Benchmark ABH2 amp and full range electrostatics, e.g. CLX or Soundlab

I started with a single AHB2 and it had no issues. I only added a second one because a used one kinda fell in my lap and it did bring an additional level of effortlessness that was worthwhile. 

As far as I can tell the Benchmark will simply reproduce whatever it's given and has no definable sound that I can discern. Soundstage width and depth are fully determined by the upstream source and recording not by the amp/pre. Likewise the overall presentation of the sound is determined by the recording and varies drastically. If you're used to components that intentionally inject a signature on the sound this may be hard to appreciate but for me it makes every recording a unique experience and world of fascination. 

I've done a ton of work on upstream components including external clocking in the digital domain and it has revealed every change. I've tried dacs up to $40K and have a similar amount in analog front end (Technics SL1000R / DS Audio Master 1) and so far have not been able to perceive any kind of bottleneck from the Benchmark gear.

I do also use the HPA4 preamp as well and it has a similar level of transparency. The preamp replaced a Luxman C900U.

Thank you kstaken again for your thoughts on the Benchmark/CLX pairing.  I have had a number of amps and preamps from Krell, ARC, Pass Labs and Constellation.  Having had Quad ESL's with careful component matching, ribbon tweeter and woofer which were extremely transparent and musical but frustrating in terms of limited dispersion and to an extent dynamic range, I purchased the CLX's a few years ago.  While I have not gone to the uberexpensive high end amps/preamps, I never felt that I had achieved the same level of transparency that I had with the original Quads.  I have ordered the Benchmark LA4 preamp. When my previously ordered Coda 15.5 arrives, I shall compare the ABH2 to the Coda.  I have had a Coda amp recently  and found it to be excellent and in many ways better than my previous amps in powering the CLX's.  You are obviously a careful listener and I am curious as to the cables you are using with the Benchmark electronics.  My experience has been that the CLX's are very fussy regarding speaker cables.

soundhound - Check out Douglas Schroeders review of the Benchmark ams(s) at Dagogo website . He used them with a full range electrostats .
I heard the Martin Logans with the Benchmark amp at Rocky Mountain Audio fest in 2018 . I coulnt stay in the room for very long though . They had an obnoxious volume level at the time . Sounded horrible to me . 

Maplegrovemusic,

Thanks for bringing the Schroeders review to my attention.  I shall look it up.  

Ahh, cables. Let me tell you a story about that...

Once upon a time ... I decided to jump into high end cables with a mix of Nordost Tyr 2 and Odin 1 believing their marketing of "delivering the depth, precision and nuance previously only found in live performances". While I had the Nordost cabling in my system every time I sat down to listen I fell asleep. It was like a drug, sit down, 5 minutes of music, zzzzz. It drove me absolutely insane and I changed everything numerous times, amps, preamps, dacs, turntables, racks, speakers but I never considered the cables because Nordost has such a reputation for being "transparent", "dynamic" and "revealing" and they were so stupidly expensive. Just in speakers alone I tried Martin Logan Electromotion ESL, Martin Logan Aerius ESL, B&W 804D3, Proac D30R, Magico S1, Devore O96, Devore Gibbon 3XL, Wilson Benesch Vertex, Martin Logan Impression ESL and others I'm forgetting. Tubes, solid state always the same result, zzzz. Finally I was sitting in utter frustration and wondering if I should just give up when it hit me that there was one thing I had never changed.

Went digging through my cable box and pulled out a cheap pair of Monster speaker cables and replaced just the Nordost speaker cables. The difference was unbelievable, the sound lost the "organic" feel that Nordost cabling imparts but it made me realize that "organic" sound was 100% a coloration and the price you pay for that is resolution and most significantly dynamics. To me the music lies in the dynamics, if you scrub away dynamics you scrub away the rhythm and the music dies. I realized in that moment that Nordost cabling makes the "sound" pretty but utterly ruins the music.

After this I went on a rampage and replaced every Nordost cable in my system. First I went anti-highend and used some lower end audiophile cables but as I learned the coloration they were imparting too, I went completely anti-audiophile and replaced all speaker cables and interconnects with Mogami pro audio wire and power cables with dirt cheap hospital grade cables that cost like $9 each. My system never sounded better, it was finally able to whisper and then roar and I stopped falling a sleep, and for a while I was 100% anti-audiophile cabling. This was the cabling I was using when I first received my CLX and I was actually perfectly happy with it.

Then on a fluke my local dealer got in a new line of cables from a company called Swisscables. Since I was still anti highend cables I reluctantly tried them and to my utter surprise they absolutely blew me away. More resolution, huge dynamic range and just a general feeling of being "right". None of the fuzzy fake organic quality of Nordost cabling just a feeling that the cable is simply allowing the signal through unmolested and allowing the source and recording to be revealed in their full glory. Needless to say I now use a full loom of Swisscables, Reference Plus for speaker and interconnects and Diamond for power. The only cable of theirs I've tried that I didn't care for was their digital coax which presented a bit of glare that I found problematic.

Sorry for the long winded response, guess I had some pent up desire to share this experience as I spent years being utterly dissatisfied with my system all because of a bad cable choice.