Ideally, through the medium of a synergistically balanced set of high-resolution components, we seek to re-create an acoustic event with a palpable sense of realism—as in timbre, dynamics, room cues, and dimensionality. Have I ever experienced a system commensurate with the experience of sitting 12th-row-center at Carnegie Hall for Boulez conducting Stravinsky? Close, but...

Ideally, through the medium of a synergistically balanced set of high-resolution components, we seek to re-create an acoustic event with a palpable sense of realism—as in timbre, dynamics, room cues, and dimensionality. Have I ever experienced a system commensurate with the experience of sitting 12th-row-center at Carnegie Hall for Boulez conducting Stravinsky? Close, but...

Ideally, through the medium of a synergistically balanced set of high-resolution components, we seek to re-create an acoustic event with a palpable sense of realism—as in timbre, dynamics, room cues, and dimensionality. Have I ever experienced a system commensurate with the experience of sitting 12th-row-center at Carnegie Hall for Boulez conducting Stravinsky? Close, but...

Ideally, through the medium of a synergistically balanced set of high-resolution components, we seek to re-create an acoustic event with a palpable sense of realism—as in timbre, dynamics, room cues, and dimensionality. Have I ever experienced a system commensurate with the experience of sitting 12th-row-center at Carnegie Hall for Boulez conducting Stravinsky? Close, but...

Ideally, through the medium of a synergistically balanced set of high-resolution components, we seek to re-create an acoustic event with a palpable sense of realism—as in timbre, dynamics, room cues, and dimensionality. Have I ever experienced a system commensurate with the experience of sitting 12th-row-center at Carnegie Hall for Boulez conducting Stravinsky? Close, but...

Ideally, through the medium of a synergistically balanced set of high-resolution components, we seek to re-create an acoustic event with a palpable sense of realism—as in timbre, dynamics, room cues, and dimensionality. Have I ever experienced a system commensurate with the experience of sitting 12th-row-center at Carnegie Hall for Boulez conducting Stravinsky? Close, but...

Ideally, through the medium of a synergistically balanced set of high-resolution components, we seek to re-create an acoustic event with a palpable sense of realism—as in timbre, dynamics, room cues, and dimensionality. Have I ever experienced a system commensurate with the experience of sitting 12th-row-center at Carnegie Hall for Boulez conducting Stravinsky? Close, but...

With its latest series of FPB (Full Power Balanced) amplifiers, Krell is taking careful aim at the <I>seam</I> between classic high-power two-channel systems and quality multi-channel installations where sound is yet paramount. Nevertheless, Krell founder Dan D'Agostino was adamant: Krell's Class A components were designed for music playback. "I'm a purist, like you, Jonathan!" he told me.

With its latest series of FPB (Full Power Balanced) amplifiers, Krell is taking careful aim at the <I>seam</I> between classic high-power two-channel systems and quality multi-channel installations where sound is yet paramount. Nevertheless, Krell founder Dan D'Agostino was adamant: Krell's Class A components were designed for music playback. "I'm a purist, like you, Jonathan!" he told me.

With its latest series of FPB (Full Power Balanced) amplifiers, Krell is taking careful aim at the <I>seam</I> between classic high-power two-channel systems and quality multi-channel installations where sound is yet paramount. Nevertheless, Krell founder Dan D'Agostino was adamant: Krell's Class A components were designed for music playback. "I'm a purist, like you, Jonathan!" he told me.