250DR and Krystal observations

Allan - happy to hear that the new cartridge is already installed. 

I also like my 250DR - good amp, isn't it? 

Your description of the 250DR introduction is very familiar now I think back to my own. As I am all digital (well my system is) I cannot be sure (like you) what part the Klyde to Krystal change plays in all of this. I suspect the change in cartridge is a rather subtle improvement (which might have more influence in the future - not sure how/if/how long cartridges take to fully come on song) as my change from 200 to 250.2 to 250DR resembles much of what you describe. By the way, I am not sure how long you have had the 250DR, but mine seems to keep getting better (and I have had it for many months now) and it only seems to broaden my smile.

In my book, any hifi that makes you smile has got to be good. 

So here is the tag line for 250DR for Naim (no fee required)

The 250DR - a seriously good amp that will make you smile.

Now Naim really should pay for that genius bit of advertising!

Allan, that is great news. I have gone through an almost similar path though the upgrades in my system are more extensive. It's almost like a complete revamp of the system. Similarly I have added the NAP 250 DR but the NAC 282 was included as well. For the source, I have also added a Chord QBD 76 DAC, turning my Krell CD player into a transport.

Similarly, I am not a person who will go wow in a bout of euphoria when I perceive a rather significant transformation with the system. Nevertheless, the additions have surely made all the difference. Everything in the music just gains more realism. The notes of the piano which sounded dull and slightly diffused on the previous system now sound energetic and defined. The tone of the piano is more life-like, sounds more like the real thing. Overall there is more articulation and sophistication in the presentation. You can sense this by listening to the details - the decay, crescendos and stuff.

The 250 DR surely elevates the bass quality to a higher level. Better articulation in the texture and layering of the bass. There is more control. With the NAP 200, the bass feels lighter, leaner and airier, not as full as the 250 DR.

I am currently rediscovering my music. Good times ahead as music that previously didn't sound too good now sound excellent.

In the end, everything in the chain is important to produce a good quality or high fidelity sound. In my mind the amplification is equally as important as the source.

Enjoy~~

nigelb posted:

Your description of the 250DR introduction is very familiar now I think back to my own. As I am all digital (well my system is) I cannot be sure (like you) what part the Klyde to Krystal change plays in all of this. I suspect the change in cartridge is a rather subtle improvement (which might have more influence in the future - not sure how/if/how long cartridges take to fully come on song) as my change from 200 to 250.2 to 250DR resembles much of what you describe. By the way, I am not sure how long you have had the 250DR, but mine seems to keep getting better (and I have had it for many months now) and it only seems to broaden my smile.

In my book, any hifi that makes you smile has got to be good. 

My 250 DR seems to be improving as well which seems weird. Subtle but noticeable changes as the slight hardness or mechanical sound is slowly being replaced by a sound that is fluid and organic. The amp is about 4 months old now.

Really interested on your continuing thoughts on the Krystal, am considering one seriously.

Dunno about 250DR, but Kryastal works well with Naim ARO. A great value. ( especially in the UK )

I was a nice surprise, this. I was curious listening to one in my rig and ended up purchasing one upon demo.

HI all,

Off to visit my son so no music for 5 days - how will I cope!

I agree with you about the piano Ryder, Its an instrument I always use when demoing. What I find now is that I can follow the different lines being articulated by the pianist because of the dynamics being differentiated and the detail that is there. Also, like you, the tone is now much more realistic. Some pieces have been revelationary, a Chopin etude comes to mind here, where I now hear the different lines interweaving rather than just the pianist hitting lots of keys Also in some jazz pieces I can now appreciate the piano subtlety and contribution much more (Time Out by Dave Brubeck wins here) ... and from the piano to the organ - wel Keith Emerson of ELP is just great (although he always was) but again with more subtlety now apparent (ok subtlety and ELP are not terms often used together, but its there, trust me).

I seem to mention subtlety a lot but its often those small little details that you never heard before that make you smile, not just the big tonal and bass improvements.

There is often a down side though; I always used to think that Mahler's 5th was very exciting at the start since it had this huge caucophony of just noise after the initial trumpet and - I remember, I think it was when I first got the 202/200, that this "noise" became a big loud chord of brass and stuff -didn't seem so loud and was no longer just a big crash of noise, how sad ... but then of course you learn to appreciate the different presentation and admire the individual components making the music up, and it was music now, not just a burst of noise. Similar, but smaller, episodes are now appearing with the new set-up.

Sorry Dupree that I cannot be more precise about what the Krystal brings to the party since I cannot easily differentiate between it and the 250DR's contributions but it is certainly singing. It seems to have opened up the vinyl sound and extracts more information than previously.

I look forward to the continued improvement that users identify,

Allan

PS - here's another tag line for free:

NAP 250DR, the smiling amp

Good to know you share the same observations. Piano jazz pieces are some of my favourites and the piano on these music now sound very poised with the new system. In summary, a nicer and more enjoyable listening session with the new improved sound, with the new gear.

Allan Milne posted:

 

There is often a down side though; I always used to think that Mahler's 5th was very exciting at the start since it had this huge caucophony of just noise after the initial trumpet and - I remember, I think it was when I first got the 202/200, that this "noise" became a big loud chord of brass and stuff -didn't seem so loud and was no longer just a big crash of noise, how sad ... but then of course you learn to appreciate the different presentation and admire the individual components making the music up, and it was music now, not just a burst of noise. Similar, but smaller, episodes are now appearing with the new set-up.

 

NAP 250DR, the smiling amp

 

Very apt indeed! Exactly my experience when moving from the 202/200 to the 282/250 DR. Good observation. I first thought that the 282/250 DR didn't sound as dramatic or dynamic as the 202/200 but later on, I began to appreciate the finer qualities of the new amps - the added detail, refinement and the manner the individual instruments are dissected and played more coherently as a whole.