Vladimir,
I wanted to take this opportunity to give you my reactions to the
ML-1 monoblocks that I've owned for about a week now. I am
using them with a pair of Genesis 201 speakers, ARC Ref 2 preamp
and Clearaudio Master Ref table w/Transfiguration cartridge and
BAT phono preamp. This is my main system and I normally use
ARC Ref 600 monoblocks. I intended to use the ML-1's with a second
system (having Kharma Ceramique 1's and Lamm LL2 preamp) but
listening to them for this week in my main system has created a
problem...I don't want to use them in the second system! The
sound of the ML-1's is astounding and markedly better than the
much more pricey Ref 600's! My reaction has been to put my
ARC's up for sale in the hopes of making enough on them to buy
another pair of ML-1's. Not only can the ML-1's provide
sufficient power and headroom for the Genesis 201's, they provide
a level of detail and 3D imaging that I didn't believe possible
above and beyond the Ref 600's (and I have really enjoyed them in
my system until now).
Of course, the reviews I've read over the years as well as my
experience with the LL2 preamp consistently laud the quality and
sound of the Lamm gear so my personal reactions are not anything
unexpected I suppose. However, given the quality of the Ref
600's in my system I didn't expect to have this strong and
positive a reaction to the ML-1's above and beyond my Ref 600's.
I certainly haven't heard all the high-end amps out on the market
but I've listened to quite a few (ranging from Halcro, Spectral
and Classe' to VTL, ARC and Jadis) and I have found the ML-1's to
be the most satisfying I've heard. I suppose this is my way
of saying both thank you and curse you -- you've raised the bar
for what I consider to be quality music reproduction and now I
have to figure out how to get that second set of ML-1's (or
selling my speakers and buying more efficient ones that would work
with the ML-2...egad).
Regards,
Chris Earley
July 15, 2003
Dear Elina/Vladimir,
I have been living with the LP2 deluxe phono-stage for 2 months
now, and here is what I have to say.
Let me make this short, I could go on praising the outstanding
performance of the LP2: incredible midrange and treble, bass
performance that still takes my breath away. Music played
through the LP2 feels like a live presentation of the music. Neil
Young in full size in my listening room is
almost scary. But the point is, that there is really not much to
say, it just sounds right.
The LP2 phono-stage is to my ears the best phono-stage in the
world, making my records sound organic, and that is to my opinion
what it's all about. I have owned top dog phono-stages from many
of the big names in the business. The Lamm LP2 is not only better
than the competition, it sets a quite new standard for phono
amplification. I can't recommend this product enough, the price
considered, I find this the best bargain that you can possible do,
if you are looking for a reference phono-stage.
The build quality is among the best in the business, and the
operation of this phono-stage is quite simple, plug it in, let it
burn in, and welcome to sound paradise on earth.
If You like music - You will like the LP2.
Yours Sincerely
Claus Grosen
May 27, 2003
Vladimir,
I am generally
reluctant to state impressions of an amplifier until I believe I
know the full measure of its character. That generally takes about
a month. However, I shall make an exception in the case of the
Lamm ML1 which I received 4 days ago. Let me just say this
-- I was up till 3 am the first night. I played hooky and did not
go to work the second day. I was up to 4 am the second night. Does
that tell you all you need to know? I am driving the Wilson
MAXX and, as you assured me, they do indeed drive them "with
aplomb". Sure, I might be a bit greedy on loud
orchestral passages and desire a bit more power, but the subs hide
that need quite well (I run the MAXX full range.) I would
never have guessed they sound nearly equal in power to the Krell
350MC monoblocks that they replaced, but they do! At this
point, I am a bit reluctant to say they are "this" or
"that". Break-in is still evolving. What I
can say is that it has been over a decade since I last had the
same sense of joy from any audio component. It is truly a
beautiful and astonishing sounding amplifier. I extend my
congratulations to you. Most notably, they are stark
reminders to those of us that lost our way and abandoned tube amps
years ago that we are delighted to find our way home again in a
new era of tube amplifier performance. I look forward to
great listening.
