Merrill Audio ELEMENT 118 on Tour


As some of you know I had to deal with a serious family medical issue which has been miraculously cured. So the new ELEMENT amplifiers are getting out to all those asking about them and the few lucky ones that have purchased them.

The ELEMENT 118 and ELEMENT 116 will be going out to reviewers and on tour to various audiophiles and dealers. So more will be showing up. I will provide a short trail and welcome questions and comments, all in good spirit.

After years of research and using OEMS, we have a proprietary design that we believe is an order of magnitude improvement over the previous amps and also sets a standard across all the classes of amps in terms on sonics. Of course taking a listen and doing a comparison is the best way to confirm this.

The new design is an open loop, zero feedback, and zero deadtime, using the Gallium Nitride Transistors - which unlike other transistors have close to zero capacitance and hence allow very fast switching. Additionally the PCB and layout is a highly advanced layout that reduces the parasitic capacitance and inductance to near zero, allow close to zero overshoot and ring, and of course the zero deadtime. The open loop, zero feedback, zero deadtime allows a spacious and precision stage with long detailed decays, very fast attack without the parasitics causing other distortions. The first 10 seconds impresses the listener with a musical tone, that is open, wide and fast. The rest is musical immersion.

I will post the systems as they are run through as best I can. Enjoy and I hope you get to listen to the ELEMENT Series of Power Amplifiers near you.
merrillaudio
What you have the equipment mounted on makes all the difference in the world.  All footers change the sound.....all platforms change the sound....all things under the platform change the sound.  Almost all stock footers can be improved by using aftermarket ones.  If I were A/Bing expensive amps like above I would have at least a half dozen different footers and platforms to play with (and of course, power cords).  Also, mass loading on top of the amp or whatever can be amazing.  You can use lead shot, damped weights, etc.  Lighter equipment generally needs more mass loading.  You must mount every amp in the same position and with the same feet to know the difference in the amps and then tweak each one for best sound with different feet/loading etc.  Yes, it takes time but is well worth it.  Just did a listening test the other day and the person who owned the system told me the difference between two different footers under the amp was "the difference between a sale or not"..........This guy had his speaker wires on the floor and when we put them up in the air the sound was incredibly better.  I hope you guys have all your cables off the floor.....otherwise you are not hearing what a real soundstage is like. 
ricevs, et al,

I too am a believer that all cables sound best when off the floor.

Years ago I demonstrated this in a friends system (all top BAT, CEC spinner with MSB dac AND several exotic TTs with multiple arms, and $5K+ cartridges). His speakers were custom frame Acoustat 4+4s with 2 servo amps per side: the offending cables were very long interconnects laying across thick carpet. The improvement was significant, better speed, better high frequencies, better everything

Recently I bought a set of cool looking speaker cable risers from an AGon seller and showed them to my friend David Salz (WireWorld). He chuckled and said they aren’t necessary when the cables are correctly designed. Well, since my speaker cables (and ICs) are WW. I removed them and noticed zero benefit. $50 down the drain.

All my components are resting on Machina Dynamic springs, which provide huge vibration isolation benefits for peanut money
My definition of cool- neutral- warm is based on several factors, like whether the singer, hollow body guitar, cymbals, piano keys/board... sound natural

Some systems get the leading edge of the pluck, but lack the resonance inside the hollow body guitar, or vice versa

or get the strike of the cymbal but lack the shimmer or warm sound of the brass, or vice versa

or with a singer where the voice is all head and no chest,  or vice versa

or the piano where you hear the keys but not the board or the sound/size of the body,  or vice versa

Do not discount the contribution of vibration control which seems to be an afterthought in many systems 
@rsf507 - With all due respect I believe you're mistaken regarding the IEC jack on the Element 118, which is the 20 amp version instead of the more common 15 amp. It has no relation to the amp's required voltage, but a 20 amp IEC generally offers a more secure physical connection along with higher current capacity compared to the 15 amp IEC.
All good points regarding vibration control and I wholeheartedly agree on its importance.  Regarding the Element 118s, Merrill incorporated a very novel means of controlling for vibration via a combination of a pair of stainless steel outriggers and Isoacoustics GAIA II footers.  The way these amps are constructed, with these outriggers in place, it's impossible to apply aftermarket footers such as the Stillpoints Ultra 5s or HRS Vortex that I own and so it's hard to know if I would prefer something other than the stock footers but at the very least, Merrill definitely put thought into this.  Furthermore, it's implemented very tastefully.