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Products

Power amplifiers
M1.2 Reference
     
description  specs
M2.2
    
description  specs
ML2.2
    
1 description 1 specs
ML3 Signature
    
1 description  1 specs
Preamplifiers
LL2.1(regular/deluxe)
     description  specs
LL1.1 Signature
    
1 description 1 specs
1
L2.1
Reference
   
1 description 1 specs
LP1 Signature
    
1 description 1 specs
LP2.1  (regular/deluxe)
                phono preamp
     1 description 1 specs

 

M1.1 1 M1.2 1 M2.1 1 M2.2 1 ML1 1 ML1.1 1 ML2 1 ML2.1 1 ML2.2 1 ML3 1
L1 1 L2 1 LL2 1 LL2.1 1 LP2

1 BEST SOUND AT THE SHOW 1

1
power amplifier

1  1  1

1 Design and Engineering Innovation'93 Award, CES, Chicago, IL (June 1993).

1 Class A for solid-state power amplifiers in the Recommended Components section of STEREOPHILE magazine (April 1995-April 2002).

1 1995-96 & 1997-98 BestBuy component in STEREO SOUND magazine (Japan) 
   (No. 117 winter 1996 and No. 125 Winter 1998).

1 Reviewers' Choice'1998, SoundStage! magazine 


1
MONAURAL POWER AMPLIFIER

1 1 1 1 1 1 1
EC1111

1 Reviewers' Choice 2004, SoundStage! magazine 

1 Select Component 2004, UltraAudio magazine 


1
Class A for solid-state power amplifiers in the Recommended Components section of STEREOPHILE magazine (April 2005-April 2008; April 2012-October 2016).

The 110W M1.2 with tube front end and MOSFET output stage, comprehensive short-circuit protection, and high/low impedance settings, offered "unflinching honesty in conveying the true nature of the music that passed through it," said PB. "Utterly continuous and coherent from top to bottom," the M1.2 combined resolution and transparency with harmonic completeness, timbral richness, and glow. [The sound]...impressed JA with its three-dimensional soundstaging and midrange richness. "This is a great amplifier," JA decided. "High recommended."

http://www.stereophile.com/content/2015-recommended-components-power-amps

1 Editor's Choice Award, TAS (2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017)

"Another winner from the fertile mind of Vladimir Lamm.  Combining brawn and finesse, the M1.2 drives even challenging loads with ease.  Its siren song of suave harmonic textures, tight bass control, articulate transients, kinetic drive, and essential tonal neutrality is musically most persuasive.  And there's enough tube magic under the hood to infuse the midrange with invigorating warmth and spaciousness. " (reviewed by Disk Olsher, issue 188)

The Absolute Sound, #195 (September 2009), p.46

1 Golden Ear Award, TAS (2009, 2010)

"The M1.2 combines large peak-current delivery and low output impedance for minimal load interaction.  Because it includes a tube in the signal path it's a breeze to integrate into a system.  Bass control and pitch definition are exceptional, but it goes well beyond traditional solid-state virtues.  Its sonic character is warmer and more liquid.  Harmonic colors are reproduced with convincing fidelity, including soprano voice and violin.  Its transient speed of attack and sublime control of transient decay, which account for its capacity to dig deep into a recording's noise floor to elucidate reverberant information, are impressive.  This is a superbly engineered real-world product that is a pleasure to use.  Its siren song of suave harmonic textures, right bass control, articulate transients, kinetic drive and essential tonal neutrality is musically most persuasive.  I find its performance-level clearly worthy of the Reference appellation.  A sonic masterpiece!"

   Dick Olsher, The Absolute Sound, #193 (June/July 2009), p.52

"Classics seem to age well and the M1.2 Reference is a case in point. It's been my pleasure to rediscover its considerable musicality over the past couple of years with several new speaker loads. From a practical standpoint, it's a breeze to integrate into a system, as it combines large peak-current delivery and low output impedance for minimal load interaction. Bass control and pitch definition are exceptional, but it goes well beyond traditional solid-state virtues. Its sonic character is warmer and more liquid, approaching the harmonic textures of live music. Because it refuses to editorialize, it is readily influenced by the sound of front-end components. Harmonic colors reproduced with convincing fidelity, including sporano voice and violin. Impressive also are its transient speed of attack and sublime control of transient decay, which account for its capacity to dig deep into a recording's noise floor to elucidate reverberant information. This is a superbly engineered real-world product that is a pleasure to use.  Its siren song of suave harmonic textures, right bass control, articulate transients, kinetic drive and essential tonal neutrality is musically most persuasive.  I find its performance-level clearly worthy of the Reference appellation.  A sonic masterpiece!"

   Dick Olsher, The Absolute Sound, #203 (June/July 2010), p.48

1 M1.2 Reference is listed in Products of the Year category, as a runner-up in "2012 Amplification Component" (p. 71) section of STEREOPHILE magazine (December 2012).

