The Lamm Industries ML2.1

Single-ended Triode 6C33C-based Tube Monoblock Amplifiers





  • The interesting thing during setup was that we put the ML2.1 amps on our HRS isolation bases using feet that that were not symmetrical. Neli wanted to try this because the Lamm ML1.1 and ML2.1 amps are so much heavier in the rear than the front - and the HRS isolation bases are configured according to how much the component they are going to carry weighs.
  • So now we have green coded feet on the front and blue on the back. We'll see how this works out...







  • To start off we hooked up the ML2s to the Acapella Triolon Excalibur speakers. They are about 97 to 98 dB efficient but dip down to a little about 3 ohms, the way I read their impedance chart. Because of this Neli insisted we use the 4 ohm taps on the back of the ML2 amplifiers. I figured we had to break in all the taps sometime, though I am jonesing to hear what the 8 ohm taps sound like, as I usually prefer the sound of the 8 ohm taps on most amplifiers.
  • Right out of the creates, the harmonic structure and pacing/rhythm/timing was first class - the best we have heard on the Triolons. This was a surprise...both that it was so good in any aspect, right out of the box this was, and that it was better in these two particular aspects.

  • Otherwise, the sound was horribly, frustratingly, disgustingly compressed. Remembering that the ML1.1s sounded like this when they were young, we will endeavor to persevere....









Breakin'n the ML2(.1)
(sung to the tune of "Bringing in the Sheaves")

We're breakin' in the amp
Breakin' in the amp
Oh Lord, should we just shoot it and put us out of our misery,
No, we be breakin' in the amp.










  • Much less congested and the sound does not collapse immediately if three or more instruments play at the same time. Still, though, it seems weakest in the midrange, with some reticence and congestion. A very euphonic, romantic sound. Also a somewhat 'hi-fi sound', which makes me wonder if this slight compression and blurring is the traditional hi-fi amp sound.
  • That 'hi-fi sound', as I mean it here, is sound that is often very enjoyable to listen to, but the convincingness of the sound is missing. It is very pleasant when you focus your mind on it, all the right audiophile stuff is there. But is does not sound real. And one really can have both in a single system, and as we move beyond the second week of breakin we expect this one will get back its superb sense of convincingness - which Lamm's less expensive ML1.1 did amazingly well at - giving a very good sense of being in the studio - especially when turned up to realistic volume levels! So we have high hopes for the ML2.1s...









  • Put the Triolons on the 8 ohm binding posts on the back of the ML2.
  • The sound is clearer and has better separation. Also seems to have higher gain as well than the 4Ω taps. Less euphonic, but it sounds like it is a lot less broken in too, so time will tell.
  • Make sense, I guess. The bass frequencies of the Triolons go up to 20+ ohms, which are usually the frequencies amps, especially low-powered tube amps, have problems with, whereas the midrange and highs, which are an easy load for the amp, are a nominal 4 ohms.









  • In our current setup, we run the EMMLabs / Meitner CDSD transport in the back of the listening room to the EMMLabs DCC2 DAC in the front so it can be near the amps. Why? Because we are using the preamp section in the DAC to drive the amps and this way we can use the 1 meter long INDRA interconnect cable to connect them together.
  • This is so we get both a better sound and aesthetic look because now we do not have to have a rack up front, nor do we have to have 10 meters of INDRA cable running from the back of the room from a preamp to the amps (which would be prohibitively expensive). Instead we are using 10 meters of 3 runs of optical digital cables - which is only about $50 (as opposed to about $60K for the 10 meters of Stealth INDRA cable).






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