News Autumn

2001

News

Nait 3

Trade-in

New

Loudspeaker

New

AV2 and

NAP V175

New

NAP 6-50

PowerAmplifier

New

Naim

Fraim

Latest

Naim CD

Releases

Interview

Roy

George

2

News Autumn 2001

There must be a quite a few NAIT 3owners that would love the chance to gettheir hands, eyes and ears on a NAC112/NAP 150 pre/power amp. Well thechance has arrived. Take your NAIT 3 to aNaim dealer in October and it’s worth£425 (depending upon condition) againsta 112/150. Tempted?Read about the the NAC 112/NAP 150 onpage 10, if you dare.

This offer applies only in the U.K.

The awards fornaim productskeep coming....

Hi-Fi Plus productof the year (5 Series)

Guitar band Embrace

reaped the benefits of

DBL and NAP 135

system for the

recording of their

CD Drawn From

Memory. The

system was used

for playback monitoring so

that the band could hear the results of

their labours in all their glory. A gold disc now hangs

on the wall at Naim.

Thankyou Embrace.

Free NaimMusic!Watch out for Gramophone

magazine’s Awards Issue, on

sale in October. It will carry a

free copy of the Naim Label

Sampler 4. Sampler 4 is the

first all classical sampler and will feature pieces from

nine Naim Label CDs.We’re not alone in considering the allæ pretty

desirable, The Times Magazine

thinks so too.

Drawn From Memory

Your NAIT 3!

Diapason D'Or Hi-Fi - CD5 and NAP 500

3

News Autumn 2001

Wonderfully live, effortless music;the number one parameter forNaim’s engineering designers. Atrue European product using thebest possible materials. The allæfrom people devoted to makingmusic work.

AESTHETICS

Stylish and understated using superbnatural veneers, the allæ will integrateeasily into almost any interior designscheme. A contemporary shape for theclassic floor standing form, the allæ ismore than just a speaker, it becomes apart of your home.

TECHNOLOGY

Rarely has a speaker design contained somany smart ideas: Separate, isolatedenclosures for bass unit and tweeter mean

that the energy of one,cannot disturb the finesse ofthe other. Reflex loadingcreated by a precise gapbetween the two enclosuresprovides tuneful extendedbass without the distortion

and noise of plastic port tubes. Eachenclosure panel carries a tuned mass-damping assembly at its centre providingtargeted resonance control so much moreeffective and consistent than primitivedamping panels. The tweeter ismaintained in isolation by a leaf sprungmounting plate. A further leaf springdesigned into the allæ’s cast aluminiumplinth helps define and optimise thespeaker to floor interface.

DRIVE UNITS

Naim’s in-house manufactured 200mmbass/midrange driver is like no other. Itscomputer modelled die-cast aluminiumchassis provides not only a rigid backbonefor the moving parts but carries featuresthat help control enclosure panelresonance. Its split mass aluminium phaseplug controls high frequency responsewhile improving heat dissipation andpower handling.

Scanspeak’s 19mm, low resonance,wide dispersion soft dome is mounted ona suspension system giving it maximumopportunity to perform.

S P E C I F I C AT I O N S

Frequency response: 30Hz - 20kHz ±3dB (in room).Depending on listening room acoustics andpersonal preference The allæ can be used eitherin close proximity to a rear wall (where bassoutput will be maximised) or further into theroom.

Sensitivity: 89dB for 2.83V at 1m.Impedance: 6 ohms (min).Power Handling: 100 watts (music programme).Naim Compatibility: NAC 112/NAP 150 systems and upwards

recommended.Crossover: External. Upgrade to active operation possible.Finishes: American Cherry, Maple, Black Ash and Santos

Rosewood. All with removable black fabricgrille.

Series5The reaction to Series 5 has been breathtaking, and withthe AV2 audio-visual processor and NAP V175 three-channel power amplifier, Series 5 excellence extends tohome movie systems too. Both a stand-alone audio-

visual setup or an audio-visual addition to an existing Naim systemare possible with the AV2 and NAP V175. And in the latter case thereneed be no risk to the music-making performance of the two channel system.

goes

4

News Autumn 2001

55

News Autumn 2001

SERIES

The AV2 can be operated from the

dedicated NARCOM AV handset or

from its front panel - with or without

On Screen Display of control

commands and menus. And when

combined with a Naim VS1 Video

Switcher the AV2 can offer complete

and integrated control of video as well

as audio sources.

