Volume 10, #1 1997

This American company has been building loudspeakers since 1983. Chief designer and president Bobby A. Palkovic has twenty-three years experience in the field and works with Bill Hooper, secretary and cabinet maker/designer with twenty-five years experience. Both are proficient ex-musicians with recording studio experience. Hooper's background includes work as a professional sound technician, mixing live concerts, nightclub engagements, and theatrical events. Between the two, they have worked in all facets of sound reproduction.

The first VSM was unveiled at the Chicago CES in 1994 and, since then, many small improvements have been implemented. Merlin does not share the industry's enthusiasm for the "what's new" syndrome, stating that most products hit the market far too early in their development and subsequently use the consumer as their testing ground. Merlin Music Systems manufactures only two models, the TSM and the model under review. Presently Merlin products are sold in fourteen countries and more than 80% of Merlin's yearly production is sent overseas. So much for the company's background and its activities in world markets. Now on to the VSMs.

Appearance:

The VSMs are slim floor-standing enclosures, and appear much like mini-monitors with equally-sized bases. Indeed, Merlin states that the design combines the attributes of floor standing speakers and mini-monitors (bookshelf enclosures) without the basic short-comings of either. As such, the VSMs offer a rigid cabinet finished in textured black with inset brass rods to reduce and break up potential resonances. Each speaker measure 8 ⁵/₈ inches wide, 10 ¹/₂ inches deep and 42 ⁷/₈ inches high and weighs a solid 77 lbs. On the rear, four Edison Price binding posts (copper) allow biwiring or bi-amping. Solid rubber damped spikes (included) decouple the enclosures from the floor. The VSM's overall appearance is unobtrusively tasteful, almost elegant, certainly easy to blend with any decor.

Technology:

The enclosures are vented and tuned to 37Hz. The cabinets are constructed with MDF and mass-loaded internally and externally for selective dynamic coupling. The front baffle is 1 ¹/₂ inches thick and accommodates the port and the drivers. The woofer is a 6.5 inch paper carbon-fiber cone with a rubber surround, which operates in a cast aluminum basket. The motor assembly is rather large and vented at the rear. A 1 inch Dynaudio Esotar tweeter complements the system. Both drivers are wired in electrical phase. The crossover is a 12dB per octave network crossed at 2,150Hz. Its components are Hovland Aluminum foil and polypropylene capacitors, Caddock Micronicsâ film resistors and hand-wound, potted inductors. Wiring is done with Cardas cable, bi wireable via Edison-Price Music Posts. A removable outboard RC network is offered to fine-tune the loudspeakers.

Frequency Response is quoted from 45Hz-22kHz +/- 3dB, 1 meter on axis, 5 dB down at 37Hz, l0dB down at 30Hz, 55-20kHz +/- 1.75dB, 1 meter on axis, 55Hz-20kHz +/- 1.5dB at 10° off axis (optimum listening axis). Acoustic phase shift is quoted as less than 10 degrees. System impedance is 8 ohms nominal, 6.5 ohms minimum, 15.6 ohms at the crossover point. Sensitivity: 90dB, 1W/1M (2.83V). Power handling: 200 watts (program). Maximum output: 111dB (program). The suggested power requirements are 17 watts minimum (tube), 25 watts minimum (solid state) 200 watts maximum. Options: Aluminum or Bull Dog Cones (no charge).

The Optional BAM:
BAM stands for Bass Alignment Module and it's made to operate within the low level stages of the electronics used to drive the VSMs. Developed in conjunction with JPS Labs, the cable people who have developed the Golden Flute, the BAM extends the VSMs' low frequency response by lowering the -5dB point from 37Hz to 30Hz, without altering the speakers' flat frequency response or musical character. It's to be hooked up between the power amp and the preamplifier, although a tape loop can be used as well. It is recommended that the unit's power remains switched on all the time.

Specifications: Input - 40K Ohm, Output - 100 Ohms, THD <.0005%

Maximum Output - 9.5 vrms, Boost Frequency 5.2 dB boost at 35 Hz.

