Krell S300i Integrated amp 2x150w w/iPod connectivity
Original: NZ$ 3,995.00 (incl. GST) Saving: NZ$ 1,000.00 (incl. GST)
The Leader in Audio Engineering Chosen by Auckland Audiophile Society as their reference integarted amp for their music evenings
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.
Home Theater Review
"You get the most audiophile bang for your buck... while delivering audiophile power with Krell style."
Sound and Vision
"A great-sounding, reasonably priced analog two-channel integrated amp from a high-end brand that many people thought they would never be able to afford - and it's got an iPod interface, too"
The Absolute Sounds
"At 43 pounds, it outputs 150Wpc and doubles that rating into 4 ohms thus likely making the S-300i the most powerful amp in this price range."
What HiFi:
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.
The S-300i is the first Krell integrated amplifier to feature iPod connectivity and extends the award winning tradition of audiophile grade integrated amplifiers.
A low profile chassis fronted by an elegantly finished silver Aluminum front panel hints at the potent circuitry hidden within its walls. Small in stature but big in performance, the S-300i integrated amplifier develops 150 W into 8 Ohms and 300 W into 4 Ohms. Employing a massive 750 VA toroidal transformer and 38,000 microfarads of capacitance guarantees huge power capability for maximum dynamic impact. Both balanced and single-ended inputs are provided, and the Theater Throughput™ mode, developed by Krell, simplifies integration into home theater systems. Robust WBT binding posts provide superior loudspeaker cable termination. New for the S-300i is direct connection for all generations of Apple iPods /iPhones with complete control of the iPod functionality via the included remote control. Unique for the category, the S-300i taps audio from the fully differential output included in the internal DACs of iPods/iPhones and maintains this balanced signal throughout the circuitry.
The S-300i features the latest Krell Class A, direct coupled design, and fully balanced preamplifier circuitry for the lowest noise reproduction possible. Krell Current Mode provides unequaled bandwidth for the most revealing playback of today's high resolution music sources. Direct coupled circuitry eliminates impact-robbing capacitors from the signal path and an elegant, custom-machined level control adjusts volume.
The included solid aluminum remote control replicates all front panel options as well as providing control for a connected iPod/iPhone. RS-232 is also included for inclusion in advanced control systems.
Specifications
Reviews
Output power
150 W RMS per channel at 8 Ω
300 W RMS per channel at 4 Ω
Inputs
1 pr. balanced via XLR connectors
3 pr. single-ended via RCA connectors
1 dedicated iPod input via 30-pin connector
Outputs
1 pr. preamp outputs via RCA connectors
1 pr. speaker outputs via gold-plated binding posts
Control inputs
1 RS-232 input via 9-pin D-subminiature connector
1 remote IR detector input via 3-conductor 3.5 mm connector
1 12 VDC trigger input via 2-conductor 3.5 mm connector
Control output
1 programmable 12 VDC trigger output (30 mA maximum current) via 2-conductor 3.5 mm connector
Input impedance
Balanced: 95 kΩ
Single-ended: 47.5 kΩ
Frequency response
20 Hz to 20 kHz +0, -0.14 dB
<2 Hz to 110 kHz +0, -3 dB
Signal-to-noise ratio
>84 dB, wideband, unweighted, at maximum gain, referred to full power output
>93 dB, "A"-weighted
Gain
32.5 dB
Input sensitivity
Single-ended or balanced: 800 mV RMS
Total harmonic distortion
<0.035% at 1 kHz, at 150 W, 8 Ω load
<0.26% at 20 kHz, at 150 W, 8 Ω load
Output voltage
99 V peak to peak
35 V RMS
Output current
15 A peak
Slew rate
50 V/S
Output impedance
<0.080 Ω at 20 Hz
<0.11 Ω, 20 Hz to 20 kHz
Damping factor
>100 at 20 Hz, referred to 8 Ω
>75, 20 Hz to 20 kHz, referred to 8 Ω
Power consumption
Standby: 40 W
Idle: 60 W
Maximum: 1000 W
Heat output
Standby: 140 BTU/hr
Idle: 210 BTU/hr
Maximum: 1600 BTU/hr
Specifications for preamp only:
Gain
6.3 dB (single-ended)
Volume control
Current-mode, 12-bit, discrete R-2R ladder
Input overload
Balanced: 12 V RMS
Single-ended: 6 V RMS
Output overload
8 V RMS (single-ended)
Frequency response
20 Hz to 20 kHz +0, -0.05 dB
<2 Hz to 1.0 MHz +0, -3 dB
Total harmonic distortion
<0.009%, 20 Hz to 20 kHz, at 2 V RMS
Signal-to-noise ratio
>85 dB, wideband, unweighted, at maximum gain, referred to 2 V RMS
>94 dB, "A"-weighted
Dimensions
438 mm W x 104 mm H x 450 mm D
Weight
Unit only: 19.0 kg
As shipped: 23.1 kg
Quality has not been compromised, and the cost advantage has largely been passed on to the customer, providing greater value for money. Taking everything into account: huge power, good load drive, technical accuracy, an intelligent iPod control interface, confidence inspiring build and finish, the channel balance and source volume offset facility, plus the precision volume control, it is well on the way to recommendation. I consider it can operate comfortably as part of complete hi-fi systems costing up to £15,000.