A natural partner to the AV2 in an

audio-visual system is the NAP V175

power amplifier. The V175 design is

based on the acclaimed Series 5 NAP

150 and is a true Naim Audio power

amplifier - with all the

benefits such a heritage

brings.

The AV2 is a comprehensively featured audio-

visual processor with some typically

thoughtful Naim Audio touches and

enhancements. Equipped to decode Dolby*

Surround and DTS encoded material as well

as offering four music modes the AV2 is also

capable of handling digital programme

material encoded for seven full bandwidth

and one sub-woofer channel. Typically Naim

touches include a direct processing mode that

enables the AV2 to operate as a high quality

analogue stereo preamplifier, and a versatile

input mode that provides multi-channel

signal input capability.

S P E C I F I C AT I O N S

AV2 Specification

Inputs: Six analog stereo (or one nine channel input and four stereo inputs).Two SP/DIF digital coaxialTwo SP/DIF digital optical

Outputs: Main left and right, centre, surround left and right, extra left and right, sub-woofer.

Mains Supply: 100V. 115V. 230V - 50/60Hz

NAP V175 Specification

Power Output: 50 watts per channel

(continuous, 8 ohms)

Channels: Three

Voltage gain: 29dB

Frequency Response: -3dB @ 3Hz & 50kHz

Input Impedance: 18 kilohms

Mains Supply: 100V. 115V. 230V - 50/60Hz

* Dolby is a trademark of Dolby Laboratories.“DTS” and “DTS Digital Surround” are registeredtrademarks of Digital Theater Systems Inc.

to the movies

Versatility is a hallmark of the AV2. It offers no less than

ten signal inputs - six analog and four digital - and output

channels for main front, centre, rear surround, extra

surround and sub-woofer loudspeakers. The AV2’s signal

decoding abilities are state of the art too with every

proprietary audio-visual encoding scheme accommodated.

There’s very little the AV2 can’t do.

Ramon Ruiz & Anita ‘La Maltesa’Flamenco Havana naim cd055

Picture the sun-drenched city of Seville. Dancers are puttingon their shoes, musicians are picking uptheir instruments and people are arrivingfrom far and wide for the FlamencoFestival, an exciting and vibrant celebrationof this spectacular art form. There could beno better place or time for Naim to haverecorded a Flamenco album - withmusicians and dancers steeped in thetradition supplemented by artists whosetrademarks are joyful expression, innaterhythm and musicality.

Flamenco Havana is a Latin melting pot of hugely dynamictalent. Ranging from up-beat Spanish songs accompaniedby all-enveloping Cuban percussion that grabs you with itsstrength and vitality, to pure Flamenco vocals. Songs oflove, loss, passion and regret delivered with power andauthenticity. The Cuban brass section joyfully blows its waythrough the album accompanied by palmadas with gunshothandclaps. Marvel at the footwork track in which you canalmost smell the smoke coming from the young dancer’sfeet as he pounds complex rhythms into the floor.

Stew CutlerInsignia naim cd058

Stew Cutler is a New York based guitarist whose CV includeswork with jazz celebrities such as Bill Friselland David Sanborn. Insignia, recorded liveto stereo by Ken Christianson in Chicago, ishis debut on The Naim Label. Stew’s triofor Insignia includes bassist Booker Kingand drummer Gary Bruer and togetherthey make music that inhabits thatmysterious unnamed land between jazzand the blues. Stew’s seductive electricguitar sound is classically warm and themellow feel that pervades the CD leaveseven the crazy bits dripping with cool.

Bonnie KolocVisual Voice naim cd052

Bonnie Koloc has been part of Chicago culture since 1968.For a decade, she was the hottest act intown; drawing crowds that queued aroundthe block. Now with the release of VisualVoice Bonnie demonstrates that talent ispermanent and appeal endures.

