Speaker Asylum: REVIEW: Merlin Music Inc. TSM -MX Speakers by RdrSeraphim General speaker questions for audio and home theater.

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Model:	TSM -MX
Category:	Speakers
Suggested Retail Price:	3600
Description:	TSM - MX upgrade
Manufacturer URL:	Merlin Music Inc.
Manufacturer URL:	Merlin Music Inc.

Review by RdrSeraphim ( A ) on July 28, 2004 at 12:40:29 IP Address: 67.171.160.239

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TSM-MX REVIEW

Many thanks to everyone on the Audio Asylum—it was here that I discovered my new music system. By following discussion links, reading reviews (here and elsewhere), my own common sense and over thirty years as an avid audiophile, I purchased two components unseen and unheard: the Manley Stingray and the Merlin Music TSM-MX. This is a review of the new Merlin TSM-MX.

The Merlin TSM-MX is a smallish speaker with a traditional two-way design, a six-inch woofer and a tweeter. Over the past decade and a half, I have focused on “monitor” style speakers partly due to convenience, compactness and the ability for the best of the breed to disappear when properly set up. Even though they take up the same floor space as an equivalent tower speaker, the speaker and stand appear considerably less imposing due to the smaller overall dimensions of the stand. When you have to blend into the social venue of a home environment, a smaller speaker like the TSM really makes sense.

My requirements were simple: I wanted a monitor class speaker capable of reproducing the nuances of my classically trained hearing and instruction, especially symphony and vocal. If it could reproduce Jazz, Pop, and Rock, that was fine too. However, my music library is comprised of over 90% classical with a significant portion dedicated to Russian composers and Russian Orthodox chant. When I asked Bobby how his speakers reproduced the human voice in a natural acoustic environment, he was quick to reply, “My speakers reproduce all kinds of music—voice or electronic.” It took a few more questions to ease my skepticism. I do not think it is easy to reproduce the human voice.

In particular, I was concerned about the typical mid-bass bump (around 100Hz) popular with some lower priced monitors (e.g. Paradigm Mini Monitor, Studio 20’s). This “bump” acts like a tone control—augmenting the mid-bass effectively lowers the overall bass response of the speaker to it a greater sense of weight and impact. Merlin’s own VSM uses a similar approach with the optional BAM, providing low-level bass augmentation in the 30Hz region. However, that is quite a distance from 100 Hz. On lesser speakers, the application of a 4-5 db at 100 Hz often creates irregularities with definition, pitch, and congestion. On well-designed speakers—taking into account the speaker components, enclosure, quality of the crossover parts, resonance control, and a multitude of other factors—the effect is a perceptible lowering of the overall frequency response.

Bobby indicated that he only applies one—2db lift at 100 Hz. I smiled like a Cheshire cat during my first audition of the TSM’s—no bump! It was easy to follow the bass line, the individual instrument, the pace, rhythm and timing of the music. The TSM produces clean, well-defined bass with an exceptional ability to recreate instrumental timbre. It does not plum the depths of larger speakers, but it can surprise you when you least expect it!

Another area of concern to me is the glare some speakers exhibit when reproducing vocals. It is a difficult characteristic to describe, but visually it is similar to driving on a bright, sunny day without sunglasses. The sun reflects off multiple shiny surfaces impairing your ability to see the details of the object directly in your path. You end up squinting or holding your hands up as a light shield. Quick, where’s my polarized sunglasses!

The human voice on certain loudspeakers can take on a similar character, like reflections, sheen or glare. To tame the effect of glare in a speaker, we often turn down the volume. However, it seems to be an inherent character of the speaker when present, because it is apparent at lower volumes too. On the TSM this character is completely absent. Gone! What a revelation in listening!

