Originally Posted by Ethos4Lyfe
Yeah, I have read the XD upgrade is substantial. Maybe I'll just sell mine hopefully and grab a 7200XD. I am speaking w/ the COO Monday, even consdiering the THeater 7XD. A friend has it but says it might not have enough power for when I crank the JTRs...but I'll see what Walter @ Krell says. Thanks for the input - its interesting, I know people that have switched to ATI amps and love them. They talk about the highs being more clear and many other benefits. But, I"m always up for more rading haha
There is a difference in presentation of the amplifiers. Specs on the ATI are superb. It's a great amplifier. I would say the highs on the Krell XD stuff are smoother and ATI is crisper. With amplifiers, I think this is were personal preference is greatest, the highs. One person's "bright" highs, are another person's extended. I don't think ATI is bright sounding, I just have a stronger preference for the Krell XD presentation. It's a non-fatiguing sound that I can listen to for hours.
I read this review of the Krell K-300i http://www.audioreference.co.nz/revi...return-classic
which I think does a good job of describing Krell's new XD sound. "Fully anticipating big dynamics and a tonal balance favoring the lowest octaves, as with past Krell product, the K-300i is vastly different from past Krell efforts. It’s a top to bottom improvement towards a more refined, yet more musical sound. The lower registers are more refined and controlled at the same time.
Retaining the dynamics and forceful low end that’s made Krell famous with audiophiles the world over, the K-300i is more nuanced and natural in its musical delivery. There is a sweetness to the sound that is reminiscent of the original KSA-50. The K-300i is non-fatiguing, inviting you to turn up the volume on your favorite tracks – right out of the box. That’s always a great sign. Remember, Krell amplifiers are still class-A, but thanks to Krell’s current i-Bias topology, they don’t run as hot, or draw as much power at low volume levels as the original models did. Yet the K-300i still draws 900 watts from the AC line at full output – and generates a fair amount of heat.
Utilizing a wide range of speakers from Sunny Cable, Lansche and PBN, nothing threw the Krell a curve ball it could not field. After a solid week of burn in, some direct comparisons to my reference D’Agostino Momentum Preamplifier and Pass Labs XA200.5 monoblocks, reveals the big bucks gear still having the edge, but it’s not as big as you might think. The key word here is value. This is performance that would have been unheard of ten years ago for this price.
Great with all sources
This newfound balance altered my approach. Past Krell components always had me reaching for the more bombastic selections in my music collection, but the K-300i sends me to vocal rich recordings, exploring the heart of the mid band and treble in ways that older Krell designs did not inspire as a first move. From Sarah Vaughn’s previously unreleased concert pressed by Devialet, via my VPI Avenger Reference, with the Gryphon Sonett and Boulder 508 phono stages, it’s easy to see what this amplifier does so well.
Liquidity, color, expressive dynamics, and space. All positive aspects of these two phono stages, and the differences between them are clearly rendered by the K-300i, revealing the emotion present in the recordings auditioned. Sarah Vaughn’s vocals sound full of life at times and a weary at others. Eva Cassidy’s Live at Blues Alley is another familiar go-to when trying to reproduce inflection, a wide range of dynamic control, and emotional impact. “Bridge Over Troubled Water” from this band is wonderful, and though I’ve heard this recording so many times, the Krell never gets in the way of the music."
This guy, that I do not know, does a great job of kind of describing the sound as well,