Sincerely,
Martin Wax M.D.
Professor of Ophthalmology and Visual Sciences
Washington University School Medicine
St. Louis, MO 63110
January 20, 2002
Dear
Vladimir,
I
would like to share a few of my experiences with LAMM equipment.
My
first thought when I heard a voice through your L1 preamp was that
it sounded like REAL, and this has been the reaction of many
others. This must the biggest compliment any audio equipment
designer can wish for, but from my experience none deserves it
more than you. This sense of realness I also find in your M2.1
amplifier, which is one of the very few amplifiers that can truly
drive my Apogee Diva speakers.
Being
exposed to such realistic sound reproduction has certain
consequences. It has solved one of my great dilemmas in this
hobby: does a certain component sound good on its own, or is it
actually colored but happens to counterbalance the coloration of
other components in my system? With LAMM this issue has fallen
away as it gives me a neutral base from which I can assess other
equipment. I have also come to realize that most tweaks are
designed to patch up flawed designs.
Another effect is that I have lost my interest in
frequenting shops to hunt for the next equipment upgrade. Once
familiar with LAMM, I detect the colorations in other systems with
such ease that it becomes difficult to appreciate them.
A
certain equipment manufacturer used to advertise with a picture of
a banana and the statement that this item has as much to do with
music as do technical specifications. How does this relate to your
assertion that LAMM designs are not based on listening tests at
all? It must mean that you have been able to identify, measure and
control those technical parameters that directly relate to the way
we experience music. I believe the significance of this fact is
grossly underestimated in the audiophile community.
Thank
you for devoting your talents to audio equipment, as it has
allowed me to experience recorded music in a revelatory manner.
Richard
Fung
23 April 2001
I wanted to express my thanks
and leave some comments about M1.1 amplifiers and the LL2 preamp.
First, I wanted to thank you for the protection afforded to both
of these units in their shipping crates. Secondly, I wanted to
comment on the build quality. I have owned my share of
preamps/amps but none whose construct and shipping left me as
reassured about their arrival and subsequent setup as yours.
As to their sound, I will defer to those whose comments are
expressed elsewhere in this forum. I will say that their
relationship is both natural and unassuming in not drawing
attention to any particular aspect of presentation. I read in the
LL2 review (also on this
site) that the term 'organic' was used and for lack of
anything better I will agree. Their presentation has a coherence
that feels and sounds almost graceful. Most importantly, for me,
is the feeling that this purchase will continue to play. Again,
they seem built to last and to provide enjoyment of the music you
have at hand.
Rich
Lavoie
February 14, 2001
I have had a chance to listen more fully to the M1.1's in the
course of last week, and this past weekend. Mainly on CDs but a
little on LPs. In a word, I am impressed with them. The way they
get out of the way of the music is phenomenal. The capabilities of
my Watt Puppies that they now reveal is also surprising to me, in
a sense it feels like two upgrades in one. It's almost like if you
get new eyeglasses, you enjoy better vision but you also enjoy
better life.
In a nutshell, the image (which is what
others refer to as soundstage, detail, ambiance, you name it --
and which to me means what I feel with the system playing and the
lights off) is a lot more lifelike. The bass extension will
probably disappoint many friends of mine and would have otherwise
disappointed me if I was still thinking in the Krell era. But for
those people I would say it's same reaction as someone who's
tasting water all of a sudden again, after having had soft drinks
exclusively for eternity. I don't have chance to attend live
concerts as often as a Bostonian or New Yorker but like with ivory
I can tell a fake piece when I see one.
The center of gravity of the system, meaning
the pleasure in listening to a classical, or classic rock or a
jazz performance is also most optimum with these amps than I can
remember, period. I have been listening at length to stuff that
until now was boring or even unpleasant to sit through.