1 Winner in the category of "2006 Top  Amplification Components" from Fedelta del Suono magazine (Italy)

1 Reference Award from HAUTE FIDELITE magazine (France) (March 2007).

1
Robinson's Brutus Award, Positive-Feedback.com  -- 
presented to M1.2 Reference amplifier in the category of Hybrid amplifiers (Dec. 2006) in recognition of significant contributions to the audio arts in 2006

"A surprising treat for Ye Olde Editor this year: the Lamm M1.2 Reference Hybrid Power Amplifiers on their nicely synergistic Walker Audio Prologue Amplifier Stands, and sporting Walker Audio tuning discs. Choice stuff!  

This was a surprise for me this year; I wasn't expecting to listen to any hybrid amplifiers, and frankly haven't done so since my days with the 75 watt Blue Circle monoblocks back in the later '90s. But my unindicted audio co-conspirator 
Dr. Sardonicus brought this one to my attention: "You ought to try these out, David; I really think you'll like them."

Sure enough, he was right …so much so that a Brutus Award that I wasn't expecting to give is definitely in order. The Lamm M1.2 Reference Hybrid Power Amplifier is a Pure Class A design rated at 110 watts per monoblock @ 8 ohm (high impedance setting) or 4 ohm (low impedance setting), 220 watts @ 2 ohm, and 400 watts into 1 ohm. While the M1.2 isn't the most powerful design on the planet, it combines musical richness and excellent detail with timbral rightness and surprising dynamics in a most compelling way.

How do I know these qualities? How can I be sure they're worthy of the mighty Brutus Award? Easy. Because I keep listening to the bloody things! In fact, I'm listening to the M1.2s (via the phenomenal Walker Audio Velocitors) being fed by the EMM Labs Signature Edition front end as I complete these awards. (The brand new Jacobs/Freiburger Barockorchester Handel's Messiah on Harmonia Mundi SACD, if you must know …a very fine performance and recording.) They may not do everything in the very best way, and they may not drive the most difficult loads with aplomb, but the M1.2s have a holistic rightness that satisfies at the level of the soul, and make me want to listen to music continually. And that's certainly not true of every amplifier that I've ever had in my listening room. On the contrary…  

So congratulations to the folks at Lamm for a splendid achievement in the M1.2s.  These are monoblocks that I could live with for quite a long time, believe me."

David W. Robinson, Editor-in-Chief, Positive-Feedback.com 


1
power amplifier

1 Class A for solid-state power amplifiers in the Recommended Components section of STEREOPHILE magazine (April 2003-April 2004).


1
MONAURAL POWER AMPLIFIER

1

1 Reference Award from HAUTE FIDELITE magazine (France) (November 2004).

1 Class A for solid-state power amplifiers in the Recommended Components section of STEREOPHILE magazine (April 2005-April 2007).


1
power amplifier

1   1   1

1 "4-star" power amplifier category in FI magazine's Buyer's Guide to the Best Equipment (Vol. 4, issues 1& 3, January/March 1999)

1 Reviewers' Choice'1998, SoundStage! magazine

1 Class A for tube power amplifiers in the Recommended Components section of STEREOPHILE magazine (October 2000-April 2003).

1 Audio Art "Best of the Year 2001" Award (Taiwan), by Editor-in-Chief, Jack Liu

1 Golden Ear Award, TAS (2001)

"They're at best utilitarian and they sure aren't pretty.  They put out a mere 90 triode watts per channel and they cost $20,000 a pair.  They are also among the handful of the finest amplifiers on earth.  They are the Lamm ML1 monoblocks.  Do not be deceived by the plain appearance and imposing price.  The Lamms' sound is like nothing else I have ever heard.  As you might expect from any component in this price range, they do all the things audiophiles expect, and they do them superbly.  Tubes don't have bass this deep and controlled, do they?  The ML1s do.  There is every bit of the wonderfully bloomy and seductive quality to the midrange that a good tube amplifier should have, together with a gloriously extended, though slightly dark, top end.  Where the Lamms ascend to the transcendent is in their imaging and soundstaging.  The images of instruments and voices as presented by the Lamms are so solid and palpable they seem almost unreal, in the very degree of reality they capture.  And they are organized on a huge soundstage that can be mapped with the precision of a 3D blueprint.  IT is as though they physically pry open the soundstage in all three dimensions.  Despite their relatively low power output, the ML1s are able to drive my inefficient Apogee Duetta Signatures to thoroughly satisfying volume levels on most materials, including orchestral recordings; with more efficient loudspeakers, such as my next award winner, their dynamics are exceptionally robust and authoritative." 

Paul Bolin, The Absolute Sound, #133 (December 2001/January 2002), p.55


1
power amplifier

1  1

1 "Best Amplifier of year 2008" award from Fedelta del Suono magazine (Italy)

1
Reviewers' Choice 2003, SoundStage! magazine

1 Class A for tube power amplifiers in the Recommended Components section of STEREOPHILE magazine (April 2004-October 2006)


1
power amplifier

1  1  1   1  1  1   1  

1 Design and Engineering Innovation 1999 Award, CES, Las Vegas (January 1999)
[
Innovations]

1 Reviewers' Choice 1999, SoundStage! magazine

1 Class A for tube power amplifiers in the Recommended Components section of STEREOPHILE magazine (October 1999-April 2002).

