Lamm Industries ML2.2 Mono Amplifiers

by Marc Mickelson, January 6, 2012 © www.theaudiobeat.com

dozenyearsagowhenVladimirLamm introducedhisML2monoblocks,theperception andrealityofsingle-ended-triode(SET)amplifierschangedforthebetter.At18watts,theML2wouldneverbeaccusedofofferinglimitlesspower,butitdidpossesstheabilitytodrivereal-worldloadsthatotherSETampscouldbarelybudge,anditdidsowiththepuretoneandpresenceforwhichSETampswereknownbutwithoutcompromisesatthefrequencyextremes.TheML2draggedSETampsclosertotheaudiomainstream,evenifitspriceofnearly$30,000perpairwasfirmlyanchoredintheouterreaches.

Fiveyearslater,whentheupgradedML2.1debuted,theamp’spoweroutputandpriceremainedthesame,asdiditssoundingeneralterms.Butimprovedparts,includinganewpowertransformer,alsomadeforanampthatsoundedslightlymorepowerfulthantheML2,moretransparentthroughthemidrangeandmorecontrolledinthebassaswell.TheML2.1retainedallthatmadetheML2aspecialamp:thesignatureLammnaturalnessthatcausedsomuchofitscompetition,tubeandsolidstate,tosoundincompletebycomparison.

WhentheML2.2wasannouncedayearago,theML2platformunderwentmuchmorethanparts

improvements.ThiscouldbeforecastafterLamm’smostexpensiveandimpressiveamptodate,thetwo-chassis-per-channelML3Signature,alsooftheSETpersuasion,wasunleasheduponaudiophilesafewyearsago.TheML2.2borrowstheinputstagefromthisamp,usingasingle12AX7Ainthedriverstageandparallel6N6Psthereafter.Thepowersupplyalsoneededtobebeefeduptoaccommodatetherequirementsofthe6N6Ps.ThepairofRussian6C33C-Btubesremained--oneprovidingthepowerandtheotheractingasthevoltageregulator.TheML3’soutput,32watts,isgreaterthantheML2.2’s,whichdoesn’tchangefromthe18wattstheamplifierhasalwaysoffered.Earlierversionsoftheampdidn’thaveLamm’sremoteturn-oncircuit,however,andtheML2.2does.ThisallowsownersofLammpreampstopoweronandofftheirampsfromtheon/offswitchoftheirpreamps.

AllofthechangestotheML2.2meanthatML2andML2.1can’tbeupgraded;thiswasnotapracticethatLammadoptedinanyevent,preferringinsteadtochangetheirproductsfarlessfrequentlythanistheindustrynorm.VladimirLammisadamantaboutdesigningproductsrightthefirsttimeandthenleavingthemalone.Evenso,theML2.2representsthemostsignificantchangefromthepreviousmodelofanyLammproduct.

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swiththeML2andML2.1,owners adjustthebiasandidlecurrentof theML2.2withahigh-qualityvolt-ohmmeter.Thisisdoneviatestpointsontheamplifier’stopplate.InputisstillviaRCAorpseudo-balancedXLRlocatedontheleft-frontoftheamp,requiringanextrahalf-meterofinterconnecttoreach.

Beyondthesethings,theotherin-useconsiderationforML2.2sisthesensitivityofthepartneringspeaker.Whiletheampscandrivespeakersthatseemonpaperunsuitedfortheir18watts,liketheWilsonAudioSophia3,theycan’tideallydrivespeakersthatneedahealthyamountofpowerandcurrenttocomealive.AmongtheseinmyfirsthandexperiencearetheTidalSunrays,whichdon’trepresentaparticularlypunishingloadbutdoneedmoreoomphthantheML2.2scandeliverinordertosoundanythingbutdynamicallylimp.Whilelate-modelWilsonAudioWATT/Puppies--series7and8especially--weregoodtogowiththeML2sandML2.1s,VladimirLammdoesn’trecommendtheML2.2sforusewithSashaW/Ps(LammM1.2Referencehybridampsdrivethemgorgeously,however).

SpeakersthatareagowiththeampsincludemyreferenceWilsonAudioMAXX3sand,basedonmyexperienceatCES,theVerityAudioLohengrinIIs.Ofcourse,anyoftheplethoraofhorn-loadedandsingle-driverspeakerspreferredforusewithevenlower-powerSETampswouldbesuitableaswell--aswouldotherspeakersthatI’msimplynotfamiliarwith.MorethanwithanyotherSETamps,experimentationwiththeML2.2swillyieldsomesurprisesintermsofwhichspeakerstheycandrivewithoutexcuses.

