Lamm Announces New ML2.2 Amp For CES

Steve Williams

Site Founder, Site Owner, Administrator
The ML 2.1 has been replaced by the new ML 2.2

LAMM INDUSTRIES, INC.



ML2.2 single-ended power amplifier





ML2.2 single-ended power amplifier is a proud successor in a line of the ML2 series (the
original ML2 and its replacement, ML2.1) and represents a new generation of single-ended
power amplifiers with regulated power supply employing a unique high current low impedance
power vacuum tube triodes 6C33C in both output stage and power supply. Implementation of
these triodes allowed to create an output transformer with a very low turns ratio and, as a
consequence, extended (as compared even to the most advanced modern vacuum tube
amplifiers) frequency decade factor, as well as dramatically reduced leakage inductance.
Chosen by the Design and Engineering Committee to receive the Innovations Award at the
International Consumer Electronics Show in Las Vegas as the most innovative product of the
year in the "specialty audio" category, the ML2 was a first single-ended amplifier on the
market capable of reproducing a full range of audio frequencies and recreating the original
spectral balance and harmonic structure of the recorded material with almost 100% accuracy.
The designer’s unique vision and nuanced grasp of audio electronics has created an amplifier
capable of capturing the essence of your favorite music like never before.



The ML2.2 proudly continues this tradition. Whereas both – the ML2 and the ML2.1 – were
completed products perfectly capable of functioning to the full of their potential without
upgrades or modifications, it became the designer’s drive to expand the limits of this topology
and introduce some features of the ML3 Signature into the ML2.1 design.



The sonic result is a most seamless fusion of the ML2.1 and ML3 Signature that leaves the
listener totally immersed in the music performance as well as pleasantly surprised at the
palpable breathing presence of the music material. The ML2.2 is an amplifier that sonically is
much closer to the ML3 Signature while pricewise is closer to the ML2.1. The meticulous
build quality, high quality of parts and materials along with innovative topology make the
ML2.2 a truly prized possession of any music lover.



The output stage with its high-current voltage regulator section grows out of that in the ML2.1
and implements certain changes that relate specifically to the use of most recently introduced
parts of higher quality.



In contrast to the output stage, the input stage has been totally redesigned and is based on
that of the ML3 Signature amplifier. This innovative front-end topology was incorporated
because of specific characteristics of the output tube. It brought about a dramatic step
forward in sound quality while keeping the cost within the price category of the ML2.1.



Single-ended tube amplification has the greatest potential of reproducing music with maximum
fidelity to live sound. Because of several inherent limitations of the format, most SE tube
amplifiers recreate a beautiful midrange but shortchange the low and upper frequencies. The
ML2.2 overcomes these limiting factors to reproduce the thrilling sound of live music.



The ML2.2 along with the ML3 Signature are the only single-ended tube amplifiers that
reproduce the entire spectrum in the audio frequency range. A midrange to die for supports a
superbly natural and extended bass along with exquisite upper frequencies. The amplifier’s
innovative circuitry allows one to hear the original spectral balance and harmonic structure of


the recorded material without loosing the smallest of detail and nuance.



Another unmatched feature of the ML2.2 is the breathtaking, transparent, three-dimensional
soundstage it throws seemingly without boundaries or limitations. The ML2.2 brings you a
very natural and engaging sound.



Advanced technical solutions are used in the design of the ML2.2. Custom-made output
transformer of very high quality and unique front-end and output stages, plus the sophisticated
power supply, free the ML2.2 to drive most real-world-load speakers yielding effortlessly
dynamic sound.



In a nutshell, the ML2.2 features the following upgrades and modifications as compared to the
ML2.1:



• New power transformer



• Input stage totally redesigned and based on that of the ML3 Signature amplifier.



