or heavy brass, delivering a very clean end result. But SACD sounds noticeably fresher and more alive, with crisper transients and a wider range of dynamic contrasts. The top end is more open-sounding, without a trace of tonal hardness. In comparison, CD sounds a shade muted and not nearly as transparent.

Despite these limitations, the Cipher makes a pretty good fist of playing CDs, so that – while never quite as good as SACD – you're still able to listen with pleasure and enjoy the music.

Well-heeled audiophiles

Krell's Cipher is an exceptional digital front-end, giving state-of-theart replay of conventional CD and SACD formats. It's via SACD that it really shows its mettle, delivering results that combine stunning clarity with amazing dynamics, plus impressive naturalness and refinement.

It would be equally at home in a purist twin channel system, or a multichannel surround set up. While only the most well-heeled audiophiles will be able to consider purchasing, the Cipher certainly delivers the goods and offers results that will be hard to better, regardless of price.

This Krell certainly deserves to be on the top shelve of any decent high end audio system.

Reviewer: HIFI Unlimited

Yes! The S-350a is tonally neutral, with just a hint of warmth thrown is for comfy measure, but the way it presents music is pure Krell, in terms of dynamic power and transient response. This is one player with balls of steel, are you man enough to handle the way the bass is kicked right in to the room from the sound stage?

In honour of joining ranks with the elite company of Esoteric, Wadia and Metronome, one would wonder if this Krell s-350a is truly afford able, but this Krell S-350a CD player cost only NZ$3,995.00!

It's one CD player anyone shopping for a disc based digital source should not ignore, at any price! This Krell certainly deserves to be on the top shelve of any decent high end audio system.

The end is near for CD players, I proclaimed not too long ago! Ladies and gentleman, like all dooms day nay sayers, the rush of new great sounding players lately is making me choke in my own words. The arrival of the Ayre DX-5 Universal AV Engine is just the beginning, then now, this brand new Krell S-350a CD player.

The focus today though, falls squarely on this China built Krell S-350a CD player. Krell's past CD players have being highly sought after in the used market, often transacted with good second hand resale value. The S-350a is a modular design disc player approach, with the option to add a DVD video board should one desire, at extra cost. Today, we are only interested in it's performance as a stereo source.

This Krell is rather heavy in built, and cosmetically styled to match the S-300i integrated amplifier of the same series. This means a decent front aluminium armour plate and 2U epoxy coated, steel casing of clamp shell design, which results in a very rigid box. The front panel buttons are clearly marked and has excellent finger/action feel. There's a contemporary blue back lite display for CD status, input bit/sampling rates and other functions, when in use. The hand held remote is rather heavy duty, with clearly marked buttons and offer excellent handling ergonomics. I only wish it was back lited too!(Big E always asking for more, more, and more!)

Round the back panel RCA and XLR outputs are provided, along with coaxial and toslink digital inputs and outputs. An IEC power socket and 12V remote trigger jacks completes the back panel features. The handy all aluminium remote, which is clearly marked and very ergonomically sorted out.

The slot loading transport takes a bit of getting used to. There's a few hesitant notches one could feel when pushing the CD in to the slot, but with some practice, disc loading is quite effortless.

The sound of this CD player is so very complete, that I find it hard to pin point any faults. In my years of reviewing CD players, I've admired players like the Esoteric X-03, Wadia 381i and perhaps even the Metronome Technologies CD One T. What does all these great players have in common with the Krell, you asked? Let's see, how about the way the S-350a digs out information from the CD pits remind me of the Esoteric? The robustness in sound that was reflected in the Wadia? And perhaps, half the measure of the way music is portrayed with such humility, much like the Metronome?

Listening to well performed orchestral music, such as those in the Arabesque, selections by Crystal Cable, is pure joy, with roller coaster thrill ride type exhilaration! Even the more subtle solo piano tracks brims with energy and realism, only because of the way this player handles music transients with confidence that is a Krell hallmark. Even the choir tracks, especially track 5 Rutter Requiem Pie Jesu, is rendered with such detailed measure, along with the hall ambiance fully reproduced, turning my man cave into an old European styled church, acoustics wise. The choir section contrasting with the female Soprano voice is rendered so realistically, I get goose bumps feeling of the un real kind! Now that's eerie.

With performances rendered this believe able and life like, need I further describe it's staging and imaging qualities?

This is a player that will faithfully reward the listener with every genre of music thrown in, be it, pop, rock, jazz, classical, even world music. Every CD I played thru the Krell, I enjoyed tremendously. I sometimes question, how can a player this revealing of recordings, warts and all, always manage to sound enjoyable too?

For all the kind words and high praises I heaped on this player, are there any negative areas that I should highlight? Well...... if I've to nit pick, it would be the noise floor, which is subjectively not as quiet(back ground noise) as the RM$30k+ heavy weight examples mentioned above, but that's just me being audiophool anal about such things. I bet most people would not even be bothered about it.

I used the Bryston BDP-1 to stream CD ripps at 16/44.1 FLAC and AIFF music files and it played beautifully, just like the CD playback......

In honour of joining ranks with the elite company of Esoteric, Wadia and Metronome, one would wonder if this Krell s-350a is truly afford able, but this Krell S-350a CD player cost only NZ$3,995.00!

It's one CD player anyone shopping for a disc based digital source should not ignore, at any price! This Krell certainly deserves to be on the top shelve of any decent high end audio system.

but if I had the  means I would not hesitate to invest  in the Cipher, not least because I have  quite a lot of SACDs in my collection, and I would welcome the opportunity to  make the most of them on a daily basis

Reviewer: Ail in Gold - HiFi+

REVIEW SUMMARY: Low frequency quality, and in particular the sense of weight and scale, are transformed in the best cases from SACD, with none of the rather dryness that is sometimes associated with compact disc, but it is the other end of the spectrum that shows the greatest musical benefits over CD. Imagery is very expressive and three dimensional, even in plain vanilla two channel stereo – no appropriate multichannel system was available for this test so the listening here was exclusively two channel based. Treble quality can be delicate, subtle and ethereal and is generally a clear step up from that you’d normally expect from compact disc. Because most of the test discs were CD/SACD hybrids, it was easy to change between layers to confirm the audible differences between the two formats, CD and SACD, and although there are some pratfalls when making this kind of comparison due to the way different layers are mastered, over time a picture was built up of a clearly more sophisticated sound from the higher resolution format. With lesser players it is not always immediately obvious which is CD and which is SACD, but this is not the case here. SACD was clearly the better musical deal in almost every instance.

Krell Cipher SACD Player (Hi-Fi+)

EXTENDED REVIEW: Krell has been a steadfast supporter of the SACD format longer than anyone, first with the Standard, then the Evolution and now the Cipher player, which will probably see out the SACD era. New models have been effectively forced by the unplanned obsolescence of player mechanisms. In the nature of the technology, it is not usually possible to slot in new generation mechs without compromise to other elements of the design or a complete redesign. As their watchers will know, Krell has never had much truck with compromise.

The Cipher is a standalone player, with tips the scales at an impressive 13.2kg, and which plays single layer (SACD only), hybrid dual layer SACD and CD-DA audio discs and CD or DVD based data discs. Remember that in most cases it doesn’t play DVD audio discs, but if this is important  to you there is still a handful of so  called universal players around, of  which probably the best known  and most affordable are from  the Oppo stable.

The new generation Krell SACD player has barely changed physically externally from its predecessors though there are a number of internal modifications and updates. Key features include a similar heavy duty, well damped aluminium carcass of exquisite build and finish. The unit is physically imposing at 15cm tall and is available in black or silvered finishes. It looks all but identical to previous players in the range such as the SACD Standard and the EV505, and uses a barely altered matrix of 33 miniature front panel control buttons, of which the most unusual are a set of four digital filters for SACD and two dedicated to the CD standard. These have some influence near and also just above the upper frequency extreme, though the first filter settings appears to give the best overall balance in most cases for both CD and SACD recordings alike. The Cipher is supplied with a heavy duty aluminium-clad remote control handset that if well aimed looks ‘man’ enough to ward off intruders single-handed if called upon to do so. The control buttons and associated labels are tiny, and you may find as I did that it takes some time to acclimatise yourself to their layout. 

The back panel of the player is equipped much like its predecessors and includes single ended phono outputs for five channels, though it wasn’t tested in multichannel form. Other socketry includes XLR based stereo balanced outputs, and various triggers and IR sockets, even a pair of RJ45s which talk to other similarly equipped Krell components. A pair of stereo only CAST outputs completes the roster. CAST is a proprietary current mode interface which when linked to similarly equipped Krell components allows the internal signal path to operate as a single gain stage, which had a very significant impact by reducing susceptibility to cable differences and also by simplifying the signal path. There are no real downsides to CAST, but I am not aware of any other manufacturer adopting the technology, though I believe there was some talk of this happening when CAST was first introduced.

The Cipher is recognisably of the same parentage as its predecessors, a chip off the old block if you will. It is primarily a purist state of the art audio player (there is no video support), which is dedicated to delivering the best possible sound quality from 12cm audio discs, primarily Red Book CDs and SACD’s in two channel and multichannel form. It has no external digital inputs (unfortunately) although it will play the stereo audio tracks of some (eg dts) DVD audio discs. Compact disc covers all musical genres of course, but this isn’t so for SACD, whose catalogue is primarily classical (mostly from smaller specialist labels) and to a lesser extent jazz. Rock and other popular genres are barely represented in the SACD catalogue.

Krell Cipher rear panel

Particular attention has been paid in the Cipher to the mechanical isolation and damping of the disc mechanism from the chassis, which runs quietly (not always a given with older generation of SACD players). An anti-jitter module is fitted to complement the separate CD and SACD read lasers and a great deal of effort has gone into the power supplies, which is nothing less than you’d expect of Krell.

