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Power amplifiers
M1.2 Reference
description  specs
description  specs
1 description 1 specs
ML3 Signature
1 description 1 specs
     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



STEREO (Japan), September' 1996
Masamitsu Fukuda 



Here comes that great hybrid power amplifier which won the award at CES, LAMM model M1.1. It was at the WCES'94 when we first encountered LAMM INDUSTRIES, INC., an audio manufacturer in New York. The M1.1 uses high speed MOS-FET power transistors, features class A operation, and no overall feedback.

We are particularly interested in the hybrid design which employs a vacuum tube 6922 in the second stage. The M1.1 is a monaural amplifier which generates 100 Watts. In spite of the fact that the M1.1 is a pure class A amplifier and that it was driving small sized speaker by Purist Audio Design, the impression we got at CES was that the M1.1 was a sophisticated modern amp with high resolution and a great driving power at the lower frequencies range.

Vladimir Shushurin, who owns the company, used to design amp at Madison Fielding, Inc.; he had become independent when the amplifier won Innovations'93 Award in 1993 at the Chicago CES. Having been informed that the amp is being imported to Japan, we decided that the M1.1 is one of the models that we definitely want to try, although we have forgotten about the M1.1 for a while.

Although LAMM also manufactures a hybrid preamplifier model L1, it was such an important issue for us to fully explore the M1.1 that on that particular day we used Sansui C-2302, of which we have full knowledge. We used B&W speakers model MTX 801/3 and WireWorld Eclipse cables.

Then, all of a sudden, the power amplifier displayed its full potential: high purity, super high speed response, high resolution and super wide range. The sound was so remarkable that it literally woke us up. The sound arises extraordinarily. The M1.1 must be capable of reproducing perfectly flat sound even at the highest frequencies. No other amplifier is capable of such a precise expression of overtone spectrum that no cloudiness is heard. The sound is crystal clear.

I have never had such a great power amplifier and I have never heard MTX 801/3 make such lively and natural bass strokes. I listened to the forth movement from Tchaikovsky's Symphony No. 4, Saito Kinen Orchestra conducted by Seiji Ozawa (Philips). Despite quite a complicated performance in the high frequencies region, the M1.1 had the impeccable resolution. The dynamics of heavy bass were perfectly expressed.

In general, when a piece of equipment is capable of such high resolution, the sound usually gets tightened at all frequencies, so that the low frequencies sound flat and blunt and the vocals become brusque. Fantastically, it was not the case with the M1.1 -- the sound never becomes dry; on the contrary, an exquisite feeling of the richness and the smooth texture of high density energy are added.

I turned around and found the chief editor smiling. Confronted with the sound of the M1.1, I had nothing to say, but to smile as well. I was impressed by the fact that such an extraordinary audio manufacturer like LAMM exists in the US. The M1.1 seems to be the one that is infinitely close to the perfection of my ideal.

My next choice was to hear strong percussion. For that purpose I chose the fifth cut from "Ki to Kawa no Kodo" (the beat child of woods and skin) by Jun Sugawara, in which eight drums are played to make a distinction in the low frequency sounds. This impressed me even more. Straightforward energy of the drums never collapses even when played at a full volume. The thrust of dynamics creates superb impression of a three-dimensional space. Still, every subtle change in a musical interval is detectable. This was the first time when I heard this difficult album with such vividness brought by the fine quality. I also listened to "Duo di Basso," a duet of cello and bass. Sound stage was crystal-clear and filled with subliminal reverberations of cello and bass which sounded so real as if I were there.

The sound has a contrasting quality of delicacy, power, tension, and elasticity. The impression was so vivid and lively that I kept listening with my mouth open. The sound quality of LAMM's preamplifier L1 is quite neutral, just as the power amplifier.

In addition, the M1.1 has a switch-selectable bias/voltage settings for 8 or 4 Ohms operation at 100 Watts, although it is designed to tolerate super low impedance loads such as 200 Watts at 2 Ohms and 300 Watts at 1 Ohm.

"Dear Mr. Vladimir Shushurin, today I tried the amplifier you designed and found myself deeply inspired. I agree that this is the way an audio amplifier is supposed to be."