Solid State Power Amp Reviews

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Dick Olsher  |  Oct 03, 2008  |  First Published: Aug 03, 1986  |  0 comments
Yet another amp from Colorado! This is the third amp to come my way from that state (the others being the Spectrascan and the Rowland Research), and at this point, after living with it for a couple of months, I'm quite comfortable in declaring the Boulder 500 to be one helluvan amp.
John Atkinson  |  May 17, 2008  |  First Published: Jul 17, 1989  |  0 comments
This review should have appeared more than a few months ago. When I reviewed Linn's Troika cartridge back in the Fall of 1987, in Vol.10 No.6, Audiophile Systems also supplied me with a sample of the Linn LK1 preamplifier and the LK2 power amplifier, which I had intended to review in the due course of things. As it transpired, however, I was less than impressed with the LK2, finding, as did Alvin Gold back in Vol.9 No.2, that while it had a somewhat laid-back balance, it also suffered a pervasive "gray" coloration, which dried out recorded ambience and obscured fine detail.
Michael Fremer  |  May 16, 2008  |  0 comments
Some of the old audio names, such as Eico and Pilot, are gone. Others—Fisher, AR, KLH, H.H. Scott, etc.—have been rendered meaningless by corporate mergers and acquisitions. Yet more than 50 years after their founding, McIntosh and Marantz, arguably the two most prestigious names in American high-quality audio electronics, survive. The products they make today are probably closer in spirit to their original classics of half a century ago than at any time since the early 1970s.
Steven Stone  |  Apr 13, 2008  |  First Published: Nov 13, 1997  |  1 comments
We all have biases. The trick is knowing your biases so they don't get in your way. Mine are pretty obvious. I don't like "fussy" gear that demands special care and feeding. I'm lazy—I want to just turn stuff on and begin listening. Perhaps that's why I have a positive bias toward Nelson Pass's designs. They're reliable, untweaky, and usually sound good.
J. Gordon Holt, Various  |  Apr 11, 2008  |  First Published: Oct 11, 1991  |  0 comments
To high-end audiophiles, the Boulder 500 amplifier and its less expensive derivative, the 500AE (Audiophile Edition), would not seem to be "high-end" designs. They are designed around op-amps (felt by many to be generally poor-sounding), they have scads of negative feedback (which is perhaps why op-amps sound bad), and they have only a moderately hefty power supply. Why, then, is Stereophile publishing a review of an op-amp–based power amplifier? Read on...
Larry Greenhill  |  Mar 26, 2008  |  First Published: Nov 26, 1994  |  0 comments
I think every audio reviewer hopes for a surprise—when a good, but not outstanding, product is refined by the manufacturer into something special. The review then becomes an exciting discovery, reaffirming the pleasure one takes in good audio, and in listening to music being reproduced as it should be. It makes the listening exciting and the writing easier. The Classé Fifteen solid-state stereo amplifier is just such a surprise.
Larry Greenhill  |  Jan 31, 2008  |  0 comments
It was a hot, humid, New York City evening in early August, and I was thankful to be sitting in the air-conditioned dark of Avery Fisher Hall, up in the Second Tier, for a Mostly Mozart concert. Listening to cello soloist Alisa Weilerstein in Osvaldo Golijov's hypnotic Azul, I was suddenly jolted by an explosive mix of primitive cello sonorities, accordion, and staccato riffs on ethnic percussion instruments. My thoughts turned to the importance in music of both power and delicacy, and of how Bryston Ltd.'s 28B-SST, a 1000W monoblock power amplifier, was designed to address both.
Fred Kaplan  |  Dec 23, 2007  |  0 comments
Boulder Amplifiers, named after the Colorado town where the company has resided since its founding 23 years ago, makes some of the most elegant-looking solid-state amps around. Chassis are anodized, aircraft-grade aluminum with rounded edges, machined and finished in-house. The two models reviewed here, the 810 line preamplifier and the 860 power amplifier, each have a sleek, compact build—stacked atop each other, the two stand just over a foot high—owing to extremely efficient packing of the circuitry inside. These are the company's "entry-level" electronics, but there's nothing cheap about them—the preamp retails for $6900, the amp for $8500—and for all their economical size, they look like luxury goods as well.
Thomas J. Norton  |  Oct 07, 2007  |  First Published: Dec 07, 1990  |  0 comments
"Tomorrow we'll go over to Larry Archibald's house and pick up the Threshold amplifiers."
Robert Deutsch  |  Sep 30, 2007  |  First Published: Sep 30, 1994  |  0 comments
The Federal Express delivery man was having a hard time carrying the box containing the Krell KSA-100S up the front steps.
Michael Fremer  |  Sep 16, 2007  |  0 comments
How much amplifier power do you need? Most audiophiles figure a maximum of a few hundred watts per channel—beyond that, you're wasting your money or showing off. Others think that anything more than a few watts will mess up an amplifier's musical coherence or "purity," so they stop there and find uncommonly sensitive speakers, usually compression horns with cone woofers.
Martin Colloms  |  Sep 09, 2007  |  First Published: Jun 09, 1994  |  0 comments
There's always a certain amount of jockeying for position at the very top of the High End. Every few months, a new star burns brightly, getting all the attention. While the constant turnover at the cutting edge helps to define the state of the art, audiophiles should keep their eyes on the longer term. It's a company's track record—examined over a period of years—which defines its position in the market and the credibility of its products.
Anthony H. Cordesman, John Atkinson  |  Sep 09, 2007  |  First Published: Sep 09, 1985  |  0 comments
Some readers may feel that it is pushing poetic license beyond reasonable limits to call the Krell KSA-50 a "new-wave" amplifier. It has, after all, been around for several years. The Krell KSA-50 is new-wave enough, however, to be an incredibly stiff class-A design, rather than a pseudo–class-A circuit, and its 50 watts per channel are supported by enough of a power supply to drive an arc welder. You get about 70 watts of RMS power with 8 ohms, 150 watts with 4 ohms, and sufficient watts into 2 ohms to threaten my load resistors. There is almost enough power to drive a pair of Apogee Scintillas at their ohm setting—though I'd prefer at least the Krell KSA-100.
Lewis Lipnick, Various  |  Sep 02, 2007  |  First Published: Jan 02, 1991  |  0 comments
I still have fond memories of my first Krell amplifier, a KSA-50. Back in those days (date purposely omitted), my principal source of audio equipment reviews, aside from Stereophile and The Absolute Sound, was Hi-Fi News & Record Review, which I read voraciously from cover to cover every month. One fateful day while sitting by our community swimming pool, I happened upon an enlightening review of the KSA-50 written by none other than our own John Atkinson, editor of HFN/RR at the time. His words describing "the steamroller-like inevitability of the bass with this amplifier" haunted me for weeks, until I got up the nerve to audition, and ultimately purchase, my first Krell product.

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