Add in class leading sound quality (for power and price), with a focused, muscular delivery, good clarity and image depth plus tonal neutrality, good dynamics, above average rhythm and timing, plus a stunning dynamic range, and this is a thoroughly recommendable, all purpose design. Even the handset is top quality
The very first thing that impressed me about this ‘first from China’ Krell (origin unambiguously printed on the rear panel), was the sheer mass of the packed unit: 23kg/51lb bodes well for build quality and for the large power rating of the mains transformer. The Editor is wont to comment how often mass, or more specifically density, provides a useful guesstimate of possible loudspeaker performance, particularly when comparing like models in a group test. I have found that this can also be true for audio electronics, except where examples are deliberately built of special lightweight materials.
The central volume rotary encoder has a secondary function as a control and data input for selecting various operating modes, many of which allow the user to customise the inputs, their sensitivity and channel balance offset if required, plus display dim and auto off functions.
Krell’s KID iPod dock featured an analogue, balanced audio interface to an iPod’s multi-pin connection. Costing little more than the KID dock, theS-300i now includes a balanced ‘audio pod’ connection, via a sufficiently long included cable, rather than a physical dock. Like the KID, it allows iPod album and track selection, play, pause etcetera via dedicated keypad section on the main Krell remote control. It’s helpful to be able to see the iPod screen while using these controls.
Krell has provided some revealing data about the £2,400 S-300i which hints at the potential available. Good eco-friendliness is promised by the claimed low 20W standby power, despite the toroidal mains transformer’s large 750VA rating. However my VI meter contradicts this claim, measuring 42W/68VA on standby and 68W/104VA when ‘on’ at moderate volume (i.e. that of an average tungsten light bulb), and rather different from the spec. Nevertheless it is still quite low by audiophile product standards.
On the basis that the mains transformer is larger than found in many good sized free-standing power amplifiers, the 2x150W 8ohms, 2x300W 4ohms power output rating looks conservative, and I’d suspect that more like 200W and 400W/ch respectively will actually be available into real loudspeaker loads, making this a very powerful integrated amplifier indeed.
This model’s US built predecessor, the KAV 300i sold for about £3,000 in 1996, so the cost saving for the new build location has dealt a death blow to nearly 15 years of inflation. While the power output ratings for the old and the new are roughly comparable, the earlier design had four 8,200uF Nichicon reservoir capacitors, a smaller 450VA transformer, and idled at 50W. The new has four 4,700uF reservoirs per channel and of course that much larger toroid. There are double mono secondary supplies and reservoirs with four pairs of high current output transistors per channel. This is not a bridged design.
The surface mount technology gives very short signal paths on the central circuit board. Control of DC offset for signal handling, in particular the fully balanced input, is allocated to a number of high precision Burr Brown OP177 op-amps. Also embedded is the 151-step analogue volume control, an FET-switched miniaturised surface mount precision resistor ladder controlled via a microprocessor and a front panel rotary encoder volume knob. While miniaturised, Krell’s traditional discrete transistor symmetric array amplifier are present. These symmetric DC coupled very wide band stages are essentially immune from slewing with audio bandwidth signals.
Build and finish is very good, like a standard Krell EVOpre-amp. The power switch is on the rear panel next to the IEC mains connection, and the speaker terminal layout is sensible, with easy access ‘WBT style’ heavy duty binding posts, for wire, spade and 4mm plug connections. Some evenings a mild mechanical hum came from the casework: this may be the transformer’s magnetic field exciting the heavy duty steel panel casework, which is securely locked together by plenty of stainless steel socket-head bolts.
