Home    Products    Reviews and Show Reports:    Isolation Systems  Direct Coupling Systems     FAQ    Contact    Dealers       

Direct Coupling Systems

For AXPONA 2010 in Florida, Critical Mass Systems teamed with Scaena Loudspeakers in the Captain's Boardroom featuring Model 3.2 Loudspeakers, a

dCS Scarlatti digital front end, Silversmith Palladium cables and Engstrom & Engstrom LARS 1 monoblocks.  Here are a few comments:

".............I was immediately impressed by the compelling sense of acoustic space the system conveyed. Listening to cymbals, I was awed by the complexity of colors in a single cymbal clash, then by the enrapturing sense of air surrounding it and the other instruments playing simultaneously. A track showcasing Patricia Barber in a soft and romantic mood sounded so warm and inviting that I had trouble believing it was Patricia Barber. This system, I began to realize, is very special.........." -Jason Victor Serinus, Sterophile http://blog.stereophile.com/axpona2010/the_lars_meets_scaena/

Personal Favorite: "............Alan Eichenbaum of Scaena picked out music for the dCs front end. The digital system was dCS' $70,000 Scarlatti system with up-sampler, SACD/CD transport, master clock and DAC. The black digital playback units were housed in an unbudgeably solid stack of Critical Mass System's black Platinum racks and stands. The racks do not float the equipment. At $3,300 per level, the racks directly couple equipment to the room. They drain vibration away by providing a high-speed ground. Jeffrey Smith held fifteen thousand dollars of shimmering gold and white Silversmith Palladium connections up from the carpet with…plastic cups. I came back to a few of the top-of-the-line systems (Acappella, CAL, YG and Scaena) again and again over the weekend. Then on Sunday afternoon, I spent hours after the show spinning reference disc after disc in the Scaena system...............this was my personal favorite." -A. Colin Flood, Enjoy The Music

 http://www.enjoythemusic.com/axpona_2010/flood/

BEST OF SHOW: ".............The first room was the Captain’s Boardroom. This was a room that could not be ignored. Both the visuals and sound did their job of grabbing you by the shoulder and dragging you in. This was the Scaena/Engstrom Room. Alan Eichenbaum of Scaena, whom you might also know as The “Audiotweaker” of audiotweakers.com and whom I know as a great friend of the South Florida High End Audio community, served up a stunning example of great sound. Equally luscious and certainly valuable contributor to the spectacular sound of this room was the Engstrom “The Lars” amplifiers. Timo Engstrom, co-founder of Engstrom was there and was eagerly explaining the design in great detail to eager audiophiles. While I would normally be very interested in a techno discussion as much as the next guy, I was pretty much riveted to my seat as the always excellent, DCS digital front-end flowed with musical riches as it fed the Lars / Scaena pairing. I must say that the “Naked Pipedream” as I like to call them (the Scaenas) managed to deliver a full hall of sound field as well as the dynamics to match. Not only was this quite a feat due to the challenging room acoustics, but it’s also a real testament to the sonic qualities of the very ballsy 20-watt-per-channel, class A operation, 300B-based LARS monoblocks." Ray Seda, Dagogo http://www.dagogo.com/View-Article.asp?hArticle=720

_____________________

We are deeply honored to announce Critical Mass Systems won our 4th Brutus Award from Positive Feedback Online; this for the QXK Direct Coupling System:

POSITIVE FEEDBACK ONLINE 2009 BRUTUS AWARD: "........... in sum, the QXK provided the greatest level of detail and transparency of any rack system that I've ever evaluated in my listening room. It did so without contributing an analytical edge to the sound, maintaining a proper harmonic relationship top to bottom, which is quite a remarkable achievement. The enhanced resolution that the QXK provided for all of the components that we placed on it was a constant........

There's no doubt that the Critical Mass Systems QXK is expensive, representing a real investment.

There's also no doubt in my mind that it's the best rack system I've ever heard.

So if you're looking for the best, and have the means, the Critical Mass Systems QXK rack is top o' the heap in my book.

It's also the recipient of a 2009 PFO Brutus Award." David W. Robinson Ph. D. http://www.positive-feedback.com/Issue46/brutus_awards.htm

_____________________

For CES 2010 in Las Vegas, Critical Mass Systems teamed with Lamm Industries in room 35-307 featuring Wilson Maxx 3 Loudspeakers.

We supported Boulder Amplifiers/JM Lab Maestro Utopia in room 34-203 and teamed with Balanced Audio Technology/Wilson Sasha in room 29-220.

Here are a few comments:

BEST OF SHOW: "...........There were many rooms that could fairly be considered to be contenders (Karan Acoustics/Avalon, Electrocompaniet, Zanden/Grand Prix Audio/Wilson Audio, and the stunning Scaena to name only a few) but for me the best of the best came down to the two Lamm Industries rooms. Both were truly spectacular and featured Wilson Audio loudspeakers. In the larger room, MAXX Series 3s ($68,000/pair) were driven by Lamm’s four-chassis ML3 Signature monoblock amplifiers ($139,290/pair) and the new LL1 Signature four-box dual-mono preamplifier ($42,690). Also on duty was Lamm’s LP2 Deluxe phono preamplifier ($7290). Everything was tied together with Kubala-Sosna’s recently introduced Elation series cabling (interconnects and speaker cables both $6000 for the first meter, $1200 for each additional meter). Music was provided by NeoDio’s NR22T transport and NR22D DAC ($13,300 and $12,000, respectively) and Redpoint’s immense Solo Voce turntable ($96,000), which was fitted with two Ikeda tonearms and Dynavector XV-1s mono and stereo cartridges. Critical Mass Systems Black Diamond racking held this amazing assemblage of components.