I know that as these amps grow on me, there
is a chance that some of these initial impressions will fade. But
I am happy to consider them as my "ear cleaning
devices", which hopefully will recalibrate my experience of
reproduced music in my environment. I can't wait to experiment
with cables but the pleasure is too great to be messed with for
now, and to the great chagrin of my dear and usually understanding
spouse, I am rediscovering high-end.
Cheers,
Hakim Janah
January 15, 2001
Dear Mr. Shushurin,
I have just purchased LL2 vacuum
tube preamplifier and wanted to offer some feedback about my
experience with your design to date. I have been using an Audio
Research SP-10 for the past 15 years with QUAD electrostatics and
tube amplifiers. For the past two years I have been seeking to
improve on the transparency of my preamp and have auditioned many
products, including the BAT VK-5i, VK-50SE, Audio Research LS-25
among others. In each case there were aspects of the performance
that prevented me from purchasing the equipment.
The LL2 wins hands down on
comparison back to back with a Convergent Audio Technology Sig. 3
preamp. For the past week I have listened for many hours to the
LL2 and find it to be the only preamp I have auditioned that
combines extreme transparency and inner detail with a completely
natural, convincingly musical presentation. I found the Audio
Research a bit more dynamic, and the BAT somewhat more detailed,
but the AR still had a glaze that obscured the harmonics of many
instruments, and the BAT sounded overly controlled, and the
soundstage was somewhat exaggerated compared to the LL2. Neither
compared with the LAMM in terms of eliminating every semblance of
electronic artifact, in getting all the harmonics just right, and
in bringing me so much closer to the live musical event, that I
finally felt I was within reach of the audiophile holy grail of
genuine neutrality.
I confess that the 'dual-mono'
volume controls and the lack of a remote make the LAMM less
functionally attractive than the BAT which is admittedly a superb
product. But, when it comes to the sound--and why else would
anyone in their right mind spend $4000 for a line stage--the LAMM
is simply the best I have heard. Congratulations on a brilliant
achievement. If it is as reliable as it is musical, then I will be
a very satisfied customer.
Yours truly,
Mark
J. Sedler, MD
April 26, 2000
Lamm products are unique! This is
what I first understood from reading reviews and especially Lamm
owners' feedback: I immediately perceived that they were trying to
communicate the fact that they had been experiencing something
different from what they had previously heard. Now that I own a
Lamm L1, I understand. It feels so CLOSE TO THE MUSIC that we no
more can talk in terms of listening fatigue but instead we'd
better introduce the concept of LISTENING ADDICTION! Thanks to
Vladimir and his staff!!!
Fabrizio
Biagetti
April 14, 2000
Hello, my name is Marco Rinaldi and
I live in Italy. I've been an audiophile for many years and enjoy
music systems very much. As you know, in Italy we have the love
for good things, and among them, I'm especially fond of high end
audio systems.
I've been regularly visiting Lamm's
web site with curiosity and interest because of all the wonderful
things I'd heard about them. I really admired Vladimir and his
products, from afar. I've been wondering if Lamm equipment really
sounds as great as I thought them to be. On February 22, 2000, I
posted an Internet message saying: Lamms are probably great but a
bit too expensive. A few weeks after that post, I was wondering if
they really are overpriced and expensive? After all, if they
really are as wonderful as I've heard then they're not overpriced
compared to their competition. I decided to experience Lamms for
myself. I first bought the L1 preamp and after hearing it, I
decided to buy a pair of Lamm amps. But which one? M1.1, ML1 or
ML2? All three are supposed to be the best in their class, all
wonderful and yet so different from one another. It's like
choosing a beautiful suit--Armani? Versace? Prada? Very difficult
to choose only one, but finally I settled on the M1.1s. My first
thought, once the units arrived and I fired them up, was:
"wow! Vladimir really is a genius and I'm going to make sure
that all my friends will know about Lamms and get to hear them as
well!" There's something special about Lamms which is not
found in any of its competitors. Lamm is like a Formula One
Ferrari, and like the Ferrari there is passion in all Lamm
products. I wish everyone could have a Lamm in their system and
for Vladimir to continue enriching the audio world with his
passion and genius. There really is a big need........
