How many times has this been repeated to him, in multiple contexts? This point repeats in most discussions with him, he brings out as if live music doesn't exist and takes it in some other direction. It is quite apparent to me he is not bothered in understanding this
Natural Sound
- Thread starter PeterA
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How many times has this been repeated to him, in multiple contexts? This point repeats in most discussions with him, he brings out as if live music doesn't exist and takes it in some other direction. It is quite apparent to me he is not bothered in understanding this
I'm not quite sure where you are coming from as this is the only sentence in your post, but I think I get it. There is limbic listening where where the mind is not focused but taking in the whole. And imo this is where Lamm components facilitate this perception - a quality of the Lamm sound. They draw attention neither to themselves nor to specific sonic (as opposed to musical) characteristics. They deliver a holistic musical presentation, which is no focus at all.
I'm not in London, I'm in Worcester. Malvern Theatres. Malvern Concert Club
Oh I have been there to watch Winterreise Roderick Williams and iain Burnside a few years back. Brilliant acoustics at least for that type of concert.
Loved it. But they did one at wigmore hall that wasn't as good. Roderick Williams delights and disappoints in alternate concerts. I used to watch him regularly before the pandemic
Agreed. I saw all 3 of the Schubert cycles there by him. The Die Schone was great, the Schwangesang less so...
He is president of the Concert Club. Nice guy, doesn't seem to be at all up himself.
This was not exactly what i meant, the focus i was referring to is the moment where you have pin point precision (at least you think you have) but still try to figure out (causing minor stress on the listenin experince) where everything acually is (naturally this is true for live music as wel because of reflections etc.). But as the microphones usually placed above the musicians we all should be sitting first row and should be able to pin point everything, but THAT was exactly my point as we do not need to focus on pin pointing anymore as it is naturally there.....
That was my dad ! I just look a lot like him !
I am more of a synthesist, and all Danish beaches are topless !
Tim,
We can say the same about many other brands having different sound signatures, if properly used. Our mind will focus on what we train it to focus.
Any sound reproduction is a compromise between specific focus and the holistic presentation. Speakers and their setup play a major part in our system in this balance.
Again IMHO this type of argumentation focuses in the listeners preferences, not on the sound characteristics of equipment. We learn a lot reading from other people opinions on equipment, it would be interesting to analyses why you think that Lamm "facilitate the perception" in terms of sonic signature . I found that M. Fremer said a lot in his review of the ML3 with a single word "hypnotic", after he described how it really sounded in his opinion.
Fransisco, Did M. Fremer distinguish between the sound of the ML3 in isolation (ie from hearing it with a variety of systems) versus the sound he heard through his one system when using the ML3?
What does he describe as “hypnotic”, the sound of the amp or the sound of the music coming through his system when he used the amps? And was the music hypnotic or was the system sound hypnotic? IMO, your summation of his comment leads to more confusion than to learning.
Did you read his review befor or after you bought the amps and what did you learn from reading MikeL’s opinion on this equipment?
Jeff, this summarizes well one of the main differences between the Vitavox and Magico speakers. There is an ease to the former. Music just flows forth freely. That manifests itself in a few ways. There is a effortlessness to the sound. Dynamic contrasts and subtle nuances are more apparent. Timbre seems more accurate. The tonal palette is richer and it is easier to be drawn into the music. Perhaps most importantly, the presentation just is rather than being forced. The listener is more relaxed rather than stressed.
I am sure a lot can also be said about differences in amplification requirements and how that affects the sound, but I don’t really have the experience to talk about that.
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Peter,
Why do you speculate without even trying to read the review, that is online for almost eight years https://www.stereophile.com/content/lamm-industries-ml3-signature-monoblock-power-amplifier and has been referred in our forum many times?
Can we know why does it matter that I have read the review before, during and after buying the ML3? Or that I carried an extensive reading and technical analysis on Lamm products before committing and had no mentor in the process?
The discussion on Lamm products in this forum did not start with your finding of "Natural Sound - it has been lasting for long, and has been very interesting. My post is a direct answer to Tim post, I hope he comments on its content soon. IMHO the subject is very interesting and Tim is a very experienced listener.
Listening to your new system video. The above I think mostly come from the Lamm electronics. The Lamm somehow punctuated sound from each instruments uniquely making lively more believable sound.
The tone of the new system is a little retro "too" easy on the ear for me. (This is not from the Lamm.) But hey this is from the guy who can tolerate what most people cant playing VdH. Nonetheless, I would not go so far as Bazilio said tone is so round off up and down no differentiation. But I get what he meant. A change in cartridge and speaker cable could tune to my liking. Adyc mentioned about hollow sound. I might misinterpret his meaning but for me I like that hollow sound coming from the recording venue reflecting the ambient volume and quietness when say flute or solo violin takes turn in Scheherazade. Hollowness gives me better feeling of recording hall. I think both systems are great enough for me to enjoy and swing along music. Great great value if anyone just copy and construct the system for the first time not having to spend so much to go through learning curve to get there.
I was simply trying to better understand why you claimed we could learn a lot from Michael Fremer’s use of the term “hypnotic”. I was hoping to learn your thoughts because you’re involved in this discussion, Fremer is not
Thank you for posting the link to the review. I do not own the amplifiers so I am less interested in that specific review but I will check it out.
I am trying to gauge the importance you placed on the reviews with your decision to purchase the amplifier. I listened to all my gear in my system knowing that I could return all of it if it did not suit. I only started reading reviews of the Lamm gear after I made the decision to own it, but spending a week in Utah listening to it or very similar models give me a pretty good idea of its capabilities.
You're right that Lamm is the heart of the system, ML2 is warmer than the ML3 you're used to but the main difference is in the presentation of each. Hard to describe until you experience it for yourself, ML2 has almost the same resolution and gives you all the musical information with natural sound as the ML3 but from a very intimate perspective. I have the ML3 on my main speakers and ML2 on the subs but swap them around as well, same as loving various Beyond turntables for their differences and uniqueness, only thing that matters is how "natural" as you already know.
Edit- The biggest difference between top vintage horns and your speakers is bass quality, you need to listen to Peter's videos for something else besides the phone to hear that properly.
david
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