.............Both rooms provided sound that would have to be considered stellar under any circumstances, much less within the context of an audio show, but the ML3/MAXX 3 room was beyond every audio system I have heard save for David and Sheryl Lee Wilson’s breathtaking home system. Playing my own LPs in that room, I was awestruck by the sense of scale, timbral completeness and lifelike verisimilitude of the music. Truly, this had to be heard to be believed.  -Paul Bolin http://www.theaudiobeat.com/ces2010/ces2010_splendor.htm

BEST SOUND: "...........Lamm introduced and ambitious new preamplifier that compliments the company's $139k-per pair ML3 power amplifiers.  The new LL1 Signature is a four chassis unit that is Vladimir Lamm's ultimate statement in preamplifiers.  The all-tubed LL1 sells for $42.690.  I don't know if it was the new preamp, the power amps, the Wilson MAXX 3, or a synergy of these components, but the system sounded absolutely wonderful - spacious, delicious in tone color, and wonderfully dynamic.  ...........The Wilson MAXX 3 driven by Lamm electronics was gorgeous—the best I’ve heard this speaker sound.  -Robert Harley, The Absolute Sound, number 202

BEST OF SHOW: "...........Truly great sound is a constant. It doesn't go out of style or favor, and it doesn't require creative reasoning or longwinded justifications to explain.

Lamm used CES to demonstrate its LL1 Signature four-chassis preamp ($42,690) for the first time, and rounded out the electronics with an LP2 Deluxe phono stage ($7290). The new Redpoint Solo Voce turntable with its matching rack ($96,000) supported two tonearms -- a 9" Ikeda IT 345 ($6200) and a 12" IT 407 ($6800) -- and two cartridges -- Dynavector XV-1t ($9000) and XV-1s Mono ($5500). A NeoDio NR22T CD transport ($13,000) and NR22D digital-to-analog converter ($12,000) provided digital playback. All cables were from Kubala-Sosna's Elation series, with racks and amp stands from Critical Mass Systems.

"...............A joint effort by Redpoint and Critical Mass, the new Solo Voce turntable and Black Diamond PXK stand combination weighs in at an astounding 660 pounds. And its price will have you looking twice, too -- $96,000 for the pair, and that’s not including arm or cartridge. But one look at the size, shape, and design and you’ll know you’re getting a pretty impressive hunk of turntable. One neat aspect: instead of a round or flat rubber belt, the Redpoint uses a flat piece of film for its belt drive.

The Solo Voce sure looks right at home ... " -Sound Stage Network

BEST SOUND: "...........The big Lamm room, anchored by Wilson MAXX3s.  Breathtaking, ravishing, and - other than occasional loose bass - sonically invisible.  I know live music and this is what it sounds like."  -Alan Taffel, The Absolute Sound, number 202

SHOW STOPPERS: "...........Do you have extra shelf space and $42,690 to spend on a new statement-level preamplifier? If so, Lamm Industries of New York City has a solution for you. 

Lamm used CES 2010 to debut the four-piece LL1 Signature preamplifier, which is intended to complement their ML3 Signature mono amplifier that retails for $139,290 per pair. Like all Lamm gear, the LL1 Signature has been designed by Vladimir Lamm, whom the company's obviously named after. Vladimir is a well-respected designer who has strong opinions about how audio equipment should be designed. His designs are expensive and unique.............According to Lamm's literature, the LL1 Signature is the "ultimate statement of perfection" and a "match made in heaven" when used with the ML3 Signature. I guess only those people with nearly $200,000 to spend on a preamp-amp combination will ever know. The rest of us are simply left to wonder just how impressive a product like this might be.  -Sound Stage Network http://www.soundstagenetwork.com/lasvegas2010/index.php?option=com_content&view=article&id=54:lamm-industries-ll1-signature-preamplifier&catid=37:showstoppers&Itemid=27

"............This wasn't the only room my spies told me I missed out on. ........The LAMM electronics and Wilson MAXX 3 speakers apparently sounded consistently good (this is not a combination a Brit has any likelihood of hearing and it's a shame I missed out due to sheer weight of traffic in the room each time I wandered past...."  http://www.avguide.com/blog/the-best-sounds-i-didnt-hear-ces  Mr. Plus

CES Show Stoppers - The Best of the Best:  "..........Lamm Audio/Wilson Audio - CES served as the coming out party for several Lamm products including Vladamir's statement preamplifier, the $42,690 four box LL1 Signature line level preamplifier. The LL1 Signature features a single inverting gain stage pure class-A built around paralleled low impedance triodes. The unit, also, for those impressed by measurements, sports some very impressive specs (see the Lamm website, www.lammindustries.com).

The analog source was the stunning $96,000 Redpoint Solo Voce turntable outfitted with the 12-inch Ikeda ($6800) arm and Dynavector DRT XV-1t cartridge ($9000). Tipping the scales as we Olympic weightlifters like to say 300 kilos (660 lbs)—and more than the world record for the clean and jerk world—the Solo Voce takes analog playback to the edge-of-the-art.

I suspect the dramatic improvement in the room's sound from days 2 to 3 may lead to some disagreement among show attendees regarding the sound of the Lamm/Wilson demonstration. For the first two days of CES (and of course one should discount what is heard for the first day or two of the show), the sound in the room proved disappointing. In fact, the "smaller" system in the second Lamm room featuring the Wilson Sashas sounded far better.