Happy listening,
Marco
Rinaldi
April 10, 2000
My experience: Escape or panacea?
Hi End is about the preservation
and reproduction of sound waves. There is no disagreement that the
musical devices producing those waves can vary in quality or that
the individual who operates those devices can vary in skill level.
However, in the best scenario, a virtuoso using the finest
instrument produces a sequence of "organized air waves"
(called music) that pass into the ear, travel through nerves to
the brain, and generate a "spiritual movement". That is
actually the goal of music composition and performance. So, the
goal of Hi End-- which tries as accurately as possible to
reproduce those sound waves--is to deliver a "spiritual
movement" or preserve an emotional impact that the composer
intended to deliver to his or her audience.
The "spiritual movement"
is a "spiritual movement". It is not an electrostatic
movement, not a single-ended movement, not a vacuum tube movement,
not soundstage movement, not class "A" movement, not
24-bit movement, not "properly treated room" movement,
not oversized magnet movement, not gold soldered movement, and not
low distortion movement... All of the aforementioned movements are
targeted to satisfy totally different demands of human needs. Our
discussions of the particular technology that can enrich the
composer's message is similar to two death row inmates discussing
how knife design and manufacturing improves its killing ability.
Similarly, buying $50,000 worth of jewelry for a woman does not
make her more valuable, applying world-class cosmetics to a corpse
does not make it look charming, and trying to blow life in to the
dead substance does not lead to a fruitful result. So why do we
accept Hi End products that deliver "beautiful engineering
solutions" but do not increase the chances of our being
spiritually moved by the music?
I have been asking my friends, the
audio equipment dealers, and myself those same questions and have
come to realize that the answer cannot be found within the Hi End
world. The Hi End industry is about a group of people who are
paying their mortgages by selling merchandise to individuals who
do not know what they really need. Hi End consumers are hostages
of this industry and drift from brand to brand, store to store,
buying into skillfully organized marketing campaigns but for some
reason, after investing $100K in the latest and greatest Hi End
gear, find themselves saying "not happy with what I'm
hearing". Sounds familiar, doesn't it? However, contrary to
"not happy audiophiles" I believe that I know what I am
looking for. But unfortunately, each time I want to be "moved
by music", I cannot simply invite the Boston Symphony
Orchestra or Willy Dixon over to my apartment for a couple of
tunes. I need true "sound reproducing equipment".
Welcome to the audiophile club...
Purchasing Hi End gear is like
purchasing a car. If you're buying a BMW, then any model of BMW
will be different from any model of Chrysler, though they will
each retain the same types of distinctions throughout the product
lines. It is the same with Hi End gear. All the equipment from a
certain manufacturer will have a specific sound characteristic
(which amuses me: it's the musical instruments that should sound
differently...). The reason for this is that behind each brand
there is an individual or sometimes a group of people who have a
vision of the products' topology, principles, manufacturing
methods, design and assembling. I feel very comfortable if we are
talking about cars but I do not when it comes to the engineering
of music producing gear. However, I still need to acquire a
mechanism that will let me experience the pain of Buddy Guy or the
joy of Mozart. Do I care about the manufacturer's "...30
years in business" or their "...patent pending
technology"?
I've heard them all. I have heard
those "full of resolution" systems and realized that
instead of getting the sensations I expected I got a direct insult
to my intelligence. And what insulted me more was the fact that I
actually paid for it and did so voluntarily. I have experienced
many "music-producing machines"; however, my frustration
has been increasing proportionally to the size of my dealer's
smile. Eventually I began to lose my interest for the entire field
and began to wonder if it was fake. Then I was introduced to
something which changed my entire perception of Hi End: LAMM.
No specific LAMM model of equipment
is being mentioned here because all LAMM electronics sound
distinctive. If you want to know why this is so, go to the LAMM
web page at www.lammindustries.com. The purpose of this article
isn't to review LAMM but to share my vision of the place of the
LAMM sound within the contemporary Hi End world.