Sound Quality
In recent years I hadn’t found the outgoing ‘300i very special musically, with barely above average rhythm and timing and an identifiable solid state quality, a leanness of timbre, some upper mid obscuration, and a sort of ‘blankness’ to the presentation. Right away I knew that the S-300i was a different and better amplifier. From the off there was an open and expressive vitality, a confident reach for dynamic expression, crisply focused definition and confident, assertive control of transient sounds right across the frequency range.
Clearly not laid back, neither did it tip the other way to forwardness and brightness. The stereo depth plane was stable, just a little forward of the speakers, but with fine projection and depth. Focus was particularly good for the class, rivaling some more costly pre-/power combinations including some Krells. Image width was decent, if not ‘super wide’, but groups of musicians appeared well located and remained locked in position.
While it could not be confused with a valve amplifier, its timbre was substantially neutral, generally well balanced and focused, and natural and tidy in the treble. The bass sounded solid, powerful and deep, but just a hint of nasality was heard through the upper mid, the sound on strings showing a touch more ‘rosin’ than our assumed perfection.
It could kick hard and play really loud into loads above 3ohms. The big three-way Eidolons presented no difficulties whatsoever, and this amplifier’s dynamic performance and headroom characteristics were more like those of a significantly more costly and substantial amplifier, punching well beyond its weight. Added to this is an inherently lively and upbeat nature that rates better than much of the competition on rhythm and timing, moving significantly towards the involvement we take for granted from a number of Naim designs. Percussion has a realistic ‘snap and crack’, where other amps in this class can sound a bit muted and lacking drive. Setting the display to ‘auto mute’ added another few marks, and this amplifier certainly merits care taken with cable selection, routing and dressing. With its overall precision, clout and clarity, the S-300i gains a very creditable 45 marks for overall sound quality.
Out of curiosity I also tried the iPod interface, and the Krell handset successfully operated the iPod controls. Sound quality was fairly good (and even better with the main CD player disconnected – some interaction perhaps). Although I fancied that I still preferred even a cheap Panasonic battery CD player to those carefully recorded full res WAV files replayed via my Apple Classic, it was certainly useable for mood music and for less critical situations.
Some critics have commented on a slight background hiss from this amplifier. I found that it was at a low level, and did not vary much with the volume setting, and was not significantly audible with my 87dB/W Eidolon Diamond speakers at my normal 3.5m listening distance. However, some might hear it faintly if closer in, and also with higher sensitivity speakers say 90dB/W or more. I would leave out sensitive horn designs for this reason but check this out with your dealer.
Lab Report
The output is generous, and on test still more than claimed, eg2x190W 8ohms both channels driven and 324W into 4ohms. The very decent 16.5A peak current can drive 3ohm minimum speaker loads to full (4ohm) rated power. Feeding 2ohms, the protection folds back the output to 248W. Maximum per channel short term music duty cycle outputs were 225W 8ohm, 425W 4ohm, and 260W 2ohm. Overdrive of even 6dB remained clean without latching or other misbehaviours, even up to 300W 8ohms at 20kHz. Transformer mechanical hum was low, though there was a trace of hum in the electrical noise floor.
For a typical 10W swept distortion graph, most of the frequency range measured at the inherent noise level of 0.04% or -75dB, while for what it’s worth the intrinsic distortion is substantially less (see graphs). For example the two tone CCIF19/20kHz intermodulation scored -83dB at 1W power and -88dB at 150W. The intrinsic frequency response is wide, barely -0.2dB at 10Hz and 20kHz, while the half power high frequency -3dB point is up at 110kHz. Output impedance averaged a low 0.1 ohms, a little less in the midband, while DC offset was also low.
At volume setting ‘98’ rel 1W, the signal-to-noise ratios were certainly poorer than average with 53dBA, 44dB CCIR (1kHz) and 48 dB unweighted, though supply hum levels were low. I cranked up the input level and with a more normal setting of 49 got 70dBA, 70dB unweighted, and 60dB CCIR which is satisfactory.
