top image

REVIEWS

1 Home 1 News 1 About Us 1 Products 1 Prices 1 Warranty 1 Awards 1 Reviews 1 Interviews 1 Presentations 1
1 Shows 1 Dealers 1 FAQ 1 Feedback 1 Contact Us 1 Links 1 PayPal
OWNER'SPAGE

 

Products

Power amplifiers
M1.2 Reference
     
description  specs
M2.2
    
description  specs
ML2.2
    
1 description 1 specs
ML3 Signature
    
1 description 1 specs
Preamplifiers
LL2.1(regular/deluxe)
     description specs
LL1.1 Signature
    
1 description 1 specs
L2 Reference
    
description  specs
LP1 Signature
    
1 description 1 specs
LP2.1 (regular/deluxe)
                phono preamp
     1 description 1 specs


 1

11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111

FI magazine, Vol. 1, issue 6' 1996
Ken Kessler

11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111

excerpts

LAMMentation

Way back in 1993, one of the new kids on the block, a CES "must hear," was the M1. ...For savages not satisfied with the sheer brutality of the M1.1, there came the twice-the-power M2.1 monoblock. And to drive them? The L1 preamp. But being a purist, the M1.1 monoblock is the one I wanted to audition, just to learn if what I heard back then, in show conditions, was as, well, dynamite as we all suspected.

This is a straight, lab-look behemoth, large enough to make its presence known no matter what you do...unless you hide it in another room. The LAMMs are designed with Macho Man in mind, if I may be so bold as to play the Neanderthal.

The M1.1 is built like something designed to withstand combat. No expense seems to have been spared inside, and the internal finish is as good as any. The weight comes not just from the case but what's inside: it's packed to the rafters. As you'd suspect because of the mass, the profusion of heat sinks, and a seemingly low power rating for a unit of such bulk--100W--the M1.1 operates in genuine Class A mode when driving 4 or 8 ohm loads, its power courtesy of a dozen high-speed MOSFETs. The power doubles into 2 ohms, and it goes up to 300W into 1 ohm. Not that anyone needs this anymore now that the Apogee Scintilla has gone to that Great Hi-Fi Store In the Sky...

No overall feedback is used in the M1.1. The frequency response is stated as 4-150KHz, and it's ruler-flat according to the supplied response curves. Although this could describe any modern solid-state amp, the LAMM has a secret weapon: a 6922 triode sits in the driver's seat. And this lone bit of glassware inserts enought of a tube presence to tame the beast. Almost.

LAMM's M1.1 is neither temperamental nor troublesome because it's so comprehensively conceived. Switch-on accidents are avoided because the unit has a soft-start circuit with a built-in delay, indicated by the flashing of the front panel indicator. When it stops flashing and you hear a "click," the output is then allowed to reach the speakers. Other safety features include the AC fuse, a thermal resetting fuse to monitor the temperature of the power transformer, and various stages in the circuitry to protect against overloads, shorts across the outputs, and excessive DC at the inputs, along with other hidden safeguards to allow you to sleep at night.

LAMM burns in the amplifiers for 72 hours at the factory before dispatch, but they feel that further burn-in will yield even better performance; I used the Densen DeMagic CD to produce a consistent burn-in, but you might also try the XLO/Reference CD or Gryphon's Exorcist. Whatever you do, don't judge an M1.1 until it's had at least 48 hours to settle down. Furthermore, the company likes to see 45 minutes as the minimum warm-up period from cold switch-on. I left the M1.1s on from 8am and listened in the afternoons. However music lovers living in places where electricity charges are criminal might rue the LAMMs' need for 300W of juice each while idling.

It's heart-warming to note that the M1.1 comes with the most comprehensive owner's manual a power amplifier could possibly justify. It tells you everything you could possibly need to know, including how to bridge two pairs for maximum power. As if you'd ever need it in the real world. What should not be ignored, in case your dealer is a lazy sack of crap unwilling to install the amplifiers properly for his cherished customers, are the instructions regarding the shorting plugs needed for single-ended operation, where they go and when they should or shouldn't be used.