The TSM recreates musical cues that help trigger my minds acoustic eye. Rewind. Let’s listen to that last five second segment again. Did I just hear what I thought I heard? Sounds that you associate with a live performance, the creak of a string on the frets of a guitar, the movement of the pianist on the piano stool, or the shuffling of a musical score, all relate to the musical venue and our ability to participate in the recreation of the recorded event. The result is that we more easily “believe” what we are hearing. The TSM reproduces these space and time cues approximating 3-dimensional space. It sounds real because we are as close as possible to being there!

Timbre, the distinguishing character of a musical instrument that allows us to identify different types of violins or pianos—like the difference between a Yamaha, Bosendorfer or Steinway—are readily apparent on the TSM.

It is uncanny how well Bobby has tuned the TSM, and I do mean “tune.” The TSM utilizes many off the shelf components, but it is in the engineering and integration of these components that make the TSM what it is—an ultra refined and highly tuned music transducer. I have not had the experience of hearing each of the TSM models (TSM original, SE, M or even the MM), but from what I have read here from members who have taken advantage of Merlin’s upgrade program over several years of production, each upgrade has resulted in significant improvement. The MX version that I have is the culmination of multiple steps and many years of engineering along the way.

With some careful Web research, and a personal conversation with Bobby, I found that Merlin utilizes specialized technology—cryogenics—and the use of some of the best electronic passive parts available for the crossover (Caddock, Cardas, and Hovland). By the way, it was just a few days later that Bobby sent thee “free” small sheets of ERS to try on and around the digital source—what a difference!

I have owned several speakers, some vintage (from the early 70’s to late 80’s), others reasonably current including: B&W, Paradigm, Totem Model 1 Signature, and Audio Physic Step SLE. On my six month journey to the TSM’s, I auditioned B&W N805’s, Paradigm S2 (very nice, good value), Devore Gibbon 8 (the only tower I auditioned—the dealer did not have the III’s) and the Audio Physic Brilon (very petite).

Reminiscing, the Totems Model 1 Signature is a good speaker, dynamic, punchy, if a bit forward sounding. Audio Physic Step SLE’s are warm, smooth and inviting. The Paradigm S2 is the value leader with a wonderfully refined midrange and treble, and maybe a tad of extra weight to bass vocalist reproduction. The new Audio Physic Brilon was to my ears similar to the TSM. Reproduction on the Brilon was natural, or rather neutral, and perhaps just a bit “dark.” It is certainly a step above the SLE. Did I sense just a trace of dryness? On the other hand, maybe it was the difference in character between the Edge and Manley amplifiers.

The TSM’s are a one of a kind product, individually hand crafted. I was immediately impressed with Bobby’s “old-world” artisanship. Wow! Talk about attention to detail—Bobby wraps each speaker in Masking tape for protection! I bought the Black Piano premium finish and they are STUNNING! (Made me want to break out the Xymol car wax!)

You can probably tell that I like the TSM’s. You can probably tell that I am already prejudiced. Well, some of you are too by the sound of it!

Merlin’s Web site emphasizes:

“Our appearance is not trendy. Our speakers will look as fresh in twenty years as they do today. Our technical design and sound are so advanced that it will take other manufacturers years to catch up to us (if ever) because they are governed by price points and we are not.

A truly great design does not come with an expiration date.”

Marketing jargon? Maybe. However, I recommend that you listen and judge for yourself

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Product Weakness:	Within my context, none really; only the last octave is missing.
Product Strengths:	Natural, neutral, resolution and refinement

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Associated Equipment for this Review:
Amplifier:	Manley Stingray (w/Triode mod)
Preamplifier (or None if Integrated):	None
Sources (CDP/Turntable):	Pioneer DVD
Speakers:	Paradigm S2, Devore, Audio Physic Step SLE & Brilon, B&W N805
Cables/Interconnects:	Cardas/Kimber
Music Used (Genre/Selections):	Classical, Orthodox Chant, Jazz, Popular
Time Period/Length of Audition:	1-3 months
Other (Power Conditioner etc.):	Topaz Isolation Tranformers (2) in series
Type of Audition/Review:	Product Owner

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Kimber Kable

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