Visual Voice is Bonnie’s own work bar onetrack. The album features lyrics taken fromher award winning artwork series TheBestiary. Linocuts also from The Bestiary, arereproduced in the CD booklet. Recorded byKen Christianson in the glorious acoustic of

Lake Forest College and featuring a whole host of talentedmusicians, Visual Voice is an engaging union of folk, jazz andblues. A real showcase for an enduring talent.

Foo Foo and The BoyH2C naim cd057

H2C is the debut release from this vivacious singing, songwriting, guitar playing duo. Revel in thewry, witty lyrics sung with passion andknowing to tunes that will quickly haveyou singing along. As each track movesalong the melodies grab and won’t let go.And neat engaging harmonies demonstrateJan Reay and Lisa Fitzgerald’s instinctivemusicality. Listen out too for the inventiveminimalist drumming that is The Boy’strademark.

Also featuring occasional bass, H2C is aneffervescent change, with zero pretentiousness, influencedby reggae, swing and blues but with elements of Spanish,Irish and Latin, loads of character, and infectiousexuberance. In the ‘must hear’ category, Foo Foo and TheBoy have been likened to Michelle Shocked, Rickie Lee Jonesand The Roaches but really are unique.

Laurence HobgoodLeft To My Own Devices naim cd049

Piano music is cherished here at The Naim Label and wecouldn’t believe our luck when KenChristianson persuaded Laurence Hobgoodto make a solo recording for us. An eclecticmix of tunes is featured on the disc,including Thelonius Monk’s “Panonica”,“Lovesick Blues” by Hank Williams, and DukeEllington and Bob Russel’s “Do Nothin’ TilYou hear From Me”.

Hobgood weighs in with “The Waltz”, co-written with featured Grammy Awardwinning vocalist Kurt Elling. Elling sings on

this and two other tracks. Left To My Own Devices is a must -have collection with something for everyone; beautifullyplayed, sung and recorded and featuring two of the world’smost wonderful instruments - piano and voice.

Hobgood’s previous releases on the Naim Label, withdrummer Paul Wertico and bassist Brian Torff in their trioUnion, were both selected by the Chicago Tribune among thetop ten jazz recordings of ‘97 and ‘99. We think Left To MyOwn Devices could well make it three in a row for Hobgood.

LLLLaaaatttteeeessss tttt RRRReeee llll eeeeaaaasssseeeessss

6

News Autumn 2001

Ted Sirota’s Rebel Soulsvs. The Forces Of Evil naim cd051

This third recording by Ted Sirota’s band for The Naim Labelwas captured during the last week of May2000. Those who enjoyed the first twoshould really dig this one. Why? Because it’scompletely burning- that’s why!

Geoff Bradfield has joined the band sincethe last recording, and besides contributingthree superbad compositions he also addshis brilliant tenor, alto and bass clarinet. Theremainder of the line up is the same asPropaganda - Rob Mazurek, Kevin Kizer, JeffParker and Noel Kupersmith.

The forces of evil just don’t stand a chance...

Sampler 3naim cd056

Sampler 3 brings together nine superbtracks from acclaimed Naim Label releases.It features jazz and contemporaryrecordings by artists including TheaGilmore, Guilherme Vergueiro and Carlosdos Santos, Fred Simon, Antonio Forcione,Ted Sirota’s Rebel Souls, Janvier Jones,Charlie Haden and Mike Melvoin, Union,and Kai Eckhardt. Designed for theindecisive, Sampler 3 is a great intro to awhole world of new music.

Forthcoming Releases

CD037: Trio Holloway, ter Linden and Mortensen. ALondon Concert. Music by composers of theBaroque period that lived or worked in London.

CD059: Håvard Gimse. Grieg Folk Songs and Dances.Follow-up to the crirtically acclaimed first NaimLabel recording.

CD060: Tom Gullion. More Chicago jazz lead byGullion's engaging sax.

CD061: Sampler 4. A classical sampler featuring tracksfrom nine previous releases.