Sound quality is exceptional, and not just with SACD. Exceptional CDs such as the Christian Thielemann/Vienna Philharmonic version of the Richard Strauss Alpine Symphony that I acquired on disc the day after seeing a Promenade concert performance of the same work at The Royal Albert Hall with the same orchestra, but conducted by Bernard Haitink, was stunning in the flesh and barely less so on CD. In this case, the SACD recording of the work played by the LSO in a live Barbican recording under the baton of Berrnard Haitink is not of the stature of the work by played by the Vienna Philharmonic under Christian Thieleman. Despite the superior recording technology it sounds warmer and looser and for that reason less thrilling in the Barbican disc. In the end, the Vienna Phil recording is clearly more compelling and has greater stature. The richly varied orchestration includes such delights as a wind machine, an organ and off stage brass instumentalists which frames the music better with a more physical, almost Mahlerian presence. If this proves anything it is that the nature of the enabling technology that it doesn’t trump the recording and interpretation, which should come as no surprise. For what it’s worth, the Vienna recording is apparently available on SACD though I have been unable to find a copy.

Despite exceptional results like this, it was almost invariably SACD that gave better results, with clearly superior resolution and soundstaging, and the Cipher lives up to its billing with a wide range of the several hundred SACD recording on my shelves, from Mozart to Mahler and Schoenberg via Beethoven and Wagner, and also some of my fairly sparse collection of non classical SACD discs – including titles from Jennifer Warnes, Eric Bibb and others. In each case SACD gave a perceptibly rounder and sweeter view of the music. There was also a clear benefit in the use of balanced interconnects – Nordost Valhalla was used for test in single ended and balanced varieties.

Krell Cipher remote control

Low frequency quality, and in particular the sense of weight and scale, are transformed in the best cases from SACD, with none of the rather airless dryness that is sometimes associated with compact disc, but it is the other end of the spectrum that shows the greatest musical benefits over CD. Imagery is very expressive and three dimensional, even in plain vanilla two channel stereo – no appropriate multichannel system was available for this test so the listening here was exclusively two channel based. Treble quality can be delicate, subtle and ethereal and is generally a clear step up from that you’d normally expect from compact disc. Because most of the test discs were CD/SACD hybrids, it was easy to change between layers to confirm the audible differences between the two formats, CD and SACD, and although there are some pratfalls when making this kind of comparison due to the way different layers are mastered, over time a picture was built up of a clearly more sophisticated sound from the higher resolution format. With lesser players it is not always immediately obvious which is CD and which is SACD, but this is not the case here. SACD was clearly the better musical deal in almost every instance.

Each of the main types of compatible disc handled extremely well by the Krell flagship disc player. It took a quite badly pockmarked or scratched disc to fail to load or to play cleanly through this player and there were almost no signs of dropout or muting. Although the ergonomics of the players are slightly ill conceived – it surely wouldn’t have been too  difficult to contrive an easier control  layout, it is difficult to  think of any other  negative points with  this player, though  it does run quite hot  when under power for  an extended period.  Other than this there is  of course the elevated  price tag. Nobody could  reasonably suggest that  price is not an issue. You will  need to be seriously well heeled  to afford this player, but if I had the  means I would not hesitate to invest  in the Cipher, not least because I have  quite a lot of SACDs in my collection, and I would welcome the opportunity to  make the most of them on a daily basis

If you’re in the market for a new amp and are a member of the cost-is-little-object crowd, definitely check out the Chorus amps from Krell. You won’t be disappointed.

Reviewer: David Vaughn

AT A GLANCE

Plus

A new take on amplifier classes with iBias

Superb dynamics and soundstage

Ethernet capability for system monitoring

Minus

LED illumination too bright

Heavy (thats part of the reason why it works so well)

THE VERDICT

Krell’s iBias technology has allowed them to deliver the benefits of a Class A multichannel amplifier in a way that will have audiophiles grinning from ear to ear.

Do you remember what it was like sitting for your high school or college lessons? Well, get ready for a trip down memory lane, because to give the Krell Chorus 7200 (Chorus 4200 & 5200 are similar) the praise it’s due and explain just how much this “little”-amplifier-that-could is going to change the audio industry, we’ll need to start with a short class in “classes.”

There are many different established amplifier topologies out there, designated by class, as in Class A, B, A/B, D, G, and H. Each has its own set of plusses and minuses, but in the audiophile world, Class A has always been king for a variety of reasons. First and foremost is sound quality, which is virtually unmatched to those with golden ears—those things attached to the sides of your head, not the speaker company that Darryl Wilkinson always raves about. Audio signals are basically alternating current—the sine waves you learned about in grade school—with both a negative and positive voltage. Remember, the goal is to make a loudspeaker diaphragm move out (positive voltage) as well as in (negative voltage). The Class A amplifier has the ability to conduct the full audio signal, both the positive and negative portions of the cycle, on each output device, reducing distortion in the process.

Unfortunately, there’s no such thing as a free lunch. There’s one negative—and it’s huge: Class A’s efficiency is about as green conscious as a Lear jet carrying one passenger across the country. A pure Class A design has the output transistors operating at full power all the time; they’re never idle. This means any energy not required to drive the speaker is released through the amplifier’s heatsinks, turning the amp into a power-wasting space heater. Furthermore, the ability to place multiple channels in the same chassis is all but impossible due to the heat buildup, which has essentially shut out the technology for the majority of home theater installations.

What Exactly Is iBias?
Krell’s audio legacy is built upon Class A amplification, and it’s no surprise that their engineers have been able to develop a patent-pending circuit delivering traditional Class A–like operation without the excessive heat and wasted energy of conventional Class A. Furthermore, the design can be housed in a form factor fit for home theater applications. It’s called iBias, but a better name may be iReallyLikeIt!

Krell’s innovative iBias technology allows the amplifiers to run in full Class A mode as needed, while at the same time minimizing heat generation. Krell isn’t the first to attempt using a “tracking” or “sliding” bias that reacts based on the nature of the audio signal, but their approach is quite different. In the past, the tracking monitored the incoming signal and set the bias based upon this information. The iBias technology takes a different approach by calculating the bias from the output stage; it directly measures the output current of the amplifier and adjusts the bias to the optimum level. Because iBias measures the output current, the real-time demands of the specific speaker connected to the amp are directly incorporated into the circuit function. The amplifier monitors the load, accounting for the variables present at any given moment, rather than blindly reacting to the incoming audio.

The president of Krell Industries, Bill McKiegan, likes to compare this technology to a 12-cylinder automotive engine, which shuts down some of the cylinders when you don’t need a lot of power. But when you slam the accelerator to the floor, the engine can deliver 600 horsepower—or more—almost instantly. iBias works virtually the same way. It can be cruising along in efficiency mode yet in a matter of microseconds give you hundreds of watts of full Class A amplification for musical peaks or when the action kicks up in the latest Hollywood blockbuster.

With this new topology comes other benefits. Krell has been able to fit seven channels of amplification into a relatively small—though extremely heavy—rack-mountable chassis, making iBias practical for use in environments where a traditional Class A amplifier would be too large. That’s not to say the Chorus doesn’t generate heat; it certainly does. Krell cools the amplifier using thermostatically controlled fans, which are generally eschewed by audiophiles and home theater aficionados. Still, in all of my testing, I was never able to detect any audible noise from the four fans on the rear of the amp, and the output temperature measured with an IR thermometer never exceeded 115 degrees F, even under the most strenuous tests.

Oh, My Aching Back
I was out of town when UPS delivered the amp, and the arduous task of bringing the 100-pound beast (110 including packing materials) fell to my 16-year-old son and one of his friends. It took two strapping teenagers to get this baby into the house, and while it’s not the heaviest amp I’ve reviewed, it certainly is one of the most dense, and getting it into the rack was a serious chore.

Aesthetically, the Chorus 7200 is quite beautiful, as far as black boxes go. The front façade is matte black highlighted by a silver band running vertically through the center of the facing, where a backlit Krell logo protrudes slightly from the box. The left side features a small circular power button, while the right has a rectangular LCD that gives you the amp’s IP address when it powers up.

Yes, I said IP address. You see, the rear of the amp has all the connections you typically see on an amplifier: both balanced and unbalanced inputs for all seven channels, the aforementioned fans, a 12-volt trigger input, a detachable power cord, a master power button, and, unusually, an Ethernet port.

Why put Ethernet in an amplifier? In this case, the amplifier can be accessed through any device that can run a Web browser, such as a smartphone, tablet, or computer. Using the interface, you or your dealer can monitor the heatsink temperature and fan speed, as well as configure the unit to send out e-mail notifications (up to three addresses) if its onboard diagnostics detect any faults. Furthermore, if there’s ever a software upgrade for the amplifier, you can have the amp update its software from the Krell servers with the push of a button.

The Fun Begins

Once I installed the seven-channel Chorus 7200, I hooked it up to my Marantz AV8801 surround processor and calibrated the sound levels to my speakers: three M&K S150s across the front, four M&K SS150 surround speakers, and two subwoofers—a brand-new HSU VTF-15H MK2 situated at about the midpoint of my right wall and an SVS PC-Ultra sitting in the front left corner of the room.

I lived with the Krell for a few days before really putting it to the test, but I was impressed by its neutral tonal quality out of the gate. Not too bright, not too laid-back. When I finally sat down for some critical listening, I truly started to appreciate how sweet this amp sounded.

I began with an eclectic collection of SACDs, including the Telarc SACD Sampler 1 recording of “Moanin’ ” by Monty Alexander from his Monty Meets Sly and Robbie album. This jazz-meets-Jamaica recording features Alexander gracefully moving his fingers across the keys of a Yamaha grand piano while a smooth rhythm section plays in the background, with Sly Dunbar on drums (and riddim) and Robbie Shakespeare on bass. The song is a lot of fun, with Monty’s piano slightly left of center, Sly’s drums to the right, and Robbie’s tight bass filling the room. Every strike of the piano is clean, and the midrange is full of body. As I pushed the volume higher and higher, the instrumental track never strained the amplifier, and it was able to resolve all of the detail in the music without any obvious coloration.

