2. amps-preamps
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The Golden age

Why isn’t Krell building real power amps anymore?The Krell FPB-700cx cost $14,000 when it was available a decade ago. This 180-pound monster had two 4kVA transformers, and a fully regulated output stage with banks of transistors. There is no conceivable speaker this powerhouse could not drive into oblivion. Its 700Wpc-into-8-ohms output doubled down all the way to 2 ohms, at which it reportedly could produce over 6000W before it quit. The top Krell amp now, the Duo 300 ($8500), produces 300Wpc into 8 ohms, weighs 70 pounds, and has fans to cool it instead of the massive heatsinks that all Krells used to have. The transformer is 750VA. What gives? Am I the only one who sees the new Duo models as “home theater” amps designed for custom installers? They’re not what founder Dan D’Agostino once envisioned, and what built the company: audiophile powerhouses, a man’s amp, the baddest dudes on the block. If you’re listening up there in Connecticut, please rethink this and tell us that there’s a second line of amplifiers coming that will be the real deal. To the Krell management, remember what Stephen Covey said: “The main thing is to keep the main thing the main thing.” What happened to the Mark Levinson brand? There was a time, not so long ago, when the name Mark Levinson was revered. Whether amplifier, preamplifier, or digital component, when the classic ML logo preceded a model number, you just knew that it would be a contender for the state of the art. Remember the No.30 digital-to-analog converter? How about the epic No.20 and No.20.5 monoblocks? These products were icons, and represented the aspirations of many audiophiles. Lately, not so much. While the Levinson brand still lives, no one I know speaks of it in reverent tones. The No.53 amplifiers have gotten pretty good reviews, but these days I hear nothing of their digital products -- like Krell, ML now seems to make more “home theater” amplifiers than anything else. Maybe the company’s products stillare up there with the best, but ML’s messaging isn’t that good -- it often happens in a too-corporate environment. Or maybe the team of engineers Levinson had back in the Madrigal Audio Labs days are long gone, and there’s no one left at the Harman Luxury Audio Group who can design really great stereo components. I wish I knew what the deal was, because I miss this iconic brand, and often wonder if it’s ever coming back.
 if you can shed light on any of this, let ’er rip.
128x128audiolabyrinth

Showing 1 response by unsound

unsound
7,310 posts
 

Audiolabyrinth, I too lament the direction you've outlined. The founders of the above mentioned companies have moved on, leaving the direction of their companies to profiteers'.
 Like many things in life, fashion is cyclical. I imagine that when the economy improves we might see more big iron, though the future of big power might come more from Class D.

In the interim, smaller, lighter amps have the advantage of economy of scale (materials, case work, packaging, shipping, etc.) with corresponding higher profit margins. Smaller, lighter amps with the added feature(?) of adjustability (tube rolling) lends itself to hobbyists who like to tinker for the sake of it, and/or who are more likely to buy if it's more convenient to do so. To be honest, even as one who appreciates big iron, I don't look forward to the expense and inconvenience and shipping(!) of swapping out these heavy pieces.

Those that can afford such gear are often times now buying for multi-channel HT systems that makes big iron even more challenging to deal with.

I don't agree with the notion that there is a ceiling on the amount available power that can't be exceeded without compromising quality.

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