Sean

Car

ty,

Anna

Too

th

7

News Autumn 2001

The heat is bearable asSummer’s searing temperatureshave started their gradualdescent towards Autumn. Thesun is still very strong, and theold, narrow, cobbled streetslined with a mixture of tallshops and apartments providewelcome shade from itsintensity.

Unless, of course, your dailyhaunt is “Alta Frecuencia”, oneof the top recording studios inSeville. It has very good airconditioning, which makesstepping outside a shock tothe system. The ultra-coolclimate of the studio washome to a fiery hot-bed ofFlamenco and Cuban talentthat had been speciallyassembled to make an albumfor The Naim Label. UpbeatSpanish songs of love and losswere recorded alongside tracks

of frenetic footwork andbeautifully played Flamencoguitar, accompanied bysizzling Cuban percussion.

The driving force behind theproject was Ramón Ruíz, aSpanish born, London basedFlamenco guitarist and Anita‘La Maltesa’ who planned thealbum and enlisted the help ofthirteen talented musiciansincluding singers, dancers,guitarists, percussionists,pianists, trombonists, bassistsand a didgeridoo player!Ramón left the UK for Sevilleseveral weeks before theplanned recording dates sothat he could scour the festivalfor the best musicians, whowere all there to perform theirbeloved art until late into thenight.

The recording session

Flamenco Havanaconsisted of three long dayswhich I spent witnessing themaking of a truly fantastic album.“Flamenco Havana” is acelebration of Latin passion, aninvigorating and uplifting albumthat radiates the sultry heat ofthe city in which it was recorded.It features some superbmusicians, including the highlycritically acclaimed RafaelRodríguez on guitar, withSegundo Falcón and El Extremeñoon vocals.

Peter Williams was once again incharge of the record button; hatsoff to him for making the arduoustrip by road from the UK to Sevillewith a car full of recording gear!

Every other September,

Seville hosts an internationally

renowned Flamenco Festival.

8

News Autumn 2001

VERSATILITY

The Fraim is

constructed from

discrete shelf levels set one

upon another and can be

extended or reconfigured as equipment is

upgraded. Options of layer height, upright

colour and shelf veneer add yet more

versatility.

EXCEPTIONAL SOUND

Inter-level spike/cup interfaces and ball

decouplers beneath each equipment shelf

together minimise the potential for

microphonic disturbance of sensitive

electronic assemblies within the

equipment. And careful choice of

interface and shelf materials helps

optimise performance.

Fraim shelf spacing is designed to

minimise the magnetic field interactions

between equipment. And to reduce

magnetic effects

still further, non-

ferrous materials are

used wherever

possible.

The Fraim provides

an ideal engineered environment to

enable Naim or any other audio

electronics to achieve their full potential.

SIMPLE INSTALLATION

Fraim shelf levels are quick and easy to

assemble. The Fraim is a tripod design so

no adjustment is required to minimise

rocking - either on assembly or over time.

OPTIO

NS

Shelf veneer: Maple, Cherry, Black Ash.

Upright colour: Natural, Black.

Upright: Standard, Extended.

WEIGHTS, LOADS AND LEVELS

Base/shelf level weight: 8.6kg (19lbs)/7.0kg (15lbs)

Maximum total load: 90kg (198lbs)

Maximum single shelf load: 50kg (110lbs)

Maximum number of levels: 6 standard, 2 extended.

FRAIM

As with everything Naim, imaginative engineering,

exceptional audio quality and timeless aesthetic style

are the fundamentals of The Fraim. Optimum

equipment isolation along with the finest materials and

finishes make a Fraim undoubtedly the best place to

put your Naim - or any other audio electronics.

9

News Autumn 2001

But the 6-50 is not simply a crude workhorse, it

is a true Naim power amplifier and offers all the

characteristic Naim virtues of fast, informative

and dynamic music making.

Apart from the unusual complement of three

pairs of channels the 6-50 incorporates some

neat features that add the flexibility required for

easy multi-room installation. Signal sensing and

standby mode mean that the amplifier is only

fully powered when needed; a trigger input

allows remote control of standby mode, and an

output stage specifically developed for multi-

room applications offers tolerance of very long

speaker cables. And just so that you really can be

confident of hiding the 6-50 away and

forgetting it, intelligent fan cooling means

flawless reliability even in confined spaces.