I could say the same for a number of Red Book CDs ripped to FLAC files on my home server. The Spin Doctors’ “Two Princes” is lyrically challenged for sure, but I’ve always enjoyed the rhythm of the track, especially the percussion beat that opens the song and the guitar solo midway through that instantly transports me back to my early 20s. Wow was the first thought in my mind as the drums kicked to life. Was the band playing live in my room? My reference Parasound Halo A 51 amp is a Class A/B that operates in Class A mode up to a few watts, but I can’t say that I remember this recording sounding quite this crisp and clean, with the voices projecting well into the room and the guitars layered in the background.

Class A amp makers tout their products’ ability to re-create voice, and here the Krell truly shined. Take the start of fun.’s “Some Nights,” where Nate Ruess’ voice kicks off the song with a catchy ballad-like opening that transports you back in rock history to harmonies from groups such as Queen and Styx (those bands also shine on the 7200). With this amp in the chain, Ruess’ melody came alive with seemingly limitless dynamics, a 3D-like soundstage, and amazing detail.

This dynamic performance was readily apparent with every Blu-ray I threw at the Krell. The beach landing in Saving Private Ryan exploded into my room, with each discrete effect placed precisely in the soundstage. And the 7200 brought an uncanny immediacy to softer passages, such as the opening monologue recited by Morgan Freeman in Clint Eastwood’s Million Dollar Baby, where it truly sounded as if Freeman was sitting in the room with me describing Frankie Dunn’s personality and why he wouldn’t train girls to fight. Impressive is an understatement.

A Strong Foundation

I spent the vast majority of my review time using my reference Marantz surround processor, but Krell really wanted me to pair this fantastic amplifier with their entry-level Foundation surround processor ($6,500, an S&V Top Pick of the Year, reviewed April 2014). Michael Fremer raved about the Foundation’s prowess in his review, and I have to concur 100 percent. As good as the Chorus 7200 sounded with my Marantz, the Foundation took it up a notch, and I now have some serious processor envy and a strong case of upgrade-itis due to this combo’s audio muscle. The Foundation isn’t the most ergonomically friendly processor I’ve ever used—setting it up was about as much fun as a root canal—but it’s by far the best-sounding. The soundstage is incredibly convincing: You can’t really tell where the speakers are in the room, and the subwoofer integration is by far the best I’ve ever experienced. Like Michael, when I put my Marantz back in my rack, I felt like I needed a prescription for Prozac to fight the depression I was facing.

Putting It Into Words

The hardest part of reviewing audio equipment is putting what you hear into words that can impart upon the reader just how impressive (or uninspired) a particular piece of equipment was to your ears. In the case of the Chorus 7200—and Foundation—it was six weeks of audio bliss for me and my family. My son actually sat on the couch with me to listen to music because it had never sounded so alive, but when I broke the news that the processor/amp combo cost $16,000, he knew instantly our days of audio bliss were numbered.

The only complaint I have about both the amp and processor is the non-dimming backlight that hides behind the Krell logo on each unit. When I was listening to music, they didn’t bother me one bit, but when the room lights were off and I was trying to watch a movie, the blue LEDs were so bright that I thought they might be able to lead a wayward ship into port after a long journey at sea.

The Chorus 7200 isn’t cheap by any means, but its iBias technology delivers bliss for a relatively low cost per channel when compared against the cost of traditional high-end Class A amps. If you’re in the market for a new amp and are a member of the cost-is-little-object crowd, definitely check out the Chorus 7200 from Krell. You won’t be disappointed.

I've never encountered another amp that combines the Solo's 375 warm, wonderful, involving sound with such a practical and versatile design.

Reviewer: Brent Butterworth

REVIEW SUMMARY: Spending this sort of money on a pair of mono-block amps is a lot, but the Solo 375 delivers a lot. It combines a very smooth, un-solid-state, un-hifi sound with loads of power and dynamics, plus a design that works great whether you're plopping the amps on the floor by the speakers or shoving them out of sight into a closet or equipment cabinet. In fact, I'd go so far as to say I've never encountered another amp that combines the Solo's 375 warm, wonderful, involving sound with such a practical and versatile design.

EXTENDED REVIEW: The Krell Solo 375 mono block demonstrates how the amplifier business has exploded with classes, so many classes that even people in the audio industry often get them confused. Twenty years ago, almost everything was Class AB or Class A. Now it's also common to see Classes D, G, and H. We also see "made up" classes--marketing terms rather than official designations--such as Class I, Class T, and Class AAA. We can find most of the above classes executed with compact, efficient switching power supplies or with traditional analog supplies using transformers and big storage capacitors.

What's the best? That depends on how you define "best," but audiophiles generally believe Class A delivers the best sound quality. With Class A, the amp's output transistors or tubes never switch fully off, so there's no crossover distortion--that ugly, high-frequency artifact caused when an amp's positive-polarity transistors or tubes hand off the signal to the negative-polarity transistors or tubes.

Why isn't everything Class A, then? Because Class A wastes a lot of power. It dissipates the entire output of the amp's power supply either as sound through the speakers or as heat through the amp's heat sink...but mostly as heat, which makes it impractical to use Class A amps in places where heat can build up, such as in equipment cabinets or closets.

Krell's Solo 375 and the other amps in the company's new iBias Series adapt Class A to a world in which electronics power consumption is an increasing concern and the desire to hide the electronics is a top priority for many customers. The iBias technology uses a Class A output stage in which the bias--the ever-present voltage that keeps the transistors turned on all the time--is continuously adjusted so there's only as much as needed for the signal the amp is playing at that moment. Thus, there's not that huge amount of excess power that must be dissipated as heat. Power consumption is lower, less heat sinking is needed, and the amp can be made smaller. Assuming the circuit that controls the bias works as intended, the iBias amps should give you all the sound quality of Class A with none of the drawbacks.

If this technology sounds vaguely familiar, it should. It's similar in ways to Classes G and H, which use a "tracking" power supply that reduces voltage at lower signal levels but typically employ a Class AB output stage. A few years ago, Sony introduced a high-end Class A amp with a tracking power supply.

However, Krell's iBias approach is different. Rather than using the input signal to adjust the bias or the power-supply voltage, iBias tracks the output current. The advantage of this approach is that iBias can optimize the amp's performance for your specific speakers, rather than for an assumed speaker load. Even though iBias should result in more accurate optimization of the amp's operation--cutting the bias "closer to the edge," if you will--my assumption is that Krell chose to supply a comfortable margin of bias voltage to the transistors. Why do I guess that? Because despite the Solo 375's large chassis, it has cooling fans: two thermostatically controlled, low-RPM fans that are managed so that their sound should be inaudible. Clearly there's some wasted heat being generated.

Krell-375-mono.jpgNot only is the Solo 375's amplification technology innovative, but its control system is, too. If the amp is wired to an Ethernet network through the RJ-45 jack on the back, you can access a web page for each amp. The web page shows current operating temperature, fan speed, overload conditions, etc.

The Solo 375 is rated at 375 watts into eight ohms and 600 watts into four ohms. The iBias line also includes the 575-watt Solo 575 mono block, as well as two-, three-, five-, and seven-channel models. All use a similar chassis design, and all can be rack-mounted.

All of the amps in the line use fully balanced, fully complementary circuits through the entire audio path. In essence, each circuit comprises two "mirrored" halves, one of which operates on the positive half of the audio signal and the other on the negative half. This is the way most of the bigger, more expensive high-end solid-state amps are made; it reduces noise and improves the slew rate (the speed at which the amp can go from zero volts to full output).

The Hookup

The moment I unpacked the first of the pair of Solo 375s I received for review, it immediately became my favorite Krell ever. Or at least, my back's favorite Krell ever. Despite its bulk, it weighs just 60 pounds.

For some audiophiles, this will be a problem. Krell has built its history on amps with back-breaking weight, and some Krell enthusiasts cherish the fact that their amps require two strong people to lift. When a visiting headphone manufacturer saw the two Solo 375s on my floor, awaiting setup, he picked one of them up, and an immediate look of shock crossed his face. "That's a KRELL?" he blurted. I explained the whole iBias technology and pointed out the fans, but he just rolled his eyes. I've seen at least one other audio reviewer express similar sentiment.

I put the Solo 375s on thick MDF platforms to elevate them above my carpet. I connected them to two different pairs of speakers: my usual Revel Performa3 F206 towers and my cherished Krell Resolution 1 towers. I don't often use the Resolution 1s because they weigh 200 pounds each and are thus impractical to move in and out of my system often, but I thought the occasion merited the effort.

The Solo 375s got their signals primarily from a Krell Illusion II digital preamp, using either a laptop computer or a Music Hall Ikura turntable (with an NAD PP-3 phono preamp) as the source--mostly the former, using my own ripped WAV files or tunes streamed from Tidal. I used balanced professional Canare Star Quad XLR cables to connect the preamp to the amp and AudioQuest CinemaQuest 14/2 speaker cables.

The whole time I used the Solo 375, including some crank-it-up rock listening sessions and a couple of action movies, I only ever heard the fans when my ears got within a couple feet of the amp.

Performance

I've never been a Diana Krall fan, but it's hard not to be captivated by Wallflower, her new album of covers of classic rock tunes. In just the first 20 or 30 bars of her take on Elton John's "Sorry Seems to Be the Hardest Word," I learned a lot about the Solo 375. I was struck by how intimate and warm Krall's voice sounded. She sounded like she was right in the room with me, about eight feet away, with very little ambience. In fact, based on her voice, I'd almost have thought someone deadened up my listening room with about 30 square feet of Sonex foam. But the instruments sounded huge and spacious, much as in Elton John's original recording. The spaciousness didn't sound like the result of exaggerated treble or phasiness, and it rarely produced a "wow" reaction from me; it merely sounded natural. In terms of sheer involvement, this was a higher level than what I'm used to hearing from my Revels.

