Lamm has two rooms up in the Venetian Towers, on floor 35, just like previous years.

Unlike last year’s historic showing with the Wilson Audio Alexandria X-2 speakers in the large room, this year they are reverting back to the more modest Wilson MAXX 3 speakers driven by the Lamm ML3 amps.

New this year, however, is ONEDOF’s $150K turntable, which deputed at RMAF 2010 and we got to hear at RMAF 2011, albeit with inferior equipment and cartridge [if you are interested in hearing what the turntable actually sounds like]. The Neodio digital is actually pretty good, so the turntables in this room have to be pretty decent just to keep up, IMHO.

The smaller room looks the be about the same as last year, Lamm ML2.2 amps on Verity Lohengrin, with the addition of the Kronos turntable [there is no rack listed, so that could also be a surprise].

In order to form a more compact system one can do several things, many of which, however, lead to a compromised system sound.

Compact systems are still desirable for a number of reasons: ease of use [being able to walk right up to the source components], aesthetics [components strewn about can result in a geeky aura around your system ], and they just help make more room for other things in the sometimes all-too-crowded listening room.

Lamm amps on a SXR rack

Here is something that improves the sound AND reduces the footprint of the system components: Putting ones amps on the equipment rack itself.

Here is an example where we put Lamm ML2.1 amps on the bottom shelf of a Harmonic Resolution Systems SXR rack. The bottom shelf is 12 inches tall [it was originally 10 inches, but we ordered replacement 12″ posts and swapped them out in about 1/2 hour(?) - photos forthcoming]

Lamm ML2.1 amplifiers on a SXR rack

The reason this kicks ass is that the HRS amps stands [which have no peers performance-wise based on our experience with the top contenders to-date and work as normal amp stands that sit out in the middle of the floor], are the EXACT same components as used for the bottom shelf of the SXR.

So essentially we are morphing, Transformers-style, an equipment rack into a combination first-class amp stand and equipment rack.

And, because the amps are somewhat better protected by the rack, and more out of the way of the speaker sound waves, this is probably an even better place for them than the traditional amp stand location [a less sturdy rack, however, might itself pick up vibrations from the sound, and then transfer these negative vibrations to the amp through the rack, something a stand-alone amp stand would not do].

And it looks cool too.

And it takes up a lot less space

[We often get questions sent to us by email. Often the answers take a good deal of time to write - and after we respond we hardly ever hear back from the questioner. So, although we have talked about doing this for quite awhile this is the first time that, when the answers seem to be useful to a wider range of people, we will start posting them here. We will keep the questioner anonymous unless requested otherwise.

I originally wrote this presuming the person was not in the U.S….]

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THE QUESTION

Dear Mike and Neli

Please let me know what would you choose in my situation?
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THE ANSWER

I imagine that your current system sounds a little too laid back, especially at various frequencies? Much as I love the Avalon speakers, I have not yet heard an amp on them [so far!] that makes have that drug-like sound [would love to try the Ongaku someday ]

The Kharma 3.2/Tenor 75w is a VERY magical combination - especially w/r to midi and micro-dynamics - missing only some slight harmonic color and, of course, some of the authority and fill that a larger speaker usually has. This is a classic system. A direct upgrade is indeed perhaps the Tenor 75w on the Midi - which we have heard but as you might expect there will be some ultimate SPL limitations [and may tax the 75w to the point that it blows up more often, more often than not taking a few speaker drivers with it when it does, as the 75w’s are wont to do].

Which begs the question: what is a ‘medium-sized room’? How loud do you listen? How important is rock-solid bass at high SPLs? Why are you not just getting a 3.2/75w and putting an awesome front end on it with the left over $$$? How would you improve your friend’s system sonically [louder? more neutral? more bass? …]

OK. On to the amps…

* The ML2.1 did not drive the Mini to our satisfaction in a 15×28 foot room [5 x 9 meters] unless you are going for very intimate nearfield midrange nirvana - the speaker may be harder to drive than the Midi, and is definitely harder than the 3.2

* The Tenor 300 hybrids did not have much [any?] of the magic that the 75w OTL did

* The new Tenor hybrid are $$$ and an Ongaku is probably cheaper and definitely makes more music unless you are looking for big, BIG SPLs

* The MBL… Kharma actually does not sound bad with solidstate amps. It will not be like your friend’s system - the sound will be bigger, more room pressurizing [if you know what I mean], more authoritative. But less intimate, less PRaT, less musical, less mini- and micro-dynamics etc…

The Lamm hybrids should be mentioned, they will be a powerful denser harmonic sound - but this may be too much like your current system, albeit a good deal more lively [but just not as lively as the Tenor OTL on the 3.2].

I would pick an Ongaku or Lamm ML3 if I were you and you had the funds. Well, I am of the firm belief that we all have to always be well prepared for the non-zero probability that funds might start falling out of the sky in our general direction.

You might also consider the Audio Note U.K. Jinro ($22K USD or so. It is a copper version of the Ongaku, which uses silver) which will drive the speakers fine - with less resolution [both w/r to detail and harmonics] than the almighty Ongaku but good midi- and micro-dynamics fairly close - but not quite - to the Tenor 75w. And it won’t blow up and is an integrated. This is probably your best choice for a sound similar to your friends but bigger and I might almost say better in every way [I could say ‘better’ with confidence if you milked all the dynamics possible using HRS vibration control, and the right cables and power cords and sources. Especially with the Mini Exquisites which are just oozing harmonic and inner detail]

In the end, on a budget, I would choose the Jinro or the solidstate solution [not just MBL, but Edge, Vitus etc. We made a list on the blog of the better solidstate out there… an older link is HERE] and then tune the living daylights out of the signal you are giving them [i.e. cables and power cords and rackage].

Oh! the Wilsons… The ML2.1 on the Watt Puppies…. Let’s just throw in the Sophia and Sasha in this discussion too. And the Marten Coltane too [I am presuming you are looking mostly at the used market given your selection of possible amps, half of which are no longer being made]. You will have some ultimate SPL issues here too which I do not know will be a problem for you are not. I like these Lamm combinations a lot - although it is a ‘different musical’ than the Kharma/Tenor. It is more stately and sensual as opposed to exuberant and exciting. I think of these as comparing a wife to a girl friend. Both have their good points. [I, personally, did not mean that last sentence to apply to myself, Neli :-O ].

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Hope people find this kind of Q&A interesting…

We have three pairs of these legendary amps for sale at used prices. This is kind of a preview notice before we put them up on the general classifieds sites and announce their availability to the general public.

You all know what kind of rave reviews these 18 watt amps have received in the ‘press’ and we have driven the $350,000 Coltrane Supreme speakers with them many, many MANY times with great satisfaction. Articulate, clear and natural sounding, great separation, good tone - an AMAZING bargain at their $29,990 full retail value compared to the 99% of the competition [which might be saying more about the outrageousness of the competition pricing strategies than the price of these amps, but…] and at their ‘used price’ a freaking otherworldly-ish good deal…

Lamm ML2.1 amplifier

Lamm ML2.1 amplifier

One pair is a trade-in by a fella who upgraded to the $139,290 Lamm ML3 amplifiers.

One pair is a trade-in by a fella who upgraded to the $105,000 Audio Note Ongaku integrated amplifier.

One pair is our dealer demo pair we have had on the floor for several years. Not sure if we are going to upgrade to the new, somewhat more expensive Lamm ML2.2 or the ML3 [would prefer the ML3, but we are kind of strange that way ].

Send us an email or call Neli if you are interested!

The new Lamm ML2.2 amplifiers driving the Verity Lohengrin II speakers had a polite, almost sweet sound and was quite Enjoyable . Neli was there a lot longer than I was, so if you want to know more details about the sound, you might want to call her.

As for the Lohengrin II, in about 6 weeks we should know a lot more about how the Lamm ML3 (not the ML2.2) sound on these speakers in a much more controlled environment.

As for the new Lamm ML2.2, the replacement for the ML2.1, in this configuration two pairs were used in a bi-amp configuration to drive the speakers [see below]. There was a sense of ease to the sound - which no doubt was aided and abetted by the use of two pairs of amps instead of one.

The sound, as far as I could tell on the somewhat unfamiliar speakers and familiar but not completely understood cables and racks/amps stands - compared to the ML2.1 - is more smooth in the midrange/upper midrange and airy on top. The ML2.1 have a slight tendency to highlight some subtle details, and to be slightly diminished [as opposed to rolled off] in the very tip-top highs, and these amps appeared to have none of that. What I heard seemed to indicate - and it is something I would like to see, so perhaps I am somewhat blinded by desire - that these amps might be a blend of the best from the previous two generations: the Lamm ML2 and ML2.1 amps - along with some nice improvements [like more air on top].

Neli and other room visitors listening intently.

The new Lamm ML2.2 monoblock 6C33C-based SET 18 watt amplifier

The Lamm ML2.2 in a bi-amp configuration. Interesting, huh?

The amps from behind.

A 15 inch woofer on the back of the Verity Lohengrin, and a somewhat problematic bi-wire setup [you can use long jumpers from one binding post to the other or 2 separate single wire runs, one to each binding post, or two amps - like here - or …]

Neodio digital, Lamm L2 2-box linestage, a Lamm LP2 phono stage, and…?

A Redpoint turntable

The inside of the new Lamm ML2.2 amplifier

For comparison, the inside of our own previous generation Lamm ML2.1 amplifier

A few additional comments about the Lamm / Wilson room.

The Lamm ML3 controlled these large speakers very well - at low to high volumes. The reason I would have given this room one of the Best Of Shows, if I was giving best of shows, which I am not, is that there were few if any other rooms playing challenging music - from a real source (CD or LP) - that generated a large scale presentation with such ease, that had this kind of decent separation and top-to-bottom evenness… and in the end just a calm constant convincability.