Then Vlad, Peter and company got it together (part of the problem may have been the turntable as the Solo Voce was having trouble maintaining proper speed on day 2). On Saturday, the system really began to bloom and come to life. Spread out far apart and severely toed in as per the configuration that Wilson favors, the MAXX3 speakers threw a huge soundstage without any hole in the middle. Percussion on Saul Goodman's Mallets, Melody and Mayhem on Capitol and voices on Bach's Quodlibet on Telefunken were rendered with precision, delicacy and harmonic accuracy! What really impressed me the most about the sound in the room (and specifically the performance of the Redpoint table) was that this was one of the very few systems capable of tracking the bells and other percussion instruments on Saul Goodman's Mallets, Melody and Mayhem on Capitol without breaking up. Oh yes, this was another room using Kubala-Sosna Elation cables and possessed that trademark KS midrange presence, delicacy, harmonic accuracy and low distortion!" -Myles B. Astor, Positive Feedback Online http://www.positive-feedback.com/Issue47/cesma.htm

"..................The new collaboration between Redpoint and Critical Mass is beautiful, and sounds great too." - Dave Clark, Positive Feedback Online http://www.positive-feedback.com/Issue47/ces104.htm

"..................This said, let me point out that I heard the Lamm/Wilson system rather early on the first day of the show. Later in the show I ran into Robert (Harley) who told me that the Lamm/Wilson was sounding uniformly great. I made a mental note to return to the room to re-audition the system (just as I did with the Technical Brain/Magico Q5s), but somehow I got sidetracked and never got back to Room 35-307. Thus, I think you have to take my comments with a grain of salt. Well, I think you should take all my comments with a grain of salt--and perhaps a grain of aspirin--but in this case I'm pretty sure I didn't get to hear the Lamm/Wilson system at its best. This same combo was my runner-up for Best Sound of Show at last year's CES--a very close second to the Magico M5/Soulution combo. I can't imagine why it should've sounded any less impressive this year, and, judging by what Robert told me, once it got settled and tweaked in it didn't sound less impressive; it apparently sounded marvelous."  -Jonathan Valin  http://www.avguide.com/blog/more-contenders-best-show-part-three-the-final-bunch

"..................This show saw the world premiere of Vladimir Lamm's new Lamm Industries LL1 Signature line stage, a four-chassis dual-monophonic pre-amplification system ($42,600), as well as Peter Clark's redpoint audio designs Solo Voce turntable and with its custom-engineered stand ($96,000). Further, this room featured the premiere of the new Critical Mass Systems Black Diamond QXK racks ($3300 per level) and PXK stands ($5400 each).

The unassailable looking Solo Voce is a joint project. It combines Peter Clark's remarkable flagship redpoint audio designs turntable with a custom matching to-the-floor stand from Critical Mass' Joe Lavrencik. For this event, it was fitted with two different arms; the Ikeda 9" ($9200) with a Dynavector DRT-XV-1s mono ($5500), and the Ikeda 12" IT 407 ($6800) fitted with a Dynavector DRT-XV-1s stereo ($9000). I have been kept in the rapt bliss that my redpoint Model D has been consistently serving up since its arrival, and the Solo Voce should be even more of a very good thing. At just over 650 pounds, this is one serious transcription system, one that is as eye-catching as any such system I've ever encountered.

The rest of the system included the Lamm ML3 Signature amps ($139,290/pr), and the Lamm LP2 phono stage ($7200). The digital front end was the NeoDio NR22T transport ($13,300) and the NeoDio NR22D DAC ($12,000). Speakers were the Wilson Audio Maxx3 loudspeakers ($68,000/pr) and all cabling was, again, the new Kubala-Sosna Elation series.

Having been able hear only an unknown recording of some full scale Orchestral music on the Solo Voce, all I could really tell was that it didn't have the impact that my Model D has in my home system. Overall, not having any first-hand sonic knowledge of any of the rest of the assembled components, it was very difficult for me to speculate as to what might be holding this system back in the lowest registers. Regardless, I was sure that I wasn't hearing the Solo Voce at its best, given the results I get in my own music room.

In general, the sound here was very hard to describe, as it truly seemed to have very little character of its own. While the price of this system was approaching half a million bucks, to say that the room had no sound of its own just doesn't cut it. While it was a truly remarkable assemblage of equipment, given the results I've heard in this (equivalent) room over the past several years, I was just a bit disappointed with the results this year. -Greg Weaver, Positive Feedback Online http://www.positive-feedback.com/Issue47/cesgw.htm

"...........Perhaps it is because I am deranged. Or maybe I am spoiled rotten (undoubtedly) but I want both a very intellectual sound and a very engaging sound. And I look at a system, like this one, and see how close it is to that mind meld (3guesses which movie I am watching) of the real and the dream, the absolute sound and the absolute ecstasy, of mathematics and of beauty. -Spintricity http://spintricity.com/64/7014/jan-2010/ces-2010---lamm-ml3-ll1-signature-red-point-solo-voce-neodio-kubala-sosna#/64/7016/jan-2010/ces-2010---lamm-ml3-ll1-signature-red-point-solo-voce-neodio-kubala-sosna-continued-3

".................Amplification in the Signature system in the Lamm room featured the ML3 Signature power amplifiers ($139,290/pair). Like the LL1 preamplifier, the ML3 isalso a four-chassis system. These 32W, single-ended, pure class-A amp is based on a direct-heated GM-70 triode.

