*** I've received and read most of February issue of Stereophile. They review the last M1.2 Reference amplifier and the comments from the reviewer are more about how the music can flow and show as a unique event, with the kind of interaction with the listener that we've talked about in another thread, than about all the audiophile-sound jargon they usually employ.
Note rely. I know those guys and they are clueless in what they hear, how it sounds and what it all about. The only thing that changes in their jargon is the fact that they realized the level of revolt in this typical audiophile lingo (actually it is not what they realized but it is what thier readers can not stomach anymore). Now they stuff thier casual reviewing idiocy with a new reviewing mannerism: spreading an empty BS about “flow of musicality” and the similar subjects. This is just a change of marketing tactics but their “evaluations” still has nothing behind it.
*** I wonder if this is a property of Vladimir's designs, or if it has more to do with any personal sensivity of yours.
I do not think that anyone would be able to answers defiantly. Was it the result of the amps’ influence of it was just my normal development? Would the result be different if I used instead of Lamms some Krells or Spectrals? I personally do not think that Lamms were reasons in those events. I would attribute as a major reason to my personal growth that would take place without Lamms or without audio at all. However, Lamms I think were a stimulating or at least not preventing factor. It is like a development of an ability to recognize a smell of a fine wine… Would that ability develop more likely if a person spend time at a flowery garden vs. the person spend time at a smelly pubic restroom? Also, do not take out of consideration that anyone with whom I dealt in audio was able to knowledgably discuss the long-term consequences of audio experiences. Vladimir, actually was able to support conversation about it and perfectly understood my queasily. I think some aspects of L1/L2’ ability to intentionally interfere with phases processing has a lot of to do with his thinning on the subjects….
*** Do you really know how to get your system where you want it to be? Are you really that experienced?
Not really. My more typical situation is a state when I know exactly what is wrong; I know how it should be; I perfectly correct can identify the delta between “how it” is and “how it should be” but I do not necessary know “how to get there”. Thos problems is more or less resolvable at Acoustic System level, the field where I have all necessary tolls, silks and knowledge to navigate myself and my system to the direction that I need. However, many things in audio are done via electronics where I have very-very superficial expertise, if any at all. I use some friends of mine to consult me for some needs-to-accomplish basses but my results I get there more or less accidental and unpredictable. Thankfully the ML2 are a fantastic playground that has unbelievable audio-integrity and a stunning audio resilients (very-very few people actual know about it). So, do not paint a picture that I am a complete Master of the house… It is unfortunately very far form truth. However, practically all things that I am trying to accomplish with my playback do have underlying reasons and objectives.
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche