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| Klimo
Merlin Pre-amp Issue 3 - November 1999 |
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Pre-amps just aren't what they used to be. I'm not being flippant you understand, but technological progression has stripped them considerably of their function, and in extreme cases, dispensed with them altogether. Just consider the passive pre-amp, which is a contradiction in terms, consisting as it does in most cases of just a switch and a potentiometer (it cannot amplify the input signal). Twenty years ago, a description of the modus operandi for a pre-amplifier might have read thus: (take a deep breath) a device for accepting a range of varying signal inputs and amplifying them all to the same level to pass on to a power amplifier, while providing control over volume, tone and channel selection, and in some cases filter functions. As time passed, the 'less is more' philosophy came to the fore and tone controls, filters et at, very quickly became personae non-grata. This was fair enough since the assumption was that your signal source was a) good enough, b) not to be tampered with anyway. | ||||
| Once CD began to claim dominance as the most popular medium for carrying music, a lot of pre-amp manufacturers saw no commercial reason for continuing to include a phono stage in their designs. This was on the basis that to many customers the stage was superfluous, and in component terms it could easily take up to two-thirds of the budget per unit. As the hi-fi fraternity seemed to be split in two different directions - the vinyl junkies and the more mainstream CD based population - specialist stand-alone phono to line stages quickly appeared. In many ways this approach made good marketing sense. People obviously didn't want to pay for something they were not going to use, but if they were into vinyl the chances that they took it seriously and consequently benefited from the availability of a range of specifically designed high quality phono stages. It also made good engineering sense because, due to the low level output of the cartridges and their need for equalisation, the Phono' setting was always the odd one out on the input selector. Coming up to date, it seems to me that vinyl replay has started to claw its way back into the mainstream, emerging from the specialist domain to which it was once consigned, (that's mud in your eye for all those who ten years ago were stating categorically that vinyl was dead). So, you now want to play records as well as CD'S but you don't want the inconvenience, multiple boxes and probable expense of an outboard phono stage. Don't worry too much; it's still possible to find a sensibly priced one box pre-amp with a phono stage. Included in this select range of units - if you haven't already guessed - is The Klimo Merlin. |
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To
my eyes, the Klimo is beautiful. It makes something of a design statement,
having both elegance and simplicity without appearing too minimalist.
Sure, there are plenty of plain black boxes around that can also make
this claim, but very few would have what I call a visual identity. The
Klimo's lines struck me as being vaguely reminiscent of classic post-war
audio units by companies such as Braun. The main case work of the Merlin
consists of a genuine piano black lacquered wooden frame, and a plate
glass top which sits clear by about 5mm to provide airflow from the perforated
base. The glass top also carries the legends for control orientation,
leaving the front panel blank except for the controls and the on/off indicator.
And what an indicator. I'm going to show my age here, but anyone who spent
part of their youth trawling the short waves with old radios, amazed at
the plethora of different voices and languages produced by every twitch
of the dial, will instantly recognise this for what it is; a magic eye.
For those who don't know, these devices were commonly used as signal indicators
on radios and tape recorders from the war years onwards. Sheer nostalgia.
The Merlin's indicator glows a dull green after a few seconds, give it
a full minute and it brightens into four segments to show that the unit
is in full operational mode. |
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| Internally the Klimo is well constructed. All components bar the controls, input connections and transformer are mounted on one substantial printed circuit board. Wiring is minimal, with the input switching conducted via a series of high quality reed-relays situated next to the phono sockets. Component quality is high, the circuit being predominantly dual mono using three selected valves per channel, two of which comprise the phono input, cathode-coupled to the line stage. The output of the pre-amp is also a cathode follower, giving a relatively low output impedance and therefore a degree of immunity to high frequency roll-off with long I high capacitance cables. The power supply offers individually regulated HT and filament rails to each stage and, reflecting consistent attention to detail, the encapsulated mains transformer is mounted on a mechanically isolated plate of acrylic, away from the sensitive areas of the circuit. Build quality is good throughout - it has to be if you're going to put it on display by using a glass lid. |
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| In operation the Merlin proved straight-forward to use, exhibiting none of the quirks or aberrations that one sometimes encounters with a valve pre-amplifier. It was (relatively) quiet, with no switching thumps or nasty noises and for this I was extremely grateful, particularly when using large power amplifiers after pub hours. I say relatively quiet because the phono input is essentially designed for moving magnet cartridges. One could just about get away with a moving coil type of healthy output (possibly a Koetsu or such) but anything less and the noise would start to become obtrusive. This is only to be expected when fighting against one of the poorer properties inherent in thermionic valves - they are noisy. |  |