Input overload occurs at 5V, +20dB IHF, so do not apply those few high output sources (some CD players, for example). Input impedance is a very source friendly 110kohm, with 130pF of shunt capacitance. Channel balance at higher settings was accurate within 0.047dB at 20kHz, and generally about 0.08dB overall. The volume control has occasional missing codes where a ‘click’ does not result in a volume change, and where the resolution varies with level. At high settings you get 0.5dB steps; in the ‘30s’ the steps are 0.8dB, with larger steps at very low volumes. This is not untypical of these ladder type controls.
Channel separation was an average and more than satisfactory 67dB at 1kHz and 47dB at 20kHz. Output impedance was a very low and consistent 0.13ohms over the frequency range. Output DC offset was also low, with about 10mV of c1Hz low frequency servo or related noise.
One minor defect concerned the screws holding the rear power switch bracket which were loosening on this well used example. Lock washers might be helpful on this fitting.
Conclusions
Quality has not been compromised here by Chinese build, and the cost advantage has largely been passed on to the customer, providing greater value for money. Taking everything into account: huge power, good load drive, technical accuracy, an intelligent iPod control interface, confidence inspiring build and finish, the channel balance and source volume offset facility, plus the precision volume control, it is well on the way to recommendation. I consider it can operate comfortably as part of complete hi-fi systems costing up to £15,000.
Add in class leading sound quality (for power and price), with a focused, muscular delivery, good clarity and image depth plus tonal neutrality, good dynamics, above average rhythm and timing, plus a stunning dynamic range, and this is a thoroughly recommendable, all purpose design. Even the handset is top quality
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, including a DAC and a pending investment in a 65-inch plasma to replace my 50 inch model. I couldn't ask more from a NZ$4500 (incl GST - sales tax) integrated amp 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.
Of the products in my system that I got for my birthday - the NAD integrated amp was one of the most notable components. It was basically a receiver with a nice remote and enough power to blast the artful music Yngwie J. Malmsteen loudly enough for me to try (and I mean really try) to keep up with while also poorly playing my guitar along with tracks like "Far Beyond The Sun" and other D&D fabulous, Nordic-inspired, shred guitar themes. That NAD integrated amp lasted me for years and served as a gateway drug to a lot more audiophila. It didn't take me too long to scrounge up enough money to add a B&K ST140 power amp and grew my system around it until later down the road when I got into more esoteric and expensive equipment. I never thought I would agree with Nancy Reagan on anything but that NAD receiver was the gateway drug to one hell of an addiction.
Additional Resources
• Catch up on the latest Krell news and reviews at HomeTheaterReview.com
• Explore more reference audio brands at AudiophileReview.com
• Argue about the best sounding gear at HomeTheaterSpot.com
• Find out where to audition Krell products
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 $2,500, 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, from the likes of NuForce and others. 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.
Comparison and Competition
In today's market there are a lot of choices for an integrated amp including competition from pretty fantastic AV receivers that can also pull off every trick in the book, from 7.1 DTS Master Audio to 3D HDMI 1.4 pass-through and much more. Some of the best receivers out there that compete in the same space as the Krell are the recently reviewed but far less expensive Onkyo TX-SR608 and the Sherwood Newcastle R-972 receiver at $1,799. Hitting a little closer to home you have to look at products like the NAD C725BEE receiver at $799, the Outlaw Audio RR2120 receiver and looking towards separate components you could look at components like the NuForce Reference 9 v3 power amps and or the Benchmark DAC1 HDR D/A preamp like I used with the AppleTV. On the high end and for way more money - there is always the beefy $18,500 Krell FBI integrated amp, which is truly a beast that can literally drive any speaker that I can think of. At the reference level, it would be wrong not to mention the lust-worthy Krell Evolution 402e amp, which is getting rave reviews everywhere.
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.
Speaking of the remote, it's a total audiophile brick. It's big. It's not backlit. It's hard to use and it weighs a ton. Literally, a $299 Harmony Remote would be better and I could see many using just that for a Krell S-300i based system. In my case, the entry level Crestron worked great via RS232, especially considering the fact that the amp was installed in another room.
The integrated amp is a balanced design but it doesn't offer balanced outputs, which limits you using the Krell S-300i as a preamp as your system grows. The unit does have unbalanced outputs; thus you can use it as a preamp but it's not a balanced preamp per se. Nitpicking, I know.