1 Golden Ear Award, TAS (1999)

"The diminutive, unimposing LAMM INDUSTRIES ML-2 monoblock amplifiers are some sort of break-through in single-ended design. The most detailed, neutral, and transparent amplifiers I've yet heard, and high among the most dynamic (given their power limitations), with the best soundstaging money can buy. That said, at a mere 18-and-a-half watts per side, the Lamm ML-2s are definitely system-dependent. You'll need a loudspeaker of high sensitivity (I'd say at least 92-93 dB sensitivity) ...and a very high-quality front end. If you are so equipped -- and if you have 30 grand to spring on amplification -- you just can't do better than the Lamms. Although the Lamm ML-2s...may be connoisseur products, they are worth every cent the manufacturer[... is] asking, if the sound absolute is what you crave." 

               Jonathan Valin, The Absolute Sound, #121 (December/January 2000), p.42

11999 Reviewer's Choice "Edge of the Art" awardSoundStage! (presented at CES'2000 in Las Vegas, Nevada).

1

Doug Schneider along with Elina Dobin and Vladimir Shushurin of Lamm Industries.

"A tale of two very expensive and impressive products that share this year's Edge of the Art award. In March, Marc Mickelson found that the single-ended Lamm ML2 amplifiers "...very well may be the most complete-sounding amplifiers you can buy." In August, Jeff Fritz proclaimed the Wilson X-1 Grand SLAMM Series II speakers "...as faithful a bridge to the music as I’ve heard." Both are inspired designs that take no sonic parameter for granted and spare little to no cost in their creation. Interestingly, Lamm's Vladimir Shushurin has commented that his ML2s drive the SLAMMs exceedingly well. One owner of his electronics uses two pairs to bi-amp the speakers. Although both products are out of financial reach of most consumers, they represent the pinnacle of audio performance."

SoundStage! WCES'2000

1 Class 1, TAS "CenterStage" component classification feature
(issue #136, 2002, pages 37-39) and

1 Class 1 Power Amplifiers of "Recommended Products" feature (issue #138, 2002, page 47)    

"Class 1 is the state-of-the-art, the best sound currently available regardless of price"

"LAMM ML2 ($29,290/pair) -- These superb 18Wpc single-ended-triode monoblocks are the culmination of their designer's Vladimir Lamm's, thirty-year quest for the absolute sound.  Given speakers of sufficiently high sensitivity and stable impedance -- such as the Avantgarde Trios, Nearfield Acoustics Pipedreams, and the Kharma Exquisite Reference 1As or 1Bs -- you cannot buy better amplification.  If you hanker for the romance of 300B-based SETs, look elsewhere.  The ML2s are among the most neutral amps on the market, with peerless transparency, soundstaging, and inner detail."

  Jonathan Valin, The Absolute Sound, reviewed in issue 118.

1 Product of the Year'2002 and Editor's Choice'2002, Hi-Fi+ (U.K.)

"Hideously expensive with nothing on the outside to justify the price-tag, the Lamms take an almost perverse pleasure in destroying preconceptions.  They deserve their place in this list by dint of demonstrating, once and for all, that it's not what you use but how you use it that counts.  They don't succeed because they use a single-ended triode, tubes or because they're mono or class A.  They succeed because they're properly engineered, whilst driving a coach and horses through conventional notions of power output and drive capabilities.  This sounds like no other 18 Watts I've ever heard, and laughs in the face of awkward loads.  They're also the finest power amps I've ever had at home.  All of which combines to ensure their presence here."  

             Roy Gregory (reviewed in issue 16)

1 Golden Ear Award, TAS (2003)

"...the single-ended-triode Lamm ML2 is the best low-to-medium-power amplifier in the world.  Given the right speaker -- such as the Avantgarde Trio, the Nearfield Acoustics Pipedreams, or virtually any Kharma -- the Lamms provide the most detailed, spacious, dynamic sound of any amp on the market.  Though a mere 18 watts per side, they are incredibly powerful with the right load, and never less than neutral-sounding regardless of speaker.  Like all Lamm products, the ML2s are a bit dark in balance but very quiet and extended."

   Jonathan Valin, The Absolute Sound, #145
(December 2003/January 2004), p.60

1 1973-2013 - TOP 100 PRODUCTS, TAS.

Which audio products of the past 40 or so years have been the most significant, either by introducing a technical innovation, influencing later designs, achieving great commercial success, or establishing a new benchmark of performance? [Listed] are the 100 most significant products of the last four-and-a-half decades as chosen by consensus of our writing team and presented (approximately) in chronological order.

Lamm Audio ML2 (ca. 1999)

The SET amplifier that proved that SETs didn't have to sound Technicolored. Designed by Vladimir Lamm

 Jonathan Valin, The Absolute Sound, #234
(July/August 2013), p.54



ML2.1
power amplifier

1 1

1 Reviewers' Choice 2004, SoundStage! magazine.

1
Class A for tube power amplifiers in the Recommended Components section of STEREOPHILE magazine (October 2004-October 2007).

