Good Amp for Martin Logan Monolith II

Minor1, I'd say another set of VTM 120s and you'll be there. I'm a stickler for coherent sound.

I totally agree with you. Newer is not always better and sometimes newer is not as good.

I also owned an SP-11 MKII. I used it with a Levinson 23 to drive the big Duntechs and later I owned a 23.5.

I am a long time fan of Audio Research both new and old. I have owned everything from an SP-3A-1 and ST-70 C3 up to the Classic Series amplifiers. After that I switched to Quicksilver to drive my CLS and then the ESP Concert Grands. There is a pair listed on Audiogon with some good photos if you have never seen them.

I don't know about the product of the month because I don't read magazines anymore. We eventually reach a point where we realize the manufacturers and reviewers are not gods and we begin to trust our ears for what is good sound.

I would call myself a tube lover, but some of the best sound I have heard was with high quality Class A solid state monos like the Levinson Model 20s. I also like the John Curl Levinson gear like your ML3 with the preamp of the same vintage.

I am sure your system is very there. It sounds like you have an awesome system.

Happy listening.

Please tell me you kept your ML 23.5. That is one amp that I would not get rid of. I would keep it even if I bought other equipment. I've heard it many times, and it was a very good, wonderful amp. Hmmm, four VTM 120 monos huh? Well, the Martin Logan Monolith III's that I have use the Martin Logan electronic crossover that adjust the gains of each amp to match with switches in the rear of the crossover. But, tube amps for the bass drivers? Hmmmm. What would that sound like? The VTM 120's are very good amps that didn't get very high positive reviews and were cancelled. The AR rep and stereo salesmen that I spoke with told me they were cancelled because at that time, people were moving away from Mono blocks and wanted stereo amps. In any case, useing them to drive the upper panels of the Monolith IIIs takes much of the load away from the amps with the ML 3 on the base drivers, the VTM 120's absolutely shine.

Recommendation: Eliane Elias' Something for you disc. the Blue in Green cut is simply wonderful.

enjoy

Over the years, on my SL3s I've run an old Adcom GFA-585LE (only until I bought something else), the Threshold T200, an early Edge, MacCormack DNA 1, and currently the Muse Model 300 monoblocks. Only the Edge continually overheated and wouldn't run the speakers (gave it back). Even the 100w T200 had plenty of stuff (although it was a tad bright I thought). The Model 300s (300w/500w) work fine and are the best I've had for bass response. Good luck.

Minor1, I wish I could tell you I kept my 23.5, but I didn't. Wouldn't it be great if we still had every piece of stereo equipment we ever owned. I simply don't have the room.

Just think, with 4 VTM 120 monos you wouldn't have to worry about being cold in the winter.

Stereo amplifiers are less expensive and the VT 100 made a big hit, but I have always preferred mono amplifiers for their big soundstage. The Audio Research M 300 monos worked very well on the Monoliths full range.

Thanks for the recommendation, I will give it a listen.

Eliane Elias is brilliant. My Foolish Heart and Tangerine, also on that disc are great.

Are you familiar with Grant Green? On his CD, "Idle Moments", Blue Note, listen to the title track, almost 15 minutes long. This recording really says something about the resolving power of the big Martin Logan panels. Through my CLS while each musician takes their turn, there is a strange sound coming from the right speaker before the sax begins his solo. It is Joe Henderson blowing air through his horn to the tune of the song while he is warming up for his solo and it was picked up by his mic. I'm sure this was not audible during the recording session or by any other speaker for that matter.