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 US$18,000 amp a value. Compared to US$30,000 and US$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 US$20,000 to plunk down on an amp to meet their audiophile needs. That includes me. That's why I popped for 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, including a DAC and a pending investment in a 65-inch plasma to replace my 50 inch model. I couldn't ask more from a NZ$4,500 (incl GST - sales tax) integrated amp or be happier with my investment.
No high-end integrated amp can match the functionality and bang for the buck of an A/V receiver since the whole M.O. of receivers is to cram everything you'll ever need into one box. Some people don't always base their decisions on such practical concerns. Whether they're buying a wine, a watch, or an audio component, they seek out the unusual and the unique, the exotic and the elegant. For those who desire such lofty goods but never imagined they'd be able to afford anything wearing the Krell brand, the S-300i will come as a surprise and a delight.
The way I see it, Krell is going after two buyers with the S-300i: the customer who might otherwise choose one of the few stereo receivers on the market or the customer who already has a surround sound system and wants to upgrade its two-channel section. So I decided to shoot-out the S-300i against my current surround sound rig, a Denon AVR-2809ci receiver connected to an AudioControl Savoy 7-channel amplifier.
I did hear a difference between the Krell and the Denon/AudioControl system. What surprised me was how consistent the difference sounded as I roamed through my CD collection.
A fashion designer once said, "Dress the classes, live with the masses. Dress the masses, live with the classes." Recently, Krell seems to have embraced this maxim. Audio enthusiasts know the company mainly for making some of the world's most extravagant amplifiers, such as the US$50,000-a-pair, 450-watt Evolution One. But its latest product, the S-300i integrated amplifier, aims for a completely different (and potentially far more lucrative) group of customers.
The S-300i differs from most Krell products - and most other high-end audio products, for that matter - in that it seems designed to complement normal living environments. At slightly over 4 inches high, its profile rides as low as that of many mass-market DVD players. With only eight tiny buttons and one knob on the front, it looks far more elegant than a typical over-festooned A/V receiver. The S-300i will draw no stares, and I consider that to be a refreshing change from typical high-end audio products, many of which are styled to call attention to their owners' exotic taste in gear.
Krell also designed the S-300i to complement normal listening habits. While audiophiles love turntables and high-end CD or SACD players, average listeners these days gravitate to computers and iPods. To accommodate the tastes of the masses, Krell included an iPod cable. But this isn't a typical stereo cable that plugs into the iPod's headphone jack. Instead, it has a multipin connector that interfaces directly with the iPod's internal electronics. The S-300i's remote even offers rudimentary control of the iPod; you can start it, stop it, and skip tracks.
The S-300i presents so few buttons because Krell has engineered many functions into a menu system. You access the menu through the volume knob, a menu button, and an alphanumeric display. You can use the menu to control balance, input and balance trim, input naming, and several other lesser functions. It can also activate Krell's Theater mode, which lets you use the S-300i to handle the left and right channels of a surround sound system while a surround sound processor or A/V receiver handles all of the other channels.
You can tell from a glance that the S-300i is more robust than any A/V receiver. Even though it has only two amplifier channels, it weighs 43 pounds -more than a lot of receivers with seven amp channels. The chassis is rock-solid and beautifully manufactured. All jacks attach directly to metal panels rather than to a circuit board, which makes them more rugged and reliable. Touch the power button and your room lights will likely dim as the huge capacitors in the S-300i's power supply charge up.
SETUP
Because the S-300i is a two-channel analog product, setup is simple. Just connect two speakers, plug in a few audio sources, attach the iPod cable, and hit the power button. You might want to get into the menu system to name the inputs or tweak the balance setting, but none of those functions is essential.
The one setup complexity that the S-300i poses involves the Theater mode, which requires you to go into the menu and select which input you want to designate for it. Once you connect the front left and right line-level outputs from your receiver or surround processor to that input, you calibrate the levels using the receiver's test tones. To enter Theater mode, just select the input you chose in the menu system. This mode bypasses the S-300i's volume and balance controls. It's a lot like hooking up an external amp.
The downside to the Theater mode is that it occupies one of the S-300i's inputs. The upside is that you can use the
S-300i to listen to any stereo source connected to the receiver.
Krell left off one feature that would have made setup easier for me: a subwoofer output. Lots of audiophiles use subwoofers now, but anyone who wants to use one with the S-300i might face a complicated cabling job or the addition of an external subwoofer crossover. A sub output isn't a common feature on stereo integrated amps.....,
One other caveat: While the S-300i's low profile helps it fit into spaces too cramped for most Krell products, its 171⁄2-inch depth might leave it hanging off the front or back of some shelves and racks.
