Analog sources: Simon Yorke and Acoustic Signature Final Tool turntables; Graham 2.0, Immedia RPM2, Rega RB300 (Incognito-rewired), and SME 309 tonearms; Lyra Helikon, Helikon mono, Clearaudio Insider, Transfiguration Temper Supreme, and Sumiko Celebration cartridges.
Digital source: Marantz SA-1 SACD player.
Preamplification: Hovland HP-100 preamplifier, Audio Research Reference phono section.
Power amplifier: Musical Fidelity Nu-Vista 300.
Loudspeakers: Sonus Faber Amati Homage, Audio Physic Avanti III.
Cables: Phono: Hovland Music Groove…
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
As the Merlin VSM Millennium uses an active low-frequency equalizer to achieve its target bass performance, I first examined the Bass Augmentation Module (BAM) on the test bench. All tests were performed with the BAM powered from its internal battery.
The equalizer has unity gain at 1kHz, but applies a moderate 5dB boost at 32Hz (fig.1) to extend the VSM Millennium's low-frequency response. Its input impedance is a fairly high 39.5k ohms at 1kHz, while its output impedance is a low 100 ohms across the band, both of which optimize the unit for use in a…
The saddle at 37Hz in the fig.5 magnitude plot indicates the tuning of the 2"-diameter port, and there are slight wrinkles in the traces at 250Hz, 400Hz, and 750Hz that might suggest the presence of cabinet resonances of some kind. When I supported the speaker on the supplied carpet-piercing spikes—very sharp—and examined the cabinet vibrational behavior with a simple plastic-tape accelerometer, I was surprised to find nothing untoward at those frequencies. However, I did find resonant modes at 301Hz and 367Hz; these were strongest on the VSM's front baffle, beneath the port (fig.6). I do…
In the vertical plane (fig.11), you can again see that the presence-region depression on the tweeter axis fills in on the optimal axis (third trace from bottom). But sit higher than the top of the enclosure and a large suckout centered on 2.4kHz develops in the crossover region. As always, don't listen to this speaker while standing.
Fig.11 Merlin VSM Millennium, vertical response family at 50", from back to front: differences in response 15 degrees-5 degrees above tweeter axis, reference response, differences in response 5 degrees-15 degrees below tweeter axis.
In the…
Michael Fremer wrote about the Merlin VSM-MX in January 2007 (Vol.30 No.1):
When I favorably reviewed the Merlin Music Systems VSM Millennium loudspeaker in September 2001 (Vol.24 No.9), I noted that Merlin's Bobby Palkovic had been tweaking and upgrading the two-way floorstander since 1994. Back then, seven years seemed a long time to stick with a product, given the competitive speaker market, though there are precedents: for example, Wilson Audio Specialties' WATT/Puppy series (since 1986) and Vandersteen's 2 (since, I believe, 1977).
Now five more years have passed, and while…
Lord Acton said, famously, that power corrupts and absolute power corrupts absolutely. If there ever were an amplifier to test that maxim's applicability to audiophiles, it is surely the Chord SPM 14000 Ultimate Monoblock. Priced no less than $75,000/pair, the SPM 14000 is rated to produce power as do very few other amplifiers on the planet: it is very conservatively rated at 1kW into an 8 ohm load, 2kW into 4 ohms, and "will easily exceed" 2800W (give or take a few watts) into 2 ohms.
Everything about the big Chord proclaims it a bespoke product. Normally, the SPM 14000 is built…
The Chord's dynamic capabilities derived at least in part from its almost unnatural background silence. The SPM 14000 let music show itself against a background of unconditional quiet. Nothing about this background was "black," which suggests an absorptive quality that was completely absent. With the Chord, there was simple silence. Consequently, its resolution floor was exceedingly low, its microdynamic resolution marvelous. Keith Johnson's recordings of Copland's Fanfare for the Common Man and Appalachian Spring (CD, Reference RR-93CD) capture the fullest measure of the shape of…
Sidebar 1: Specifications
Description: Solid-state power amplifier with switching power supply. Maximum output power: 1000W into 8 ohms at 0.01% distortion (30dBW), 2000W RMS into 4 ohms (30dBW), >2800W RMS into 2 ohms (28.45dBW). Dynamic headroom: 1100W RMS into 8 ohms, 2200W RMS into 4 ohms. Frequency response: 10Hz–90kHz, –3dB (into 8 ohms). Voltage gain: 30dB. Signal/noise: better than –103dB, A-weighted ref. two thirds power. Output impedance: 0.03 ohm. Output inductance: 2.6mH. Stability: unconditional.
Dimensions: 18.9" (480mm) W by 12.2" (310mm) H by 26.3" (668mm) D. Weight…
Sidebar 2: Associated Equipment
Analog Source: SOTA Cosmos Series III turntable, Graham 2.2 tonearm, Dynavector XV-1S cartridge.
Digital Sources: Classé Omega SACD/CD player, Plinius CD-101 CD player, Simaudio Moon Orbiter universal player.
Preamplification: Manley Labs Steelhead phono stage, VTL TL-7.5 Reference preamplifier.
Loudspeakers: Legacy Audio Whisper, Wilson Audio Specialties Sophia.
Cables: Phono: Hovland Music Groove 2. Interconnect: Acoustic Zen Silver Reference & Silver Reference II, Harmonic Technology CyberLight. Speaker: Nordost Valhalla, Shunyata Orion…
Sidebar 3: Measurements
I preconditioned the big Chord SPM 14000 by running it at 172W into 8 ohms for an hour. (This is less than one third the specified power; see later.) The measured THD+noise percentage at the beginning of that period was 0.0108%. After 20 minutes, some high-order components appeared in the distortion waveform, still at a very low level, but these subsided at the 30-minute mark, with the final THD level at 0.015%, this almost pure third harmonic. The rear heatsinks were around 140°F (60°C) at the end of the hour, the side panels cooler than this.
The Chord's…