What shocked me about this gear?
First was a total lack of any mental abuse by the music, the
delicacy and non-intrusiveness of the signal, and a complete
absence of electronically made effects. I do not feel that I would
like to write a product review. Many reviews have already written
about LAMM products. But I would like to note just one very
interesting fact: it is difficult to turn the LAMMs off. It is
strange. Do you ever answer a phone call while music is on? Or
talk with one of your housemates? Or do something, anything, which
requires concentration? You shut down your system and return back
to life, don't you? Not with the LAMMs. This stuff creates sounds
so organically bonded with your environment that you'll just turn
down an attenuator on the preamp. Why? I do not know. However,
Vladimir Shushurin, the designer of LAMMs, says that he knows why.
Mr. Shushurin participated in
proprietary Russian research projects (utilizing enormous
resources of the Cold War dumped to the military researches) that
explored the way we hear. These were not just medical anatomy
studies to understand the biological process but ones that
attempted to grasp how our hearing creates those "spiritual
images". If someone were to conduct similar research and
publish the findings, the results would eliminate the common
misconception that we all hear differently. In fact we all hear in
a different way the different music from man-made machines but we
have a very common reaction to the natural sounds. However, those
who constantly expose their hearing mechanisms to those natural
and pure sounds, as opposed to synthesized or electronically
synthetic sounds, are not attracted to sounds which are not found
in real life. It is so simple and so scary. Simple, because true
sound is found in the real world, not created by applying certain
harmonic metrics to an electrical signal. Scary, because no
manufacturers besides LAMM have explored this aspect of human
hearing and at the same time have the privilege and luxury of
being a world-class amplifier designer.
From what I've just said it is very
easy to understand why LAMM products cost a bit more than those
from other manufacturers. But what kinds of elements make up the
price? Is it the total amount of resistors and capacitors the
designer uses multiplied by the number of times the company placed
a large ad in an audio magazine? Well, do you try to measure the
amount of paint that Rembrandt used for his pictures? Can you
measure the dollar value of the effort that humans spend trying to
get closer to the Truth? LAMM is not just your next amplifier, it
is your way of buying peace with God (as far as sound is
concerned). It is the enabler that exposes you to human musical
wealth. It is a piece of art which gives a lot of pleasure if you
know how to use it and it is a 'small' price to pay to LAMM as
they are the only company (according to my knowledge) which makes
it possible.
However, if I were a dealer I would
perhaps have difficulty selling LAMM equipment. It would be much
easier for me to demonstrate to my client other equipment:
"My dear friend! For another $15K you will have the ability
to hear how the stomach of your favorite artist consumes a ham
sandwich which the artist ate a day before the recording...Oh! I'm
sorry, you are not a proctologist... in such case, did you know
that when a drummer hits the cymbals, the impact of the drum stick
with metal surface actually consists of 50 micro-hits and you
could entertain yourself by counting them. Let do it together...
1,2,3,4,5... Or you know what? For additional $5K I could offer
you a portable device that could count it for you. Even more ...if
you get both of them today then I will provide you with two years
of free battery replacement and promise to inform you when a new
state-of-the-art device detecting the positioning of the drum
stick relative to the North Pole will be available...."
Absurd? Not at all. It is a necessary routine that dealers must
follow in order to be in the business. They need to provide
evidence that a model they are pushing now is far superior to the
model they sold last year. It is easy to demonstrate quantitative
differences to a client than to force the client to read books, go
to concerts, and visit museums for a long time before entering a
Hi-End store. LAMM equipment is about building a bridge between
your own personal experiences of beauty and being able to obtain
this experience every time you turn on your audio equipment.
Oscar Wild suggested, "treat
your spirit with sensations and let sensation treat your
spirit"... So, surround your life with positive sensations.
Buy flowers and smell the beautiful scent, see wonderful pictures
and be blessed by your vision, drink fine wine and enjoy the fruit
on your tongue. Don't you think you deserve to be surrounded by
original sound sensations as well? Let LAMM do it for you. It is
not Hi End. It is the only way to enjoy natural sound through
electronic equipment.
