by Michael

Break-through amplifiers. Part II

So, lets compare the Audio Note U.K. Gaku-on and Lamm ML3 amps.

The Gaku-On is a $265,000 monoblock 211-based amp [I think of it sometimes as 2 very souped-up Ongaku amps without a volume control]

The Lamm ML3 Signature is a $139,490 monoblock GM-70-based amp [4 boxes: 2 amps plus 2 power supplies]

Technology

Though I understand just a very little about how these amps break new ground in technology and simplicity of design, I am not qualified to compare them to other designs out there and describe why these are significantly better. So, although these are pretty obviously breakthrough amps in terms of technology [just look at the circuits – it is simplicity itself], it is really the breakthroughs in terms of the listening experience that is, and what some say [including us, and many others of this blog :-)] should be, the real criteria for breakthrough-level excellence.

The technology of the Gaku-On is found in several other amps from AN including the Kegon Balanced. Some of the technology of the ML3 is found in their matching L1 preamplifier.

Audiophile Characteristics

I feel that the ML3 has more resolution than the Gaku-On, but both have more than any other amp we have heard. The Gaku-On has purer harmonics than the ML3, much purer than any other amp we have heard [especially when paired with the better AN amps and digital sources]. The ML3 has greater harmonic resolution and harmonic and dynamic linearity, again breaking new ground. The Gaku-On is more dynamic and dynamically nimble, breaking new ground here itself [live with these for awhile and you will understand in a visceral and indelible manner why most big amps and solid-state amps have real problems with the kind of dynamics found in real music]. The ML3 has a quieter, startlingly dark background although the Gaku-On is itself among the most quiet tube amps in the world.

But enough with the audiophile chatter… 🙂

Character of the Amps

These can be thought of, I think, in terms of Heart versus Mind [though it is a Yin Mind and a Yang Heart we are talking about here].

When one things of Yin amplifiers versus Yang amplifiers one might think of, say, Jadis amps versus old Krell amps. And certainly the idea that Yin represents winning us to its side through delicacy and Yang through overwhelming power… kind…of… represents the case here…

The idea is that the Lamm ML3 presents music in a very sophisticated, delicate, intricate and accurate manner – and the Audio Note UK Gaku-On in a dynamic, colorful, and enthusiastic manner.

Effect of the Amps

The effects are more similar than what one might expect, especially when you realize that the heart can be won by convincing the mind [some say we always consciously (mentally) CHOOSE who we fall in love with], and the mind can be won by convincing the heart [e.g. love is blind, all you need is love, etc.].

I feel that the Gaku-On pulls harder on the heart strings, that the dynamic swells and casual ease and rich, insidiously TRUTHFUL color overwhelms our inhibitions and forces us to fall heels over head into the music.

I feel that the ML3 pulls harder on the higher mental functions, that the dynamic and harmonic resolution and convincingness is so entrancing that the mind is unable to resist falling head over heels into the music.

Strength of the Effect

It depends

You might think that after a day of doing math homework, say, you might want… something different – something that appeals to the heartstrings to distract your tired mind from a day’s hard work? Or would you want something that is intellectual but incredibly beautiful that sneaks into the head which is already open to intellectual stimulation.

Similarly, after a day of arguing with nincompoops, you might want something refined and delicate, the best of humanity in high resolution. But, maybe you want to just blast away all remembrances and de-nincompoop the day with some beautiful, heart-rending stimulation.

Both these amps are fun. Both help distract me from the days’ travails. Both are convincing and exciting and delicious. And even if I sometimes THINK I would prefer one or the other, I am wrong as often as I am right.

But that is me. I enjoy equally well both appeals to the heart and to the mind…. just sometimes more one than the other.

Mental Pattern Matching

Now that we have described some of the basic characteristics of these amps, we can try and talk about the listening experiences in more detail.

Our Believability Helper Processor
Our Whiteout Processor

These amps, largely based on the quality of their reproduction, require previously unheard of low levels of use of our fixer-upper mental processors. They are far more believable and have far fewer annoying characteristics than other amps currently available and/or that we have heard.

Our Rainbow Processor

Our desire and ability to mentally enhance our music in a fun and exaggerated manner never flags, and with these amps there is no exception, although the need or desire to do so is lessened quite a bit.

Our Pattern Detection Processor
Our Pattern Matching Processor

Here is where we can start comparing the amps and how they differ in what they offer the listener.

[Please note I am somewhat exaggerating the differences in order to better explain what is happening to a listener. In reality there is quite a bit of overlap as both amps are able to render the all kinds of music quite well and convincingly]

The extreme resolution of the ML3 lends itself the ability to render very complex patterns. These patterns stimulate the higher cortex of the brain. [I think. Therefore I am]

The extreme purity and dynamics of the Gaku-On lends itself to render very deep, primal patterns. Patterns that stimulate our human and animal natures. [Woof!]

[I feel like I should write more here in this section. But… well… see previous posts about how the patterns in music cause matching resonances in our brains, resonances that aid us in thinking and understanding and feeling things.]

Our Emotional Contexualizer

Both amps draw out the emotional subtleties of the music. In somewhat different ways, as described above, but both are very emotional amps.