It is typically very difficult to reproduce music that is playing in a Lamm room at a show - mostly classical, some Jazz, and some others picked seemingly at random. This makes for a very nice place to just sit and listen. Very civilized and respectful, different from your average room at an average show [many are just about stirring up hype and attracting reviewers. Ours, for better or worse, are seemingly much more of a party atmosphere where people typically talk a lot and share their favorite yet somehow strangely weird and bizarre music by playing it on our system ]

The sound was indeed the tiniest bit soft, as has been noted elsewhere, because [and this is based on our experience with the ML3 amps as well as with these speakers on an Audio Note Ongaku, Emm Labs XDS1 and Nordost ODIN cabled system]

1) the speakers are slightly forgiving
2) the cables are slightly more forgiving
3) these equipment racks have unpredictable effects in our experience, in this case softening effects I believe based on what I have learned over time about 1) and 2) above
4) the sound in the Lamm rooms are typically setup to be a little soft - that is the way they like to do rooms at shows [more of an oasis effect as opposed to the WWIII effect]

There was a absence of real solidity to the image between the speakers, making me think that the speakers were too far apart. Although Lamm typically does speaker setup at show, including Wilson speaker setup, this time - because of the size and weight and perhaps other reasons - the Wilson factory setup the speakers.

Neli and Florian are smiling up front. Jim (encinitas) behind in green.

Rack with 4-box LL1 linestage driven by the Neodio 2-box digital

The inside of one channel of the Lamm LL1 linestage (preamp)

DaVinci turntable

Venetian Hotel
Tower Suite 35-307

Lamm LL1 Signature line-level preamplifier (two monoblocks with separate power supplies)
Lamm ML3 Signature power amplifiers
Lamm LP2 phono preamplifiers
Wilson Audio Maxx3 speakers
NeoDio NR22T transport and NR22D DAC
Redpoint Solo Voce turntable; Ikeda 9″ IT 345 and
12″ IT 407 tonearms with Dynavector DRT XV-1s
Mono and DRT XV-1t Stereo cartridges
Critical Mass Systems Black Diamond QXK
equipment racks and Black Diamond PXK amplifier
stands
Kubala-Sosna Elation interconnect and speaker cables

Venetian Hotel
Tower Suite 35-309

Lamm LL2.1 Reference line-level preamplifier
Lamm M1.2 Reference and ML2.1 power amplifiers
Lamm L2 Reference line-level preamplifier
Lamm LP2 phono preamplifier
Wilson Audio Sasha speakers
NeoDio NR22 transport/DAC
Hanss T-90 turntable
Graham Engineering Phantom II tonearm
Harmonic Resolution SXR-1921-3T3 frame system
and M3X-1923 custom isolation bases
Kubala-Sosna Emotion interconnect and speaker
cables

Feel free to check the description and specs for the new products:

LL2.1: description http://www.lammindustries.com/PRODUCTS/LL21descr.html
spec http://www.lammindustries.com/PRODUCTS/LL21spec.html

LL1 Signature: description http://www.lammindustries.com/PRODUCTS/LL1descr.html
spec http://www.lammindustries.com/PRODUCTS/LL1spec.html

Announcement link: http://www.lammindustries.com/CES2010_announce.html

“We are pleased to announce the release of a line-stage preamplifier model LL2.1 which is a direct replacement for the LL2 preamplifier.

The LL2.1 features the following upgrades and modifications as compared to the LL2:

· addition of a built-in remote on/off for LAMM amplifiers

· introduction of the attenuation for gain reduction by 15 dB

· some new parts

· new knobs

· slight changes in schematic diagram

Here are the links to specs and description.

US retail price is $5,990 (deluxe version); $5,690 (regular)

This preamp is in production and available immediately.”

The amps are continuing to improve as they fully warm up and settle in.

I have not seen such a smile on Neli’s face for years and years. She is spending all her time cleaning and playing records [while I slave away in my office around the corner ]. She was even talking about putting up a new post about them on this blog. I think this is the first time ever for my blog-shy wifey that she even TALKED about posting.

They seem to be perfectly balanced and really do excel equally in of the aspects of sound reproduction that audiophiles usually look for: Sophisticated, Natural, Real, Emotional, Impressive. They are very much like the Coltrane Supremes in this way: not showy - just perfect un-heard-of-before-this-what-were-we-all-thinking competence.

We are waiting to do any critical listening until the Lamm L2 linestage arrives - which should add another leap in improvement just based on the synergy between the two Lamm pieces if nothing else [and, face it, the L2 is just mo better than the linestage inside the DCC2 DAC].

The speakers also should be moved if we are to optimize the listening experience. It is funny how both the Audio Note Kegon Balanced and the Lamm ML3 Signature both had strong enough personalities to make us want to move the speakers to different locations - that they are both so different from the other amps we had here - and so different from each other. [Personally, I am trying to put off the speaker moving thing until the show in a week or so - at which time I will get our fill of moving things, let me tell you] .

I proposed that we move everything up front by the amps (9 boxes on their HRS M3 platforms: 4 amp + crossover + 2 L2 and TSD1 and DAC2) so that we can hear the system with just Nordost ODIN and Jorma PRIME cables - at least for the digital… but noooooooo, Neli doesn’t want me to be contributing any more to the electronic component sprawl [already at 5 boxes, what is a few more boxes? And so what if we have to push back the front row of chairs a little to make room for all of the boxes? ] in the front of the room at the show. Sucks.