You're probably sick of hearing the Mark Ronson/Bruno Mars tune "Uptown Funk," but it happened to come up on the home page of the Tidal app, so I played it just out of curiosity. It'd be easy to dismiss this as insubstantial pop fluff; but, through the Solo 375 and the Resolution 1 speakers, I could hear that it's actually a musical and sophisticated production. The Solo 375's sound suited Bruno Mars' voice, which is smooth but not deep and thus might sound grating through some amps. Through the Solo 375, it sounded positively liquid, yet there was nothing soft about the bottom end; the Solo 375 kept each Resolution 1's dual woofers in perfect control, producing tight, deep, powerful bass tones. Again, the unexaggerated, natural-sounding spaciousness pulled me in.

Based on these and some cuts I'd heard before, I was starting to wonder if the Solo 375/Resolution 1 combo could conjure a really huge sense of space. I found out fast when, on its own, Tidal went straight into Mars' "Locked Out of Heaven." The tune's background vocals almost literally jumped out of the speakers, actually seeming to come from behind me. This is a pretty easy trick for big panel speakers like MartinLogans and Magnepans, but not many systems using conventional dynamic drivers can so convincingly wrap sound around you.

Having heard enough pop singers for a while, I shifted over to one our greatest anti-pop singers: James "Blood" Ulmer. Ulmer's Odyssey album is an idiosyncratic masterpiece, consisting only of drums, violin (often played through a wah-wah pedal), hollowbody electric guitar (with all the strings tuned to A), and Ulmer's inimitable vocal stylings. The Solo 375 got all the spacing right, the natural reverb of the space in which the drums were recorded contrasting perfectly with the much more intimate sound of the close-miked vocals and the reverb-soaked violin lines. Ulmer's vocals also sounded just right: smooth and soulful, but with that little trace of edge that makes Blood Blood. (BTW, I've seen Ulmer live more than any other artist, in widely varying venues and numerous musical settings, so I'm pretty familiar with his sound by now.)

Not surprisingly, the Solo 375 sounded great with rock, too. R.E.M.'s "Pilgrimage," from Murmur, the group's first full-length album, isn't something anyone would mistake for a Led Zeppelin or Deep Purple tune, but all the elements are there: a dynamic, insistent drum sound with a huge-sounding snare and a powerful vocal performance backed by highly reverberant background vocals. (OK, so it has chimes in unison with the guitar. That doesn't mean it's not rock.) The spaciousness that worked so well for the other recordings came through on "Pilgrimage," too, and I especially loved the power of Bill Berry's kick drum and the way his firm snaps of the snare drum came through with loads of dynamics but not a track of edge.

Basically, the Solo 375 sounded like the world's most powerful tube amp. The tonal and spatial character, combined with the warmth of the mids, reminded me of some of the big push-pull tube amps with quartets or octets of KT88 tubes. By and large, that's a good thing.

The Downside

One of the things that made the Solo 375 remind me of a tube amp is that the top end is smooth and not in any way "hifi sounding." Personally, I like that. But I know some audiophiles don't--they want to hear every last little detail in a recording, even if they need a somewhat elevated or edgy treble to get it. If that's you, that's okay. In audio, you gotta go with what makes you happy. Just know that, if what makes you happy is a lot of treble detail (apparent or actual), the Solo 375 probably isn't your amp.

Comparison and Competition

I had a chance to compare the Solo 375 with a couple of other big solid-state amps: Classé Audio's CA-2300 and Pass Labs' X350.5. The latter, incidentally, runs in Class A for the first 40 watts; so, for all intents and purposes, it's almost always running in Class A and thus makes an interesting comparison for the Solo 375. Using a one-kilohertz test tone, I matched the amps' output levels within ±0.1 dB and connected them all to the Resolution 1 speakers.

A particularly illuminating track for comparing almost any kind of audio gear is Trilok Gurtu's "Once I Wished a Tree Upside Down," a light saxophone melody backed by shakers, tabla, and synthesisers. In the intro, the shakers swirl around your listening room; the degree to which they wrap around my listening chair is one way I judge a system's soundstaging capability. With the CA-2300, the treble sounded wonderfully detailed and delicate, but the action all seemed to be taking place in front of me rather than around me. With the X350.5, I got a greater sense of spaciousness and wraparound, but the treble didn't sound as smooth as with the Classé or the Krell. The Krell got the spaciousness just right, but because its treble was smoother/softer, it didn't have quite that level of excitement that the others did.

I listened to some more jazz and pop cuts through all three amps, but the comments were the same thing over and over. All three had ample dynamics and bass; it's mostly the character of the treble and the spaciousness of the sound that varied. Which one will you like better? That depends on your personal taste. But if smoothness and spaciousness rank high on your list of priorities, the Krell seems like the best bet to me.

Conclusion

Spending this sort of money on a pair of mono-block amps is a lot, but the Solo 375 delivers a lot. It combines a very smooth, un-solid-state, un-hifi sound with loads of power and dynamics, plus a design that works great whether you're plopping the amps on the floor by the speakers or shoving them out of sight into a closet or equipment cabinet. In fact, I'd go so far as to say I've never encountered another amp that combines the Solo's 375 warm, wonderful, involving sound with such a practical and versatile design.

You will have a no-brainer basis for a very satisfying musical system that won’t put you in the poor house.

Reviewer: Michael Wong - AudioEnz

These components offer class leading performance unmatched at the price (even after factoring in the ARC power cables). Together they work together extremely well and are more than good enough to see off the imported competition and even leave locally manufactured competitors in their dust. Put aside the operational quirks and you will have a no-brainer basis for a very satisfying musical system that won’t put you in the poor house.

Krell S-300i and S-350a

For Krell fans the good news is the first real New Zealand distributor for Krell (Audio Reference Co) and the launch of the latest entry level components; the S-300i integrated amplifier and the S-350a CD player. These products carry added significance as the first Krell made in China. Unlike many manufacturers who have product made in the PRC, Krell gets double bonus points for clearly naming the country of origin on its product.

The 150wpc S-300i amplifier features a fully balanced circuit from input to output. It will accommodate three single-ended inputs, one balanced and one analogue iPod input. Home theatre pass-through is selected via the remote. There’s provision for third party controllers and a 12V trigger. Old time analogue fans (like me) miss out on the recording loop of earlier KAV integrateds.

The S-350a CDP uses a TEAC slot-loading DVD transport coupled to a Burr-Brown 192kHz/24-bit DAC. There are single-ended and balanced analogue outputs, coax and Toslink digital outputs and matching coax and Toslink inputs, these are limited to 96kHz. Lack of USB connectivity snubs modern digitalists. There is provision to add video playback but it’s limited to standard definition DVD so why bother?

The units share the current Krell pre-occupation with highly polished aluminium faceplates, a large central volume control, tiny control buttons and a large backlit display screen. The tiny buttons look good and have a good positive action, the volume knob looks like metal although is plastic. The displays are functional and legible, making menu adjustments easy.

The metal remote controls are much nicer to use than the front panel controls. They carry the familiar heft of US Krell remotes. The amp remote carries basic CD functions but some operations (like switching between CD and digital inputs) are unique to the CD remote, which only performs dedicated CDP tasks.

Behind the polished fascia it’s easy to see where costs were trimmed. It’s all well made and solid (the amp is 19kg, a lot of that comes from the huge 750VA toroidal transformer; the CDP 11kg) but the design and build quality of the casework and fittings is all a bit generic and not as bespoke as US built Krell. Not surprising as the original KAV-300i retailed at $4500 in 1996, equivalent to ~$6500 in 2011 dollars. The last US Krell integrated (model KAV-400xi) was around the $10,000 mark a year or so ago. These new pieces are only NZ$3995 each.

The Krells were auditioned in my resident system of Well Tempered, Marantz, Denon, Nakamichi, Sony source equipment; Image Petite Performa/Mass speakers; XLO cabling. An original Krell and Jadis integrated amplifiers were on hand for comparison.

Amping up

Turning the S-300i on is like taking a trip back to hi-fi of the ‘80s. Source selection results in the loud snap of a relay, volume changes are accompanied by the tick, tick of the electronic volume control. None of these noises are deal breakers; it’s just a bit of a shock to find a modern solid state amp with as many odd noises as my cranky old tube amp.

Initialy something was wrong as the amp sounded lazy and boring. The culprit turned out to be the stock IEC power cable.

It was only after replacing the stock cable with the AS/NZS compliant ARC cable that the amp revealed its musical prowess. The soundstage is expansive, with solid, focussed and dimensional performers on a well lit stage. There’s wide bandwidth, good dynamics, lots of detail and plenty of control and drive. It’s all clean and smooth with no additive or subtractive colourations. Music is alive but never overwhelming in its immediacy. The amp is composed and beguiling in a manner that eluded earlier Krell integrated amplifiers.

Disc drive

Slide a disc into the S-350a and the player starts up like a DVD player with a cacophony of whirring as the disc is read and readied for playback. Once initialised, transport commands are carried out quickly and silently.

Playback through the balanced connection was superb; full bodied, lively, articulate, involving, with a good sense of scale and space, free of any digital artifice. A large part of this is down to the high quality digital processing,

Country of origin

So is Chinese Krell equal to US Krell? Where it matters most (ie, performance), a definite YES !

The Krell Vanguard Integrated Amplifier is an absolute winner in all areas and easily one of the most musical sounding amplifiers I have had the pleasure of listening to.

Reviewer: Giancarlo.Massironi

REVIEW SUMMARY: "...perform tremendously with a level of performance that I could only simply imagine myself being seated in The Royal Opera House with a live performance, such is the quality of sound on offer."

"I love the look of the new design of the Krell Vanguard and the way the front is machined out of solid Aluminum with the Krell logo embossed on the front so it stands out nicely and gives off a cool blue glow when turned on."

"This time round Krell have thought about the heat dissipation that really made the older KAV-400Xi like a radiator and put in two small fans at the rear of the unit to suck out the heat. They are very quiet when in operation and you cannot hear them when on, and it keeps the amp a lot cooler than the older 400Xi, which is a good thing."

