by Michael

Part 4: Lamm ML3 amplifiers – Review of the Stereophile Review

[continued…]

12. (or 11b.) Mr. Fremer didn’t try hard enough to personalize the system to his particular tastes

Supposing you are like Mr. Fremer and are in the situation where you think there should be / want there to be a stronger more physical presence to your double bass notes on this track. Sounds reasonable. Well, you say to yourself [because you spend a lot of time alone in your listening room, saying things to yourself is now second nature], ‘it behooves me to try and optimize the system so that it will do this bass thing. The system should do what I want, darn it [and hopefully I won’t muck up something else in the process!]’. Because you got all this obviously nice gear, you must have some amount of money lying around [not that you are likely to ever, EVER admit it to anyone else, especially your dealer and significant others ;-)] and so, you say, lets try a few different powercords on the amps. Lets make sure each component in the chain is optimized – both vis-a-vis powercords and vibration control [tube amps are much more susceptible to attenuation of the bass response, and dynamics in general, due to deleterious vibrations than most solid-state gear because tubes themselves are so susceptible. And something about the Lamm chassis also make Lamm amps more susceptible than most tube amps we have played with as well. Just think of it as having to buy special tires for your new Porsche, except these ‘tires’ won’t wear out every 6 months].

13. The other expensive tube amp that Stereophile has reviewed… in 2004. The WAVAC.

So, anyway, Mr. Fremer says some nice things then … oh wait, he first talks about the $350K WAVAC SH-833. 2004 was a long time ago. I do not understand the phrase ‘pants-down performance!’ in this context. But moving on… Relying on the 5W [supposed power required by the Alexandria speakers] obtained from an analog meter on any amp is fraught with peril, but the ML3 does drive the XLFs quite, quite loud in our experience as well – so we reached the same conclusions here. They lost me at ‘excessive warmth from the WAVACs’… but hey, it was 2004, we are all a lot smarter now. [We find the WAVACs to be a little on the cool side of neutral but with the warmth ultimately being quite susceptible to upstream electronics – so their level of warmth is kind of however warm you want them to be].

Then, skipping the part where Mr. Fremer attempts to remember the linearity of the WAVACs, 10 years ago, on no doubt inferior speakers [hey, not criticizing, we all have to do the miracle memory thing from time to time (its not like we can go back in time or… record what the system sounded like so we can replay it for future years and generations… or can we?)], he says:

14. Summing up. The Nice stuff.

“…though not as linear or well-controlled as the darTZeels, but it was close enough to call it a trade-off…”

And this is my point. Even in the mist of a riot of solid-state zealotry [yes, zealotry. To put this kind of over-the-top pro-solid-state ideology in physical print like this means there are some powerful anti-tube feelings here] there is sentiment that these amps perform as good as solid-state amps in this area where typically solid-state amps perform best – i.e. just amplifying input in a predictable, linear manner. I think then that at some level Mr. Fremer agrees that these amps are indeed this new kind of amp that does just what amps are supposed to do, no more, no less. And tube amps got here first [ha ha! 🙂 We’ll address the other issues Mr. Fremer has been harping on: leading edge dynamics and overall dynamic solidity, which we talked about above – later in our conclusions below].

So Mr. Fremer then concludes, after the traditional nicey nicey words [are you like me and always skip to the last paragraph? Thank goodness for the ‘summing up with caveats’ review tradition we have in this industry – otherwise we would all have to read the entire text of these review thingies], he says:

“… gulf between solid-state and tube amplification remains…” This is his religious fervor talking again. The gulf that is important in this context is the gulf between amps and musical truth. Not between various failed attempts and other failed attempts. The majority of this review has Mr. Fremer stomping his feet ‘Noooooo! solid-state still rules!’, and so seriously, one has to think that he was somehow threatened by the ML3’s shrinking of this gulf to this extent.

15. Summing up. The solid-state hard-line theology. And the point.

Then “if you want weight and articulation on bottom, especially if you listen to a lot of electronic and/or amplified music, you’ll probably…[want] solid-state”.

What a weird thing to say.

First, I am the only one I know in the audiophile community who listens to a lot of electronic music [about 1/3 of my several 1000 CDs. Neli doesn’t like it (nor hate it) so we do not listen to it as much as other music]. In some sense Radiohead and Sigur Ros are mostly electronic music with voices. And we listen to a ton of this kind of stuff.

