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In the Forum: Audio Discussions
In the Thread: Initial thoughts about new/old Lamm ML2s
Post Subject: Listening in without losing outPosted by Paul S on: 2/25/2007
I have posted about some of my recent experience with longer "naked" HF ribbons in Romy's "Water Drop" thread. Here are some observations that relate these drivers back to the ML2s, along with some other recent ML2 trivia.
My speakers are listed back up this thread, FYI. They are ~ 96 dB, 3-way (not counting DX4's mechanical "whizzer"), passively crossed over, pretty "flat"from 40 Hz to (with Audaphon ribbon) way on up there. Impedance is not "bad" compared to many/most "audiophile" speakers, but there are a couple of spikes, up and down, that do present problems to most SETs, and the 15" BR drivers are not exactly a cakewalf for the amps, either. Although the speaker's designer intended that they would be "SET friendly", it was not possible to get anywhere near optimum performance from these speakers using 2A3 monoblocks, despite those amps having A2 drive, meaning lots more juice than any garden-variety 2A3. It was my search for amps to drive these very promising (within their limits) speakers that led me to the ML2s.
With the substitution/addition of the Audaphon ribbons (replacing Arum Cantus G2Sis) I have wound up driving the speakers from the ML2s' 16 Ohm taps. This has resulted in the best top-to-bottom integration of this range of frequencies that I have heard in lengthy playback sessions. Also much improved are musical bass and both "internal" and "external" dynamics, meaning that the volume and density of material available has increased very significantly, and listening levels have increased without fear, from the amps or on my part, since there are none of the usual signs of "impending collapse" at the volumes I listen, typically under 100 dB peaks (with exceptions, depending on the material.
I finally solved my phono hum problem, so I have gotten to use LPs as a reference source, and I am much more familiar with how this "should" sound.
As great an addition as the longer/more efficient/stronger ribbons have proven to be, the ML2's contribution is quite significant in this, and despite early promise I have none the less been surprised at the way the ML2s have "embraced" and helped realize the ribbons' increase of system potential. As I mentionmed in the ribbon thread, it is no easy thing to get a HF ribbon to perform properly in a system. That the ML2s manage this well while driving the rest of the system simply astounds me.
Back to bass, adding the ribbons shot bass performance up significantlly with respect to both quality and quantity, using the 16 Ohm tap with my speakers. Bass "pitch" is about perfect. My speaker's inherent LF limitations are laid bare, but bass to 30 Hz is true and musical, albeit attenuated below 40 Hz, obviously. I might have to call this the "antithesis" of "fast bass", because the ML2s simply will not let go of bass fundamentals in order to give an "impression" of bass, so there is, as there should be, as in live, less energy up the band than other amps deliver in lieu of bass. When the ML2s make "propulsive" bass, it is true LF-centered bass fundamentals that pack some serious LF energy. Also, the ML2s do not get "LF depleted" with my semi-difficult speakers, meaning other frequencies are neither "bass shaded" nor are they in any way dimished by bass continuo. This ability to "keep it up" at all frequencies on both micro and macro levels, along with spectacular harmonic and transient response at all times, makes the ML2s by far the most satisfying amps I have ever tried for larger orchestral scores. In fact, such scores have not really figured into my hi-fi musical plans for some time, until just recently. The ML2s have not only opened this door again but these larger scores are becoming staples. Wholly unexpected, and very satisfying, indeed. I really did not think these speakers could do this, at all.
MF is now much more "powerful" at given SPL and at the same time it remains lyrical and utterly nuanced. Instrumental voicing is as good as I have ever heard, as is the "integrity" of not only the instruments and voices but the performers and performances. The amps still have the uncanny nack of revealing any system weaknesses without letting those limitations ruin the music/experience. However, to be honest, the limitations are decidedly less limited than I ever expected or even hoped for just a few months ago.
I have a new phono stage on the way, mostly because I want to try a Bent TAP transformer volume control (also in transit), just to hear one for myself. Hard to think in those terms, now that I licked the phono hum problem; but I'll get back one way or the other once I think I have anything new to say.
I would certainly love to hear more from other ML2 users.
Best regards,
Paul S
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