EXTENDED REVIEW: The Krell Vanguard Integrated Amplifier is what I would call its new generation of amplifiers for the 21st century as it has been a while since Krell has brought into production a lower priced Integrated amplifier for the masses such as this one, the last being my own amplifier the KAV-400Xi which in essence was probably the last design from Dan D'Agostino's time at Krell before he left the company, so for me this is really a first look at what Krell can really do with its products without its co-founder at the helm.

I love the look of the new design of the Krell Vanguard and the way the front is machined out of solid Aluminium with the Krell logo embossed on the front so it stands out nicely and gives off a cool blue glow when turned on, it is just a very nice touch to the design and it is taken from its Foundation processor which Krell has already established as a very good product in its own right.

Their are two versions of the Vanguard Integrated Amplifier, one is an Analogue version and the other is the Digital version which I have for review, the standard analogue version is priced at £4,500, and you can later if you want to have it upgraded to the digital version, which adds another £1,350 to the cost of the amplifier.

Features and Build Quality

This time round Krell have been very generous with the feature listing on this Integrated version and as usual the build quality is exceptional for a product of this type and from a manufacturer who has a long history for building high quality products.

The Vanguard has a massive 750VA toroidal transformer and 80,000 microfarads of storage capacitance, this gives the amp an enormous amount of power on tap and it kicks out 200 watts into 8ohms and doubles to 400 watts into 4ohms. This is the same as it was on KAV-400Xi but with the Vanguard it has more capacitance as the older Krell only had 55,000 microfarads of storage, this therefore gives the Vanguard more current storage available and more current when needed.

With the digital board fitted it really does up the spec and makes the standard analogue version into a real powerhouse as it can become your centre hub for all of your music and digital needs. It has an ethernet connection at the back of the unit and also excepts Bluetooth which works exceptionally well, but more on that later.

It also features two HDMI sockets IN and an HDMI OUT so you can use it with a 4K screen as it will allow 4K to bypass through the amp such is the wide bandwidth of its video circuitry. This is great if you want to play PCM music from your Bluray discs in 2 channel format and watch it on your 4K Ultra HD TV. It is also features SDPIF connections, one optical and one coaxial, and then with a USB on the front of the unit if you wanted to connect a USB stick with music on, which it will also play.

The Krell guide suggests to download the App mConnect which is a free software to use on your iPhone or iPad which can then set you up to use the Vanguard to stream all your digital music which you may keep on HDD. I have a lot of my music on HDD and hooked the Ethernet port up and connected straight away and downloaded the App. It could not of been simpler, and then looked for my NAS drive and all my music, you can then play all your music through the Vanguard Amplifier.

This time round Krell have thought about the heat dissipation that really made the older KAV-400Xi like a radiator and put in two small fans at the rear of the unit to suck out the heat. They are very quiet when in operation and you cannot hear them when on, and it keeps the amp a lot cooler than the older 400Xi, which is a good thing.

The preamplifier section of the Krell is a fully discrete Class A which is taken from Krell's top of the line Illusion preamplifiers. Krell's Current mode technology is also used to assure unequaled signal bandwidth.

Sound and Performance

It was immediately obvious to me when I first turned on this amp that it was different to the older KAV-400Xi and that it had a tighter grip on the speakers and seemed to have more raw power available even though the specs on paper give them the same ratings. This amp is a completely new design and with new technology available to Krell they have made good use of it and this amp goes loud, very loud in fact but that is just part of the story.

The Vanguard handles all types of inputs and not just analogue, so for testing I would use more or less all of its ability to get a good idea of how it performs overall. This is an amplifier which is made for the digital age not just for analogue purists but it can be used just for that if so wished as it has all the necessary qualifications to do so.

To start with I will use its analogue inputs and use my Chord DAC just as I did with the KAV-400Xi so that I could see how it performs on equal ground. I am using the same speakers as before and that is the brilliant Wilson Audio Sabrina's which are resident for the time being for reference purposes.

First off I start with the superb recording in DSD128 of MAGNIFICAT by L2 Label. This is just a stunning piece of music and so well recorded that you really need to listen on a good system to get an idea of the superb clarity and passion that went into making this recording. The Vanguard handles this album with superb clarity and takes hold of the speakers with a firm grip but also gives the music the passion that was intended in the recording of this beautiful album, the sound stage is wide and deep and the orchestral music is perfectly timed with the choir whose notes reach and extend well beyond what is normally called upon, but they never once sound too much even at loud levels as the amp has complete control over speakers. This also goes for the church organ which extends to the lower regions of bass where you really feel it. The bass has levels of amazing control from the amp as it shifts with the music which is incredible. Track 5: " Fecit Potentiam " is a stunning track and probably my favorite from the album as the dynamics and transients that it creates are superb and the amp displays complete control over the speakers and likewise the speakers perform tremendously with a level of performance that I could only simply imagine myself being seated in The Royal Opera House with a live performance, such is the quality of sound on offer.

Next up is a track by the Propellerheads and David Arnold On Her Majesty's Secret Service this is a very dynamic and explosive piece of music from the James Bond Theme tune, but with some serious mixing done to it. The Krell storms through this one and takes hold of the speakers with an iron fist, the bass is so fast and dynamic, energising the room with some serious SPL that it does not seem to even feel that it is breaking a sweat, it just gets louder and louder with the room and your ears giving out rather than the amplifier or speakers, just an incredible experience.

Next up I move on to the amplifiers digital side and streaming function via the Ethernet connection, this is where the mConnect App comes into play from your iPad or iPhone, it is a simple App to use and very straight forward once your library of music has loaded up. I flick through my library on the App on my iPhone and bring up Stuart McCallum's new album City and spin the first track which is called City and I am presented with a sound that is rich and musical and immediately get drawn in by the way the amp commands the speakers, it is in high resolution 24bit 48Khz and on the display it shows the bit rate for you. I am surprised at how good the sound is and the fact that it really gets your foot tapping to the music, this is a very musical sounding amplifier with the digital board added and really do not see the need for an additional DAC as the DAC's inside the Krell must be of good standard, I am not sure what they are using, if they are custom bespoke DAC's or they are off the shelf type, but they are very good indeed. I then stream some of Sara K Made in The Shade 24bit 96Khz album and again the amp presents a finely detailed and musical sound stage which offer rich bass and good separation of instruments through the speakers making the rendition of her vocals a joy to listen to.

Lastly I thought I would try the Bluetooth connection to the Krell, now in the past I have never been really bowled over by the performance of some amps with the quality of the music when using Bluetooth. So I was not expecting it to be anywhere near as good as what I had been hearing from the rest of the review as the amp has performed flawlessly. So I go into the settings on my iPhone and select the Vanguard to connect on Bluetooth and switch the amp to the Bluetooth setting and we are connected, then I go into my itunes library and select some music, this time I select the brilliant Steve Smith: The Best of and track 7 The Spirit of DunDun now this is in mp3 quality so compressed so I need to turn up the volume on the amplifier but the I am amazed at the quality. I am presented with all the detail and hard drum beats that Steve Smith is so good at. The quality of the Bluetooth transfer is probably the best I have heard of any amplifier and for quick and easy access to music this is a brilliant option, even though it is not the best quality that you can get out of the amplifier, it is still excellent and a very good feature to have on the Vanguard.

Conclusions and Final Thoughts

The Krell Vanguard Integrated Amplifier is an absolute winner in all areas and easily one of the most musical sounding amplifiers I have had the pleasure of listening to. In two versions you get to choose which one you would prefer but I would highly recommend going for the Digital Vanguard as it just offers everything you could possibly want from an amplifier and it does it very well to, it can become the center hub for an excellent HiFi and multimedia system, and with NAS storage of music being popular now with music downloads you would soon build up a nice collection of music. I love the Krell power that is on offer from the Vanguard as it just seems effortless in every way and drives the Wilson Audio Sabrina's to insane levels without breaking a sweat, the guys at Krell have certainly done a great job with this Amp, highly recommended.

………Giancarlo.Massironi

its power seems limitless regardless of how loud you wish to play your favorite music or how inefficient your favorite speakers.

Reviewer: Andrew Robinson

The 2250e at US$$8,000exc tax (NZ$11,750 incl tax) retail is yet another truly fine amplifier from Krell and while some readers may jump down my throat for singing its praises when there are obviously less expensive solutions out there - it doesn't mean the 2250e isn't worth it. How I justify the 2250e is simple, I don't view it as cost effective Krell amplifier - instead I view it as a less expensive Krell 402e, which is precisely what it is. Even at $18,500 the Krell 402e is still my favorite amplifier; however at less than half the price I find the 2250e to be that much more impressive in terms of overall value.

In years past, Krell hasn't exactly been on the forefront of affordable technology but they have been a leader when it comes to performance and their new 2250e two-channel amplifier furthers the tradition while also managing to be relatively affordable to boot. I say relatively because the 2250e retails for US$8,000 excl tax (NZ$11,750 incl tax), which is still a lot of money;
however for Krell it's a bargain

The 2250e looks similar to Krell's 3250e three-channel amplifier that I reviewed earlier this year - in fact they share the same chassis and construction though the 2250e boasts two-channels of amplification to the 3250e's three. The 2250e measures 17 and a quarter inches wide by seven and a half inches tall by just over 19 inches deep. While nowhere near as heavy as the Krell 402e, the 2250e's 77 pounds is still substantial. Speaking of the 402e, the 2250e takes a page from its larger sibling, offering some of what makes the 402e so magical while doing away with a few of its costlier features - features such as Krell CAST. For more on the 2250e's construction and features please check out my review of the 3250e. The 2250e dishes out 250 Watts per channel into eight Ohms and 500 Watts per channel into four. However, just because the 2250e possesses some incredible power doesn't mean it's a complete monster for it consumes less than two Watts in standby. As far as connections options, the 2250e has both balanced and unbalanced input options as well as a pair of robust five-way binding posts. A 15-amp detachable power cord rounds out the 2250e's list of features.

