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Naiming the Future

    Chris Thomas talks with Paul Stephenson of Naim Audio.

    by Chris Thomas | September 1, 2011

aul Stephenson, the managing director of Naim Audio, and I had been talking about doing this interview for several months. Originally it was going to be about the direction in which Naim, with their commitment to streaming technology and audio in general, were heading, with perhaps a bit of history thrown in. But then the huge news of the Focal deal gave our plans an agenda and momentum of their own. So I traveled from London to Salisbury to conduct the first interview with Paul since the news broke. Over lunch we realized that a bit of context was called for, so he suggested that, to understand where Naim are now and where they are heading, it would be helpful to know something of their history. Paul wasn’t at Naim at the very beginning, but soon after his arrival he gave the company a focus and direction that has only intensified as the years have passed and events have unfolded.

Chris Thomas: Take me back to those heady days of 1981.

Paul Stephenson: It’s quite pertinent that we are sitting here today, where Naim is in a different place from when you and I started talking about doing this interview months ago. In fact, apart from joining Naim in 1981, Julian Vereker’s death and now the merger, collaboration or sale with Focal, these are probably the three biggest events in my history with Naim, and two out of those three I had no chance to think about or plan for. Julian and I had spoken many times about my taking over Naim at some point, and he’d go on his boats and to do his thing. Would he ever really relinquish true control? I don’t know. There was certainly a point in Julian’s life where he was getting very dissatisfied with the way the industry was going, with overregulation and the like. He had a growing passion for space and time and boats and those sorts of things. So we talked often about my taking over because he didn’t like to deal with the crap. He wanted the fun. And he had someone like me who was going to be a bit bullish and take on CE, regulation and the distribution channels, things like that plus the general worries of a growing business. Well, he was quite happy to dump that on me [laughs]. He went to New York, came back and said he didn’t feel very well, and six months later he died.

CT: When was that?

PS: That was 1999-2000. The beginning of the millennium. And what was really strange was that there was no time for me to plan. It was very fashionable in the '80s, the Thatcher era, to big-up the guru side, the head of the company. Like Ivor [Tiefenbrun] would have been for Linn, Julian was for Naim. I was the sales and marketing director, so I filled my boots with all of that. Then, all of a sudden, he wasn’t there, and I thought, Shit! You remember how the forums and the industry were full of "This is the end of Naim" or the end of the world and all that stuff? I had no plan for that event because it took us by surprise. Julian was the owner and my friend, and here he was dying and the business seemed secondary to someone’s death. But, once I woke up and shook myself, I understood that the business before was all about the lifestyle, plus Julian made decisions based on if it seemed something was a good idea, then that was good enough for us to have a go. It didn’t matter if it made money or lost money. But as soon as he died, I was faced with what would happen next. The bank had an interest in where we were going and the other shareholders obviously wanted to know what was going on. It wasn’t exactly panic, but I realized that things had to change.

CT: When Julian died was there a plan in place?

PS: There was no plan. And in fact, when Julian was dying he told me that I would take over the company, but he said nothing would really be revealed until he died. So I went though this period of not knowing if the company was going to be sold or his family would take over. It was very weird. So suddenly he dies and I had the funeral to arrange and all that kind of stuff. I just sat there and thought, What’s going to happen now? And the lawyers gathered and looked at me and said, "Well, what are you going to do, Paul?" So I had to look at the business and realized that there was no plan, and I started to think about going forward, although I was initially very uneasy about it. So I looked at who was in the business and how I could develop things. I made Roy George technical director because he wasn’t a director at that time and I told him he had a clean sheet of paper to create whatever he wanted and I needed to decide what Naim would look like in the next ten years. I said to him and R&D, "Come back when you’ve got a plan." There were probably six people in R&D then. Julian didn’t really allow our R&D team to go very wide creatively.

So they were now set free and it was a very big moment because Roy George and his team had been designing 90% of all the products. Julian didn’t like taking on some of the new challenges and that meant that, in some ways, he slowed the process of change down, but who could blame him? Take the communications in the factory. We were on CompuServe for comms because Julian hated Microsoft and Apple. Our processes were antiquated. There was just so much to do, so I recruited new people and empowered the management team. We created a new five-year plan. I thought it was all so bureaucratic, but I decided to go with it. I put a business plan together where I said I would double the business in five years, and after two years in I realized it was such a mess. The R&D team didn’t have the right tools, and in fact we didn’t have enough people. We had to completely throw away the computing system and all the communications. The manufacturing process was in chaos. There had been no investment in the business. The whole thing was creaking. They hadn’t used the moment of profitability during those times to reinvest in the business. It needed massive reinvestment. At the same time, if we look back into the '70s and '80s when we started to make it big, why didn’t we become the size of B&O? Why didn’t we and others become huge companies? They had the possibility. There were wonderful products. There was more competition, true, but we were just having lots of fun. There was no business process, no power management thinking going into organizational growth. So, when I took over, I was made a trustee of the Julian Vereker Trust.