Our Beauty / Wonder / Spiritual Processor

Similar to the emotions, both can frequently provide glimmers, nay stark proof, of the beauty of the universe.

An example: these amps on the Marten Coltrane Supreme Speakers

Putting the ML3 on the Supremes is pairing like with like. They are both high resolution and capable of rendering exquisitely subtle detail. People who are looking just for music that stimulates their heart, and not their mind, will not be so pleased. Those who like both will enjoy the experience quite a bit. And those who are primarily looking for music that stimulates the mind first and foremost, these people will be flabbergasted.

We played this exact system at RMAF … 2008? … and if you read the reviews, you are able to see immediately the preferences of the reviewer. The next year we brought the Gaku-On amps in a mostly Audio Note system. This mostly ‘appealing to the heart’ system flabbergasted those who really did not like nor understand the above system, these people preferring their music to be heart-centric rather than mind-centric.

Putting the Gaku-On on the Supremes is pairing male with female, chocolate and peanut butter. The combination sounds like the perfect horn speaker: a dynamic, high-resolution, harmonically rich point source. This was a more balanced, both heart-and-mind centric sound. Systems like this are a good compromise if you, like me, like both heart-centric and mind-centric sound.

Comparison to other sounds

Mind-centric does not mean cold and unemotional. Cold and unemotional systems have insufficient resolution to render the subtleties required to communicate emotion in voices and instruments [often because the speakers are too hard to drive and small sounds just get lost as the amps struggle with the major sounds] .

Heart-centric does not mean fake or sugary sound. The often used epithet used by people who fear heart-centric sound is artificially sweet is undeserved for real heart-centric systems. If there is to be more than just one emotion communicated by a system [like cheap wine, missing is all the wonderful variety of flavors possible], it needs to be high-resolution and highly realistic.

Conclusion

For a long time I preferred the Gaku-On and neli preferred the ML3. The I’d hear the ML3 and she would hear our Kegons or something and we’d swap. We’d go back and forth, usually wanting the opposite of what the other wanted [yes, some of it due to husbandly cantankerousness, but also some of it because I really do know best and she just kept getting it wrong :-)].

I lot of the appreciation of life, for me, comes when one knows what one appreciates. Not so much from getting what one appreciates, but understanding just where one stands with respect to where quality can be found. I know which two amps I want, and this does make the world make a little more sense than back in the day when I was a fish biting on everything that came along – including all those rocks, leaves and whatnot.

in Audio Note / Featured Audio Note Posts / Featured Lamm Posts / High-end Audio HiFi and Stereo / Lamm / Philosophy 0 comments
 by Michael

Break-through amplifiers

Let’s discuss break-through amps:

What makes a break-through amplifier?

One thing one wants to see with break-through amps is that they are paired often with outstanding speakers, cables and sources. Somebody might be making a break-through $2500 amp, but if it is paired with $2500 speakers and a $2500 CD player [or laptop] then the flaws in the associated equipment will drown the performance of the potentially break-through $2500 amplifier.

Then, if the amp is indeed found paired with megabuck associated gear, the system has to sound good. Otherwise, well, what is the point? And there should be multiple systems in which the amp sounds good – to help rule out the anomalous ‘too-tired to tell good from bad’ or the much more fun – ‘was kinda buzzed and it sounded AWEsome…’ effects.

1. Simplicity of design. There are a number of amps which are very complex. Complexity [think ‘Microsoft Windows’] causes fragility and unevenness of quality across the performance spectrum.

2. New levels of performance, typically in areas people had thought were pretty well exhausted. Think ‘Google search’.

The Lamm ML3 signature amplifiers and the Audio Note U.K. Gaku-On amplifiers are two break-through amplifiers [AN also makes several other amps with the same architecture as the 211-based Gaku-On: the Kegon Balanced 300B amps for example, but lets just talk about the Gaku-Ons for a bit].

Are there other break-through amplifiers?

Historically there was the Kondo Ongaku in the early to mid-90s. Discrete components and extreme attention to each component (many of which were custom), the SET (single-ended triode) architecture, and lots of silver, especially in the custom silver-wound transformer are some of the major highlights at the time.

David Berning also made an amp or two with innovative architectures and which sounded pretty good in several systems. They never seemed to position the amps as state-of-the-art level amps, however, and the largely fickle press largely ignored them.

OK. What about, you know, NOW?

The Audio Power Labs amps are potentially break-through amps. They use some innovative techniques in their amplifier designs, and sound pretty good, although the systems they pair them with have so far had very serious flaws prohibiting any kind of ultimate determination of their quality. [and we blew an opportunity to hear them up here. Doh!]

What about solid-state amps?

Almost all amps have a cool little innovation here or there. The big EDGE NL Reference amps had a simple design and broke new ground, but Edge abandoned that approach and decided to go more for the ‘me too’ sound. The Pass Labs ‘First Watt’ amps are another potential, but in the end just reducing the output is not an innovation and break-through in-and-of-itself.

But if you take the Bryston as the baseline solid-state amp [basic, reliable amplification with a 20-year warranty] then other solid-state amps just seem to be the Bryston with more resolution, or more powerful, or heavier, or cooler looking, or smoother response but are not really letting us see deeper into the music.

