Lamm ML2.1 monoblock power amplifier

[comtal]

Lamm ML2.1 monoblock power amplifier


Description: Tubed, monoblock power amplifier. Tube complement: one each 12AX7, 6N6P, 6AK5, 5651; two 6C33-B. Output power: 18Wpc into 4, 8, or 16 ohms at up to 3% THD (dBW). Input impedance: 41k ohms in parallel with 470pF. Input sensitivity: 775mV for maximum output. Frequency response: 20Hz-20kHz, -0.3dB, 3.0% THD.

REVIEW:

http://www.stereophile.com/amplificationreviews/1004lamm/

Price: $29,290/pair. SO WHAT!

 

[comtal]

Εδώ τα ανωτέρω monoblocks οδηγούν κάτι ηχεία Siemens του 1957 (modified)
στο HE'2004 show

Από το site της εταιρείας
Then there was the Lamm Industries suite.

No sense denying that I have a certain built-in appreciation for antiques. But I'd also like to think that the literally unmatched music reproduction I heard in the Lamm room was as much a function of getting things right as of merely getting things old. The electronics, for their part, were all new and original: Vladimir Lamm's LP2 phono preamplifier, L2 Reference preamplifier, and his brand new ML2.1 single-ended triode monoblock amplifiers ($29,290/pair) -- a refined version of the ML2 amp, which Sam Tellig raved about in Stereophile's July 1999 issue -- along with A CEC transport and Weiss Medea D/A converter. The record player was ripped from the pages of Old German Radio Station magazine: an EMT transcription 'table from the 1950s, with a 16" platter, two tonearms, and that holiest of holy grails, an Ortofon SPU cartridge. Be still my heart.

The loudspeakers were the most noticeable of all the links in this chain: a pair of Siemens Bionor movie-theater speakers from 1957. Based entirely on horn transducers from a Siemens offshoot known as Klangfilm (literally, sound-cinema), the Bionors stood a little over 6' tall and measured approximately 10' wide -- each. Your basic wall of sound, in other words.

The system was set up and demonstrated with consummate intelligence: volume levels were kept at sensible, realistic levels, and the seating arrangement seemed intended to encourage listeners to park themselves a goodly ways away, in order for the sound to jell -- always a good idea with horns. The listening experience simply and decisively redefined the notion of ease: the music "happened" at one end of the room, as opposed to being squished out, squeezed out, shot out, zoomed out, zinged out, or flatulated out, as happens to greater or lesser degrees with virtually everything else. I left thinking: This is why men create big, expensive stereo systems -- not for the bass, not for the impact, but for the simple, overall realism of the music. I wouldn't sell my soul for such a rig, but I might consider leasing it out from time to time.

 

[comtal]

I left thinking: This is why men create big, expensive stereo systems -- not for the bass, not for the impact, but for the simple, overall realism of the music. I wouldn't sell my soul for such a rig, but I might consider leasing it out from time to time.

Στέκομαι περισσότερο σ' αυτό που υπογραμμίζω. [/u]

 

[pankrok]

ντοινγκ-γκασπ-γκλουπ...

 

[skaloumbakas]

Κανένας Σεβασμός Από Τις Καρέκλες...

... Εδώ τα ανωτέρω monoblocks οδηγούν κάτι ηχεία Siemens του 1957 (modified)
στο HE'2004 show...

Και γιατί οι καρέκλες τους γυρίσανε τη πλάτη ??? :mrgreen: :mrgreen:

 

[Gebreselassie]

Παναγιώτη νομίζω ότι ήσουν σαφής αλλά να βάζεις τόνους

 

[Σπύρος Μπλάτσιος]

ρε παιδιά ακόμη δεν το καταλάβατε!!!

Αυτές οι κόρνες είναι τα surround ηχεία του νέου μου home cinema!!!

μπουχαχαχαχα!!!

 

[Gebreselassie]

Στο thread που ρωτάει ο Ανδρέας "τι δεν κόβεται" γιατί κανένας σας δεν έγραψε το ποτό ρε γμτ?