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Jessie, current is mentioned repeatedly because in the case of DC, and in this situation, the current is actually what one wants to meter out.  Lamm just gave us a simple way to take a reasonably stable, real-time "measure of current" at this point, which would otherwise be +/- impossible to do.  No slights were (or are) intended or implied regarding any of these (or any other) "test procedures", since the actual circumstances are, to my feeble mind, far more arcane than we have touched on herein.  I went for years assuming that all calculated values could always be measured and "verified" for working voltage and current, inductance, capacitance, etc., and I was amazed and remain quite confused to find that, for all intents and purposes, math is as close as one actually gets to "knowing" the actual operating "values" one cranks with figures throughout a given circuit.  Basically, it's Heisenberg, all over again.  Few people have the depth of understanding necessary to conduct meaningful electrical forensics or really design in audio circuits, and IMO fewer (far fewer...) can go from there to get "good" working results in hi-fi.  I consider myself to be looking up at the bottom rung of the electrical knowledge ladder, and to tell the truth I see myself as not much farther "up the ladder" with respect to hi-fi, either, with much to learn and little to "teach".  And I am not being modest here.  The past year has been particularly "enlightening" with respect to exposing to me my own incalculable ignorance.

Re, 185V V2:  I always, eventually, get around to fiddling with operating points in all my active gain circuitry, since this is such an important tool for shaping sound, including the character of the sound.  This gets back to Romy's facination with "plate loading", a rich field of inquiry, indeed, for those at a certain level of comprehension, and the certain road to ruin for the unprepared.  In the case of the ML2s, I am aiming for a sonic matrix that is - in my system - "the best" compromise between harmonics, harmonic integrity and a sort of general sense of FR "continuity" that the ML2s either are or should be particularly famous for, since they are head and shoulders above anything else (I have heard) in this regard.  I have dutifully recorded my findings, which attempt to speak to what is possible, conditioned by my own system's special requirements and its (and my own) limitations.  I will air a personal suspicion, however, that Lamm's "factory settings" are aimed at the people he (correctly) deemed most likely to buy his amps.

Best regards,
Paul S

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