It seems a strange idea - a Naim amplifier designed to be

hidden and taken for granted - but the NAP 6-50 is just that.

The 6-50 is a multi-channel power amplifier intended for multi-

room audio and is the key to extending a Naim system, and the

Naim sound, around the home. Integration of Naim systems

with proprietary multi-room control products has

always been possible and now 6-50 offers

the ideal remote amplifier

solution.

A

designed to be hidden andtaken for granted

S P E C I F I C AT I O N S

Power Output 30 Watts/channel (continuous, 8 ohms)

Channels: Six (in three zone pairs)

Voltage Gain: +29dB

Frequency Response: -3dB @ 3Hz and 50kHz

Input Impedance: 18 kilohms

Standby Power Consumption: <1W

Trigger Input Voltage: 4.5 to 12V (plug tip positive)

Mains Supply: 100V, 115V, 230V - 50/60Hz

Case Size: 76 x 430 x 300mm

for Every Room

10

News Autumn 2001

CT: Often manufacturers claim thattechnology on reference products isutilised lower down the range. Havingdesigned and built your flagshipamplifier, the NAP 500,has the new NAP 150 benefited fromtrickle down technology from thatproduct?

RG: Oh absolutely. Before we builtthe 500 we embarked on a numberof research projects to evaluate allaspects of performance from theelectrical to the mechanical andmuch of that thinking has found itsway into the 150. The trick is to findnew and elegant solutions toproblems when you are designingand building any piece of equipmentto a price. The musical performancehas to be spot-on. But the 500 hadall new circuit topology and we usethe same arrangement in the 150.

CT: Do you think the two amplifierssound similar?

RG: Well, there are obvioussimilarities, yes, but with the obviousdifferences that price brings. The 500is a no-compromise product but the150 has the same speed which isvery important.

CT: So the Naim tradition of fast,rhythmically involving amplifiers ismaintained?

RG: Yes, but with refinement andsubtlety. The 150 and 112combination offers truly exceptionalmusical performance at this pricelevel.

CT: Why are the mechanical issueswithin the amplifier so important?

RG: We have always been very awarethat there are enormous benefitselectronically and musically when itcomes to controlling internalresonance. Again our research intothese areas with the NAP 500 wascrucial so the circuit boards on the150 have their own suspensionsystems. It’s a hostile environmentinside an amplifier and there are allsorts of situations where vibration,no matter how small can cause

AmplifierTalkNaim’s Technical

Director Roy

George is usually

happier designing

product than talking about it. But

just for the Newsletter, he talked

to Chris Thomas about the NAC

112/NAP 150 pre and power

amplifier combination...

11

News Autumn 2001

problems through component and boardmicrophony so we mount the boardsand even the mains plug socket looselyto minimise the potential for problems.Even leaving the locking collars on ourDIN plugs undone brings about a smallbut noticeable improvement to themusic. But suspension systems need asolid base and that is the amplifier’scase.

Mechanical and electronic issues areequally considered in our designs. I thinkyou will have seen this more easily inour CD players where we use our owndesign of cd loader tray, low inertia discclamps and pcb suspension systems.

(Roy hands me an unfinished front panelfrom an NAC 112. It is a far bigger andweightier hunk of metal than I wasexpecting).

CT: This feels like a much more seriouspiece of engineering than the 3 series?

RG: That right. They’re both non-ferrousthough; we would never use anythingelse despite the fact that steel ischeaper and easier to bend. Ferrousmetals are a real no-no as far as I amconcerned. We made a huge investmentin tooling and design in this case.Careful attention to each interface hasbrought many sound benefits.

CT: The NAC 112 does away with aconventional volume control.

Why is this?

RG: Well, as Isaid before, it’s a

hostileenvironment in

there and normalrotary controls need

to be protected fromresonance too or they

can becomemicrophonic. There can

also be frequent trackingproblems at low levels

where the channelalignment is wrong and one

side becomes louder thananother does. I’m sure you haveencountered that before. (I have, and onextremely expensive equipment too).And of course the inclusion of remoteoperation brings its own problemsnoise-wise as well. So we are now usinga discrete resistor ladder to controlvolume. Now the micro controllersenses where the volume control is set

and adjusts the resistor ladderaccordingly and as the whole thing issoftware driven we can get it toequalise different input levels with nodetriment to the music.

