Pro or hi-fi amp, which one would you choose?

Pro gear typically has far more protection circuitry, is narrow bandwidth, much slower in transient response, uses a lot more negative feedback, etc... resulting in what most consider to be "sterility". Most pro designs and design philosophies that are in current use are the same that they used in the "THD wars" i.e. "if it measures fabulous, it will sound good" or "if they measure good, they will all sound the same". This approach is what gave much of SS a bad name in terms of sounding "hard, lifeless and sterile".

To be fair though, there have been changes amongst many pro designs. Most of the changes have been to the power supply i.e. making them lighter, smaller, more efficient, easier to transport and cheaper to produce. As such, bass attack and sustain have suffered as well in most of these designs. There are pro power amps rated for 200 wpc @ 8 and 200 wpc @ 4. What does that tell you about the power supply and current capacity of the output stage ??? Yet it is one of the best selling pro amps to come down the line as it is relatively cheap, highly reliable and comes from a major manufacturer with a lot of industry clout.

When it comes to hi-end audio reproduction, there is no substitute for balls out circuitry that doesn't need protection "band aids", is designed with finesse and uses high grade parts. Pro power amps simply have to turn on, stay on and take the abuse. If it sounds like crap, you've got compressors, EQ's and a rack full of effects to try and make up for it. Different products for different markets.

As such, we have two different types of products that are marketed according to wants and needs of that specific industry. If you are strictly looking for "oomph" and rock concert reproduction, buy and use a pro amp and the associated equipment to take advantage of such power levels. If you are looking for something that sounds far more refinined, is capable of finesse and detail at any given listening level, you'll have to step up to the plate and buy an amp that has more thought put into it than just assembling a power supply, output stage and adding protection circuitry. Sean
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Here's a pro audio guy who tried an "audiophile" Pass power amp. He was "astounded"
pass amp in a "pro" audio review

Cdc: That's a good link. If you want to see what "pro's" think about an amplifier and what they expect out of them, read some of the other reviews on that website. Like i said, so long as they power up, stay up and don't present a hassle to use, they are "good enough". Sean
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Sean, I would have to agree that QSC and Krell sound different from each other. They are both meant to perform different tasks, but you saying that "pro" gear have slower transient response and narrower bandwidth is ridiculous. In contrast, all pro amps have a very high damping factor. In fact, pro amps should have a very high damping factor because it should be able to control high mass cones at high volume. I don't know what you meant by "narrower bandwidth" but I know that power-bandwidth is different than frequency-bandwidth. Lets talk about the difference. Frequency-bandwidth corresponse to an amplifier's frequency response at 2.83 volts input. On the other hand, power-bandwidth corresponse to an amplifier's frequency response at high output level(usually below clipping). In reality, the one is most interest is the power-bandwidth. Yes, Bryston was used as a "pro" amp. In fact, some studio today still use them as there "reference amp". Cdc, I have read your article on the Pass Lab X-250 I was impressed. Judging by his statement, he probably use it at a very low level. Go read about QSC Powerlight Series, Crown K Series and Macro-tech, and Crest amps. Just like there is alot of hi-fi amps, there is pro amps.

Just in case you weren't aware, high damping factors are a direct result of high negative feedback. A serious no-no in audiophile reproduction.