In terms of sound quality the 2250e sounds identical to its three-channel counterpart, the 3250e. The 2250e's overall sonic signature is one of refinement and neutrality though some may mistake it for being lean and/or forward, which it is not. In reality a lot of other amps are simply more lush. The 2250e's bass is taut with excellent control, extension and detail, not to mention depth while its high frequency performance is smooth and grain free. The midrange is also smooth, with tremendous dimension and weight giving vocals, especially female vocals such as Sarah McLachlan's, a palpable presence. Soundstage-wise the 2250e possesses a vast and open soundstage that it manages to be enveloping whilst still remaining focused. Dynamics, another Krell staple, are solid with the 2250e and its power seems limitless regardless of how loud you wish to play your favorite music or how inefficient your favorite speakers.

High Points
• Despite its somewhat plain Jane looks, the 2250e still manages to be rather attractive and its build quality is on par with that of a Sherman tank - as it should be given that the 2250e is made in the USA.
• The layout of the 2250e's rear panel makes connections a breeze and cable management a snap no matter how thin or robust your chosen interconnects and/or speaker cables.
• The 2250e's sound is eerily similar to that of the 402e, with the 402e possessing that last ounce of refinement over the 2250e. Honestly, one wouldn't be outside the realm of reason to think of the 2250e not as its own amplifier but as a baby 402e for less than half the price, making it the better value.
• While designed primarily for two-channel use, the 2250e excels at playing back cinematic content as well, whether that content is the latest Hollywood blockbuster or something more subdued. Pair the 2250e with its three-channel sibling, the 3250e, and you've got a home theater marriage made in heaven.

Conclusion
The 2250e at US$$8,000exc tax (NZ$11,750 incl tax) retail is yet another truly fine amplifier from Krell and while some readers may jump down my throat for singing its praises when there are obviously less expensive solutions out there - it doesn't mean the 2250e isn't worth it. How I justify the 2250e is simple, I don't view it as cost effective Krell amplifier - instead I view it as a less expensive Krell 402e, which is precisely what it is. Even at US$18,500 the Krell 402e is still my favorite amplifier; however at less than half the price I find the 2250e to be that much more impressive in terms of overall value.

Krell's Foundation brings the listener closer to that ideal than any 7.1 AV processor I have heard to date."

Reviewer: Mark Henninger - imagic

More than anything else, the new Foundation amazed me with its fidelity, which has always been Krell's mission—to deliver the ultimate in sound quality. The vast majority of audio equipment is ill equipped to extract the total fidelity found within these high-resolution yet ubiquitous soundtracks. Krell's Foundation brings the listener closer to that ideal than any 7.1 AV processor I have heard to date.

The fact it's priced at the same level as moderately expensive projectors and speakers makes Krell's AV processor a relative bargain for the sound it produces. The Foundation is a fantastic 7.1 AV processor from a company with a long record of accomplishment, producing some of the best solid-state electronics in the entire audio industry. The Foundation deserves an audition from anyone who is truly serious about home theater and considers it to be within his or her budget.

The 2013 New York Audio Show, held at The New York Palace Hotel, was practically bursting with esoteric audio products; many rooms contained systems priced in the 6-figure range. The overwhelming majority of the show was about 2-channel audio, but Krell was there with the new Foundation AV processor, a moderately priced (by Krell standards) 7.1 surround-sound preamp/processor with a number of features that help differentiate it from rather stiff competition.

One of the more impressive aspects of the Krell HT demo system was the relatively mainstream components used to highlight the new processor's prowess. This system was not a "price no object" Krell showcase—it was more of a "high price is justified by superior engineering" system—yet engineering without compromise is the precise heritage it comes from. After a long talk with Krell President Bill McKiegan, I came away convinced that the new Foundation completely justifies its price tag.

I had the room essentially to myself, and I chose a seat in the second row, perhaps 11-12 feet back from the front stage, just in front of the side surrounds and perhaps 8-10 feet from the rear surrounds. I chose the helicopter attack on the ranch from Skyfall to serve as a reference scene, because I am very familiar with it.

What I heard was quite stunning—a rear soundstage that had the same depth and definition I am used to hearing from the front. I know that is the multichannel ideal, but up until that point it had not occurred to me that the soundfield could truly be seamless and three-dimensional around the full circumference of the system.

I asked McKiegan about the impressive performance of the Foundation, which resulted in a brief lesson about Krell's priorities—specifically, to treat each pair of adjacent channels as an engineering challenge, optimizing those preamps to match each other so they form a perfect envelope around the listener. When the balance between the channels approaches perfection, the audio illusion is seamless. Each "channel pair" in the system becomes its own discrete, high-end 2-channel system, with the same 2-channel qualities that audiophiles are always looking for—the sonic image from two speakers takes on a three-dimensional character, with each sound discretely rendered in its proper position.

Since a 7.1 surround system has seven channel pairs, there are seven stereo soundfields that ideally surround the listener seamlessly. That is exactly what I heard from the Foundation—a rendition of a key scene in Skyfall that was well beyond the capabilities of my Pioneer Elite SC-55 and 7.1 speaker system, which I used to re-watch the same scene later that day. The proof? Krell's Foundation-based system immediately triggered involuntary goosebumps—something that only happens to me when I listen to the very best high-fidelity systems.

I asked why someone would choose Krell for a surround preamp/processor in a world where there are many choices at every level of price and quality. The result was a lengthy discussion about the company's history, the state of 4K and HDMI, and why a Vizio E701i was used in the presentation.

Then there's the issue of room correction. Instead of using something like Audyssey or Trinnov, Krell designed its own algorithms from scratch for the Foundation. Why? As a rule, the company designs and engineers everything in-house, to its own extremely high standards. In this case, the result is called ARES—Automatic Room Equalization System. Here is what the company has to say about it:

Quote:

"ARES analyzes all the speakers in the system, their location, phase, and distance from each other, to determine the best crossover frequency, delay, and more. In addition, ARES incorporates the acoustics of the room to determine unique EQ curves for each of the 7.1 output channels. Unlike other room EQs, ARES can be programmed to only adjust the troublesome low frequencies, leaving high frequencies unaltered."

The Foundation is a decidedly premium product with a price to match: $6500. That is not quite unobtainium to a serious home-theater enthusiast, but at that price point, there is concern about the risk of becoming obsolete, especially since audio and video standards keep evolving. I asked McKiegan how Krell would deal with future changes in video technology, and I liked his answers.

I mentioned that the home-theater market is poised on the edge of a revolution in resolution. 4K is on the way, and HDMI standards will need to be updated to accommodate 4K at higher frame rates than 30p. What happens when that day comes? McKiegan assured me that Krell could upgrade the video components, prompting a discussion of the company's long history of updating and upgrading gear as technology progresses. Faced with evolving standards, buyers of the Foundation will likely have the option of upgrading the existing unit or trading it in toward a newer model that includes the updated components.

So what else sets the Foundation apart? First and foremost is an all-balanced output stage—7.1 channels of it, with two summed subwoofer outputs. Another very nice feature: All ten HDMI inputs are concurrently active, so switching between them is instantaneous. Two-channel audio aficionados can also take advantage of a stereo preamp mode, featuring a dedicated all-analog signal path.

More than anything else, the new Foundation amazed me with its fidelity, which has always been Krell's mission—to deliver the ultimate in sound quality. In my conversation with McKiegan, he touched on the past and future of high-definition audio. SACD and DVD-Audio are simply not mainstream products, but Blu-ray discs with uncompressed high-resolution audio sell in every Wal-mart, Target and Best Buy across the nation. The vast majority of audio equipment is ill equipped to extract the total fidelity found within these high-resolution yet ubiquitous soundtracks. Krell's Foundation brings the listener closer to that ideal than any 7.1 AV processor I have heard to date.

"Super fine and detailed, the Foundation made the instruments appear on a deeper stage and at the same time experience Al Jarreau's vocal artistry to the fullest."

Reviewer: Heimkino.- leading home theater magazine,

The first Foundation processor review has appeared in the June issue of Germany's leading home theater magazine, Heimkino. They awarded the Foundation their reference level rating of 1+. Below are some of the translated highlights -

"Super fine and detailed, the Foundation made the instruments appear on a deeper stage and at the same time experience Al Jarreau's vocal artistry to the fullest."

"The fine pins and needles on the skin where get even more intense, when the Foundation played the first scenes of "Battleship" and "Django Unchained" where it reveals all of its capability repertoire: ranging from extremely delicate to smashing, the processor was able to let the listener enjoy all aspects of home cinema in the finest sound quality."

"The Foundation offers Stereo and Multi Channel par excellence and absolute home cinema delicacy. I am convinced, if you listen to the Foundation for the very first time, you will experience that special tingling feeling, and realize, what is possible in your home cinema with the Foundation."

I can see many people taking the whole system option… and absolutely loving it! As a pairing, the whole is greater than the sum of the parts.

Reviewer: Alan Sircom

It’s that part that brings on the shock and awe. And to listen to a big Krell amp in 2013 is to reacquaint yourself with the shock you had when you first heard what a big Krell can do. I used the Krell duo on the end of several pairs of loudspeakers, but none made so deep an impression as what they did to a pair of first generation ProAc Studio 140. These loudspeakers are very easy on the ear, but can waffle a bit in the bottom end. They often end up being used with nice, soft-sounding low power Class A amps (I routinely use them with a Sugden A21se). But hooking them to a Krell 402 was like changing the speakers for bigger, better models. The bass was far deeper, far better controlled, the dynamic range seemed wide, the sound just hung together better. I could go back, but I’m not sure I’d want to.

