How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).

How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).

How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).

How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).

How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).

How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).

How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).

How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).

How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).

How important is the use of balanced circuit typology in the design of preamplifiers and power amplifiers? Ask the top audio designers (I didn't, but just play along, okay?) and you'll get a wide variety of opinions. Some reject the balanced approach outright, arguing that it represents a needless duplication of circuit components, and that better results can be achieved if the same attention and resources are devoted to perfecting a single-ended circuit. In his provocatively titled article "<A HREF="http://www.stereophile.com//features/335/">Balance: Benefit or Bluff?</A>" (<I>Stereophile</I>, November 1994, p.77), Martin Colloms questioned the advantages of balanced designs, suggesting that while the results may be better in certain respects (<I>eg</I>, noise level), the reproduced sound may suffer in other, perhaps more important ways (<I>eg</I>, rhythm and dynamics).