Perhaps there's a little guy inside this thing who, Woody Allen-like, comments on the load to the rest of the amplifier. "Guys, you're not going to believe it, but some klutz has set this on the low-impedance position and hooked up the LS3/5As. Let's scare him." Which the amp proceeds to do by not sounding quite right. At least, not as good as you know it can sound, according to its rep and its memorable CES debut. Which is bordering on the miraculous.

Whatever irritants accompany reviewing a massive beast like the LAMM--grazed knuckles, a hernia--nothing prepares you for the sheer joy this baby inspires. Even before you reach the minimum warn-up period, the M1.1 sounds 'musical,' or, to put it another way, it's immediately recognizable as capable of truly high-end performance, by whatever norms you categorize "high-end." Avoiding rhetorical arguments, fatuous political stances and the like, we all know when we're in the presence of world-class systems, and the LAMM delivers the kind of sound which makes the concept of "high end" easier to appreciate. It easily surpasses the standards we accept for serious listening. The LAMM M1.1 is simply one of the most close-to-flawless power amplifiers I've ever heard.

We use and over-use slighly vague buzz-words to describe certain aspects of a sonic event: "coherent," "tactile," and "visceral' are the sorts of terms that we have in our arsenal to convey the physical aspects of sound. Yes, we know what they mean and they do allow us to communicate our observations, but we need varying degrees of each if we're to distinguish between products which differ only in the details. And the LAMM actually challenges standards in a couple of areas where the competition is heaviest--a superiority evident regardless of the speakers or cables in use. It's no great secret that the world is awash with stupendous power amps of the high-end persuasion, and it's a hellish task choosing one over another. Given that nearly all modern high-end amplifiers are so damned good that choosing between them often comes down to price, size, styling, or prejudices, the aspects which help us to differentiate them are almost always peripheral qualities.

Starting with the deepest bass, the LAMM impresses with the way it delivers seemingly limitless extension and slam, unaccompanied by any artificial hardness or edge. This is no lumbering juggernaut which impresses by sheer force or bass quantity. Every note comes through cleanly, even in cluttered, Boschian performances from over-eager thrash, death-metal, or reggae artists with producers blind to the LEDs on their mixing desks. And the sound is certainly free of the nausea-inducing bass excess which makes too many clubs the sole preserve of the partially deaf or the totally drugged. The bottom octaves are so clear and controlled that what I thought were listening room deficiencies are nothing of the sort: I'd been hearing other amps misbehaving.

Where the "tube-nbess" of the LAMM reveals its greatest contribution is in the upper bass region and beyond. Indeed, if I hadn't been told what was playing, I'd have guessed that someone located a pair of Beard P100 monoblocks. This amp possesses the kind of midband which balances neutrality and air with the kind of power which normally discards delicacy in the process. It's a curious experience, hearing something as fragile as Lori Lieberman's voice delivered with a foce that blows you into your chair. It's how you turn the Chordettes' "Mr Sandman" into "fluff-with-mass" that escapes me, but there's no other way that I can express it.

The top end never grates; neither does the sound turn aggressive. It's the antithesis of the equally admirable (and far less expensive) Mesa Baron, which often sounds like a guitar amp just itching to go all-Jimi. The LAMM is polite, mannered, and genteel to a point that it's almost self-effacing...The M1.1 is your perfectly obedient servant; if it were British rather than American, it would be Arthur Treacher. The M1.1 does what's asked of it, without drama and without complaint. It is a wonderful hybrid indeed: part jack-hammer and part surgeon's scalpel.

...Too bad the M1.1 isn't a piece of junk, so I could have called this review "LAMM to the Slaughter." Instead, I have to say that this LAMM deserves a medallion.

 

1