There are a lot of parts to electronic music that an audiophile can be attracted to:

A lot of it consists of multi-layered soundscapes. The layers are composed of sounds and arranged in complex and/or entertaining ways for your listening pleasure. The layers are organized by frequency, location, magnitude, by everything you can think of. The ML3, in my fervent opinion, is truly the best amp for this kind of music.

Then there is techno [and its hundreds of offshoots]. A lot of rapid bass beats with guitar-like keyboardish sounds sprinkled in. Seriously, one needs a speaker with a basshorn or a cheap club-like speaker like the Genelecs or something. Everything else is too slow: certainly the XLFs, and even the Coltrane Supreme speakers, which has the best, most articulate bass of any cabinet speaker [obvious to people without an agenda], but still doesn’t have that club-like techno heart-thumping chest-punishing beat [at least not at the volume we are willing to play them at!].

By amplified music… does that mean Rock and Roll? I guess it means everything except classical and acoustical new age and world music. Most of our collection is rock. Most of what we have played on the ML3 is rock. It feels a little sacrilegious: Vladimir and Elina Lamm listen to something like 99% classical and 1% jazz. But rock sounds way better on these amps than expected. I am always surprised. Maybe my expectations are low. One expects amps like the big VTL or hugemongous Boulder amps would be required to wail away on the speakers [ROXannne….], that this kind of machismo amp is required to kick their [the speakers] butts into high gear. But nope, the ML3 rocks out with the best of them [Noooo… not Twilight Zone theme time… Perhaps the beginning to the 2001 theme…?].

And as far as “articulation on the bottom” goes… Besides the leading edge of the loudest notes that occur during a musical passage in the lower regions, solid-state does a particular BAD job at bass articulation. Seriously, look beyond the edge, Luke…

14. Well then…

So, what Mr. Fremer is really saying, as he has said throughout the review, and omitting the anti-tube bias, is that the ML3s did everything better [or as good as] than any other amp except for the sharp leading edge on some notes, primarily the bass notes, nor did it have the same solidity and weight in the bass, that he prefers when his system plays back amplified music.

And what I am saying is that, omitting the anti-anti-tube bias, is that the process for optimizing the sound of a tube amp is different than that for a solid-state amp, and that with a few adjustments and tweaks here and there, mostly to do with protecting the tubes from harmful vibrations, the ML3 can get as close or closer to ‘real sounding’, in those specific areas that Mr. Fremer is concerned with, as any current solid-state amp on these speakers. Using a Lamm preamp instead of the darTZeel preamp will almost certainly increase the solidity and palpability of the midrange and lower registers, and most of all the dynamic response [especially when using the Lamm LL1 Signature which is the matching preamp for the ML3 (and about 1/3 the price of the darTZeel preamp)].

Mikey was so close!

The Lamm ML3 Signature amplifiers are a breakthrough product breaking significant new ground for linearity and balance [even-handedness across the frequency, harmonic, time and dynamic spectrums] and textural resolution [the entire Oreo cookie] against a background of extreme quietness. This is the audiophile’s ultimate amplifier to geek out with, it is probably the closest we need to get to straight-wire-with-gain, and it is extremely Enjoyable to listen to.

In this new Golden Age there have been and will be other break-throughs. It is important to differentiate good products from break-through products so reviewers just don’t start labeling everything everywhere as ‘break-through’ products. This we will do in an upcoming post, and we will compare break-through amps, cables, etc. which help the listener hear ever deeper into the depth of musical compositions.

Welcome to the new [golden] age everybody.

15. P.S.

Mr. Fremer talked a bit about how the listener is actually connecting to the Music [yay!]. But the impression I was left with was that there was always this lurking fear in the background that ‘Oh my, I am enjoying this passage too much… therefore the sound must not be real or accurate anymore [Awooga… Awooga… its a Tone Control. Its a TONE CONTROLLLL!]’.

In a large sense the measurements-first, ‘the reproduction must be as accurate as possible’ approach, preferring to err always on the side of sterility, is really kind of navel watching at its finest. Comparing this to painted portraiture, a portrait capturing some of the inner life and strength of, say, George Washington, is preferable to a photograph taken by an old smartphone, which, although potentially more accurate, and you can see that it is The Man with the long curly white hair – it does little to reveal much about their personality and character, which, after all, is why we care to even bother looking at [listening to!] them at all. We really want, most of us, to connect to them as people/music.