• Five filter chokes (compared to two in the ML2.1)



• Plate fuse holder located on top of the amplifier’s chassis for greater customer
convenience



• Utilization of a much higher quality pc-board, and parts and materials that have
become available in recent years



• Introduction of an option to turn the amp on/off remotely





Each ML2.2 is handcrafted of the finest materials and top quality parts like military-grade
DALE metal-film resistors, PRC wire-wound resistors, CADDOCK power-film resistors,
BOURNS multi-turn potentiometers, CORNELL DUBILIER and UNITED CHEMI-CON
electrolytic capacitors, ELECTROCUBE and ROEDERSTEIN film capacitors, HAMMOND
chokes, gold-plated NEUTRIC connectors, gold-plated binding posts, and military-grade low-
noise long-life vacuum tubes.



The power and output transformers have no mechanical contact with either the transformer
cover or the chassis; they’re suspended in a special encapsulant material that almost
completely absorbs residual mechanical vibrations. This feature plays a significant role in
assuring the unique clarity and micro resolution during sound reproduction.



Two multi-turn trimming potentiometers accessible through special openings in the amplifier's
chassis, along with two sets of test points, allow the user to adjust and measure the nominal
value of plate voltage and plate current of the output tube by using an external voltmeter.



In conceiving and executing the overall design of the ML2.2, the goal was to utilize modern
technology and processes while recreating a look reminiscent of the long-gone vacuum tube
era.



The ML2.2 functions on around-the-world AC line voltages (100/120/220/230/240 V).



Suggested U.S. retail: $37,190/pair



November 28, 2010
 

KeithR

VIP/Donor
May 7, 2010
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sounds like a much more upgraded amplifier compared to the .1 upgrade.

what is the outgoing price of the ML2.1?
 

KeithR

VIP/Donor
May 7, 2010
5,172
2,850
1,898
Encino, CA
I'd love to try a pair of ML2.1s with my Zu's. Although I really want an in home audition before picking a pair up. My speakers just are abnormally sensitive to amps and there have been several in my room that have quickly left as a result. For instance, a Shindo amp just didn't have the synergy.

Love the remote on/off on the new version fyi :)
 

LL21

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JackD201

WBF Founding Member
Apr 20, 2010
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If things work out with the sale of his 2.1s, nephilim (the other Keith R. ) will have these amps in his possession in a couple of months. We should be able to have them side by side for comparison too but the 2.2s won't have anything more than the factory 72 hours when we do.
 

LL21

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Dec 26, 2010
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I have read in a few of the blogs that some people preferred the original Lamm ML2 to the ML2.1. Jack - have you heard both? I am considering moving from my Gryphon Antileon to Lamm SET monos since I run the Wilson X1s and have the sensitivity to use the Lamm SETs
 

JackD201

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Apr 20, 2010
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Not yet Lloyd. I didn't hear the ML2 either. I hope you get a chance to try before you buy. That's a pretty drastic change you are planning.
 

LL21

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Dec 26, 2010
14,430
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Not yet Lloyd. I didn't hear the ML2 either. I hope you get a chance to try before you buy. That's a pretty drastic change you are planning.
Hi Jack. Agree...i came from a 60watt/channel CJ mv60 so i have some idea of what medium powered tubes do (and dont do)...and i have a good series of reports, posts, blogs (and spoken with Wilson) about Lamm and Wilson X1s.

They wont do everything...but at 95db sensitivity and an average 7ohm load from 120hz-10khz, i feel pretty good about powering my X1s here...and i am prepared to bet the tonal purity is a no brainer
 

JackD201

WBF Founding Member
Apr 20, 2010
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Having heard Steve's set up I can vouch for the combination. I loved it immensely. You're right about the tonal purity. What I don't know is if you'll be missing some of the high power slam you've probably become accustomed to. The bass will still be very good but it will be different.

BTW I am a Lamm Distributor. If you didn't already know, I figured I should throw it out there. I'm not trying to dissuade you, I just want you to be a happy member of the gang. :)

Happy Hunting!
 

