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

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.

Twl, now why is it a no-no to audiophile reproduction? Do you know what negative-feedback does? Mostly all audiophiles hate to have negative-feedback because it effects the sonic characteristic of sound. An open-loop gain in an amplifier rely mostly at the input stage. A disadvantage about open-loop gain is that a substantial change in input voltage can dramatically change the output stage into nonlinar. This is where negative-feedback comes into play. If an increase of positive feedback is fed back to the input stage, it increases the output gain. In contrast, if there is a increase in negative feedback it reduces the output gain porportionaly to input. Negative feedback is key answer. Negative feedback, also called degenerative feedback, reduces THD, improves the frequency response, and the stablility of an amplifier.

Sean, How is it possible to have measureable distortion at 2-3khz if the amp's response can go up to 20khz? You know that we hardly ever hear 16khz. I understand that a musical program around 1-3khz will have harmonics in the upper-frequency. Having odd harmonics in the upper-frequency is not a good because it can sound harsh, lifeless, and colored. In contrast, even harmonics is what makes the presentation more musical and life-like. An oscilloscope is not really use for distortion but it can be use to analyze the wave form. If you want to find the THD, SID, or TIM, you need a RTA and a Distortion Analyzer. Of course, your ears are your main priority. BTW, I'm not against you or any thing, I just disagree with some of your answers so don't take it personal.