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Antonio J. wrote:

I think I understant pretty well your descriptions and it's surprising the amp can overcome speakers flaws. Is this using the Lamm L2 or any other preamp, or just driving the Melquiades with the source directly?

Nope, I do not use L2 for a month. Melquiades pretty much eliminates the L2 necessity. What whatever reasons the L2’s contribution to sound is insignificant with Melquiades and in the result that I’m getting driving the Melquiades “direct” does have all those X-factor attributes that L2 injects into signal and even take it further! (In addition I do not have all the negative nastiness that L2 inflict to sound) Well, I said about the insignificant L2’s contribution while sound being “Melquiadesised” but I would not propose it as a final judgment. I think I need to view this subject one more time. Unfortunately it is quite complicated to do this type evaluation objectively as it requires a LOT of boxes rearrangements and some other things. I still I will give to L2 a chance as the L2 dose a LOT of VERY smart things to sound and I would like to make sure that I did not miss anything.  There are many things that I admire in Melquiades juts because I learned them with L2….

Antonio J. wrote:

I wonder if that what you describe could be understood as some kind of coloration, or if it's just due to Melquiade's power to achieve real-like speed on transients without screwing anything else

I think it has nothing to do with speed on transients. There are faster and more racy amps. I think “it” has to do with … something that I really do not know. The funny part that since I got “this sound” I really stopped to care what made it. I have a general curiosity “why it is” but no real motivations to do anything to discover what “it” was. Building the amps it is not what I do in audio – I am juts a user and since I get what I need I’m content

However, Antonio, I do not think that the Melquíades’s maintaining integrity being abused by speakers has to do with some “colorations” that provide some kind of masking effect. This would be a way of thinking that really is not applicable to Melquíades.

(This is a beginning of the important part)

When I said the Melquíades does have VERY different TYPE of Sound I really meant it. The colorations, tonal deviations, speed, transient and the rest of the things that we are accustomed in Audio are deeply beyond the class where Melquíades operates. It does something VERY different and at the level where it operates all issues regarding dynamics and tonalities are resolved and they are not at a picture anymore.  I rely do not know how to explain it – the Melquíades is juts TOO DEFERENT then anything I even seen or heard. I’m sure if you hear it you would have the very same feeling: it juts sound “as is” and you really can’t name anything that you know about sound while you hear it.

The caT

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