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| As I was not sure how much this unit had been used, I let it run in the background for a couple for a week or so, without taking too much notice of how it sounded. When it came to serious listening, my first impressions were of a lively well balanced and inviting sound, with plenty of depth to the sound stage. The Merlin subsequently formed the basis of my main system for about three weeks while various cartridges and power amplifiers changed around it. Because of its higher output, a Roksan Shiraz was substituted for my usual cartridge, and although this sounded great, I think it represented the border line for acceptable noise performance. I ended up using a Grado Prestige Black (Ł50), altogether a more comfortable match. The sound through the phono stage seemed to be consistent with what I heard from the line stages, leaving no doubt that it had been engineered to a high standard. It's nice to know that Mr. Klimo takes his vinyl seriously. There again, he is president of the German Analogue Audio Association. When it came to partnering the Merlin with power amplifiers, I tried quite a few. Once I began to get more of an idea of the character of sound that it produced, I was led to some interesting combinations. More vintage designs, such as the Radford STA 25 III, gave an almost over rich, rather ill-defined sound, still with great depth but badly lacking in definition and timing. Likewise, the little Aleph 3 sounded just too soggy and lacked any authority. Bigger valve power amps, such as the Audio research D115 and the Primary 250 watt units, proved to be far happier companions - the warmth and friendliness of the Klimo complimenting the dynamics of the bigger amplifiers. Consequently these partnerships became firm favourites for listening to large scale orchestral works such as a Mahler or Shostakovitch symphony but there was still a shadow of doubt about the 'precision' of the sound with rock music. Acoustic instruments had a good sense of realism with the Merlin. String tones were vibrant and harmonically accurate, while the ambience of the recording venue was well defined. Take the Cesar Franck Violin Sonatas (Philips LP 416:157-1), where the slightly bright reflections from the walls of the recording venue are clearly apparent. This sense of the music's environment helps recreate the atmosphere of the recording, making for far more enjoyable listening. The Klimo clearly stated the differences between vinyl and CD reproduction, and even in the context of the lowly Grado, it presented all the nicer aspects of record replay in a crisp, positive fashion. Surface noise and scratches were unobtrusive, never distracting from the musical flow. It's not that there's anything wrong with the line stages, it's just that comparison really highlights the quality of the moving magnet stage. (Incidentally the Klimo is available as a line only model, and at a considerable saving). |
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| More out of curiosity than anything else, I tried using a Rotel RB 971 which I had to hand. Although modestly priced, the Rotel is a dynamic and taut performer. Providing it's not driving silly loudspeaker loads it can handle complex rhythms with pace and clarity. In the illustrious company of the Merlin it sounded great. The trade-off between the Rotel's slightly hard, bland performance (compared to expensive valve power amps) and the slightly soft but very colourful Klimo was a real pleasure to listen to. And while it isn't necessarily a combination I'd recommend, it shows exactly how the Klimo counteracts the rather dry and constricted effect of a lot of transistor power amps. Not unlike the SP8 I Krell KSA50 combination which did so much to rehabilitate valve pre-amps, the Klimo breaths life into a world of control, albeit at the cost of some bass slam. |  |
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Having rung the changes, I was left impressed by the Merlin's performance, but also a little disappointed. Not because of its musical capabilities, which I hold in high regard, but because this beautiful box had promised to be a heaven sent solution for the many people who use vintage valve power amplification but cannot find a fully fledged, competent pre-amp to partner their units. Unfortunately combining the typically laid back sound of older valve amps with the rounded, lush sound of the Klimo didn't quite work. Too much of a good thing to these ears. But let me put this in context. The Klimo is a great pre-amplifier and the above comments are only intended to enlighten you as to its compatibility with different amps. It's better suited to jazz, classical and acoustic music than driving rock with slam-dunk dynamics. Its character tends towards the traditional, being a little soft and lacking the finely etched detail of the better solid state designs. Partnering it with a similar sounding power amp takes the tendency too far. BUT, when used with more compatible units, it is highly musical and easy to listen to. The sound is engaging and lively with a brilliant array of tonal shades. It never became obvious or got in the way and, whatever it was partnered with, the Merlin always proved highly enjoyable. In fact, it did everything that brought valve pre-amps back into fashion. With careful choice of cartridge and power amplifier, the Klimo is capable of wonderful performance. Its fuss free, one box operation is an added bonus which, at the price, makes it something of a find. And those looks … |
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