Experimentationwillalsoleadtothebestmatchintermsofpreamps.Ihadthreeavailable,eachofwhichwouldmakeitontomanybest-of-the-bestlists:the

AudioResearchReferenceAnniversary,theConvergentAudioTechnologySL1LegendandtheLammLL1Signature.Beforeswapping

amongthem,Iwouldhavepredictedadrawintermsofmypreference.Iadmirethetotalityof

performancethatallofthesepreampsrepresent.Whiletheyeachhavecertainstrengths,nonehasglaringweaknesses,thechoiceofone,somythinkingwent,comingdowntoamatterofpersonaltaste.

Butthiswasn’tthecase;theLammLL1SignatureclearlysoundedthebestwiththeML2.2s.Interestingly,thecombinationoftheML2.2sandLL1wasn’tamatteroflikesonicsignaturesmultiplyingtocreateasumgreaterthantheparts,butratherofcomplementarypersonalitiesmakingforanoutcomethatwasgreaterthaneitherproductalone.TheLL1’sdriveandsenseofforwardmomentumbroughttheampstolifeinwaysthetwochallengerscouldn’tequal,evenwiththeirconsiderablestrengths.TheLammcombosoundedmorelitheandathletic,itscollectivesignatureimposedonthespeakersinsteadoftheotherwayaround.AsIdiscoveredwhenIreviewedtheLL1,warm-upiscrucialtohearingitatitsbest,withanhour

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beingtheminimum,asisthechoiceofpowercords--thethrow-insthatcomewithitbeingbetterthansomeofthepriceycordsIhad.Withinadequatewarm-upandthewrongcords,thereissomehighlightingintheuppermidrangethatmayenlivenadark-soundingspeakerbutdidn’timproveanyofthoseIused.

MypointinramblingonaboutpreampsisthatyourchoiceofspeakerstousewiththeML2.2sisn’ttheonlythingtoconsiderinordertominethemostfromthem.Thisisself-evidentperhaps,butalsoworthstating,giventhatthedifferencewiththeLL1Signature,evenwhencomparedwithtwootherstellarpreamps,wassignificantenoughtobeconsideredimperative.

ikeeveryaudiophile,Ihave compiledarunninglistofthesonicqualities thatmattermosttome.Thesearethethingsthatbestsuspenddisbelief,astheymostcloselyapproximatelivesound--tomyearsatleast.Amongthem--andatthetopofthetally--arerealistictoneandspectralbalance,alongwithimageweightanddimension.Incomplexways,allofthesethingsworkinconcert,thesuccessorfailureofoneaffectingthesamewiththeothers.Somanyoftheamplifiersthatconsumersandthepressaliketagas“tonallyneutral”and“wellbalanced”aredevoidofthewarmthandfullnessdisplayedinlivemusic.Theseampsoftensoundtonallythreadbare,theirbalanceinvariablyleaningtowardthetreble,whichmeansthereisnotruebalance.Thisfundamentalskewingofreality

hasadominoeffect,causingperformerstosounddisembodiedinsteadofpresent,flatandflimsyinsteadofroundedandreal.Givenall

ofthis,itwouldbeeasytoarguethattheword“accuracy”hasnomeaning.Iwouldsimplysaythat

becauseofmisuseithasthewrongmeaning.

ManyofthethingsIconsidertheearmarksofaccuracycomefrommylongtimeuseofLammamplifiers.I’veownedanumberofdifferentmodelsoverthecourseoffifteenyears,includingML2sandML2.1s.Toapiece,theyhaveallgottentonequalityandoverallbalanceright,presentingthemusicwithtruethree-dimensionalpresenceintheprocess.Lammampsneversoundtiltedorhyped,andtheyalwayspresentamiddleperspective--neitherforwardnorrecessed.

IfthisappliestoeveryLammamp,whyconsidertheML2.2swhen,forinstance,theM1.2soffermore

powerataconsiderablylowerprice?