PERFORMANCE
The way I see it, Krell is going after two buyers with the S-300i: the customer who might otherwise choose one of the few stereo receivers on the market or the customer who already has a surround sound system and wants to upgrade its two-channel section. So I decided to shoot-out the S-300i against my current surround sound rig, a Denon AVR-2809ci receiver connected to an AudioControl Savoy 7-channel amplifier.
I did hear a difference between the Krell and the Denon/AudioControl system. What surprised me was how consistent the difference sounded as I roamed through my CD collection.
I began with my all-time-favorite all-purpose test track, "Train Song," from Holly Cole's Temptation. "Train Song" has it all: brutally deep bass, a soundstage that stretches far beyond the outside edges of the speakers, intricate percussion wandering back and forth, and Cole's clean, clear voice anchoring the anarchy. Through the Denon/AudioControl system, it sounded great. Through the S-300i, it sounded one or two notches better. Instruments such as cabasa and cymbal seemed to take on sonic outlines in front of me. When I closed my eyes, it was almost as if, like the comic-book hero Daredevil, I could sense their position and shape. I tremendously enjoyed this effect, although I'll be disappointed if my newfound power leads to Ben Affleck playing me in a movie.
Steely Dan's "Aja" (from the album of the same name) revealed exactly the same effect: Everything in the recording sounded subtly more vivid. I could hear a little more of the breath in Wayne Shorter's saxophone and Donald Fagen's voice, a little more definition in the bass, a little more clarity in the cymbals and the piano. I found only a few pieces of music where the difference between the S-300i and the Denon/AudioControl system wasn't apparent - mostly jazz cuts that didn't emphasize percussion or bass.
Like Krell's KID iPod dock, the S-300i's iPod interface taps what the company says is a little-known balanced-
output capability of the iPod. In theory, this capability should lower noise and improve performance in other minor ways. I tried connecting my iPod Classic simultaneously through the S-300i's included interface cable and into one of its other inputs through an adapter cable with a 3.5-mm headphone plug on one end and two RCA plugs on the other. When I switched between the two inputs, I did hear a difference, but it was so subtle that I almost didn't bother trying to hone in on it. More focused listening revealed a slightly more detailed treble when I listened through the iPod interface. I detected a faint improvement in midrange clarity, too. These weren't huge differences, but better is always better.
BOTTOM LINE
No high-end integrated amp can match the functionality and bang for the buck of an A/V receiver since the whole M.O. of receivers is to cram everything you'll ever need into one box. But some people don't always base their decisions on such practical concerns. Whether they're buying a wine, a watch, or an audio component, they seek out the unusual and the unique, the exotic and the elegant. For those who desire such lofty goods but never imagined they'd be able to afford anything wearing the Krell brand, the S-300i will come as a surprise and a delight.
"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 & S-350A
For Krell fans Twenty-Eleven sees the first real NZ distributor for Krell (the Audio Reference Company) 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 Krells 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.......... 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.
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) The original KAV-300i retailed at $4,500 in 1996, 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$3,995each.
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.
Turning the S-300i on is like taking a trip back to hi-fi of the ‘80s.
There’s a small thump through the speakers, followed by the gentle buzz of the mains transformer and a low hiss through the speakers.
Fortunately the hiss is at a fixed level and almost totally masked when music is playing. 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.
Something was wrong as the amp sounded lazy and boring. The culprit turned out to be the stock IEC power cable. More evidence of the needed cost cutting to keep the price affordable as the old KAV-300i came with a fat, no-name cable that remains the best sounding stock power cable I’ve ever used. It was only after replacing the stock cable with the AS/NZS compliant ARC cable (avaiable through Audio Reference at only $495ea)) 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.
Slide a disc into the S-350a and the player starts up like a supermarket DVD player with a cacophony of whirring and clanking as the disc is read and readied for playback. Once initialised, transport commands are carried out quickly and silently.
Playback through the balanced connection (single-ended was thinner, less exciting, a bit dull) 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, similar sound was obtained when experimenting with other CD transports.
So is Chinese Krell equal to US Krell ?
Where it matters most (performance), a definite YES !
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.
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.
