From Krell to McIntosh - Anyone?

I don't get the attraction to Krell. I have owned a number of Krell products including their SACD Standard, 400xi Integrated and have demo-ed the Krell Resolution 1. I understand and respect that music equipment is like art and different people hear differently. But I find the Krell sound detailed but boring. Not to mention their SACD Standard had quality issues with their transport. McIntosh, I find quite the opposite, I can listen to McIntosh stuff for hours, not to mention their good looks, build quality and they dont really lose their value. You asked specifically about the MCD-201. The player has gotten mixed reviews but I have seen a few of these here on Audiogon for $2300-, it's hard to go wrong with these prices and of course the 501's/1201's are state of the art.

I have not heard either Krell or McIntosh in a good while now, but I do care about music reproduction in the home. I do not post much because I seem to identify very little with the majority of descriptions I read here (or on the Asylum). Mine does not not necessarily hold merit over anyone elses, but my position would be that the amplifier which imposes the least amount of its own character on the signal is the better amp.

To compare, remember some of the characteristics of live performances that were captured in memory. We may not have tremendous aural memory, but we should remember character (sights, sounds tastes, etc.) I may not exactly remember the sound of a bass, but I do remember the character of that sound, even as I struggle to describe it. I have never heard live music sound, whether vocals in a great chapel, symphonies in an auditorium, blues in a club, or rock in an arena, anything like some of the descriptions I read about the sonics of audio components.

Another help might be to understand something of the recordings. I am not a recording engineer or any expert, but I have performed for live audiences and been recorded. Also, when I assisted someone recording symphony concerts, the placement of the mics made it rather impossible to have a mid-hall perspective (or even 3rd row) from any system approaching neutrality. The mics were placed above and just forward of the stage, well before the first row. When sitting in the audience, I noted the bite and edge of the orchestra when it reached musical climax. I also heard that bite and edge (and somewhat close perspective) while listening to the mic feed though headphones.

Of course in reality I can be flawed, but I really enjoy good performances of various kinds of music. Not all performances are good (many just suck) because it takes a real connection to lyrics/melody, or to a violin [for instance] to be able to communicate the message. And that's what I want to hear - the real message. I do not want to anger or offend anyone. Believe me, I am a nobody, but I want to encourage equipment manufacturers to strive for honest neutrality. Not every recording can sound like a live performance, they are, after all, a recording. But they should come close to capturing the intent of the music (the artist's intent). Oh, and manufacturers should bring your prices down.

I appologize for the semi-rant and length.

Hi Sean,

I personally do not think there is a middle ground in audio equipment. It's like what you said (right wing or left wing), either you like it or don't. With me, when I demo equipment, I usually hear two things. Detail and Presentation. Detail, I have usually been impressed and that includes McIntosh and Krell. On presentation (I believe this is the main attribute that seperates each audio equipment), I found Krell always presented the music like here it is direct and to the point, where as McIntosh presented with almost like a calming and smoother presentation. I personally like McIntosh and would not trade it in for something that has Krell features just because I don't like the Krell sound. Why would I if I already love the sound of a Mc. Having said that, I have not demo-ed every audio piece out there, I have not heard Sim Audio (which is suppose to be dark and neutral)

Shucks, did not intend to imply which of the MAC or Krell was actually more correct or better. As I wrote above, I havent't heard the latest Krell stuff, or any McIntosh in too long. But if I choose (when comparing) based on my criteria (which is real accuracy), I should choose the one that's actually the better design. Now, if my criteria were a specific "sound" and presentation, then I might choose differently. Sure, I think that the original event should be the criteria. But even my methods for identifying which is more correct is bound to be somewhat flawed - it is possible that due to recordings, nothing can be accurate and still recreate the original event...I don't really know. And there are probably other reasons too. But I have to have some basis to start with.

Another criteria I use is to determine audible differences between various recordings - if every recording I use in auditioning sounds too similar, it is wrong and I move on. True, during classical concerts, I did not hear any significant "layers" of sound, or a floating in space 3-D rendering of individual instruments, or great amounts of "air" around performers. Just wasn't there. However, the sound was smooth, timbres were full (though not necessarily rich or thick), not screechy or grainy, and very coherent. Also, the thwacks on tympani were quite dynamic, but very quick too. I could zero in on more prominant (or louder) performers if I wanted, but certainly not each and every instrument. This was somewhat easier to do via the mic feeds though (mics were just fwd and above the stage).

I do not know which I would prefer between a MAC or Krell. Hopefully, I would like niether because of the cost. Most of my system is solid-state, but my phono pre, though very modest, does have a tube. I made sure my wife saw it, "hey honey, come look at my tube!" (nothing dirty). Whatever works and I can afford.

I am going to shut up now. Cheers everyone.