Drug-like Experiences at Shows

We’ll get back to the Drug-like component discussion shortly, but I was writing about our Audio Note room this upcoming CES and got to thinking about whether I could expect people [aka you all] to experience drug-like experiences in the AN room, in which room I expect there to be a very drug-like sound.

i.e.

“Does the ambient stress and presence of strangers and their talking Decrease, or perhaps even Increase, the chances of a Drug-like experience in a room with Drug-like Sound?”

In my observations at shows, the experience can definitely be affected SIGNIFICANTLY by the show itself (this is all just from my point of view. Other people may have other triggers):

Negative Show Vibes:

* Somebody yacking loudly about pricing or other business matters [this tends to activate my practical brain which just loves kill any kind of enjoyable experience for me :-)]

* Somebody commenting about how they “don’t get it” or other downer comments about the sound [this activates my “what is the world coming to” brain. OMG this part of my brain is working overtime these days]

* The exhibitor in the room talking to me about the technical aspects of this and/or that. [this activates my “WTF you talking about?” part of the brain. However… based on numerous comments on Forums about shows, this seems to enable many people to be convinced that what they would hear if the exhibitor was not actually, in fact, talking to them at the time would be great]

Positive Show Vibes:

* Friends and/or acquaintances in the room [perhaps grooving to the tunes, which, in our culture here in the U.S., means they are not getting up and leaving. Since just about every room has a friend or acquaintance for me these days, this is a big advantage. These people make me able to relax a bit and not worry so much about nutcases coming up to me demanding an explanation for why I gave their system last year with the speakers on the floor and their components piled on top of the speaker a less than positive review]

* A well setup system [I like to see that the components were chosen and setup with some attention paid to how it is going to sound. This communicates to me that they care about my musical experience in their room. There is a whole continuum of how well these rooms are setup. (Maybe I should rate rooms ONLY based on this aspect of their system? Acoustic Zen would rate very well. Merlin would do pretty well – unless we rate them for whether they dust their components from year to year :-)). Many high-end systems pay little attention to vibration control or use racks that are much worse than putting things on the floor. In general many choose components from vendors that are inferior to what they are primarily trying to exhibit. This tells me that they are not focused upon providing me a drug-like experience. ]

* Somewhat less detail than I normally insist upon [my ears are raw from listening to many not-very-good systems and the ability to relax to a more laid back sound helps me be receptive to any drug-like sound the system may have.]

No Vibes:

* Room appearance [I have no memory of any room whose appearance affected how receptive I was to a drug-like sound … except… mattresses leaning up against the wall is kind of icky… and the NFS (Not For Sale) room with their light show and 24 hour party and heavy drinking and warm welcome and all makes me have a drug-like experience even when, no PRIMARILY when, they are not playing any music. ;-)]

I’ll try to think of other things that affect whether or not people may have a drug-like experience at a show. It is hard, for me, to have one in my own exhibit room, even after hours surrounded by new and old friends, because I am so worried and stressed at some level about how it sounds and am I forgetting something and what if we did this or that etc.

Audio Note at CES 2011

Somewhat preliminary… but this is very likely what we will be showing (all by Audio Note U.K.):

o AN/E SEC Signature speakers
o Ongaku 211 integrated amplifier
o DAC 5 ‘Fifth Element’ two-box DAC with ‘Fifth Force’ power supply *U.S. debut*
o CDT-5 transport *U.S. debut*
o SOGON and SOOTTO and PALLAS cabling

For all of us who like drug-like sound THIS will be the best room at CES.

Easily.

Just the Ongaku by itself would make this room an odds-on favorite. Just the one-box DAC 5 Signature with the lowly CDT-3 that we heard here would make this a shoo-in [sorry, but I am having fun with all the sports cliches here :-)]. But with the new statement level ‘Fifth Element’ and the statement level CDT-5 … AND the Ongaku? OMFG [ran out of sports cliches… darn! … but couldn’t think of one that communicated what I feel the druggish potential is here].

Announcement: Lamm ML2.2

LAMM INDUSTRIES, INC.