Roman
Bessnow
February 10, 2000
I had a chance to audition both the
M1.1s and M2.1s before making a purchase and my choice fell to the
M2.1s. Below are my impressions of the two.
M1.1
The total presentation simply
defies description. All the terms we like to use to define a piece
of equipment’s sonic signature seem inappropriate here, because
there is no sonic signature. Everything is done naturally and
transparently and with a harmonic balance that is just
unbelievable until you experience it.
The Lamm M1.1 monaural amplifiers
are one of the few pieces of equipment that I have auditioned
where I eventually found myself simply listening to the music. I
listened for hours re-evaluating the other components in the
system in a new light as well as re-evaluating the music itself.
But, ultimately, I just gave up to the pleasantness of the
experience.
There are no apparent compromises
anywhere in the listening spectrum. Base is tight with plenty of
slam, mids are articulate, and pleasant and highs are revealing
yet unstressed. This, at all listening levels that I could
tolerate, from a whisper to deafeningly loud.
M2.1
The Lamm M2.1 power amplifiers are
a magnificent addition to the contemporary audio listening room as
they resolve, once and for all, the age old trade off between
authoritative base slam and tightness and an articulate,
satisfying mid and high frequency presentation... I have never
before witnessed a response to this central issue of audio
reproduction as well executed as in the Lamm M2.1 monaural power
amplifiers. Their capabilities over the entire listening range are
nothing short of astounding.
The presentation is untarnished by
anything that you would define as unnatural and this is the key
element to the success that this amplifier represents. There is
nothing here that is unnatural and hence, nothing that is
unmusical.
I have electrostatic panel
loudspeakers and they do require that you make a careful choice as
far as amplification is concerned. If you really want yours to
shine, stop hunting. Audition the Lamm M2.1s and buy them.
However, I would not recommend these amplifiers to anyone that is
thrilled more by the hunt for audio perfection than by the
realization.
Jim
Nugnes
February 8, 2000
I've just purchased a pair of M2.1s
and the LL2 linestage -- WOW!!! The sound is on the money: perfect
harmonic balance, transparency and 3D soundstaging. Just go
audition the equipment -- listening is believing. I've heard
plenty of so called high-end equipment but Vladimir's components
are in a class by themselves. To put it bluntly, he is a Picasso
of audio engineering. Just listen.
Mitchell
Schumer
November 22, 1999
In the 20 years that I have enjoyed
this hobby, I have come across a select few products which
performed at such a high standard that I would place them in a
class by themselves. One such product is the LAMM ML2 amplifier.
The ML2 reproduces the complete harmonic structure of music with a
correctness and purity that is simply extraordinary. There is
truth in tone and timbre, phenomenal resolution, and (when paired
with an efficient speaker), magnificent dynamic contrast.
Moreover, the entire audible spectrum is reproduced in this
manner. Absolutely nothing, from visceral lows to sparkling highs,
is rolled off. The musical presentation takes on an aura of
realism, that palpable presence of the performance which the
enthusiast of this hobby aspires to achieve.
For me, the most problematic
ownership issue regarding these amplifiers is speaker selection.
To achieve the most realistic presentation, high efficiency (at
least 94db/wt/m) with a relatively flat impedance curve is
essential. After some experimentation, I have achieved superb
results with the Classic Audio Reproductions T-1 speakers
(97.5db/wt/m sensitivity).
The sound of the ML2/T-1 combo is
stellar. This is a match made in heaven. The T-1's allow the ML2's
to realize their full potential. I have never experienced the
"performers are in the room" phenomenon like I have
experienced with this amplifier/speaker combination. You are drawn
into the performance as opposed to listening to the music. Tone
and timbre are convincingly accurate. Resolution/detail is
phenomenal. Dynamic contrasts are remarkable. Transient response
is so quick that attack and decay characteristics are conveyed
with lifelike realism. Artificial colorations are virtually
nonexistent. The ML2s drive the T-1s superbly to volume levels
which are far above my limits of tolerance. Imaging is good, but
the speakers do not disappear as smaller speakers will. Their size
is their primary drawback. Weighing 300 pounds each, these
speakers are the size of small refrigerators and dominate the
room. However, once I heard this combination, I didn't care. I
highly recommend this product combination.