The sound in the Lamm Industries system started with a digital front end from NeoDio, a full complement of Kubala-Sosna cables, and the Wilson MAXX 3. I totally blissed out listening to Arleen Auger singing works by Aaron Copland. The total cost of this system as I heard it was more than $335,000. This doesn’t include the analog front end that wasn’t hooked up yet. I’m still wondering why this system wasn’t under my tree this Christmas.

Jason Victor Serinus comments: In their large suite on the top floor of the Venetian, I think I got closer to the Lamm/Wilson experience than ever before. But what I heard puzzled me. On the one hand, listening to a voice I know very well, that of operatic tenor Fritz Wunderlich, I experienced a realistically scaled operatic voice and an equally credible, large soundstage. That's what big speakers on the order of the Wilson MAXX3s can do. The air around the voice was marvelous, as was the magical beauty of the midrange............" -Erick Lichte Stereophile http://www.positive-feedback.com/Issue47/ces104.htm

BEST OF SHOW: "...........When I first heard a Boulder Amplifiers demo, five years ago at the old Alexis Park, I was underwhelmed. In 2010, I was in awe. The nimble sweetness of the music in the Boulder room was as good as a digital solid-state system gets. I attributed much of the effortless playback to the source component, Boulder’s 1021 disc/network player ($24,000), which sent digital information directly to the preamp without spinning a disc. I would love to compare the 1021 to the less costly Bladelius Embla to see how the two technologies compare. The rest of the Boulder system consisted of their 1060 stereo amplifier ($24,000) and 1012 preamp-DAC ($19,000), and Focal Maestro Utopia speakers ($60,000/pair). The Boulder room was a friendly oasis for the ears that I was reluctant to leave. Although I would never pay over $60,000 for any stereo system, Boulder’s "entry-level" components comprise a much better deal than some of the really expensive systems I heard and hated. The award for Best Solid-State Sound at the Show goes to Boulder Amplifiers." - Jim Saxon Soundstage Network http://www.soundstage.com/traveler/traveler.htm

STAND OUT DEMOS: "..........Boulder Amplifiers produced one of the finest-sounding setups at CES, with their 1000-series components at the helm: a 1021 CD player ($24,000), 1012 preamplifier-DAC ($19,000, DAC section not used), and 1060 power amplifier ($24,000). (No analog was used during our visit, though the new $12,000 1008 phono stage and Spiral Groove turntable are featured in this photo.)

The sound was ultra-smooth and so clean you could eat off of it. But it wasn't antiseptic or lacking body -- in fact, it was full of tonal color and beautifully rendered. Boulder's components have a way of banishing noise and of all the electronic reminders that let you know you're listening to reproduced music. In short, it sounds live. This characteristic was especially evident in this room on the day we heard it. Of course, the Focal Maestro Utopia loudspeakers ($50,000 per pair) and Transparent Audio cabling and power conditioning also had a lot to do with the sound. In fact, we've never heard a Focal speaker sound better than what I heard here."  Sound Stage Network

_____________________

For RMAF 2009 in Denver, Colorado Critical Mass Systems teamed with Audio Unlimited in the Blanca Peak room featuring Hansen Emperor Loudspeakers,

Accuphase Electronics, the all-new Transrotor Tourbillon 07 turntable, Tara Labs cables and Running Springs conditioning.  Additionally, we proudly

supported Merlin Music Systems featuring Joule Electra amplifiers for which we won our 4th Audio Oasis Award!  Here are a few comments:

Imperial Sound: "...........One of my best sounds at RMAF was the room organized by Colorado dealer Audio Unlimited featuring the Emperor speakers from Canadian manufacturer Hansen Audio that had so impressed Jason Serinus at the 2008 RMAF. The three-way speakers were driven by Accuphase monoblocks sitting on Critical Mass Systems platforms, with the front end based on a Trans-Rotor turntable. I was drawn into the room by the full-range sound of Pink Floyd's "Another Brick in the Wall" and didn't leave for quite a while. Wes Phillips said it best in his CES 2009 coverage of the Emperor: "the music had me melting in my chair."  -John Atkinson, Stereophile, http://blog.stereophile.com/rmaf2009/imperial_sound/

"...........Accuphase also launched its M-6000 monoblock power amplifiers that are certified to deliver 2000W into 1 ohm. The M-6000 will double its 250W (into 8 ohms) rating when the impedance is halved (500W into 4 ohms, 1000W into 2 ohms, and 2000W into 1 ohm). It takes an exceptional power supply and output stage to perform this feat. The M-6000 is stunning looking, with beautiful metalwork, large front-panel meters, and rounded heatsinks coated with a softish material. The system in which the amplifiers were used (Hansen Emperor speakers, Running Springs conditioning, Tara cables, Critical Mass Systems racks) was one of the best at the show (presented by Denver retailer Audio Unlimited)." -Robert Harley, The Absolute Sound

Speaking of ambitious phonostages, Accuphase introduced its first phonostage in 33 years. (What does that tell you about the state of analog?) The C-37 offers three inputs with separate gain and loading for each input. Sensibly, a subsonic filter can be switched in. The $12,000 C-37 offers balanced inputs and outputs. As you would expect from Accuphase, the build quality and cosmetics are first-rate." -Robert Harley, The Absolute Sound, http://www.avguide.com/blog/upper-end-preamps-and-amps-rocky-mountain