1 Products of the Year category, runner-up in both "2004 Amplification Component" (p. 61) and "2004 Joint Products of the Year" sections of STEREOPHILE magazine (December 2004).

1 2005 Recommended Component, Revue du Son (France)

1 Products of the Year category, runner-up in the "2005 Amplification Component" (p. 60) section of STEREOPHILE magazine (December 2005).

"...Stereophile's "Products of the Year,"...recognizes those rare components that prove capable of giving musical pleasure beyond the formal review period.  These are the components that can be recommended with no ifs or buts, that will grace any system in which they are used."

1 Editor's Choice Award, TAS (2004, 2008)

"The single-ended-triod ML2.1 sounds nothing like the typical SET.  It does not trade off accuracy for euphony; it is not bandwidth-limited (its bass and treble are sensationally extended); and it is surprisingly powerful sounding (though not particularly "bloomy") within its 18-watt limits.  Given a sufficiently sensitive speaker -- such as the Avantgarde Trio, the Nearfield Acoustics Pipedreams, the Wilson X1 or X2, or virtually any Kharma -- the ML2.1 will produce the most detailed, spacious, dynamic sound of any amp on the market.  Like all Lamm products, the ML2.1s are a bit dark in balance, very quiet, and very reliable."  

JV's low-power reference.

      Jonathan Valin,  The Absolute Sound, #157 (December 2004), p.48

"20,000 and above" category
                         The Absolute Sound, #185 (October 2008), p.56


1
MONAURAL POWER AMPLIFIER

11
111

1 Golden Ear Award, TAS (2012, 2013).

"These 18W single-ended triode monoblocks are so magical (with a load-appropriate loudspeaker) that they made me question the paradigm of high-powered solid-state amplification. The directness of expression, the palpability of images, and the purity of timbres are simply sensational through the ML2.2. These amplifiers make it sound as though the musicians are speaking through time and space directly to you. It's an uncanny quality that must be experienced to be appreciated. The ML2.2s achieve this level of sonics not through a euphonic or tubey sound, but by conveying the virtues of SET amplification with SET colorations. With the right loudspeaker (a big caveat) the ML2.2s don't sound like tubes, SET, solid-state, or any other technology. Rather, they sound like music (review forthcoming)"

   Robert Harley, The Absolute Sound, #225 (September 2012), p.70

At one time if you told me that an 18W amplifier that cost 37k would be at the top of my list of desirable amplifiers, I would have thought you crazy. But that's what the Lamm ML2.2 is -- the world reference in immediacy, timbre, and musical communication. There is, however, a big caveat to this statement: You must partner the ML2.2 with a loudspeaker of high sensitivity and a benign load. Although the ML2.2 doesn't exhibit the bass and dynamic limitations of most other SETs, it is nonetheless significantly restricted in which loudspeakers its 18W will drive. This said, with the right loudspeaker the ML2.2 is simply magical. The music just exists in front of you, unencumbered by any electronic sonic signature. The ML2.2 makes even the best solid-state amplifiers sound somewhat flat and dimensionless by comparison. This is an amplifier that every audiophile should hear (review by Robert Harley in issue 230).

   TAS, #235 (September 2013), p.68

1 Editor's Choice Award, TAS (2013, 2014, 2015, 2016, 2017).

"This 18W single-ended triode amplifier from Vladimir Lamm defies all the stereotypes about SET amplifiers. The ML2.2 doesn't offer a glorious midrange at the expense of the frequency extremes; it offers a glorious idrange in addition to glorious performance over the entire spectrum, save for the lowest bass. Simply put, the ML2.2 sounds more realistic -- more like live instruments -- than any amplifier RH has heard. The caveat is that you must mate the ML2.2 with a loudspeaker of high sensitivity and a benign load.

   Robert Harley, The Absolute Sound, #231 (March, 2013), p.58

1 Class A for tube power amplifiers in the Recommended Components section of STEREOPHILE magazine (April 2013-October 2016).

Like its predecessor, the ML2.1, the 19W ML2.2 is a single-ended-triode monoblock power amplifier with a 6C33C indirectly heated power tube. Other tubes include two 6N6P, one 6AK5, one 5651, and one 12AX7. Refinements over the ML2.1 include a new input circuit, new power ransformer, five power-supply filter chokes instead of two, revised printed-circuit board, and upgrades of various parts. Measuring 16" W by 8.25" H by 20.375" D, weighing 81 lbs, and with 14 tubes total (all of which must be installed and adjusted by the user), the ML2.2s require careful setup. ...the Lamm combined superb spatial and tempral performance with rich texture and tone color, said AD. "An extraordinary product," he concluded (Vol. 36, No. 4).

http://www.stereophile.com/content/2015-recommended-components-power-amps

1 2013 Product of the Year Award, TAS.