I am not talking Picasso or Gauguin-like interpretive art here … even though I do think impressionistic systems have their place, and in some ways may be preferable, when one starts wanting to explore some of the deeper, spectacular meta-verses of the Human-Music interface [although, seriously, the uber high resolution texture of the music heard through the ML3 opens up a LOT of doors / stargates. At least it did for me.]

16. P.P.S.

Yep, it is too darn expensive. All the break-through products I know of are [unless one includes the old EMM Labs CDSA]. Until the middle-class stops shrinking and ‘discretionary middle-class income’ ceases being an oxymoron, we are probably stuck with these high prices for awhile [and while we are all waiting manufacturers will hopefully build a few more of these kick-ass take-no-prisoners betchya-never-woulda-thunk-it toys to bring us all closer to the Music].

We still would like to have this Wilson Alexandria XLF / Lamm ML3 Signature system here sometime, as our primary system. Last I heard this is the system that Wilson himself listens to. The older Alexandria X2 might do as well – the used ones have been going for an amazingly reasonable price. But getting 700 lbs up our 45 steps here…? Been there, done that, REALLY don’t want to do it again. When all is said and done we still need to sell this house and move somewhere a little bit more crazy-audiophile friendly.

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

Wilson Alexandria XLF speakers

We got a chance to hear the Wilson Alexandria XLF speakers last week.


We listened to them in a nearfield position, I would say about 7 feet from the plane of the loudspeakers.

We heard them with Audio Research 750ish [:-)] amps, Lamm ML3 amps, Audio Research Reference Anniversary preamp, Lamm L2 preamp, Tara Labs The Zero Gold interconnects and speaker cables, Nordost Odin interconnects and speaker cables. Tara Labs Cobalt power cords and Nordost Odin power cords.
Source was a Basis Inspiration with their Vector arm and a Lyra Atlas. Phonostage from Ypsilon, with external stepup transformer. Everything was on HRS M3X platforms and MXR equipment rack.

Because we never heard the system in an entirely familiar configuration [there were always Tara Labs interconnects in the signal] and because we listened in quite a nearfield position to such large speakers, we cannot do an exact comparison with the previous model: the Alexandra X2 [2nd update] speakers.

But we can say a little something…


First, listening nearfield to such imposing speakers went quite well. The only issue, for me, was that the highs were always coming from the top of the soundstage and the lows from the bottom. Sitting farther away would help merge the two frequency extremes.

Second, the speakers do sound more integrated and the cabinet also more rigid – the only overt cabinet issue to my ears was that the bass frequencies tended to be drawn to the speakers [mostly noticeable only when sitting quite a bit off center from the sweet spot]. [the previous model had a preponderance of softness extending down from the midrange which sounded like the cabinet was robbing the sound of a lot of its energy – typical of speakers not perfectly rigid. For example compare the sound of aluminum speakers to ordinary speakers – with everything else being equal the aluminum speakers will have more energy and the midbass frequencies will be less likely to seemingly originate from the cabinet ]

The speakers do respond well to changes in upstream components which means one really can tailor the sound to one’s sonic preferences to a large degree.

It was a real kick listening to these this way – with the drivers exposed and staring us down it was like listening to really, really large monitors – or like a wall of speakers at a concert.

The Lamm ML3 amps are able to drive these speakers to louder-than-you-want-to-listen-to volumes without any apparent strain to any of our ears [and we were listening closely for any sign of weakness or hesitancy. This would be a fun test late at night :-)].

The speakers were back ported in this room and, although that is a little strange for such a small room with the speakers along the long wall, the speakers did not sound at all to us like they needed to be setup any differently [most listening rooms we see often need the speakers to be re-positioned to sound their best.]

Listening to the Alexandria XLF nearfield like this was a blast, but after listening to our system here (Lamm ML2.1 amps on Marten Coltrane Supreme speakers) in a similar nearfield position, and recalling other Wilson Alexandria systems, the Wilsons do sound their best in a larger room (if possible!).

I would say the XLF is an evolutionary upgrade, as opposed to revolutionary – but at this level, every last little improvement to the sound will be appreciated by avid listeners – so if you are a Wilson owner with the rest of your system such a configuration that you are [at least for the moment :-)] happy with it , you should by all means go for the XLF.

in High-end Audio HiFi and Stereo / Reviews 5 comments
 by Michael

CD/SACD Player Shootout: EMM Labs XDS1 versus Esoteric K-01

In this corner, weighing in at about 200 lbs [well, that is what it FEELS like – leaning over to get this on a rack is no feat for the timid. Neli was able to do it, but not without a few remarks :-)], but really at 68.4 lbs, the Esoteric K-01. And in the other corner, at 37.5 lbs, the EMM Labs XDS1.

