The KRC-2's measured line-input input impedance was 50k ohms unbalanced, 100k ohms balanced. Though this is higher than earlier generations of Krell preamplifiers, it will reduce the loading on source components. The measured voltage gain was nearly twofold (5.45dB), increasing to fourfold (11.28dB) with the "gain" switch engaged. Over the 60dB operating range of the volume control, the channel balance was found to be generally better than 0.05dB. This is an excellent tolerance, defined by the use of precision discrete-resistor arrays. Balanced and unbalanced…
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The Krell KRC-2 can be regarded as a remote-controlled successor to Krell's successful KSL preamplifier of a few years back. The outboard Krell Phono Equalizer (KPE) is a separate box powered from the KRC-2. Priced at $850, it contains a printed circuit board very similar, in fact, to the $499 unit that can be fitted within the KRC. The KPE and KRC phono stages are well-designed universal units; if someone has the need for a stand-alone phono equalizer of Krell KRC standard, a separate power supply may be purchased for the KPE. It is also an advantage to be able to locate the KPE head…
Sidebar 2: System
A wide selection of ancillary components was available for this review. Comparison preamplifiers ranged from the Audio Research LS-5 to Krell's own KRC, by way of a Conrad-Johnson PF1. Power amplifiers included the Audio Research VT150, the Krell KSA-100S, Meridian 605, Naim NAP250, and Conrad-Johnson Premier Eleven. Loudspeakers used were the Apogee Mini Grand system, Wilson WATT 3s/Puppy 2s, Quad ESL-63s, and Epos ES-11s.
Digital sources included the PS Lambda and Reference Link combination, the Krell MD10 and Reference 64 combination, an Accuphase DP70V, and…
Sidebar 2: Measurements
The KPE proved to have versatile input facilities. Both moving-coil and moving-magnet settings featured low noise levels. The measured S/N ratio was 73dB for moving-coil (CCIR-weighted ref. 1kHz, average-responding meter), and even better for the higher signal level delivered by a typical moving-magnet cartridge. Stereo separation was better than 85dB at low- and mid-frequencies, and very satisfying higher up, typically being 68dB at 20kHz. This is better than the KRC-2.
Channel balance was ±0.05dB, a very high precision indeed. As is customary these days…
Wes Phillips reviewed the KPE Reference in June 1997 (Vol.20 No.6):
When I reviewed the Krell KRC-HR in October '96 (Vol.19 No.10, p.242), I reviewed it as a line-stage preamplifier. This was a trifle unfair, as the sample I had on hand contained Krell's Reference Phono Board—a product also available as the standalone KPE Reference. My long-time reference turntable, a Linn Sondek LP12 with a Naim Armageddon power supply, is outfitted with a Naim Prefix phono section, which brings the cartridge output up to line-level—so I had to wait until I had a standard turntable on hand to evaluate…
Sidebar 3: Wes Phillips' Associated Equipment
Analog Front-End: VPI TNT Mk.III turntable, VPI JMW Memorial tonearm, van den Hul Grasshopper or Transfiguration Temper phono cartridges.
Preamplifiers: Krell KRC-HR, Conrad-Johnson Premier Fourteen.
Power Amplifiers: Conrad-Johnson Premier Twelve, Krell Audio Standard monoblocks.
Loudspeakers: Hales Concept Five, MartinLogan SL-3.
Interconnects: MIT balanced 350, Cardas balanced phono.
Speaker Cables: Kimber Black Pearl, MIT 850, AudioQuest Crystal/Argent bi-wire.
Accessories: The Shelf by Black Diamond Racing, Mark 3 (…
Sidebar 4: Reference Measurements
The internal KPE Reference board was measured with the phono impedance and gain settings used by WP in his review. (All phono measurements were taken at the KRC-HR's tape outputs, as is our normal practice.) The phono input impedance measured just under 126 ohms and the unit was noninverting from the phono inputs to the tape outputs. Voltage gain measured 66.8dB at 1kHz. The S/N readings were 62.5dB (unweighted, 22Hz–22kHz), 55dB (unweighted, 10Hz–500kHz), and 73.9dB (A-weighted), these all excellent. Reducing the voltage gain to the 58dB gain setting…
Sidebar 5: Specifications
Description: Phono preamplifier available in two versions, one for use in the Krell KRC-HR preamplifier, one as a standalone phono stage. Original KPE powered by the KRC-2. Frequency response/RIAA error: 20Hz–20kHz, ±0.1dB. Voltage gain (at 1kHz): 58dB–76dB in 6dB increments. S/N Ratio: 80dB, A-weighted. THD: <0.1%, 20Hz–20kHz. Crosstalk: <–80dB. Input impedance: adjustable, 10 ohms to 47k ohms.
Dimensions: 7.125" W by 2.275" H by 12" D (Reference); 8.4" W by 2.5" H by 6.8" D (Standard). Weight: 7 lbs, standalone version (power supply weighs 9 lbs).
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Ars-Sonum is a Spanish audio company that, as far as I can tell, makes only one product—but it's a doozy (footnote 1). The Filarmonía SE is a tube integrated amplifier that is, in many ways, an homage to Dynaco's iconic Stereo 70 power amplifier of 1959, but the Filarmonía is by no means a slavish copy. Get down to specifics, and it's actually more of a clean-sheet-of-paper design.
I first saw the Ars-Sonum Filarmonía some years ago, in a hotel-room bathroom at a Home Entertainment Show in New York; perhaps it was 2004. (That venue was not chosen for its acoustics, I can assure…
Palkovic reports that a hum not occasioned by power-line problems that has taken that long to work itself out had happened only once or twice before with the Filarmonía SE, and further, that when he put the first couple of dozen hours on the amplifier on my review sample at his factory, it was dead silent.
As you can tell by looking at the photo, the Filarmonía SE is quite handsome. The quality of the chassis work is extremely high, but it is a retro or nostalgic quality, not the modern high-tech feel you get from Nagra or Sound Devices. The Filarmonía looks like what a Stereo 70 might…