ML2.2 - Tube Amplifier of the Year

There's no other word to describe Lamm's 18W ML2.2 but "magical." This mono amp has the ability to conjure up a striking impression of actually being in the presence of real instruments and voices. Although the ML2.2 has more palpable immediacy than any other amplifier RH has heard, it never sounds forward or forced. Unlike many other single-ended triode designs, the ML2.2 isn't just about the midrange at the expense of the frequency extremes. The Lamm has a neutral balance coupled with excellent bottom-end oomph and treble extension. Allowing the ML2.2 to achieve its potential requires pairing it with a high-sensitivity loudspeaker, preferably one with a flat impedance curve. Its 18W can only go so far. (The ML2.2 makes even the best solid-state amplifiers sound somewhat flat and dimensionless by comparison.) This is an amplifier that every audiophile should hear. (RH, issue 230)

Robert Harley, The Absolute Sound, #239 (January, 2014), p.58


ML3
MONAURAL POWER AMPLIFIER

1 1 1
 EC 1 1 11

1 Reviewers' Choice, SoundStage.com (2008).

1 ...Jonathan Valin’s Most Significant New Product:  
      The Lamm ML3 monoblock power amplifier.

Jonathan Valin, The Absolute Sound (April/May 2008, issue 181)

1 2009 Super AV Award, Super AV Magazine (Hong Kong) 

1 2010 Product of the Year Award, TAS.

ML3 Signature - Tube Amplifier of the Year
"This 32Wpc, four-chassis, $140k SET may strike some of you as the Poster Child for Audiophile Excess, but, as reviewer Peter Breuninger pointed out, the Lamm ML3 Signature amplifier takes the definition of the absolute sound and turns it on its head. For 30 years, the illusion of live unamplified instruments in space has been what we've been aiming for. Now with this Lamm attack on the state of the art we can (almost) throw away the word "illusion". Vladimir Lamm approaches what we all seek in the reproduction of music -- the actual sound of live instruments in space, by reducing or eliminating two of the major sonic colorations that reviewers harp on: electronic haze and midbass overhang. The cost of entry is unquestionably high, but the performance is even higher. If you value sonic realism -- and have a speaker of high-enough sensitivity and transparency -- the ML3 Signature has no peer. "

Peter Breuninger, The Absolute Sound, #208 (December 2010)

1 Editor's Choice Award, TAS (2011, 2012, 2013, 2014, 2015, 2016, 2017)

"This four-chassis, 32Wpc SET amplifier sets new standards in sound reproduction. The ML3 delivers amazing speed plus captures the full harmonic envelope of each instrument. The result is unparalleled tonal neutrality. Surprising, for an SET design, the Lamm can be used with a wide range of loudspeakers, though care must be exercised in impedance and sensitivity matching."

   Peter Breuninger, The Absolute Sound, #211 (March 2011), p.54

1 Class A for tube power amplifiers in the Recommended Components section of STEREOPHILE (October 2013-October 2016).

Rated to deliver 32W, Lamm's flagship design is a zero-global-feedback, class-A monoblock with a single-ended-triode output stage and an outboard power supply. It uses one 12AX7, four 6N30P-DR, and one direct-heated GM70 triode transmitter tube, and its assortment of premium internal components include: military-grade Dale metal-film resistors, Caddock power-film resistors, Cornell-Dubilier and United Chemi-Con electrolytic capacitors, and Electrocube, Elcon, and Roederstein film caps. While the ML3 sounded "lusher and bloomier than life," it produced natural attacks and generous sustain, and had an airy, extended top end, said MF. "Cost and value for money aside, the Lamm Industries ML3 Signature is among a handful of the most pleasurable-sounding amplifiers I've ever heard," he concluded. JA noted good measured performance for an amplifier with a single-ended output stage. (Vol. 36, No. 9).

http://www.stereophile.com/content/2015-recommended-components-power-amps

 


1
linestage preamplifier

 

1  1 1

11 Design and Engineering Innovation'95 Award CES, Las Vegas, NV (January 1995).

11 1995-96 BestBuy component in STEREO SOUND magazine (Japan) (No. 117 Winter 1996).

1 Reviewers' Choice, SoundStage.com (1998).

1 FI magazine's Buyer's Guide to the Best Equipment  (Vol. 4, issue 1, January 1999)

11 Best Sound Award at Moscow Hi-Fi'00 Show presented to TCHERNOVAUDIO DISTRIBUTION

11 Class A for preamplifiers in the Recommended Components section of STEREOPHILE (October 2001-April 2004)


1
LINESTAGE PREAMPLIFIER

 1  1  1 1 1

1 Reviewers' Choice, SoundStage.com (2001).

1 Class A for line-level preamplifiers in the Recommended Components section of STEREOPHILE (October 2001-April 2004)

11 Reference Award from HAUTE FIDELITE magazine (France) (March 2007).

1 Class 1 Preamplifiers and Line Stages of "Recommended Products" feature, TAS  

"Class 1 is the state-of-the-art, the best sound currently available regardless of price"

"A counterpoint to the great Audio Research Ref 2MkII, the L2 sacrifices a bit of top-end air and midrange bloom for what is, unquestionably, the most detailed sound in a tube preamplifier and the best bass of any tube preamp.  As good a soundstage as the ARC (which means as good as the best), the L2 is marginally lower in noise and grain.  Gorgeous tone color, excellent dynamics.  Be forewarned: this preamp needs a good three months break-in to sound its best.  But its best is worth the wait."    