Best Sound
".........There were good-sounding rooms, bad-sounding rooms and rooms that behaved like a soap-opera character; good one minute, bad the next. If you'd asked me on the Friday, I'd have said the Electrocompaniet room driving the Nordic Tone speakers, or the Hansen Emperors being driven by Accuphase's finest……….." -Alan Sircom A/V Guide

http://www.avguide.com/blog/alan-sircoms-rmaf-2009-best-show

Best Speakers over $20K  ".........Next on the Mezz came Hansen’s The Emperor—a $60k three-way, four-driver floorstander driven by Accuphase electronics and wired with Tara Labs. This was one smooth, coherent transducer—simply lovely sounding……………." -Jonathan Valin http://www.avguide.com/blog/rmaf-report-speakers-over-20k

"...........Audio Unlimited was hosting a number of rooms. One that stood out was this room featuring the Hansen speakers driven by Accuphase electronics  and fronted by the mighty and awesome Transrotor Tourbillon turntable. Anyone who knows a thing about watches knows what a Tourbillon is. It is the pinnacle of

mechanical watch-making art. It is a rare and highly complex complication of a mechanical watch movement designed to offset the effects of gravity on the moving parts of the mechanical movement. For those of you too young to understand the words mechanical and watch in the same breath, there was a time before iPods and other digital things like quartz watches where the insides were made of gears, springs and levers. All put together by a single person, toiling over a bench with a magnifying glass stuck in one eye making the watchmaker perpetually look like Vince in the Shamwow commercials. They had to be made by hand and they took months to build, at least the good ones! Today this highest form of watch-making is on the comeback and so is the Tourbillon complication." - Gary Lea Dagogo http://www.dagogo.com/View-Article.asp?hArticle=559
 

Merlin/Cardas/Joule Electra/Critical Mass Systems

"............No surprise here: year in, and year out, the combination of Merlin Music, Joule Electra, and Cardas Audio makes magic for me. Whether it's RMAF or CES, the VSM-MXe, this combination of a classic two way design that Bobby is tweaking to the maximum (and now enhanced with some seriously upgraded capacitors), Jud Barber's 100 WPC Marquis Mk. 4 633C-based OTLs on their Critical Mass Stands (excellent stands, by the way), the Marianne Electra Balanced Memorial Preamp (LA-300 ME), and George Cardas' always-terrific cables, makes MUSIC.

The sound was detailed and clean, with excellent base and great soundstaging; I like the new caps a lot.

No doubt about it: once more, Merlin/Cardas/Joule Electra/CMS deserves a PFO Audio Oasis! award.

Duly given." –David W. Robinson http://www.positive-feedback.com/Issue45/rmaf09.htm

_____________________

We are deeply honored to announce Critical Mass Systems won our 4th Brutus Award from Positive Feedback Online; this for the PXK Direct Coupling System:

POSITIVE FEEDBACK ONLINE 2008 BRUTUS AWARD: "..............The CMS PXK delivered transparency in spades...improved resolution…and an inside-out integration of musical values that were noticeable with all components..............There's no doubt about it in my mind: Joe Lavrencik is one of the most gifted rack designers in the world...............Both Dr. Sardonicus and I are of one mind on the CMS PXKs: they're something very special." - David Robinson Ph. D. http://www.positive-feedback.com/Issue41/brutus_awards.htm

_____________________

For CES 2009 in Las Vega, Nevada Critical Mass Systems teamed Lamm Industries, Acoustic Precision, Kubala-Sosna and the all-new Wilson Maxx 3 in room 31-235; with Balanced Audio Technology for the release of their all-new VK55SE with Wilson Watt Puppy 8s; and dCS for the release of their all-new Scarlatti clock with the Verity Sastro II.   Here are comments:

BEST OF SHOW: ".........Finally, I come to the best sound I heard at the CES, THE Show or anywhere in Las Vegas, and my pick will probably come as no surprise to those who read my reviews and know the equipment I admire -- and use. After he arrived in Las Vegas, Vladimir Lamm found out that he was bumped from the demo room he booked months before. But that didn't deter him, or the gang from Wilson Audio, who set up a pair of MAXX Series 3 speakers in the new room, which had a completely different layout. A smallish alcove was the only suitable space for the speakers and Lamm ML3 Signature amps. Other products in use were a Lamm L2 preamp and LP2 Deluxe phono stage, a NeoDio NR Two CD transport and NR Two digital-to-analog converter, and a Clearaudio Innovation turntable with the company's Universal tonearm and Titanium cartridge. Cables were from Kubala-Sosna's Emotion line, with Critical Mass equipment racks and platforms providing support for the electronics.

This system had it all, although you had to get the sound of so many other systems out of your ears to appreciate it fully. There was the acute resolution for which Wilson Audio speakers are known, along with tonal purity, low-end drive, and a vivid presence throughout the midrange and into the bass. While other systems reproduced, this one engaged and enthralled. I played a number of cuts from my CD-R here. I would have liked to listen to the entire disc.” – Marc Mickelson http://soundstage.com/ssupdate/index.html

BEST OF SHOW:"..........In my book, the LAMM Industries ML3 Signature SET still reigns supreme.  Its 32watt per channel power output is a testimonial to the concept that not all watts are created equal.  Driving the Wilson Audio Maxx 3 Series 3 loudspeakers it produced some of the best sound at the show with simply gorgeous harmonic textures.  Bass control was firm to a degree I had not previously experienced with SET amplification.  For the record, the rest of the chain I auditioned consisted of the NeoDio NR Two Transport and DAC, Critical Mass Systems racks and stands, and Kubala-Sosna Emotion Interconnect and speaker cables." -Dick Olsher, The Absolute Sound Issue 192, April / May 2009.