We have been dealers for EMM Labs for about 7 years, if I remember correctly. We would like to be dealers for Esoteric someday, when we expand our operations, [in the not too terribly distant future we are fervently hoping!].

That said, the shootout did not reveal any serious surprises that a skeptical reading through the current voluminous content on the web does not already point out.

The system was for this shootout was:

Hansen Prince speakers
Lamm ML2.1 amps
ARC Ref 5 preamp
Nordost Odin speaker and interconnect
Elrod Statement Silver power cords on pre and amps
Bybee power distributor
Harmonic Resolution Systems SXR equipment rack, M3x platforms and Nimbus
Jorma Design Prime (single-ended) interconnect on the CD players
First Synergistic Hologram D then Nordost Odin power cords on the CD players


A photo of the Esoteric K-01 remote


A photo of the Esoteric K-01 remote


A photo of the EMM Labs XDS1 remote (we forgot to bring it to the shootout [it’s always something], so this is a photo from this morning)


Here are Neli and P. configuring the Esoteric K-01 to generate output on the single-ended outputs. We also tried both the 4X oversampling and DSD filters [I thought the DSD filter was more digital sounding, Neli and P. thought it had more resolution and liked it better]. Previous tests had shown little difference in performance between balanced (XLR) and single-ended (RCA) interconnects [irregardless of the ARC reportedly being a balanced architecture].


[The Fluke multimeter was used to bias the Lamm amps after their recent move to this location, with presumably a different wall voltage than the previous location across town].

That Odin interconnect is kind sticking out of the rack at an odd angle, isn’t it? 🙂 All I know is that *I* was out of the room at the time :-).


The Esoteric K-01

Both the K-01 and XDS1 were put up on HRS Nimbus Couplers – significantly better than the sound with the standard feet.


The Esoteric K-01


The EMM Labs XDS1


The EMM Labs XDS1


The EMM Labs XDS1

We played mostly light Jazz, large scale classical, and the 1st cut off of Radiohead Amnesiac. All told we spent about 5 hours at this shootout.

We first did a round of shootout with the Synergistic power cord on the players, and then a round with the Nordost Odin power cord.

The Odin brought the performance of the 2 players MUCH closer together [bringing subtlety and imaging to the K-01 and more slam to the XDS1] but their differences were still quite evident.

Esoteric K-01
[Note that other power cords may do as well here in place of the Synergistic – not just the $$$ Odin, but just note that this player IS power cord sensitive, more so than the EMM Labs I think]

* More authority [in the end, I thought this the most compelling aspect of the sound of the K-01]

* More HiFi sounding [sounded more like a stereo than music – a lack of subtle information made each note stand alone as opposed to forming a whole. 95% of this went away with the Odin power cord. There was little or no imaging(!) either until we replaced the power cord]

* A little leaner [but not in such a way that detracted from the music, IMHO]

EMM Labs

* More like music [for many reasons, I think. Voices had more information in them, allowing us to hear emotion. Notes had more information, allowing us to string them together into songs. Much more listening to music as opposed to listening to how each note sounds]

* Softer, more laid back [The K-01 was more forcefully dynamic]

—————

This shootout really revealed the strengths of these 2 players: The XDS1 sounding like music in spite of being solid-state :-), and the K-01 having great powerful midi- and macro-dynamics [and not just in the bass], in spite of being solid-state 🙂

Strangely enough, these 2 players were closest on the track I played, the Radiohead. Notes are coming from all over the place anyway, so the K-01 did great, and the XDS1 really brings out the voice of the singer and his longing to be left alone. On this track the K-01 was more like a kid running around in a candy store, listening to this note, then that note…the XDS1 more holistic, more drug-like .

I also want to say that, contrary to what I have read elsewhere, the K-01 does NOT have more resolution – in fact it has less – the K-01 does emphasize the main body of each note more than the XDS1 however, and that might be interpreted as detail by some, but the overall information here is really is less because the subtle, more nuanced parts of the notes are quite a bit less prominent.

in Emm Labs / Featured Emm Labs Posts / High-end Audio HiFi and Stereo / Reviews 31 comments