Jonathan Valin, The Absolute Sound
issue #
138, 2002, page 53
issue #139, 2002, page 43

1 Golden Ear Award, TAS (2003, 2004).  

"...Lamm's tube preamps are a little dark-sounding compared with the Aesthetix (in single-ended mode) and the ARC Ref 2MkII, and somewhat less bloomy than either.  But the two-chassis hybrid (tube power supply, solid-state control unit) Lamm L2 linestage is at least as detailed as its competition, with equally good soundstaging and the best bass of any tube preamp..."

 Jonathan Valin, The Absolute Sound, #145
(December 2003/January 2004), p.58

"...Lamm's preamps are a little darker sounding than my previous Golden Ear Award winners, the Aesthetix Callisto/Io and the ARC Ref 2MkII phono, and less bloomy than either.  But the two-chassis hybrid (tube power supply, solid-state control unit) Lamm L2 Reference linestage and the single-chassis all-tube LP2 Deluxe phonostage are more finely detailed than these others and at least as good at soundstaging, with considerably better transient response and less grain than both, and the best bass of any preamps I've auditioned.  To a greater extent than the Aesthetix or the ARC, the Lamms seem to combine the virtues of solid-state (focus, control, detail, low noise) with those of tubes (rich beautiful tone color, superior dynamic nuance, three-dimensional body, lifelike image size).  N.B., with a superb built-in coupling transformer to handle lower-output moving coils, the LP2 phonostage has the inestimable advantage of being dead quiet, which makes it ideal for folks, like me, who live in RF Valley."

    Jonathan Valin, The Absolute Sound, #151
(December 2004/January 2005), p.42

1 Blue Note 2005 Award, EnjoyTheMusic.com (November 2005)

"The Model L2 Reference's persuasive musical presentation blends tonal neutrality and explosive dynamics with a flowing, almost lyrical reading of musical lines. It dares you to put it under the microscope. Under higher magnification, peering deeply into the musical tapestry – the harmonic, rhythmic, and melodic structure of the music is as lucid and pure as it is from a distance. This is a rare quality for an audio device. In contrast, most preamplifiers come across as electronic devices with obvious distortions that make it difficult to accept their version of the truth. It is undoubtedly a towering achievement that takes the road less traveled by combining a massive tube regulated and tube rectified power supply with a MOS-FET signal path. This is the one, my nominee for line preamplifier of the new millennium!"

                              Dick Olsher, Senior Editor, EnjoyTheMusic.com

1 TAS, "PREAMPS TODAY" list of individual reviewers' selections -- the L2 picked by Jacob Heilbrunn

The Absolute Sound, #223 (May/June 2012), p.48


1
LINESTAGE TUBE PREAMPLIFIER

 

1 Class A for two-channel preamplifiers in the Recommended Components section of STEREOPHILE (October 2014-October 2015).

The dual-mono Lamm Industries LL1 Signature may not be the only four-box line preamplifier, but, according to BJR, it stands as a "stunning design stunningly executed." With design roots in the driver stage of Lamm's ML3 Signature power amp, the single-ended LL1 uses four high-transconductance 6N30P dual-triode tubes, connected in parallel, in the preamp stage of each channel, plus two 6X4 full-wave rectifier tubes in each channel's outboard power supply. In his listening tests, BJR described being "floored by the several areas in which [the LL1] achieved levels of performance I hadn't thought possible," mentioning in particular the Lamm's "sense of unfettered, dynamic ease and drama," its "clean, crisp, uncolored, fast, deep, gut-slamming bass" (we think he liked it), and the LL1's "ability to render each instrument within its own dynamic envelope." JA observed, "Summing up the LL1's measured performance is easy: This is a superbly well-designed preamplifier." (Vol. 37, No.8).

http://www.stereophile.com/content/2015-recommended-components-preamplifiers

1 Products of the Year category, the LL1 Signature preamplifier is a runner-up in the
"2014 Amplification Component" of STEREOPHILE magazine 
(December 2014).

"...Stereophile's "Products of the Year,"...recognizes those rare components that prove capable of giving musical pleasure beyond the formal review period.  These are the components that can be recommended with no ifs or buts, that will grace any system in which they are used."

http://www.stereophile.com/content/stereophiles-products-2014-amplification-component-year


1
linestage preamplifier

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1 Best of 2001 Award, EnjoyTheMusic.com

"Considering its price point, the LL2 line stage's level of performance is nothing short of sensational. Its blend of tonal neutrality, speed, control, and harmonic purity add up to a sure recipe for musical excellence. It is capable of competing in the highest audiophile arena, while its slight spatial reticence and textural softness are easy to live with.  It should readily integrate with a diverse range of systems. "  