BecausewhatIdescribeaboveisonlythestartingpointfortheML2.2s.TherearespecificwaysthattheysurpasstheLammhybridamps,nottomentionsomanytubeandsolid-statecontendersfromothermakers.ItmayseemillogicaltobeginadiscussionofthesoundofaSETampwiththebass,but,onceagain,theML2.2isn’tarun-of-the-millSETamp.Itsbassisacutelyalignedwiththerestofthesonicspectrum:exactingintermsofdynamicshiftsandpitchdefinition,andabletoimparttheexpressivetextureofinstrumentsthroughoutitsrange.Whileit’smorebloomythantightlydrawn,thereisnomushorflab.AndtheampswereabletoachieveallofthiswhiledealingwiththelargewoofersofWilsonMAXX3s--andwerenevershortofthepowerneededtopushquick-paced,dynamicallychallengingfaresuch

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astheMobileFidelitySACDofPatriciaBarber’sModern Cool[MobileFidelityUDSACD2003].Thesoundscapeof“TouchofTrash”isbroadandthefrequencyanddynamicrangeswide,buttheML2.2sneverseemedtaxedbyanyofit,evenasthecutprogressedandthemusicbegantopercolate.“CouldanotherSETamphandlethis?”mylisteningnotesaskedrhetorically.Inmyexperience,onlytheLammML3scan,andtheML2.2ssharepartoftheircircuitry.

Modern CoolalsoshowsofftheML2.2’skeentonality.Thoseusedtosomanyofthesolid-stateampsavailabletodaywillthinkthattheML2.2soundsatouch--ormore--dark,butthoseotherampshaveskewedthecollectiverangeoftonalitytowardthetreble,alteringtheperceptionoflisteners.InthepastwhendiscussingLammamplifiers,I’vesuggestedthefollowingtest:listentosomeonetalk(or,evenbetter,sing)inyourlisteningspace,andthenputonjustaboutanyrecording--especiallyaCD.Doesn’tthemusicsoundlighterandlesssubstantialintonethanthelivevoice?Italmostalwaysdoestome--exceptwhenI’mlisteningtooneofVladimirLamm’samps,andespeciallytheML2.2,whosesoundissubstantialbydefault,nottomentionspectrallycorrectfromtoptobottom.

Inthemids,thereisnohighlighting,evenastheregionremindsusagainwhySETampsareprized.Roundness--thesensethatimagesarenotflatandlackingin

dimension--anddensityareinfullredolence,givingvoicesespeciallyasenseofimmediacythat’snotafunctionoftransientspeed,forinstance,butrathertheextremephysicality

ofthepresentation.TheML2.2sarephysical,whichisallthemorenoteworthybecauseoftheirdozenandahalfwattsofpower.Alongwiththis,however,isvitality--avastamountofmusicalinformationthatisthesignofanotherintricatebalance

thisampachieves:betweensheerresolvingpowerandstandard-settingnaturalness.TheML2.2sarecertainlydetailedamps,buttheyachievethiswithgrace,notruthlessness.Analogwasespeciallyimpressive,asthisisitsstocksignatureaswell.Playingsomeofthe45rpmsetscomingfromChadKassem’snewrecord-pressingplant,QualityRecordPressings,wasan

actofnear-constantrevelation,assmallbutmusicallyrelevantdetails--alighttouchonthepiano,abreathtakeninorletout--seemedtohavegrandercircumstanceandmoreelementalmeaning.

Ifyouwantgenerousdetailandbodilypresencefromvocalists,thereisonlyoneampinthesameleagueastheML2.2.Youguessedit--theML3.Wherethese

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goodfortubeamps,buttheML2.2’slowfrequenciesarealittlebetterintegratedintothetotalityofthemusictheymake.

ThereisastrongelementofmutualexclusiontotheML2.2sandMA-2Mk3.1s,coming

bothfromthevastdifferenceinoutputpowerandtheirsonicpersonalities.Bothputadifferentspinonthe“accuracy”debateandonlyunderscorethefactthateachofuswhoprizemusicalreproductionisanisland,thecreatorandkeeperofourpersonallistofimportantsonicqualities.Iwouldbesurprisedifoneortheotheroftheseampsdidn’tachievethosethingsatthetopofmostlists.

herearemanywaystosumuptheLamm ML2.2s.Theyrepresentmorethanaworthy upgradetotheML2andML2.1;theycandrivespeakersthatwouldchokeotherSETdesigns;theyofferanearlyuniquecollectionoftraits,includingrealistictoneandbalance,copiousweightanddimension;theyhaveratherun-SET-likebass.