So I am not sure there have been ANY break-through solid-state amps.

For those of you who have not heard all the recent over-hyped $120K – $150K solid-state amps, or have only heard these amps and no others, they are better than the $30K amps of a few years ago, but only incrementally. If you want the best solid-state, you have to plunk down the cash, but innovation is happening elsewhere [but check out the new Pivetta “Opera Only” amplifier at 160,000 watts as a possible contender. This is still really new, and are custom built-to-order, but certainly innovative. Stay tuned…].

So, 4 or 5 break-through tube amps, no break-through solid-state amps to speak of, and all this in, what 25 – 30 years?

Note we are not talking about SUCCESSFUL amps. There have been a lot of those and most ‘best of’ lists are just talking about these puppies. And we are not talking about good amps. There are a lot of those [assuming we are grading on a curve which changes every year].

I AM talking about Led Zeppelin versus U2. Zeppelin, a break-through band combining blues and amplified [metalish] music for the first time [watched some of Song Remains the Same last night. What has happened to rock? It is like everyone now acts like they are just playing on the David Letterman show (though I did like Imagine Dragons on Leno – but no break-through here, I think)], versus U2, who were successful but not a break-through band [and the Stones? Massively successful, but… I can see us spending way too much time arguing about this…. so moving on…].

Why talk about break-through amps?

Because they are cool. Because they are making a leap forward [as opposed to incremental improvements, many of which seem like just an update the make the sound reflect the fashionable sound of the day (resolution, dynamics, air, soundstage depth, SPL, amount of bass, slam, etc.)]. Because they are trend setters and there will be many copycats [sort of. This kind of imitation is WAY more common in speakers [can you even count the number of Wilson clones, or Kharma clones, or Sonus Faber clones?], and even cables, than amplifiers].

So, even though the break-through amplifier technology will be largely ignored [which says something about the type of people building amps: iconoclastic to a fault], it is teaching us listeners what we can hear if the amplifier is really, really good. It will influence the listener’s tastes more so than amplifier design, per se.

So, it influences our tastes. This is important.

It also influences our reach, our ability to look behind the reproduction, behind the music if you will, and see the deeper picture.

Because listening to live music is hardly ever leisure listening, it being hard to relax and there is certainly few musicians with a rewind feature, it is up to us listening to the music through reproductive gear to determine what is really good about a particular piece – or at least it is certainly easier for us if we can just get the reproduction to mimic the original production as well as we can. This is really fun and mind-expanding and is one of the benefits of our hobby as our systems get better and better.

I wanted this post to talk about the difference between the AN Gaku-On amps and the Lamm ML3 amps… but this is already kind of lengthy, so we’ll push it off into a future post.

in Audio Note / High-end Audio HiFi and Stereo / Lamm / Reviews 1 comments
 by Michael

Audio Note at RMAF 2012

Audio Note will have a room at RMAF again this year. Audio federation [us!] will not for the first time ever.

The Audio Note room will feature:

Speakers: AN-E SEC Silver, Slate finish. These are one step below the SEC Signature, with internal crossover.
Turntable: TT2 Deluxe, with external power supply, along with Arm3v2, IOI and S4
DAC: DAC 3.1x/II
Preamp: M3 Phono
Transport: CD4.1x will act as a transport
Amp:
Tomei Kinsei 25 watt 211 SE power amplifier, parts like the Tomei, architecture like the Gaku-On, but with a single power tube per channel: fully transformer coupled, all directly heated triodes, XLR inputs only. 2 x NOS 6V6, 2 x VT4C/211, 2 x 5R4WGB

or

Empress Silvers. These are all-copper Kageki. The Neiro is the half copper half silver Kageki.

Cabling: the new ISIS interconnects and speaker cable:

ISIS cables… The New Copper Reference

The recently introduced ISIS Reference Copper interconnect cables have been an enormous success, redefining many listeners’ expectations of what was possible with a copper cable. As a result, we have decided to expand the Reference Copper range, and we now present the ISIS LX168 loudspeaker cable and the ISIS Mains cable.
ISIS LX168:

This is not only first true Reference Copper loudspeaker cable in the History of Audio Note (UK) it is also a departure from a design perspective. Previously, all of our cables were intended to be configured with four separate cables per side for true bi-wire configuration, or two separate cables per side for single wire configuration. ISIS LX168 – thanks to its large strand count and 8 True Litz conductor design – can be used in a variety of cost effective and high performance configurations: single cable / single wire, single cable / biwire, twin cable / single wire, twin cable / biwire, quad cable / biwire.

ISIS Interconnects
Audio Note (UK) is proud to announce the introduction of a new reference copper interconnect, named ISIS.

As LEXUS can be seen as a copper version of SOGON, so ISIS is a copper version of or flagship interconnect SOOTTO, sharing its geometry and design. Never before has a copper cable offered this level of performance, and it will undoubtedly delight and surprise you in equal measure.

in Audio Note / High-end Audio HiFi and Stereo / RMAF 2012 / Show Reports 0 comments