"..........We come now to a truly magnificent system: The Wilson Maxx 3 Series 3s driven by $140k Lamm Industries ML-3 amplifiers.  There was a lot of gorgeous sound at this year's CES, but this room was the most gorgeous.  Incredibly dense in tone color and texture, magnificent in low-level resolution and dynamic scale, voluminous in sound staging, it was so exquisite (and so realistic) that it simply disarmed criticism.  I listened to Crash Test Dummies terrific, "Superman's Song" and Shawn Colvin's cover of "Seven Year Ache" with my mouth open.........the sonics were that ravishingly beautiful.  If I had any criticism it might have been that the sound were too beautiful - though very very realistic nonetheless.  But I kinda doubt whether "too beautiful" will bother any of you guys.  Along with the Boulder/Maxx 3 Series 3 room (with an entirely different presentation), this was far and away the second-best sound at CES."  -Jonathan Valin, The Absolute Sound Issue 192, April / May 2009.

Top 10 Most Impressive Demonstrations at CES/T.H.E. Show:".........Another contender for THE best sound of the show, the $68,000/pair Wilson MAXX 3s are, in my opinion, the best, most musically involving Wilsons yet. Driven by the Lamm ML3 Signature monoblock amplifiers, they delivered the kind of you are there realism and emotionally engaging sound that begins to approach the real thing.  -Adam Goldfine http://www.positive-feedback.com/Issue43/ces.htm

".................A system to recalibrate your ears after a long show of sonic bumps, loop-de-loops, hairpin turns, hair-raising, hair losing near escapes and potholes" - Audio Federation http://www.audiofederation.com/hifiing/2009/CES2009/index.htm

".............The Lamm/Wilson combo was among the top five musical experiences of the show—and one that demonstrated that, as good as really good high-end audio is, there are some obsessed builders out there that are operating on an entirely different plane. I can wish my system sounded this good, but it doesn't. Sigh." - Wes Phillips http://blog.stereophile.com/ces2009/

Most Intriguing Source and Most Svelte System: ".............I love the rust orange tone cabinet of this transport/DAC combo. I also love what it sounded like with the Lamm amplification and Wilson speakers. It had an analogue sensibility to it not seen to such a degree in many CD players. This was one room I sat in for an extended session, as the sound was intoxicating.  Elina Lamm shared with me that NeoDio is a French concern looking for distribution in the U.S. I certainly hope they find it, as the player struck me as eminently engaging.

I may as well keep gushing about this room, as I’ve already complimented the NeoDio digital source. Lamm, known for its exquisite amps, showed the ML3 Signature and ML 2.1 mono amps with Kubala Sosna cabling to the Wilson Maxx Series 3; this combination and set up was stunning! I have heard the Wilson products before on several occasions and their form was as good as I have heard from them.  There was no slouching, nothing second-class about this rig. The monotone black color of the amps and speaker evoke from me an oxymoron, “austere decadence” - no frills, just serious opulence.  One of my favorite sounds at the show." -Doug Schroeder http://www.dagogo.com/Events/2009CES/Coverage-IX.html

"..............It is never easy to evaluate amplifiers in the context of unfamiliar speakers. That said, the Wilson Maxx’s sounded better driven by the Lamm ML3’s than I have ever heard them. Indeed, as a friend remarked a few years ago, systems with Lamm amplifiers invariably sound good, suggesting that the amplifiers must be doing something right. Crazy expensive, but at least they deliver the goods." – Larry Borden http://www.stereotimes.com/

".........Entering the Lamm Industries room is like entering a cloister; a solemn event. It was the only room at CES in which I regretted not wearing a tie. The sign on the wall between the Wilson Maxx Series 3 loudspeakers at the far end read: an amplifier with the power to alter your beliefs about what is possible. They were talking about the ML3, a 32 watt per channel, four chassis tube amplifier that has received critical acclaim over the past year. The L2 preamplifier and LP2 phono preamplifier had supporting roles as well. A NeoDio Transport and DAC and a Clearaudio Innovation turntable with Universal tonearm and titanium cartridge held down the front end. Critical Mass Systems racks and Kubala-Sosna Emotion cables kept the vibrations controlled and the equipment connected. Except for the Maxx 3 loudspeakers, it was a rig not unlike what was presented at Montreal . The room here was smaller, however, and that prevented a lot of moving around. I had to stand at the back. Mostly people just kind of listened reverently to classical and easy jazz........" -Rick Becker http://www.enjoythemusic.com/ces2009/becker3/page3.htm

Pictured QXK rack in black: Neo Dio NR Two Transport, Lamm L2 Reference preamp and power supply

Pictured QXK rack in clear: Clearaudio Innovation turntable with Universal tonearm and Titanium cartridge

Lamm LP2 phonostage andNeo Dio NR Two DAC

Pictured right to left: Howard Sosna (Kubala-Sosna), Laura Lavrencik (Critical Mass Systems)

Jean-Francois Fronton (Acoustic Precision).  Back Row: Mr. Maxx 3 (Wilson Audio)

"................I walked into Balanced Audio Technology's room and almost couldn't leave. ............"I know the WP8s pretty well and I have never heard them sound this good," I said to Poor. ......."You know, that's pretty much what David Wilson told me yesterday. He came back twice more to listen to them. (Poor said)." ............I can't attribute it solely to the 55SE, since I only heard the system, but soul the system had in spades. The music breathed, it soared, it roared (when appropriate), and it flat out rocked." - Wes Phillips http://blog.stereophile.com/ces2009/

