I was pretty sure I knew the answer to this one, given all the praise the ND555 has been rightly receiving, and, after all, I have always been a source first bloke. Well it turns out I know nothing!
Thinking it was time to move to the new streaming platform and take advantage of possibly one of the best streamers ever made, I was keen to hear the ND555 at home but, due to the steep incline in costs for future upgrades, any upgrading now will need to be done in stages. That means the ND555 will need to be able to show its capabilities with my current 252DR/250DR and MA GX300 speakers until such time I can pay attention these other components.
There is a problem though. In the back of my mind I remember the praise the 'classic' component in the Naim range, the 552, has received on a continuous basis over the last two decades. But that would need to work with my current NDS/555DR/250DR/MA GX300s. As luck would have it, my dealer happens to have both a mint pre-loved 552 and one of the first ND555s (so well run in). A plan was forming.
To solve this puzzle my trusty dealer set up two systems for me to listen to. The first - ND555/PS555DR/252/SuperCapDR and the second - NDS/PS555DR/552(non DR), both systems used with a 300DR and Kudos Titan 707s. I would listen to both and decide which I would take home for extended dem, the ND555 or the 552. A forgone conclusion, I thought.
I brought 4 favourite CDs which the dealer ripped and I listened to the system fronted by the ND555 first and waited with bated breath for the fireworks. But there were none. The initial problem I had was that the dealer's listening room was over double the size of mine and was less damped. I was also used to listening 'near field' but was further away from the speakers at the dealers. It took me a while to acclimatise and the system was, I believe, improving over that first hour of listening. No denying the detail and coherence on offer but I felt the whole presentation was a bit on the clinical side. I was a tad dissappointed and checked with the dealer that the ND555 was fully run in, and it was. Might it have been the 252 struggling a bit with the detail it was being asked to process, or was it the unfamiliar listening environment. Not sure, but something wasn't quite right.
So onto the NDS/552 based system. From the first track I could tell this was rather special, although I was still struggling with the brighter, slightly echoey listening room. Again, as this session went on things started to improve, either the equipment settling in or me becoming more in tune with the listening room, or both.
After a further hour of listening, I had decided it was the 552 I wanted to take home for an extended listen. But before it was packed up, the very accommodating dealer married up the ND555 with the 552 and this was when things really took off, even in those unfamiliar acoustic surroundings. It seemed to me that the NDS/552 was less of a compromise than the ND555/252, so off I went with the 552 for home demo.
I have been listening to the 552 in my system for much of today and have been pretty much blown away. I will save all the detailed descriptions for a couple of days when I have had a chance to listen more. But this 552 ain't going nowhere!
Posted on: 11 January 2019 by nigelb
Now that is an interesting comment, Nigel. I have a jazz cd by Torsten Goods (love comes to town) and it is so smooth and slick that it is a bit dull. Quite like it every now and again - but it has a new sound with the 552. Diana Krall also more interesting. Not sure it will work on Pantatonix
Tim
That too is interesting as I have the same Torsten Goods album that is rarely played and I haven’t heard it yet with my 552. Just about to put it on!
Listening to this rather average Torsten Goods album reminds me of how we become accustomed to the wonderful SQ offered by a new toy, in this case by the 552.
I just don’t recognise this album! It now sounds accomplished rather than polished, and I have only listened to the first four tracks. I notice that I have the 88.2 kHz/24 bit download version of this album and it is sounding very good. Indeed I have noticed on other 24 bit downloads that the 552 really seems to dig out that extra bit of musicality from hi res material compared to my, admittedly fading, memory of the 252’s ability.
The only problem is that thrill of hearing a well-known album for the first time with the 552 soon becomes the ‘norm’ and the uplift in SQ fades in the memory. It is if your ears become hungry for the next SQ fix! I think this condition is known as ‘upgraditis’!
Still loving it though!
Posted on: 12 January 2019 by Filipe
Phil - interesting stuff.
Geoff spent a good half an hour or so on listening, basic checking and minor tweaks, then replaced the mains block for a wiremold fed by a powerline - that all made quite a difference (including putting the block on a Tupperware box). We checked the sound as we went with a reference track. Then he put the 552 in and away we went.
The saxophone on Dave Brubeck at Carnegie Hall is sounding so mellifluous (don’t get to use that world often) but the overall thing is the wonderful timing. Also, the scale has increased and there is more (entirely balanced) bass now listening to King for a day on that same album and the double bass solo sounds remarkable.
Nigel - I am rather poor at putting sounds into words - I am the same when it comes to describing coffee flavours (my wife is rather good at that but utterly uninterested in the stereo) - but I have made some brief comments above.
I really didn’t want to like it - much cheaper to do without. But am rather smitten and it hasn’t warmed up yet
Lilyfy, I found this in connection with the Wiremold L10320
The original legendary Wiremold power strip discovered by Naim Audio North America’s Chris Koster as the best sounding solution for Naim power amplifiers (NAP100, NAP155XS, NAP200DR, NAP250DR, NAP300DR, NAP500DR), Naim pre-amplifiers, Naim CD players, Naim network players, Naim streamers and Naim active crossovers (SNAXO). Suited to both Naim’s passive and active systems as well as other high quality component systems due to the close spacing, size and number of outlets. As a result the power outlet connections for all system components are in almost identical electrical, magnetic and acoustic planes even at high frequencies.
Since becoming the standard power strip of choice for North America Naim owners, this power strip is a favorite of the wider Audio and Home Theater community.
Basil has arranged with the manufacturer of this power strip to stock quantities of this essential accessory and make it available at a special price to Basil’s customers.
Power supply strip with 9 outlets. No switches, filter or “power conditioning” components or power indication lights. Removing these from the power line distribution means that your priceless music and your $thousands music system electronics filter and control the power flow, not the power strip. Rated at 15A/125V.
Phil