CT: Do you think this arrangementactually sounds better than aconventional volume control?

RG: (Smiling). It’s a close thing, but this,to me, is a more viable solution as itsolves a number of problems in one go.

CT: I see that Naim continue to shun thenumbers game by not exaggerating theoutput power of the NAP 150 (50 wattsper channel).Why is it that Naimamplifiers over the years always seem tobe louder and more muscular than theirspecs would suggest? I recently tried anAmerican 100-watt integrated thatdidn’t really seem as powerful as my NAP250.

RG: It’s not up to me to criticise the wayother manufacturers rate their ownequipment. But when you are runningan amplifier near its limits and yousense that it is beginning to clip, whatyou are really hearing is the amplifierrecovering from that condition and theway that the protection circuitry hasbeen designed to allow transientsthrough. Our amplifiers, I believe, arewell specified power-wise. They are alldesigned to drive anything down to a 3-ohm load continuously and withoutsigns of stress. It’s very important to methat when the customer wants to listenat higher levels they can turn thevolume up and get a feeling ofsatisfaction and not disappointment.

CT: What about technology tools indesign? Don’t you just computer model adesign and “away you go” in 2001?

RG: It is true that we have extensiveresearch equipment with powerfulcomputing tools but they are just partof the design enabling process. Ourengineers need the very best tools andwe make them available so they canexpress their art to the best of theirabilities. Our research people areprofessionals, but the big difference istheir love of music. A passion to get thevery best from a design, hundreds ofhours listening. You cannot computermodel that.

We have extensive

research equipment

with powerful

computing tools but

they are just part of

the design enabling

process. Our engineers

need the very best

tools and we make

them available so they

can express their art to

the best of their

abilities.

Wordon the street.....

the

NAIT 5

“Part of an all new range from the Salisbury company,the Nait 5 is a superb amplifier across a wide range ofmusical styles.”

What Hi-Fi, November 2000

"Like the Nait 3, the Nait 5 ROCKS: It easily andconvincingly handles any rhythm thrown at it...."

The Listener. September/October 2001

NAIT 5/CD 5

“The magic of this Naim combination is its ability topresent the whole picture of the music while stillmaking it possible to zero-in on individualinstrumental lines within the scoring.”

Gramophone, October 2000

"They look good, they sound good - what more couldyou want? The whole ensemble seamlessly joins theaesthetic with the technical and in the tradition ofNaim, you can be assured that every last detail hasbeen lovingly crafted to provide you with a superbpiece of equipment."

Smarthouse. Volume 1, Issue 7

NAC 112/NAP 150

“Naim’s 5 just gets better - this is a stunningpre/power combo in a compact, stylish package.”

What Hi-Fi, February 2001

“As with every new sound experience from Naim, wewere totally captivated by its charm.”

Haut Fidelité, February-March 2001

“Explosive little beast....…A neck-breaking duo that hasto be heard”.

Hi-fi & Musik, May 2001

NAP 500

“Nothing seems to faze this thing. Listen to the mostcomplex piece of music you have in your collectionand it just shrugs its shoulders and says “Is that thebest that you can do, haven’t you got anything morechallenging than that?”

Hi Fi Plus March/April 2001

“While lesser amps may make for great “hi-fi”, theNaim 500 makes great music, majoring on the kind ofthings - rhythm, pace, dynamics - that others passover in their quest for subterranean bass and tinsellytreble.”

Arena, July 2001

12

News Autumn 2001

Naim Audio Limited

Southampton Road Salisbury

England SP1 2LN

Tel +44 (0)1722 332266

Fax +44 (0)1722 412034

www.naim-audio.com

Naim Audio North America Inc

2702 West Touhy Avenue

Chicago IL 60645 USA

Tel 773 338 6262

Fax 773 338 6202

supercap@naimusa.com

Prod

uced

by

K F

Des

ign,

For

ding

brid

ge.