Martin Colloms

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Martin Colloms, Wes Phillips  |  Oct 28, 2007  |  First Published: Jun 28, 1994  |  0 comments
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 amplifier in a hum-free zone near the LP turntable.
Martin Colloms  |  Oct 28, 2007  |  First Published: Jun 28, 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.
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.
Martin Colloms  |  Aug 10, 2017  |  First Published: Jul 01, 1991  |  3 comments
The KSL ($1800, $2100 with phono section) is a one-box line controller/preamplifier, just 2.25" high, with a nominal voltage gain of 10dB, or 3x. Despite its moderate price, the KSL is distinguished by having balanced outputs (via industry-standard XLR connectors), as well as two balanced inputs. Conventional single-ended, unbalanced outputs are also available via a pair of gold-plated phono sockets. Two unbalanced inputs are provided, plus a third via the tape monitor switch.
Martin Colloms  |  Aug 03, 2017  |  First Published: Jul 01, 1991  |  0 comments
There seems to be an inexhaustible supply of amplifiers; it's hard to choose which ones to review. Big-name operators are difficult to ignore, while smaller outfits often complain of neglect. In the case of a new and moderately priced introduction from Krell there's no need to find excuses: it's available, it's likely to be important judging from this company's track record, and we'd all like to see just how well it performs.

This review features the KST-100 stereo power amplifier. Initially this product was differentiated from the more expensive Krell components by having an all-black livery. However, as customers showed a preference for Krell's traditional anthracite finish, the KS series is now also available in this finish.

Martin Colloms, Michael Fremer  |  Jun 20, 2012  |  First Published: Jun 01, 1995  |  0 comments
London phono cartridges still carry the famous Decca name (even if only in parentheses), but they are now produced by John Wright, a precision engineer and ex-Decca employee. Wright (not to be confused with his IMF and more recent TDL loudspeaker-designer namesake) was assigned the rights in 1989 by Decca's Special Products division (footnote 1), when the company's new owner, Racal, decided that they didn't want to be involved in the manufacture of audio equipment. Wright worked for 20 years in Decca's phono-cartridge division, where he gained a wealth of experience. As well as manufacturing the current range of London cartridges, he is also responsible for servicing and overhauling older Decca models.
Martin Colloms  |  Dec 31, 2009  |  First Published: Dec 31, 1990  |  0 comments
A freelance reviewer's workload is erratic. On the odd occasion one might have a few moments' respite, while at other times the coincidence of multiple deadlines for copy results in several weeks of panic. As I write this missive I have just completed one such overload period covering so much equipment that I thought that it would be worthwhile to look back and take stock at the audio in the past decade (footnote 1).
Anthony H. Cordesman, Martin Colloms  |  Apr 29, 1995  |  First Published: Jun 29, 1986  |  0 comments
I must confess to a certain sentimental affection for Magnepan products. An early version of the Tympani did more to rekindle my interest in audio than any other speaker I can think of. In a world which seemed doomed to finding out just how small and dull it could make acoustic suspension boxes, the Magnepans reminded me that speakers could produce a large open soundstage, real dynamics, and musical life.
Martin Colloms  |  Oct 09, 2005  |  First Published: Mar 09, 1996  |  0 comments
English loudspeaker manufacturer Monitor Audio has mined a rich vein with their exclusive 6½" metal-cone driver, which covers a range from the bass to the midrange. MA designs using this drive-unit have fared well in these pages, ranging from the Monitor Audio Studio 6 minimonitor (reviewed by JA in February '94, Vol.17 No.2) to the floorstanding Studio 20 (reviewed by RH in December '91, Vol.14 No.12, and by ST in April '92, Vol.15 No.4).
Martin Colloms  |  Nov 24, 1992  |  0 comments
Martin Colloms (footnote 1) suggests that the traditional ways of assessing hi-fi component problems overlook the obvious: does the component dilute the recording's musical meaning?

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