                 Dick Olsher, Senior Editor, EnjoyTheMusic.com

1 Class A for line-level preamplifiers in the Recommended Components section of STEREOPHILE (October 2005-October 2008).

1 Robinson's Brutus Award, Positive-Feedback.com --    presented to LL2 deluxe preamplifier in the category of Tube Line Preamplifiers (Dec. 2007) in recognition of significant contributions to the audio arts in 2007 

"...And as to its sound: what a sweet preamp! No, I do not mean "sappy," or "'musical,' as a euphemism for 'colored/syrupy/rolled-off and tubey sounding." No, little brother in the Lamm lineup or not, the LL2 is a collection of real audio virtues: clean, clear, tonally well integrated, quick, and spacious in sonic presentation. Music lives and breathes quite comfortably in the care of the LL2. The level of transparency is superior, but there's just the lightest, blessed touch of warmth, which reaches to the heart. You can listen to it for hours and hours, and never end up with a case of audio alienation—and believe me, I have heard preamps that do give you that "get me outta' here!" feeling. This is a preamp for any audiophile looking for sonic revelation, without wanting to attend a dreary audio autopsy.

At an MSRP of USD $4990, this is also a preamp that is more accessible to the moderately-heeled audiophile, while still delivering exceptional sound.

This is a superior preamp, and fully deserves a "Ye Olde Editor's 'very highly recommended!'" and a Brutus Award for 2007."

David W. Robinson, Editor-in-Chief, Positive-Feedback.com


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LINE-LEVEL PREAMPLIFIER

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1 Reviewers' Choice, SoundStage.com (2009, 2011).

1 SoundStage! magazine's Equipment Buying Guide (2009).

1 Class A for line-level preamplifiers in the Recommended Components section of STEREOPHILE (October 2011-October 2013).

" Line-level preamp with one 6X4, two 12AU7A, and two 6DJ8 tubes. AD was most impressed by the original version of the Lamm's ability to remain free from overhang and distortion while remaining true to the color, texture, and body of recorded material. He explained that, because of the LL2's speed--"the thing's ability to respond to a signal, amplify it with great faithfulness, then get the hell out of the way"--it gave music "more body, more feel, and especially more movement." It seemed as if performances were actually taking place in the listening room rather than simply being retold. AD: "Judged for its musicality, the quality of its parts and construction, and its sheer design ingenuity, the Lamm LL2 is worth every penny." In response to requests for a lower-gain version of the LL2, Vladimir Lamm redesigned the preamplifier's circuit to incoroporate 15dB of switchable attenuation. Compared to AD's reference Shindo Masseto, the LL2.1 sounded cleaner and more open, with a tendency to pull voices farther out from the mix and a better ability to unravel dense musical passages. (Vol. 28, No.9)

1 Editor's Choice Award, TAS (2010, 2011, 2012, 2013, 2014, 2015).

"This all-tube linestage preamp (with tube rectification) captures 80% of price-no-object preamps for a fraction of their cost, said our reviewer DO. Never in-your-face analytical, the LL2.1 frames details organically within the fabric of the music. Treble, bass, and transparency can be improved by using the right after-market tubes."

The Absolute Sound, #201 (March 2010), p.66



PHONO PREAMPLIFIER


1 Recognized as a Highly Recommended Product, MonoandStereo.com (2015)


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phono preamplifier

 

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1 Reviewers' Choice, SoundStage.com (2003, 2009)
1 Class A for phono preamplifiers in the Recommended Components section of STEREOPHILE
(April 2003-October 2005, October 2011-October 2013).

"A 'super-quiet' dual-mono vacuum-tube phono stage featuring switchable moving-magnet and moving-coil inputs. Mike Fremer: 'Bass extension, control, and definition were startlingly good...Subtle dynamic scaling was on a par with the Boulder and notably superior to the Connoisseur...Subtle string textures, reeds, and female voices were positively thrilling, and the size and weight of the entire picture...was particularly impressive. Add that to snap-you-back-in-you-seat dynamics and authoritative decay, and the Lamm became one of a handful of the finest phono sections I've ever heard." Compared to the phono section of AD's Shindo Masseto, the Lamm LP2 Deluxe had a 'more neutral' sound, 'with instrumental and vocal timbres sounding clean and right -- yet not mechanical or overly dry."

1 Golden Ear AwardTAS (2003, 2004)

"...the single-chassis LP2 phonostage, with its superb built-in step-up transformer for low-output mc's, is among the finest.  To a greater extent than the Aesthetix or the ARC, the Lamms seem to combine the virtues of solid-state (focus, control, detail, low noise) with those of tubes."

Jonathan Valin, The Absolute Sound, #145 (December 2003/January 2004), p.58

"...Lamm's preamps are a little darker sounding than my previous Golden Ear Award winners, the Aesthetix Callisto/Io and the ARC Ref 2MkII phono, and less bloomy than either.  But the two-chassis hybrid (tube power supply, solid-state control unit) Lamm L2 Reference linestage and the single-chassis all-tube LP2 Deluxe phonostage are more finely detailed than these others and at least as good at soundstaging, with considerably better transient response and less grain than both, and the best bass of any preamps I've auditioned.  To a greater extent than the Aesthetix or the ARC, the Lamms seem to combine the virtues of solid-state (focus, control, detail, low noise) with those of tubes (rich beautiful tone color, superior dynamic nuance, three-dimensional body, lifelike image size).  N.B., with a superb built-in coupling transformer to handle lower-output moving coils, the LP2 phonostage has the inestimable advantage of being dead quiet, which makes it ideal for folks like me who live in RF Valley."