"...............Geoff Poor of Balanced Audio Technology is a true Bluesmen and insists on playing something for me each time we meet. Here, with a pair of Wilson Watt Puppy 8s strapped to a pair of BAT VK-55SE mono amplifiers ($12k), VK32 preamp ($8k), and VKD5 CD player ($9,500), Poor wasted no time showing off what this system could do. Don't recall the artist or the name of the tune, but it was most certainly bluesy and beautiful. The system threw a very impressive stage without a hint of stress or strain despite the "live" volumes Poor enjoys. Impressive indeed." - Clement Perry http://www.stereotimes.com/CES09.shtml

_____________________

In his article, The Good Doctor Opines on Comings and Goings: Follow-up to the Critical Mass Black Platinum PXK System, Dr. Sardonicus makes several observations about the Black Platinum PXK Direct Coupling System and compares it to the Black Label Series:

".....If you crave Bugatti's, Chateau L'Tour, tartufo bianco, Renoirs and never seeing anyone's taillights except as you sweep past them …there is the PXK." - Dr. Sardonicus, Positive Feedback Online, http://www.positive-feedback.com/Issue40/critical_mass.htm

_____________________

For RMAF 2008 in Denver, Colorado Critical Mass Systems teamed with the Gershman Acoustics Black Swan Loudspeakers, VAC electronics and Magnan cables using an Accuphase transport in room 9010; with Lamm electronics, Tidal Piano loudspeakers,  and Argento cables using a dCS Puccini transport in room 538; and Soundings HiFi in room 505 featuring the all-new Vienna Acoustics " The Music", Jeff Rowland electronics and a Marantz and Pro-ject front end.   Here are photos and comments:

.............The sound was tremendously dynamic (bass was sesantional) and detailed on full orchestra, and just as good on small-scale stuff lie "Keys to the Highway," withe marvelous detail and tone color..........." -Jonathan Valin The Absolute Sound, Issue 190 February 2009.

".............This was by far the best I have ever heard the Black Swans or any other Gershman speaker sounded. I also found this the most enjoyable room I went to because Kevin Hayes of VAC was so much fun to talk to about music and his recordings. It is always great to meet a fellow music lover, especially one so knowledgeable. I was impressed with the quality the digital sounded. The VAC DAC would be nice to hear in my system......" -Jack Roberts http://dagogo.com/Events/2008RMAF/Coverage-XII.htmlred Crowder

".........Gershman Audio Black Swan speakers, VAC electronics, Magnan cabling, Critical Mass Isolation.  This system had good bass and extension at the frequency extremes, was warm but not lacking in detail, created a nice soundstage, had good leading edge and did a nice job with male voice......" -Fred Crowder http://dagogo.com/Events/2008RMAF/Coverage-VII.html

".............Gershman Acoustics Black Swan loudspeakers with VAC electronics, Magnan Cables, and Critical Mass stands. This room always sounds good... and nice folks too." -Dave Clark, Positive Feedback Online.  http://www.positive-feedback.com/Issue39/rmaf083.htm

"...Very Good." -Audio Federation  http://www.audiofederation.com/hifiing/2008/RMAF2008/report/1500/floor_9/

"..........Black Swan was still in the top tier of elegant sound at the show." http://www.stereomojo.com/ROCKY%20MOUNTAIN%20AUDIO%20FEST%202008%20SHOW%20REPORT/RockyMountainAudioFest2008ShowReportPart2.htm

"...........Just as a point of comparison, the $39k Tidal Piano two-and-half-way sounded superb in Room 538.........." -Jonathan Valin http://forums.avguide.com/viewtopic.php?t=4749

"............Critical Mass Systems' designer Joe Laverncik offers us a self-assured grin standing next to his newest series PXK Isolation rack ($9900) and amp platforms ($3300). Sitting atop this exquisite looking device is the dCS Puccini SACD/CD single-box player ($20k), accompanied by the mighty duo in the Lamm L2 Ref preamp ($15k) and M1.2 mono amplifiers ($22k). Loudspeakers, shown in beautiful African Pyramid Mahogany, are the Tidal Piano of Denmark ($40k). The room was being represented by The Voice that Is proprietor Doug White.............

The sound, as to be expected from previous events, was open, detailed and, yet harmoniously rich. Yeah, I thought to myself "I could easily live with this setup." Nicely done."  - Clement Perry http://www.stereotimes.com/RMAF2008e.shtml (note from CMS: Picture of Joe not shown)

_____________________

In a review of the Marantz Reference System SA-7S1 SACD player, SC-7S2 Control Amplifier, MA-9S2 Monaural Power Amplifiers, the all-new Black Platinum PXK Direct Coupling System gets a mention:

".............Delicacy often comes at the cost of impact, slam and the "surprise" factors I love in the BAT equipment. And to be frank, without the CMS (PXK) stands, this would be somewhat true for the Marantz system. On the CMS stands, the Marantz retains its refinement and delicacy, but adds this additional level of bass extension and slam, and additional musical detail, which extends the sound field significantly in all directions …up, down, sideways, front-back. This is extraordinary, and is equal parts Marantz and CMS. The CMS (PXK) system cannot fabricate what is not there; it can only reveal. The two, together …my, oh my …what a revelation."  -Dr. Sardonicus, http://www.positive-feedback.com/Issue38/marantz.htm

_____________________

The all new PXK direct coupling system is the subject of a preview in Positive Feedback Online where Dr. Sardonicus pens his views.  Here are his comments:

.............."Essentially handmade, designer-quality driven anything has a limited market by definition… first because of the cost of such things, and perhaps more importantly, the level of sophistication and discernment required to appreciate them.