It would be easy to just fall back on audiophile recordings to highlight this, but it’s something that transcends those sensibilities. Play something a bit more gritty - some live Rory Gallagher for example – and the loudspeakers ‘nice’ reputation goes out of the window. Play the dark and brooding HDTA_welcome oblivion album and the world is a claustrophobic place with an underlying air of brooding malevolence. They do the same with bookshelves too; the control it bestows on the bottom end is prodigious, whether that bottom end is full range or stops well into the 80Hz region. I don’t think anyone in their right mind is going to partner these babies with a pair of the excellent B&W PM1 top-end standmounters, but if they did, the level of bottom end they could muster would be something close to scary. Of course, when in its natural home of full-range loudspeakers needing a bit of poke to drive them, it really comes into its own.

t’s not just about power and control. Spiderman’s Uncle Ben once said “with great power comes great responsibility” (OK, it was actually Voltaire, but he wasn’t played by Martin Sheen in the movie version) and the Krell delivers both in equal measure. What surprises most people about the Phantom II/Evo 402e combination is just how un-Krell it sounds. There is a perception that big solid-state (as in Krell) means steely sounding, but this has the opposite effect; it’s inviting, almost analogue-like in its presentation, with a top end that goes on forever and sounds lovely doing just that. It’s the ideal foil for ribbon tweeters and can even pull back raspy metal dome tweeters from the brink; neither rolled off nor blunted, this presentation just extends naturally to the upper limits of both ears and speakers. Yes, it’s an analytical sound, but not in the clinical way, and not necessarily so analytical that it’s in constant search of the right components; it’s analytical of musical content, rather than component content. A good recording (HDTA_ again) sounds remarkable, a bad one (Gary Clark Jr) sounds execrable. Honesty does take its toll when playing the worst excesses of the Loudness War. The Krells also exhibit some of that hard-to-pin down ‘musicality’, in that good pieces of music are fun to bop around to. If there’s a bet, it won’t accent it, but neither will it shy away from it. The accent is on detail retrieval, frequency extension and soundstage, but there’s no major absence of enjoyment in the process, despite the entreaties of some of the low power set.

In fact, the downsides for the power amp are not musical ones; it’s a heavy and hot thing. Fully packed, it weighs as much as Oscar de la Hoya did when he won Olympic gold, and pumps out a whopping 6,400BTU/hour at full tilt, concentrated into a box only slightly larger than carry-on luggage. That means you need a team of people to lift it, and extended listening sessions can be seen on your fuel bills. However, it’s great for winter listening though, as your family can huddle round the amplifier while you hear fabulous sounds.

Most of this review has focused on the power amplifier, because it’s the stronger of the two products. But let’s not paint the Phantom II in a bad light; it’s an excellent preamp, exceedingly quiet and exquisitely detailed to boot. And the two work really well together. However, I maintain the Phantom II is icing, while the 402e power amp is the cake. Put another way, I can envisage more people using the power amp with another company’s preamplifier than I can see using the Phantom II with another brand of power amp. But I can see many people taking the whole system option… and absolutely loving it! As a pairing, the whole is greater than the sum of the parts.

Fifty issues ago, RG was distinctly cool on the original 402 and its 202 preamp partner. Whether it’s another set of ears, the changes to the Krell amps or just the way the world has changed since 2006, but I’m happy to report the Phantom II and Evo 402e report a far cleaner bill of health. The power amp in particular is a real star, but both come strongly recommended.

"Without hesitation, I nominate the S-55Oi as a perfect choice for those who want unbridled power yet will not or cannot house two components.

"Without hesitation, I nominate the S-55Oi as a perfect choice for those who want unbridled power yet will not or cannot house two components. It is a beast of an amp, such that I think I've found something currently available to drive even Scintillas. Yes, that kind of beast."

The Editor rarely warns reviewers of a product's strengths or peccadilloes, preferring that we uncover them ourselves. Krell's will delight you because its fascia offers only source select, volume, mute, power on/off (from standby) and a menu display.

Inside is circuitry that recalls the S-300i and a preamplifier section that can be used on its own via a pair of phono outputs at the back, and which is said to boast circuitry derived from Krell's top' of-the-line Phantom preamp. The recipe reflects longstanding Krell practice, with the company's proprietary Current Mode technology, discrete direct-coupled circuitry in a balanced topology, and individual power supply regulation. The interior of the chassis is dominated by a huge toroidal mains transformer leading L/R power amps mounted on heatsinks. There are seven pairs of power transistors per channel!

Much of the weight is attributed to a massive 1750W toroidal transformer that shifts the weight of the amp toward the front. other circuit details include: no negative feedback used' or required'; a volume control consisting of a balanced resistor ladder; one set of balanced XLR inputs along with four single-ended phono inputs: plus a dedicated iPod/iPhone dock. Krell supplies the necessary dock, so there will be no tears for those who arrive home with this chunk o' metal, eager to hear what it does with an iPod, only to find a lack of a dock. This unit is ready to handle whatever you want to feed it. As the conservatively-rated 275wich power output all but doubles when speaker impedance is halved, this begged to be connected to the Apogee Scintillas. I'm deliberately not reporting what happened, but I will say that I'm no longer pessimistic about that speaker's future should there ever be a shortage of circa-1983 Krells on the secondhand market.

But that was then and this is now. Krell was one of the first companies to embrace s-550i integrated amplifier, however, was preceded by two caveats. It might look compact, something one would heft with aplomb and would welcome precisely because it isn't a huge monster of an amplifier, But because Paul Miller is an experienced weightlifter, he tends to forget that the rest of us aren't, and even he was nonplussed by the 5-550i's 29kg. He said,'You may need help in unpacking it.'

MONSTROUS POWER

Paul's other caveat concerned its power capabilities. Never one to dupe his staff into blowing up their speakers, he warned me that, despite it size, the S-550i is 'a remarkably dense amplifier probably the most self-effacing yet monstrously powerful integrated we've ever tested.' Those words echoed around my head the first time I switched it on from standby: a nerve-wracking initial exposure which was exacerbated by a thump of a kind to set one's heaft racing.

Beyond those warnings, all that I was told was that it is Krell's new 'flagship' integrated. replacing the FBI - the S-300i remains as Krell's entry level integrated. The S-550i is a true 'big brother' - the sonic resemblance is uncanny save for a brutal power delivery.

While the front panel suggests minimalism, that's only because all minor settings are relegated to a menu system, eg, balance setting and input trim, which can also be accessed by the full function remote. lf you were put off by units with 50 or more controls - a certain Nakamichi preamp of yore springs to mind, along with a host of home cinema amps - the S-550i

The sound quality of the Phantom III is extremely good and on par with the best of the best from the top audiophile companies.

Reviewer: Brian Kahn,

" The Krell Phantom III is a true-to-the-recording type of product; it doesn't add anything and doesn't take anything away from the signal it is fed. If you feed the Phantom III good-quality recordings, you are going to get great sound.

With the Krell Phantom III, you've got nothing to worry about, as this is one hell of a preamp & DAC (optional) combination with room for potential networking and upgrades in the future.

Without exception, the Phantom III was extremely detailed and portrayed holographic sound-stages with well-defined positions of instruments and vocals within. Bass reproduction was powerful, deep and taut, living up to the long-standing Krell reputation.

Performance

I started my listening with Adele's "Turning Tables" from her album 21 (Columbia). With the Phantom III, I immediately noticed more definition in the strings than with my tubed McIntosh C500 preamp, but also a touch more forwardness in the vocals. Adele sounded more realistic on the Krell and, in some ways, more glamorized with tubes. I am not sure the latter approach sounds better, as I want to hear what the master tape sounds like - what the session sounded like - and the Krell Phantom III took me right there.

Staying with female vocals to see if this was limited to the Adele recording, I played a couple of tracks off of the Scala & Kolacny Brothers' self-titled album (Atco), as I have been listening to this CD a lot lately. The cover of Radiohead's "Creep" came across as more defined with the Krell than the McIntosh. The lower piano notes, in particular, were better defined and had more weight with the Krell in the loop. While the soundstage was similar in size with both preamplifiers, the definition of the individual voices and their spacing was easier to discern with the Krell. As with the Adele album, the choir on the Scala and Kolacny had a slightly more forward, less veiled vocal character.

As this was the first Krell preamplifier with a DAC module or headphone output, I wanted to spend some time evaluating those features as well. I played some discs through my Oppo BDP-95 and compared the analog outputs from the player with the coaxial output using the Krell's DAC. What made this comparison even more interesting for me was that both the Oppo and Krell use the same ESS Sabre 9018 DAC. With Jeff Buckley's "Hallelujah" from his album Live at Sin-e (Sony), I heard greater pitch definition using the Krell's DAC as opposed to the Oppo's.

The Krell's DAC provided a more coherent and integrated picture from top to bottom. In comparison, the Oppo was inconsistent through the frequency range, which made for a less natural presentation. My impressions remained unchanged when I listened to Bucky Pizzarelli's "Dinah" from the album Swing Live (Chesky). The music simply sounded more realistic when I used the Krell's DAC, and the overall presentation was better balanced, less congested and more natural-sounding.

I then compared the Krell's DAC with my reference DAC, the PS Audio PerfectWave MK II (review posting soon). The two were more similar than were the Krell and the Oppo, especially with high-resolution digital files. "Bacchanale" from Saint-Saens' Samson and Delilah on the Exotic Dances from the Opera disc (Reference Recordings, HRx) has been getting a lot of play at my house lately, as it is one of those rare pieces that's enjoyable to listen to while providing a good evaluation of your playback system. Lesser components tend to muddle the details of the string and wind instruments, which detracts from the realism. I am happy to say that both the Krell and the PS Audio did well here. While the PS Audio held a slight lead in the resolution department, the Krell lived up to its family reputation by reproducing the visceral slam of the drums with a touch more weight. The standalone PS Audio DAC has its advantages, but the convenience of having a DAC built into your stereo preamp is quite compelling. If you're looking for a standalone DAC, then you could get the Phantom III without the internal DAC module. Most won't, though, as the internal Krell DAC is that good.

The other new-to-Krell feature that I wanted to check out was the headphone output. I used a pair of old Grado RS-1s, Westone 4R earphones (review forthcoming) and Monster Turbine Pro Copper to do my listening. While the Monster headphones are pretty good, the more revealing (and more expensive) Westone 4Rs and Grado RS-1s were really able to take advantage of the Krell's headphone circuitry. My listening impressions with the headphones indicate that the headphone output is indeed a sonic match for the main outputs. The sound quality of the headphone circuit is on par with some of the standalone headphone amplifiers and much better than the commonly found afterthought headphone outputs on so many products. A pair of the new Sennheiser HD700 over-the-ear headphones did not arrive in time for the review, but I am looking forward to listening to them through the Phantom III and will post a comment with an update.

