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Linn Klimax Kontrol preamplifier & Klimax Twin power amplifier Specifications

Sidebar 1: Specifications

Klimax Kontrol: Solid-state, two-channel, remote-control preamplifier with 4 inputs. Input impedance: 7.8k ohms balanced, 10k ohms unbalanced. Output impedance: 600 ohms balanced, 300 ohms unbalanced. Frequency range: 2.3Hz-200kHz (no limits given). Noise floor: below -100dBV. Channel separation: 116dBV. THD: 0.0025% (1kHz at 0dBV). Input Common-Mode Rejection Ratio: 70dB (1kHz at 0dBV). Maximum output: 8V peak (+15dBV).
Dimensions: 13.8" W by 2.3" H by 13.9" D. Weight: 19.8 lbs (9kg).
Serial number of units reviewed: 776348.
Price: $9895.

Klimax…

Linn Klimax Kontrol preamplifier & Klimax Twin power amplifier Associated Equipment

Sidebar 2: Associated Equipment

Analog sources: Linn LP-12 turntables (two) with Linn Lingo and Naim Armageddon power supplies; Naim Aro and Linn Ekos tonearms; Supex 900 Super, Miyabi 47, Denon DL-103D, and Lyra Helikon Mono phono cartridges; Audio Note AN-S2 moving-coil step-up transformer; Rega Planar 3 turntable with Rega RB-300 tonearm and Rega Elys and Exact phono cartridges.
Digital source: Sony SCD-777ES SACD/CD player.
Preamplifiers: Fi Preamplifier, Audio Note M3, Naim NAC32-5; Linn Linto phono preamp.
Amplifiers: Fi 2A3 Stereo, Audio Note Kit One (300B), Naim NAP110.…

Linn Klimax Kontrol preamplifier & Klimax Twin power amplifier Measurements

Sidebar 3: Measurements

Looking first at the drop-dead gorgeous Klimax Kontrol preamplifier, its maximum voltage gains with the volume control set to "100" were 10.26dB (unbalanced input to unbalanced output) and 16.2dB (balanced I/O). The volume control operated in accurate 0.5dB steps, with the displayed volume number calibrated in dB. The 0.5dB steps are indicated with a period after the number, the unbalanced unity-gain position (if it existed) falling between "90" and "89." The preamp preserved absolute polarity through both its unbalanced and balanced inputs (the latter are wired…

Linn Klimax Kontrol preamplifier & Klimax Twin power amplifier Measurements part 2

I looked at the Linn's S/N ratio with the unbalanced inputs selected and shorted. (Because the balanced input offers 6dB lower gain, this should result in S/N ratios 6dB better.) Referenced to 1W into 8 ohms, S/N measured a good 95.4dB when A-weighted, worsening slightly to 93dB with an unweighted audioband measurement. Widening the bandwidth to 500kHz reduced the S/N ratio to 79.5dB, apparently due to the presence of some very-high-frequency noise.

Fig.10 shows the percentage of THD+noise present in the Klimax Twin's output, plotted against frequency at a 2.83V output level. This is low…

Dunlavy Audio Labs Signature SC-VI loudspeaker

In this age of $70,000-plus "flagship" designs, perhaps $25k is no longer an obscene amount to pay for a pair of loudspeakers. Still, it's mucho dinero. What makes a speaker worth this kind of bread? Does the product's intrinsic value really warrant such a lofty cost, or is it merely a matter of pricing at what the market will bear? The answers to these questions requires careful examination of not only the speaker, but also of the buyer's own soul, priorities, and pocketbook.

Signature SC-VI
The Signature SC-VI is probably the most "anti-tweak" flagship high-end speaker ever made.…

Dunlavy Audio Labs Signature SC-VI loudspeaker Page 2

A time-coherent presentation is not merely a matter of putting all your drivers in the right place. Crossover design is critical. Designing a crossover that not only permits time-coherent speaker blending—mandating the use of first-order slopes—but also compensates for the inherent nonlinearities in amplitude and phase endemic to all drivers, is no easy task.

The first step in the Dunlavy crossover design process is to test raw drivers. Not only the frequency response, but the phase response, dispersion, impulse response, and step response are tested under anechoic conditions. The…

Dunlavy Audio Labs Signature SC-VI loudspeaker Page 3

Like the AudioPhysic Virgo reviewed by Michael Fremer in September '95 (Vol.18 No.9), the Dunlavys perform best with a wider spacing and more radical toe-in than most stereo speakers. Rather than the usual equilateral triangle setup, with the listener and two speakers occupying each point, final setup in my room had the speakers 11½' apart, with 10' from each speaker to the central listening position. For optimal toe-in, you should see neither side of the speaker from your listening position. If my "large" room—see photo—were 1' smaller in length or width, the Dunlavys would have simply not…

Dunlavy Audio Labs Signature SC-VI loudspeaker Page 4

Accuracy
It's snowing outside. Since I live in Colorado, this is not an unusual spring occurrence. A snow day. Perfect weather for kicking back and listening to music. But the Dunlavy Signature VI was not designed for such slothful pursuits as just kicking back and casually listening. This baby is a tool, not a toy. Accuracy and fidelity are its principal attributes.

Pardon me if I harp on this concept of an "accurate" loudspeaker. I believe the ultimate goal of true high-end design must be toward accuracy. Just sounding good—even wondrous, magical, musical, impressive, entrancing,…

Dunlavy Audio Labs Signature SC-VI loudspeaker Page 5

While many audiophile speakers are purposely designed so the front edge of their soundstage begins well behind the speakers, the Signature VIs are not. Even with tube amps, the front of the Dunlavy soundstage started at the speakers' grilles and went back from there. Since the Dunlavys needed to be set up a good deal farther apart than most speakers, very little musical material seemed to be coming from beyond the outer boundaries of the speakers. A shortcoming? I don't think so. It just demonstrates that I have a fairly dead room without spurious side reflections, and the Signature VIs…

Dunlavy Audio Labs Signature SC-VI loudspeaker Page 6

Accuracy redux
In his March 1996 review of the Jadis Eurythmie II horn speakers (Vol.19 No.3, p.109), Jonathan Scull devoted a great deal of space to the speaker's emotional appeal. Since I believe the music, rather than the equipment, should supply a listener's emotional jollies, I intentionally haven't gone on at length about the sound of my favorite music through the big Dunlavys. Also, the Dunlavy aesthetic is a rather left-brained affair, and such purple prose would be rather out of place.

The Signature VI is not intended to make recorded music sound any better or more musical…