David
Shapiro
November 1, 1999
Vladimir, after reviewing your Web
site, I decided to purchase a pair of your M2.1s, due to the fact
that I have a 4 ohm speakers which are 89 db SPL. The amplifiers
truly set a new standard in the reproduction of the bass
registers, extremely efficient to use in that I use one-third less
volume control, and the mids and highs are open and very smooth.
Critical listening to "Breaking Silence" by Janis Ian,
"A Meeting by the River" with Ry Cooder and V.M.Bhatt
and lastly Lyle Lovett's "North Dakota" on his Joshua
Judges Ruth album, will confirm why any audiophile should purchase
a pair of these amplifiers. Once again, Vladimir, you've set the
standard up a notch or two....let's see who can follow in your
footsteps.
Jim
Martin
April 21, 1999
Excellent job on your website and
thanks once again for building one of the best sounding and
looking amplifiers on the planet--the M2.1. They have brought me
hours and hours of musical enjoyment and are worth every penny.
They are truly magic. Thanks again.
Tom
Jofeju
February 21, 1999
I have been a seeker of the best
sound possible for 15 years. I have been to many of the best audio
shows and listened to equipment in all price ranges, from the
modest to the most expensive. I have found that it is largely true
that you get what you pay for. There are no free lunches. However,
high price does not automatically mean high quality. In LAMM
amplifiers I have found, like so many others, some of the world's
best amplifiers for fair prices. There are more expensive
amplifiers but none better. LAMM amplifiers are not cheap, but
compared to the prices of the finest on the planet, LAMM is a
bargain.
I have auditioned the best out
there. Hundreds of hours listening, and when I heard the LAMM M
1.1's and ML 1's, I knew they were special. There are so many ways
they are head and shoulders above the rest. They became simply
irresistible. I have owned both. Which you own depends on
speakers.
The ML 1's have a liquidity of
tonality that is beyond belief. And yet the bass slam competes
with the best of solid-state amps. They combine musicality and
sheer power to a degree I never thought possible. In large choral
works, the detail and finesse of the soundstage is unequalled. It
is the experience of "you are there". These amps have
raw power and can drive any speaker on the planet, and
yet....there is a sweetness to the sound that will turn the heads
of the low-watt, single-ended crowd. You owe it to yourself to
audition the best and hear the difference.
Happy LAMM owner.
Mike Ladra
Salinas, CA
January 31, 1999
Dear Vladimir,
Congratulations! Your products
converted a bunch of skeptical, hardened,
"heard-it-all-before" recording professionals into LAMM
Believers. Here's the story...
In the studio, we need
amplification that is, first and foremost, absolutely true to the
input signal and, secondarily, totally reliable; because the
equipment sees frequent, heavy and extended duty cycles.
About 2 years ago, after a
painstakingly methodical search that lasted too damn long and
involved setting up all manner of amplifiers in the studio and in
my home, we unanimously selected the LAMM ML1 as our amplifier of
choice. Why?
First off, the differences between
it and other "audiophile approved" amps were not at all
subtle. Indeed, the search would have ended immediately had we
been able to find a SINGLE ACCEPTABLE offering among the Levinsons,
Krells, Classes, Balanced Audio Technologies, etc. that we brought
in. When the LAMM came in, however, our search ended right then
and there.
From the first few notes, it was
obvious that you got things right. Exactly right. Indeed, we
discovered that your equipment tends to make other stuff sound
either broken, defective, hazy, grainy, ill-focused or just plain
poorly designed.
So in terms of fidelity, we finally
found a brand that allows us to properly replicate the input
signal--the signal we're getting directly from our microphones.