Conclusion

The Phantom III is Krell's first entry into the world of DAC-equipped preamplifiers, a market segment that is growing in popularity. The modular design of the Krell is a smart way to help consumers protect their investments over time. While the analog portion of the preamplifier is not likely to be outdated or rendered obsolete, DACs continue to make large improvements on a regular basis. With the Krell, you could replace the DAC module with a newer, more advanced design when that time comes without having to replace the entire preamplifier.

The sound quality of the Phantom III is extremely good and on par with the best of the best from the top audiophile companies. During my time with the Krell, I played a variety of Top 40 CDs, acoustic audiophile tracks and a few HDTracks downloads to see how the Krell did with a wider variety of music genres and formats. Without exception, the Phantom III was extremely detailed and portrayed holographic sound-stages with well-defined positions of instruments and vocals within. Bass reproduction was powerful, deep and taut, living up to the long-standing Krell reputation. The Phantom III is a revealing preamplifier on all types of material. In reviews of stereo components, one often hears phrases like "musical," "true to the music" and "true to the recording." The Krell Phantom III is a true-to-the-recording type of product; it doesn't add anything and doesn't take anything away from the signal it is fed. If you feed the Phantom III good-quality recordings, you are going to get great sound. On the other hand, bad recordings will not be romanticised; any harshness or imperfections will be heard.

The Krell Phantom III serves well as both a preamplifier and DAC (an optional extra). Having both capabilities in one component is an added benefit, as it takes less space and saves on the cost of a pair of interconnects. Sometimes the risk in combining multiple products into one component is that one product won't match the level of the other. With the Krell Phantom III, you've got nothing to worry about, as this is one hell of a DAC and preamp combination with room for potential networking and upgrades in the future.

The Evolution 402e is world-class. It isn't cheap, but such quality never is

FOR

Massive power output

impressive bass

stunning dynamic reach and insight

composure

AGAINST

It's truly massive and runs hot

KRELL EVO 402e Verdict:
Rating:100%
There’s no denying that the combination as a whole is deeply impressive. If you value high-volume capability, a massively wide dynamic range and the ability to analyse a recording to the nth degree, this Krell combination is king.

The company’s pre-eminence may have waned slightly in recent years as a result of some tough competition, but with products such as the brand-new Phantom II preamplifier and the mighty Evolution 402e stereo power amplifiers are simple things.

All you need to know about the Evolution 402e is that it’s big – 25x44x56cm – and weighs in at a vertebra–crunching 61kg.

Krell Evolution 402e

It runs hot too, so make sure you have adequate ventilation – otherwise your listening room will feel like a sauna after a few hours of use. Rarely do we come across a manufacturer that quotes heat output, but Krell quotes the 402e’s heat radiation at no less than 6400 BTU – that’s equivalent to a large domestic radiator.

Krell has long been the go-to brand for powerhouse amplification. Since its inception back in 1980, the company has consistently designed power amplification that can drive even the most difficult speakers with ease. The Evolution 402e is no different.

Krell Evolution 402e: Tech specs

Let’s look at the figures. The 402e delivers a speaker-melting 400W per channel into a conventional 8-ohm load and continues to follow the amplification ideal by doubling power output as impedance halves. The company even quotes 1.6kW into a 2-ohm load: that’s impressive.

This readily translates in practice. We tried a range of speakers, from Tannoy’s DC6T SEs all the way through to the likes of ATC’s SCM 50s, spending the most time with B&W’s terrific 800 Diamonds.

In each case this Krell combination sounded totally at ease and in command, driving even the relatively difficult load of the 800 Diamonds to high levels without the slightest hint of effort or fuss.

It’s this sense of utter control that most impresses. Every instrumental strand has a distinct place and it’s not disturbed by anything else that happens around it, no matter how complex the musical arrangement gets.

Krell Evolution 402e

Krell Evolution 402e: Sound quality

Even demanding music such as Stravinsky’s The Rite of Spring is shrugged off with ease, as though the amplifier doesn’t even have to try in order to deliver those vicious dynamic swings or organise the mass of instruments into a meaningful whole. It’s all about stability and control.

Some listeners may not take to the Krell’s regimented approach. There’s no sense of the amp adding excitement, which of course is how it should be, but equally there’s no denying that this combination, particularly the preamp, underplays rhythmic aspects of music.

The momentum of Major Lazer’s Pon De Floor is a touch diluted, even if the power and overall punch is not. That said, this combination counters with mesmerising transparency and the ability to dig up the tiniest of details without losing track of the whole.

Krell Phantom II

The most impressive example of this is in Arvo Part’s Litany, where the Krell’s astonishingly wide dynamic reach, low noise floor and top-class resolution all come to the fore. It’s with music such as this that these Krells move from being very good to simply stunning.

The Phantom II preamp is, of course, very much part of this. While not the star of this combination, its resolution, wide and stable sound staging and tonal evenness is much appreciated.

Krell Evolution 402e: Verdict

There’s no denying that the combination as a whole is deeply impressive. If you value high-volume capability, a massively wide dynamic range and the ability to analyse a recording to the nth degree, this Krell combination is king.

KRELL DUO 300 - Winner of Hi-Fi News Editor’s choice award

Reviewer: Ken Kessler

The Krell showed blissful attack with authentic decay, and just the right amount of dryness with the percussion that opens ‘Up On Cripple Creek’. It picked up the snap of the percussion, the kick-drum air movement, with true ‘feel’. Yeah, this is a Krell, alright.

Salvation came from Lou Rawls’ At Last [Blue Note], a bit of recording perfection. It was suitably silky, Rawls’ vocals were languorous perfection, while Dianne Reeves sang as clear as a wine glass from Zalto.

Krell’s new iBias range is claimed to be more efficient, or less power-hungry, than pure Class A. Paul Miller suggests that iBias is a modern take on the popular sliding bias circuits of the 1980s. So what is the motivation for it?

Statements from the company suggest that Krell is doing its part to modernise the high-end, to increase its appeal to audiophiles who are not comfortable with bulky intrusions into their living spaces in a manner acceptable in the past. And yet nothing differentiates the Duo 300, physically, from hundreds of other ball-buster amps.

It’s a big, metal-cased block, with the usual back panel fittings. Yes, the styling is tasteful – but there’s only so much you can do with an amplifier’s looks. This is a Krell by any name and any measure. Which is as it should be.

What does differentiate the Duo 300 and its siblings from the mainstream – though other companies are fitting web links, too – is the Ethernet connection, so each amplifier can be accessed on its own web page through any device that can run a browser, eg, an iPad.

The user can then view heatsink temperature, fan speed and other information. This will also provide alerts for conditions like overheating, fan failure and shorting of the output terminals.

Blissful attack

Finding something suitable to play through the Krell for the crucial, initial impression, we chose vinyl in the form of The Band’s eponymous second LP on MoFi. In part, it’s because of the astonishing bass and that incredible drum sound, but primarily because we love the album, period!

Lou Rawls’ At Last [Blue Note], a bit of recording perfection. It was suitably silky, Rawls’ vocals were languorous perfection, while Dianne Reeves sang as clear as a wine glass from Zalto.

If we seem to lack just a little in enthusiasm here, it’s only because the last Krell product we reviewed blew us away: the astonishing S550i integrated (so it should at 500w! - model since discontinued)

The Duo 300 is certainly a good amp, but our exposure to assorted Constellation masterpieces and six months with a D’Agostino Momentum Stereo – all much more expensive than a Duo 300 (at 3 to 5times the price!) – have altered expectations of modern solid-state amplification, regardless of the Class of operation, price, or any other respects.

Consider, though, that the Duo 300 is an easy product to live with in many ways, not least the cool running and easy set-up. Moreover, there is a bonus for those who harbour insecurities about massive high-end power amps, thanks to its on-line nanny.

Verdict

Assuredly solid-state in its demeanour, Krell’s Duo 300 doesn’t, for a moment, suggest the (sonic) warmth of a true Class A amplifier likes its ancestors … which may be music to the ears of those who can’t abide ‘valveness’. this one is for rockers.

.....Ken kessler

Awards

Hi-Fi Choice Best of the High End award - 2011

Krell is one of the defining high-end brands and the Cipher is a classic example of what it’s capable of when pulling out all the stops. This is a technological showcase that is designed to extract the absolute maximum from both CD and SACD, including multichannel discs. No expense has been spared on the lavishly finished casework, the extensive power supply arrangements and the very sophisticated balanced DAC arrangement. The result is a superlative performer.

KRELL CONNECT - awarded Hi-Fi NEWS magazine's Highly Commended status.

Great press continues for our latest model range. The Krell Connect Network Streamer is featured in the March, 2014 issue of Hi Fi News & Record Review and was awarded the magazine's Highly Commended status. John Bamford eloquently describes the sound quality and the classic Krell build quality we incorporated into the Connect. Please pick up a copy and read the full article or read some of the highlights below.

"...highlighted the Connect's delightful midrange purity and outstanding bass extension, with no bloat or overhang. Image scale and focus were exceptional, the musicians presented as a seamless spread of images across the soundstage. It sounded magical at 16/44.1but simply fabulous at 24/192, with improved image depth and more finely- described harmonic textures.

"The Connect is an extremely supple and expressive digital player. With good recordings it delivers really meaty and deeply extended bass, and refined high frequencies that lack any sense of hardness or fatiguing glare."

"...showed just how capable the Connect's DAC is at delivering the feel of a performance, preserving both the musical balance and dynamics..."

"of Carlos Franzetti's The Jazz Kamerata...so much space you feel you could walk up to the jazz ensemble and shake hands with the musicians in turn, sounded exquisite.

Krell

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