  Jonathan Valin, The Absolute Sound, #151
(December 2004/January 2005), p.42

1 Editor's Choice Award, TAS (2004, 2008, 2010, 2011, 2012, 2013)

"With a superb built-in coupling transformer to handle lower-output moving coils, the all-tube Lamm LP2 phonostage has the inestimable advantage of being dead quiet, which makes it ideal for folks like JV, who live in RF Valley. Though not as "alive" or bloomy as the Aesthetix Io or ARC PH7 on large-scale dynamics, the Lamn is rich, beautiful, and extraordinarily delicate-sounding on all music, with superior detail and transient response."

One of JV's references.

                 Jonathan Valin, The Absolute Sound, #157 (December 2004), p.58

"6,000 and above" category

                              The Absolute Sound, #185 (October 2008), p.70


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TAS Short List, in a category of Phono Preamps over $3K:

Lamm LP2 Deluxe: Dead-quiet tube phonostage with superb built-in step-up transformer. 

The Absolute Sound, #180 (March 2008), p.144

1 Robinson's Brutus Award, Positive-Feedback.com  -- 
presented to LP2 phono preamplifier (Dec. 2008) in recognition of significant contributions to the audio arts in 2008

"You know, the more I listen to Lamm gear, the more respect I have for the design work of Vladimir Lamm and company. I've given Brutus Awards in the past for their M1.2 Reference monoblocks and LL2 preamp; now I'm going to add to the string by giving a Brutus Award this year for the LP2 phono amp.

I got to use the LP2 with the Continuum Criterion turntable, with its middle-high output Air Tight PC1 MC cartridge. All that I can say is that the LP2, a pure Class A, non-inverting, tube design, was exceptionally quiet, clear, and provided just the right touch of musical soul to the LPs coming its way. I have to say that I like the LP2 a lot better than I liked a couple of other phono amps in the same price range over the years. (Equally pricey does not always mean equal quality, it seems.) Readers should note that the LP2 used the JENA Labs Model ONE to the Walker Audio Velocitor for power, JENA Labs Symphony unbalanced cables, and was standing on the top shelf of the superlative CMS PXK reference audio rack. Lesser components will definitely lower the performance; caveat lector.

The LP2 is built like a tank, has no bad habits, works all day long, and is glorious to listen to. Do not—repeat, do not—drop the LP2 on your foot. You'd probably have to amputate. If authority is measured by the pound …and power supplies have a tendency to tip the balance beam …as well as by the ear, then the LP2's nearly 42 pounds qualifies it as a hefty audio reference.

Kind of like everything else that I've heard from Lamm.

A Brutus Award in 2008 to Lamm Industries, for sure."

David W. Robinson, Editor-in-Chief, Positive-Feedback.com 

1 TAS Top Picks in turntables, cartridges, and phonostages 
  (TAS editorial staff's consensus on the very best LP playback gear)

Lamm LP2 Deluxe: With a superb built-in coupling transformer for lower-output mc's, the all-tube Lamm LP2 has the inestimable advantage of being dead quiet.  Ideal for folks who have problems with RF. 

The Absolute Sound, #191 (March 2009), p.32


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PHONO PREAMPLIFIER

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1 Editor's Choice Award, TAS (2015, 2016, 2017)

1 Class A for phono preamplifiers in the Recommended Components section of STEREOPHILE (April-October 2016).

The LP2.1 Deluxe - the adjective refers to this version's upgraded power supply, polystyrene bypass caps, and 20.5-lb damping panel -- is a single-box stereo phono preamp with tube rectification and pairs of Russian-made 6C3P and 6C45P-E triode tubes for the signal path. The dual-mono design has separate, switchable RCA-jack inputs for MM and MC cartridges, the latter of which address a pair of Jensen 1:10 step-up transformers for additional gain. Controls are minimal, with no provisions for varying the 400-Ohm load of the MC inputs -- although, as MF observed, that figure is "a good compromise for cartridges with internal impedances of about 40 Ohms or less." MF found the "smooth-sounding, well-detailed" LP2.1 to be remarkably free from noise -- even quieter than some solid-state phono preamps -- and observed that "the sound of MCs through the LP2.1's transformers was impressively fast, detailed, open, dynamic, and resolving -- all without added glare, grain, or etch." At the same time, he was even more impressed when preceding the Lamm's MM stage with the Ypsilon MC-10L step-up transformers ($6000), which "seriously upped the sound quality along with the price." Still, MF considers LP2.1 Deluxe "fully competitive with anything at or near that price." (Vol. 38, No.3).

http://www.stereophile.com/content/2015-recommended-components-turntables-tonearms-cartridges-etc


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