The Sound:

For the auditioning sessions, we used in-house amplifiers which included the single-ended Topaz, a pair of OCM 1600 monoblocks, a Bryston 8B-ST and a Carver Lightstar. A Celeste Moon and a Blue Circle BC3 were used as preamplifiers and an Onkyo CD player as well as a Classe transport/EAD DAC were our source components. Straightwire's bi-wire Black Silc speaker cable and various interconnects made up the remainder of the system(s). The Topaz best complemented the Merlins, introducing phase accuracy, stunning imagery and the best definition in the audible frequency range. While auditioning the speakers, we almost didn't notice the slight limitation in the deep bass region, since the tonal equilibrium, the blossoming and the uncanny delivery of inner detail kept our attention focused on the music. Yet, deep bass remained a touch scant and the system's resolution-not the bass energy quit at about 38Hz. This snag became a bit more noticeable when we used the solid state amplifiers. Although more powerful and dynamic, the Bryston and the Lightstar came across with a somewhat harder sound, but not invidious enough to offend our listeners' "golden ears". With the OCM 1600, however, we gained exemplary dynamics combined with resolute bass energy, in line with the Topaz. All amps illustrated the stunning sound-stage, the revealing quality and rather excellent resolving attributes of the VSMs. The speakers have the ability to reveal an amplifier's sonic disposition and, as always, there are certain synergistic matches out there with which the Merlins will offer audible dividends. Since all of our components sounded very good, it must be assumed that our components were either better than average, or that the Merlins aren't fussy. After having lived with the system for a couple of weeks, we inserted the optional BAM between the amp and the preamp. The results were quite conspicuous and the aforementioned limitation in the bass region all but disappeared. With the BAM inserted, the Lightstar and the Bryston amps achieved remarkable bass, introducing about 10Hz lower frequency response. However, our panelists thought that the Topaz and OCM/Merlin systems without the BAM in the circuitry were the best combinations. Although still a bit shy in the pedal-note region, this system configuration introduced, in addition to excellent resolving characteristics, exquisite harmonic structure, symmetry and exceptional musicality.

Synopsis & Commentary:

We believe that the Merlins have the potential to reproduce music the way it was intended to sound when it was written. Well-built solid state amplifiers do justice to the VSMs, but these speakers should also be considered a match for better single-ended or push-pull type vacuum-tube power amps. As with most highly resolving loudspeakers, the Merlins' degree of musicality depends very much on the back-up components. They are a little shy in the bass, but can be tweaked with the outboard RC network and matched with components which enhance the bass performance significantly. Also, the optional Bass Alignment Module (BAM) works well, optimizing the VSMs' performance by magically adding about 10Hz extension to the bass. However, even without the BAM, straight, no fuss connections with good speaker cables make the Merlins stand out; and they'll get any experienced listener excited. Some of our panelists do not enjoy deep bass because of difficult-to-determine interaction with rooms and peripheral components. Those panelists didn't speak of lacking bass, while our bass-loving listeners commented that they could live with the Merlins without the BAM. Our Editor thinks that the BAM is great and lends the overall sound more body and weight, bringing out harmonics which might otherwise sound a bit "dry". Personal taste and preference should be the only determining factor-a decision which is best left to the end-user. Regardless of personal preference, the VSMs rank high in all performance parameters offering a superb listening experience for all those who are familiar with high performance elements of an audio system.

The Inner Ear Report is published four times a year. Its administrative office is located at 85 Moorehouse Drive, Scarborough, Ontario, Canada M1V 2E2. Tel: (416) 297-7968. Fax: (416) 297-031 1. Subscriptions are available at an annual rate of $16.00 + GST (four issues) in Canada and the U.S. All other countries $48.00 U.S. for first class postage. Back Issues can be obtained for $8.00 each, when available. Contents copyrights 1997 by 1065379 Ontario Inc. No part of the Inner Ear Report may be reproduced without the written permission of the publisher. Opinions offered by the reviewers are their own. Prices quoted in this magazine may no longer be accurate; please check with the manufacturers, distributors, or your dealer.