LL21

Well-Known Member
Dec 26, 2010
14,430
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Thanks for your being forthright. Here is what i seek: pure tonality, limitless power and extension/detail. (who doesn't?...;)) As a result of this search, i have focused on SS Class A...Boulder, Gryphon. But i am also aware of the high sensitivity of my X1s and the tonality remarked upon by many who have heard Lamm. I listen to orchesteral, quintets, jazz...but also a lot of hip hop, deep house, and i love hearing super controlled bass that rolls effortlessly through the room even at moderate listening levels. In fact, i prefer it this way...else i end up turning up the volume to artifically replicate that bass whack. (i use a Velodyne DD18 in parallel cut off at 32hz)...

What do you suggest i consider? Any thoughts on Boulder 2060, Lamm SS? Thanks!
 

JackD201

WBF Founding Member
Apr 20, 2010
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The ML1.1 at 90wpc will probably blow the roof off with Grand Slamms it will have diminished purity vs the free breathing 2.1s. The key to getting the most of it is the choice of 12ax7s in the input positions. I use M1.2s and again choice of tubes is critical, I go between Mullard CV2492s and TFK Red Tips. The M2.2s aren't far from the 1.2s but has double the power. The presentation is just a tad more structured. It will blow your neighbor's roof off along with yours. All Lamm amps are designed around the same psychoacoustic model so they are all similar in many ways. The SETs however just have that much more (((aaaaahhhhhh))) factor. If you can fully integrate the DD18s then you likely won't be missing much in the low end. Again, I've seen Steve do it so I know it's possible.

Zero experience with Boulder, they are not represented here. The only time I heard them was at a show. The sound at the room was very good but I have no idea what exactly they brought to the table.
 

Steve Williams

Site Founder, Site Owner, Administrator
Lloyd

there was a time shortly after the release of the Lamm ML 2.1 that many users of the original ML 2 felt there amp to be sonically superior. I have heard both and owned the ML 2.1 prior to my ML3's and simply put, IMHO the ML 2.1 was the second best amp I have ever owned. It is 90% of the ML3 at 1/4 the price of the ML3

Lloyd as you know, I incorporated 2 Gotham subs into the system as well to make sure there is nothing lacking.
 

LL21

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Dec 26, 2010
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Thanks, Steve. Are you aware of how Lamm amps (like 1.2 or 2.1/2.2) fare with non-Lamm preamps (i have a Single Ended CJ).
 

Steve Williams

Site Founder, Site Owner, Administrator
all Lamm amps are SE in as well as having a pseudobalanced XLR inputs. Vladimir does not believe in true balanced. My biggest gripe is that he has pseudobalanced outputs from the preamp (which is how I run my cables from the LL1 to the ML3) however he does not have any pseudobalanced inputs. This produced a problem initially when using my Studer R2R which has only XLR out

as has been commented on in either this thread or another that most feel (myself included) that a preamp made by the same manufacturer just matches best with an amp made by the same manufacturer due to impedence issues
 

Steve Williams

Site Founder, Site Owner, Administrator
one interesting caveat is that according to Vladimir even if you use the XLR terminals from the preamp the amp it is still tantamount to using SE cables. Initially when I bought the LL1 to go with the ML3 I had great concerns re noise because my cable length from preamp to amp is 10 meters. He reassured me that there will be no noise whatsoever. Heck isn't the reason we use XLR is to minimize noise and to pick up some extra gain.

Well I can tell you just as he told me, there just isn't any noise or diminution of signal with cable lengths such as this
 

LL21

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Dec 26, 2010
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Thanks, STeve. Helpful. Same make usually does have its own magic, and sometimes mixing can custom tailor to one's tastes...but everyone once in a while 2 independently great products go together like oil and water (impedance). I am keeping my CJ, so just thought i would double check. I suppose ARTs/LP275s are an option...but think it might be a bit too much color.

i will keep Lamm on the list and see if i can hear them here in this country.
 

LL21

Well-Known Member
Dec 26, 2010
14,430
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Thanks...also good to know as i have reterminated one end of my Transp Ref SE cables to XLR to go with my Gryphon Antileons without the rca-xlr adaptor.
 

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