Whatmakesthemmostmemorabletome,andIsuspecttoyouifyougettoauditionthem,isthattheyquicklyoverridethepartofthebrainthatcooksupthesethoughtstobeginwith.Youmaysitdowntolistentotheamps,butinshortorderyou’llrealize

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amps,themightiestfromVladimirLamm,surpasstheML2.2sisintermsoftheirtransientspeedanddefinition,theirsheerdrive(theyofferalmosttwicethepower)and,forlackofabetterwaytoputit,theirmusicalsavoir fare--acertainhard-to-definesophisticationthatisnonethelesseasytohearandappreciate.Oh,andthere’salsothe

smallmatterofasix-figuredifferenceinprice.AssomeonewhoheardtheML3sinmysystemafewyearsagosaid,“Iwantthem.Ican’taffordthem,butIwantthem.”Amentothat.

MorecompetitiveintermsofpricearetheAtma-SphereMA-2Mk3.1monoblocks($41,600perpair)thatIreviewedinOctober.Theseoutput-transformerlessampsareextraordinaryoverallandpeerlessinacoupleofways.LiketheML2.2,theAtma-SphereMA-2Mk3.1certainlyhasanimpressivemidrange,butthetwoampssoundverydifferentthroughthismostimportantregion.WiththeAtma-Sphereamps,it’stransparency,thesenseofnothingnessbetweentheequipmentandthemusic,thatistheirmostdistinguishingfeature.It’sunmatchedaswell,atleastinmyexperience,andprobablymoreattention-grabbingthantheML2.2s’tonalityandbalance.TheAtma-SphereampsarecertainlymorepowerfulthantheML2.2s,butafteracertainpointthat’swithintheML2.2’scomfortzone,thisisnotatallnoticeable.TheAtma-Sphereampsdisplaymoreresoluteattack,portrayinggreaterleadingedgeandlessimagemassthantheLammamps.Thebassofbothis

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thatyou’reactuallylisteningtothemusic,soquicklydotheymakeyouforgetaboutthem.Thismaybeanoverusedreviewingconvention,butit’salsothehighestgoalofhi-fi--totranscendtheequipment,whattheML2.2sdoasamatterofcourse.

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Inhisinimitableway,VladimirLammoncetoldmeyearsagothattheidealreviewofhisequipmentwouldbejustonewordlong.

However,Idon’trecallthatheevertoldmewhatthatmagicwordis.“Right”and“real”seemlike

goodguesses,andtheybothfittheML2.2.

Price:$37,190perpair.

Warranty: Fiveyearspartsandlabor.

LammIndustries2513East21Street,Brooklyn,NY11235(718)368-0181

www.lammindustries.com

Associated Equipment

Analog:TW-AcusticRavenACturntable,GrahamB-44PhantomSeriesIIandTri-PlanarMkVIIUIItonearms,DynavectorXV-1s(stereoandmono)andAllnicPuritascartridges,AudioQuestLeoPardandNordostOdinphonocables,AllnicAudioH-3000VandAudioResearchReferencePhono2phonostages.

Digital:AudioResearchReferenceCD8CDplayer,AyreAcousticsDX-5“A/VEngine.”

Preamplifiers:AudioResearchReferenceAnniversary,ConvergentAudioTechnologySL1Legend,LammIndustriesLL1Signature.

Power amplifiers:Atma-SphereMA-2Mk3.1andLammIndustriesM1.2Referencemonoblocks.

Loudspeakers:ProAcResponseK6,WilsonAudioMAXX3andSophia3.

Interconnects: AudioQuestWilliamE.LowSignature,ShunyataResearchPowerSnakeSeriesAnacondaandPython.

Speaker cables:AudioQuestWilliamE.LowSignature,ShunyataResearchPowerSnakeSeriesAnacondaandPython.

Power conditioners:EssentialSoundProductsTheEssenceReference,ShunyataResearchHydraTriton.

Power cords:EssentialSoundProductsTheEssenceReferenceandMusicCord-ProES,ShunyataResearchCX-series(various).

Equipment rack and platforms:SilentRunningAudioCraz28equipmentrackandOhioClassXLPlus2platforms(underLammM1.2amps),HarmonicResolutionSystemsM3isolationbases.