After seeing duty cycles that have crushed Brystons and blown up
Sumos and the like, the LAMMs continue to operate
flawlessly--fulfilling our reliability requirement.
What more could we ask? Nothing.
What more can we say? Thank you!
Sincerely,
Phil
Nicolo & the gang at Studio 4 Recording
January 28, 1999
Sometimes we take things for
granted. A good automobile or a fine Swiss watch that simply does
its job keeping time. As an audiophile for more than 45 years, I
have grown used to NOT taking things for granted, always searching
to better the end result, the music and the experience of
listening to it. About 4 years ago I was introduced to LAMM.
Although at first I was hesitant to introduce a product that at
the time was a relatively new name to the audio field, I can now
say that my decision to use LAMM equipment was one of the best
decisions of my long history in audio.
Over the years I have had the
pleasure of owning and using some of the finest equipment
available. One can determine satisfaction with a particular piece
of equipment when we look around our listening room and see
amplifiers and the like that we have had for 2, 3, 4 years or
longer, and have absolutely no desire to change or "
upgrade". I can easily say this about LAMM. I have had the
pleasure, indeed, the honor of owning and enjoying the M 1.1, L1,
ML1, and ML2 for some period of time and can say without doubt
that I feel they represent sound and quality that are unsurpassed
in the world today! Granted, LAMM is not a "Big Player"
in the field of high end audio. I see this as a positive as I
would look on other hobbies and fields that offer the best by
manufacturers that do not have high visibility name recognition.
As examples we have Aston Martin and sports cars, Frank Muller and
watches, Leica and cameras. All represent the pinnacle of their
art, craftsmanship as a continuation of their passion for seeking
perfection. These are the very qualities I see in LAMM. Most true
audiophiles should trust the most important piece of reviewing
equipment they own, their own ears. Most do not! Many default to a
'Name Brand' only to be swayed by the cosmetics, heft and whatever
other hype the manufacturer has foisted on them. Most audiophiles
overlook the most important thing of all, the sound, the music,
and the soul and passion that can result. This is a pity.
Thankfully, LAMM has put its design
effort into achieving end results that are so breathtaking no
other product today comes close. The products are conservative in
looks, honest in implementation, built to the highest level of
quality with a passion for perfection. No chrome or gold to catch
the eye. After all, with the lights turned down low, what can be
more satisfying than enjoying music, sweet music, passionate
music, having your heart race with excitement or to wipe your eye
to clear a tear of joy. This is what it is all about.
Thank you, LAMM.
Donald
D. Reefe
January 27, 1999
The LAMM M1.1 is an amplifier for
those who can see past the marketing hype of typical high-end
companies. It's for those who can hear past the techno babble, the
nonsense, the noise. It's for those who listen to music, who love
its power, glory, nuance and subtle inner shadings. This amplifier
communicates the essence of music with a connection that is pure,
direct and soul-satisfying. It comes down to this: I believe a
great amplifier gets out of the way of the music. I believe the
M1.1 is a great amplifier.
Eric
Brutten
January 20, 1999
The M1.1's are the
most authoritatively musical amplifiers I have ever heard. They
combine crushing bass weight, explosive dynamics and endless power
along with the enchanting liquidity and dimensionality of the best
tube designs. Further, their extension both top and bottom has a
remarkable limitless quality to it--quite a shock after hearing
the typical rolled-off extension of most other amps, which only
feel "rolled off" in comparison. Finally, their greatest
achievement to my ears is the remarkable balancing of all aspects
of their sound, like a great beautiful tapestry with not a single
thread out of place to mar the whole creation. This wholeness is
what makes them so musical, and so very special indeed.
Brian
Edwards
December 10, 1998
We have had LAMM M1.1 amplifiers and
L1 preamplifier for about two years now and are very happy with
them. From a recording studio point of view, LAMM equipment is
truly of a reference grade and fulfills all needs and desires of a
recording engineer.
Chesky Records
December 9, 1998
http://www.chesky.com
ML3 Signature