Ah, but for those few, those rare individuals willing to trust the chef who offers up something truly unique, those who can re-examine their assumptions without blowing an artery, who are truly and knowledgeably engaged in exploring the outer reaches of what can be done …or the true audio aficionado, this is something you must hear.  Extraordinary."  -Dr. Sardonicus  http://www.positive-feedback.com/Issue38/criticalmass.htm

_____________________

For FSI 2008 in Montreal, Canada Critical Mass Systems teamed with Lamm Industries electronics, Verity Audio Lohengrin II loudspeakers, NeoDio transport and DAC and Kubala-Sosna cables.  Here are a few comments:

            .............."Next in the line of larger salons was the Lamm Industries room in which I finally had an opportunity to hear the ML3 Signature single ended triode monoblocks. At the New York show last spring, one of them arrived in damaged condition, disappointing many. The ML3 has a separate power supply, hence the four units between the Verity Audio Lohengrin II loudspeakers. I heard a jazz LP on a Basis turntable that sounded outstanding. A digital front end, NeoDio NR Two transport and NR Two D/A DAC reportedly cost about $12,000. A Lamm L2 Reference preamplifier and LP2 phono stage handled the low-level signals and Critical Mass Systems racks and Kubala-Sosna Emotion cables completed the set-up....."  http://www.enjoythemusic.com/fsi_expo_2008/becker/page7.htm

            ............."As Clark and I listened, we heard a little problem with the low end that we were sure was a room anomaly.................Still, this room was easily one of the better if not the best sound at the show for me."  http://www.stereomojo.com/FSIReport2008/FSI2008Report.htm

The Magnificent Lamm Amp

Posted Mon Apr 7, 2008, 1:42 PM ET — By John Atkinson

The are small amps, there are large amps, there are stereo amps, there are mono amps, and then there are Vladimir Lamm's ML3 Signature two-chassis monoblocks, demmed at FSI with Verity Lohengrin speakers, a Lamm L2 Reference preamplifier, LP2 phono preamp, NeoDio CD transport and DAC, and Kubala-Sosna cables, and Critical Mass Systems racks.

The ML3 Signature runs a single Russian GM70 directly heated output tube (introduced in 1948, the year I was born) with 1200V on the plate to give 28 watts into 8 ohms. The GM70 is driven by four paralleled 6N30P "Super Tubes," with a single 12AX7 as the input stage. The choke-smoothed power supply in a separate chassis uses four 12AX3 diode tubes as a bridge rectifier to derive the high-voltage rail for the output tube, with another two 12AX3 tubes supplying DC to the front-end tubes.

Listening to Louis Armstrong singing "Blues in the Night" from LP, I auditioned the amps with no negative feedback and just 1.2dB of negative feedback. You wouldn't have thought it would make a difference, but darned if switching in even this minimal amount of feedback—which, in theory, should make the amplifier perform better—didn't diminish the enormous sense of space on the recording.

Oh, the price? Each pair of ML3 References costs upwards of $130,000 and takes two weeks to manufacture.

_____________________

For CES 2008, Critical Mass Systems teamed with Gershman Acoustics - the Black Swan, Lamm Industries electronics and amplification, NeoDio transport and DAC and Kubala-Sosna interconnects and cabling  The transport, DAC and peamp power supply were seated in a 3-level PXK rack.   Here are comments:

............."In contrast, the Gershman Black Swans ($25k) with Lamm amplification, while a bit darkish in balance, was one of the Best Sounds of the Show, with superb bass (superb everything, actually, from top to bottom). It isn’t news anymore, but this is one terrific loudspeaker."  -Jonathan Valin,  http://www.avguide.com/news/2008/01/23/ces-2008-jonathan-valin-explores-the-world-of-high-end-loudspeakers-at-ces/7/

................."This was my favorite room for listening to classical music. There's definitely a magical synergy with the Lamm electronics driving Gershman Acoustics speakers. Present were the power, the weight and the airy sounds of symphony hall being recreated in this room. This was room captivated my imagination as I sat for a good while, enjoying the music. Music was presented via the Gershman Acoustics Black Swan speakers ($36,000) being driven by the Lamm M1.2 Reference ($21,690), ML1.1 ($22,890) amplifiers, with Lamm L2 Reference preamplifier ($14,790) and Lamm LP2 phono preamplifier ($6,990). Digital source was provided by a NeoDio (from France) NR Two Transport (5,800 euros) and NR Two DAC (5,800 euros). Vinyl was played on a Clearaudio Anniversary turntable with a Graham 2.2 tonearm. Kubala-Sosna cables were used throughout. Equipment stand and isolation bases were provided by Critical Mass."  -Mike Wright, http://stereotimes.com/CES08MWa.shtml

Jonathan Valin’s Best of Show

................"Best Sounds: No single speaker stood way above the pack this year in my price range, so I’m going to name several Best Sounds of Show: the Magico Mini II, the Magico V3, the Quad Reference ESL-2905, the Cessaro Alpha 1, the Nola Baby Grand Reference, the Von Schweikert R-5, the McIntosh XRT1k, the Gershman Black Swans, the Wilson MAXX 2s, the Avalon Indras, the TAD Reference One and TAD Compact Reference One, and the Kharma 3.2.2s." -Jonathan Valin, http://www.avguide.com/news/2008/01/23/ces-2008-jonathan-valin-explores-the-world-of-high-end-loudspeakers-at-ces/10/

Home    Products    FAQ    Contact    Dealers        Reviews and Show Reports:    Isolation Systems    Direct Coupling Systems