I bet you'll they'll sound just as good as the JBL Synthesis ones. I've not been real impressed by a number of "audiophile" amps TBH.
I'll personally take a big-ass convection-cooled pro amp over a Pass Labs for instance. While there's a reason you often see stuff like halcro in mastering facilities, bang for buck has always been with the pro audio amps any day of the week.
Pro amps aren't necessarily bad. But a premium is placed on their ability to:
1. be bounced around a lot and still perform (in trucks, on stage, etc.),
2. Be run at, and beyond, their limits for hours on end without FAILURE (when on tour). They'll take a less than perfect sound so long as they have continuous sound for as long as the concert tour (and of course each concert) lasts, and
3. Be cost efficient on a per-watt basis, because on tour everything relates the the power (think "11" in Spinal Tap).
In contrast, audiophile amps can be a bit more fragile in the physical handling department (because they aren't taken out on tour), and shut down easier in "protection" modes when pushed too hard. But supposedly the goal is sonic purity.
That doesn't mean that every audiophile amp reaches that goal, or every pro amp ignores the sonics. In fact, you see quite a lot of overlap by the best companies, who often compete in both arenas.
Studio personnel go with what they know, and most work up the ranks as roadies or performers. So they go with pro names and pro lines, even in studios.
I have a 140 Lb McIntosh amp (500 WPC or 1,000 Watts in mono mode, for any load from 0.5 ohm to 16 ohms) that I'll put up against those Crowns, both in size and performance. Its actually quite rugged, but you won't find it competing against many "pro" amps because of its cost. The Dead toured with McIntosh amps, but that was only because of a large, psychedelic-inspired donation to their equipment fund.
