Spintricity - The Lamm ML3 Experience (5) Continued(5)

Types of flaws

The reverse side, the dark side perhaps, of analyzing what we are hearing is to understand and classify the many ways that the result of the information transformation from the electrical domain to the acoustical domain [i.e. the sound we are hearing] differs from perfection. To talk about how a component differs from perfection, rather than how great it sounds. To talk about flaws. This is only useful if the number of flaws is small - there is only one way to do something right, and unaccountably many to do them wrong [sometimes I think the internet isn\'t big enough to describe all the flaws in some systems, and I\'m certainly too lazy to try... ergo the Flaw Categorization scheme below].

Usually people just measure frequency response: how the 1st order of dynamic information differs from what it should be for a given frequency. There is a heckuva lot more to enjoyable sound reproduction than this.

Types of flaws: Dynamic, Timing or Harmonic.

Magnitude of flaw. How large, how egregious, is the flaw.

Linearity/Proportionality: Is a flaw in the correct proportion to the flaw elsewhere in the musical stream. Elsewhere in the frequency spectrum. Elsewhere in the dynamic spectrum (louder/ softer). Elsewhere in the complexity spectrum [when lots of notes are happening at once]

Non-linear flaws call attention to themselves much more than linear flaws. They make the music sound strange. Not real.

Emotional responses

Suffice it to say here that, when listening analytically or otherwise, emotional responses complete the feedback loop. If something doesn\'t sound \'good\', that means we are reacting emotionally [negatively] to it. That there are flaws afoot. If one cares to, and the system is not completely useless, one can listen more deeply and find out WHY the sound is flawed.

Process

The point of presenting this way of analyzing what we are hearing [More on this way of looking at and listening to audio in a future article] in a review of the ML3 is to show to the extreme depth to which the ML3 is performing as the prefect amplifier. Able to transform an electrical signal into something that, in this case the Marten Coltrane Supreme loudspeakers, can reproduce as sound waves that bring us back to our roots - what we expect [hope and pray!] an amplifier to sound like.

That is, when we analyze the sound of a component here at Audio Federation, we listen very deeply into the music, listening to the various orders of dynamic, timing and harmonic information, then try to characterize how this information has been mutilated [flaws], and finally to our emotional responses.

The ML3

And the point is that, vis-a-vis the ML3, the flaws are exceedingly small; much, much smaller in comparison with other amplifiers, and the flaws that exist are very linear.

In fact, the flaws are so small and well-distributed, that it is unclear to me whether the flaws should be attributed to something else, and are in fact an intrinsic part of our media, cables, sources or speakers.

For one example, let\'s look at dynamics. Specifically the flaws in dynamics as heard on our system here and at RMAF. To my ears, 2nd, 3rd, and 4th order information was preserved so well it was a transfixing experience. This is a credit to the entire reproduction chain - but specifically the amps, because this kind of \'correctness\' is very rare and it hasn\'t smacked us in the face like this before [but see our forthcoming Nordost ODIN power cord review - we are starting to hear shades of this correctness elsewhere.].

But the 1st order dynamics, magnitude, is still not correct. No amplifier speaker combination can yet reproduce the real dynamics of a hitting of a single key on a piano, for example [one can quibble about whether a live electric guitar is by definition always correct later. Much, much later. :-)]. But given the linearity of the dynamic response of the system across various media, and given what we know about cables\' effect on dynamics [re: ODIN], how some digital players tweak dynamics in a non-linear fashion [see previous shootouts on the Audio Federation blog], and of course the speakers, which like all speakers are not 100% efficient, the amps appear to be completely linear, and are reproducing in exact correct proportion the magnitude of the signal they are given - EVEN IN THE REAL WORLD OF PLAYING REAL MUSIC.

This is the point I am trying to make. What an amplifier does is extremely simple. But it is dealing with a very subtle and complex signal - music - and the ways it can mess this up are extremely numerous and complex. The ML3 doesn\'t mess up in the ways that amplifiers usually mess up. I am arguing that the ML3 is, like the Coltrane Supremes and the ODIN before it - the first, truly competent, amplifier.

Designing systems around these components is different than around other components. Their own flaws are not only so very small [given the real-world limitation of physical laws and the conventional implementation of these audio components], but they are also NOT designed to compensate for inherent flaws elsewhere in the system or media.

These \'competent components\', these perfectionists, just reproduce the sound they are given. With much, much better success than most other components. They don\'t play \'games\' with the sound. Now a system of all perfect components may not be for you. Maybe just one or two will be preferred. Some people seem to find the media itself, whether digital or analog, to still be missing something and want an extra zing. Others just prefer the sound to be \'better than real\' and want some extra zoom. For most people, a system filled with perfect components might only be a start - followed by tweaks of special cables and components to tailor the system to fit their personal, and doubtlessly idiosyncratic and unique, taste, exactly.

Or should I say... perfectly.

Types of flaws

The reverse side, the dark side perhaps, of analyzing what we are hearing is to understand and

classify the many ways that the result of the information transformation from the electrical

domain to the acoustical domain [i.e. the sound we are hearing] differs from perfection. To talk

about how a component differs from perfection, rather than how great it sounds. To talk about

flaws. This is only useful if the number of flaws is small - there is only one way to do something

right, and unaccountably many to do them wrong [sometimes I think the internet isn't big

enough to describe all the flaws in some systems, and I'm certainly too lazy to try... ergo the

Flaw Categorization scheme below].

Usually people just measure frequency response: how the 1st order of dynamic information

differs from what it should be for a given frequency. There is a heckuva lot more to enjoyable

sound reproduction than this.

Types of flaws: Dynamic, Timing or Harmonic.

Magnitude of flaw. How large, how egregious, is the flaw.

Linearity/Proportionality: Is a flaw in the correct proportion to the flaw elsewhere in the musical

stream. Elsewhere in the frequency spectrum. Elsewhere in the dynamic spectrum (louder/

softer). Elsewhere in the complexity spectrum [when lots of notes are happening at once]

Non-linear flaws call attention to themselves much more than linear flaws. They make the music

sound strange. Not real.

Emotional responses

Suffice it to say here that, when listening analytically or otherwise, emotional responses

complete the feedback loop. If something doesn't sound 'good', that means we are reacting

emotionally [negatively] to it. That there are flaws afoot. If one cares to, and the system is not

completely useless, one can listen more deeply and find out WHY the sound is flawed.

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