ML2.2 single-ended power amplifier

ML2.2 single-ended power amplifier is a proud successor in a line of the ML2 series (the original ML2 and its replacement, ML2.1) and represents a new generation of single-ended power amplifiers with regulated power supply employing a unique high current low impedance power vacuum tube triodes 6C33C in both output stage and power supply. Implementation of these triodes allowed to create an output transformer with a very low turns ratio and, as a consequence, extended (as compared even to the most advanced modern vacuum tube amplifiers) frequency decade factor, as well as dramatically reduced leakage inductance. Chosen by the Design and Engineering Committee to receive the Innovations Award at the International Consumer Electronics Show in Las Vegas as the most innovative product of the year in the “specialty audio” category, the ML2 was a first single-ended amplifier on the market capable of reproducing a full range of audio frequencies and recreating the original spectral balance and harmonic structure of the recorded material with almost 100% accuracy. The designer’s unique vision and nuanced grasp of audio electronics has created an amplifier capable of capturing the essence of your favorite music like never before.

The ML2.2 proudly continues this tradition. Whereas both – the ML2 and the ML2.1 – were completed products perfectly capable of functioning to the full of their potential without upgrades or modifications, it became the designer’s drive to expand the limits of this topology and introduce some features of the ML3 Signature into the ML2.1 design.

The sonic result is a most seamless fusion of the ML2.1 and ML3 Signature that leaves the listener totally immersed in the music performance as well as pleasantly surprised at the palpable breathing presence of the music material. The ML2.2 is an amplifier that sonically is much closer to the ML3 Signature while pricewise is closer to the ML2.1. The meticulous build quality, high quality of parts and materials along with innovative topology make the ML2.2 a truly prized possession of any music lover.

The output stage with its high-current voltage regulator section grows out of that in the ML2.1 and implements certain changes that relate specifically to the use of most recently introduced parts of higher quality.
In contrast to the output stage, the input stage has been totally redesigned and is based on that of the ML3 Signature amplifier. This innovative front-end topology was incorporated because of specific characteristics of the output tube. It brought about a dramatic step forward in sound quality while keeping the cost within the price category of the ML2.1.

Single-ended tube amplification has the greatest potential of reproducing music with maximum fidelity to live sound. Because of several inherent limitations of the format, most SE tube amplifiers recreate a beautiful midrange but shortchange the low and upper frequencies. The ML2.2 overcomes these limiting factors to reproduce the thrilling sound of live music.

The ML2.2 along with the ML3 Signature are the only single-ended tube amplifiers that reproduce the entire spectrum in the audio frequency range. A midrange to die for supports a superbly natural and extended bass along with exquisite upper frequencies. The amplifier’s innovative circuitry allows one to hear the original spectral balance and harmonic structure of the recorded material without loosing the smallest of detail and nuance.

Another unmatched feature of the ML2.2 is the breathtaking, transparent, three-dimensional soundstage it throws seemingly without boundaries or limitations. The ML2.2 brings you a very natural and engaging sound.

Advanced technical solutions are used in the design of the ML2.2. Custom-made output transformer of very high quality and unique front-end and output stages, plus the sophisticated power supply, free the ML2.2 to drive most real-world-load speakers yielding effortlessly dynamic sound.

In a nutshell, the ML2.2 features the following upgrades and modifications as compared to the ML2.1:

• New power transformer
• Input stage totally redesigned and based on that of the ML3 Signature amplifier.
• Five filter chokes (compared to two in the ML2.1)
• Plate fuse holder located on top of the amplifier’s chassis for greater customer convenience
• Utilization of a much higher quality pc-board, and parts and materials that have become available in recent years
• Introduction of an option to turn the amp on/off remotely

Each ML2.2 is handcrafted of the finest materials and top quality parts like military-grade DALE metal-film resistors, PRC wire-wound resistors, CADDOCK power-film resistors, BOURNS multi-turn potentiometers, CORNELL DUBILIER and UNITED CHEMI-CON electrolytic capacitors, ELECTROCUBE and ROEDERSTEIN film capacitors, HAMMOND chokes, gold-plated NEUTRIC connectors, gold-plated binding posts, and military-grade low-noise long-life vacuum tubes.

The power and output transformers have no mechanical contact with either the transformer cover or the chassis; they’re suspended in a special encapsulant material that almost completely absorbs residual mechanical vibrations. This feature plays a significant role in assuring the unique clarity and micro resolution during sound reproduction.
Two multi-turn trimming potentiometers accessible through special openings in the amplifier’s chassis, along with two sets of test points, allow the user to adjust and measure the nominal value of plate voltage and plate current of the output tube by using an external voltmeter.
In conceiving and executing the overall design of the ML2.2, the goal was to utilize modern technology and processes while recreating a look reminiscent of the long-gone vacuum tube era.

The ML2.2 functions on around-the-world AC line voltages (100/120/220/230/240 V).

U.S. retail: $37,190/pair