CT: What is that?

PS: There is something called the JV Trust which held the assets of Julian, which were predominantly the Naim shares. Julian made me a trustee of this and the other member was a lawyer.

CT: When did Julian set this up?

PS: He set this up just before he died. JV’s view was that I would take over the company and build it up, but, on the other hand, if the lawyer didn’t think I had a good plan, he could sell Naim. So I was under quite a lot of pressure to come up with a plan that would grow the business. Well, we didn’t grow anything like I wanted to in two years. So in the second or third year I made the decision to discontinue every product in the range and we came out with the new Reference series. Looking back on that now, I think that, with the infrastructure we had, it could have been suicidal. I remember one night lying in bed and thinking, What if they don’t like it, or if the dealers won’t buy it?

CT: But you didn’t discontinue the 250?

PS: No, not the name, but we did. It was in the olive shape before I put it into the new range with a new design.

CT: It was a new amp.

PS: It was a new amp. The 282 came out and the 252. Everything got replaced, not only that but there was the commercial aspect where we launched 24 new models into a market where a dealer would have to invest in demo stock worldwide. It’s a big risk. Well, it was amazing, and everybody went for it. The dealers and the press liked it and we started to grow really quickly. It helped a lot. And the whole cosmetic thing, whether some liked it and some didn’t, had moved up a lot from a quality point of view. So we started to recruit more and more people in R&D and invest much more money. I had regular reviews with the Trust, who understood what I was trying to do and backed it. I had a really good working relationship with them. I was managing director, a shareholder and trustee, so I had to be very careful with compromising any of these positions by doing things properly.

CT: So, let me get the Trust straight. It’s you, a lawyer and who else?

PS: Yes, the two of us and there was also an external financial guy, watching that all was street legal and a sound investment to continue with.

CT: But did JV’s family have a shareholding?

PS: They had no shareholding. Only the Trust, the Julian Vereker Trust, which is for the benefit of the beneficiaries and still exists today. We got on really very well, and I started to invest more and more money into the people, the infrastructure and the processes, lifting the qualities of the whole business, and we really started to grow a lot. In one of these particular meetings we reviewed our concerns about what would happen to CD in the future. We had 30% of our business in CD players, and I couldn’t afford to take the risk that we didn’t think about going forward and replacing our CD sales with something else, so we started to work on looking at hard-disk storage and server technology. We really had no interest then in controlling or writing a database because we were still predominantly digital and analog hardware engineers, not particularly software at that time, although we’d had some bad scrapes in some areas with software, but that’s another story.

So we made a server, the first one. This was probably eight or nine years ago now, and this gave us a view about how big a challenge it was going to be. I mean, we thought CD players were a challenging environment! But putting a hard disk, heavy power supplies, high-frequency busses with RAM and ripping engines in there and you’re trying to keep a signal as pure as possible? It was a bloody big challenge, but we had to learn that trick. I was never going to say it was better than CD, and I certainly wasn’t going to say it was better than analog, as I didn’t think that even CD had hit that mark, but there was always a glimmer and a possibility. We knew that this route could lead to something beyond CD because of its limitation of 16 bits/44.1, which was always a little bit of a noose around its neck. I’m not convinced still today that 192 or 724 are the Holy Grail, but I do believe there’s a possibility. I do believe there’s a game again and that’s worth fighting for.

We made a server and then I met Alan Ainsley who told me about this distributed audio product from America called Stream Net, and at that time the biggest growth market sector on the planet was CI [custom installation] and all the stats were saying hi-fi sales were going down and custom install was going up. There wasn’t much point really in Naim getting involved in the custom-install industry, because a lot of people were doing very well already, but they were running long cables everywhere, which is something we didn’t believe in as it resulted in noise and signal loss. We didn’t see it as true quality. It was about oral wallpaper and it wasn’t very exciting. So the Stream Net offered us an opportunity to build IP-enabled electronics that could distribute uncompressed audio at high quality, with almost no latency, throughout the home. So I thought, Geronimo! This is really great news. And then that became more interesting -– it started to build on our picture of the server, IP audio, networks, etc.

You know, people talk about RCA phono plugs as being an international standard, but I remember somebody telling me that the only true standard worldwide is TCP/IP. You can put a computer on in Doncaster and you can do the same thing in Vietnam or Shanghai and you’ll get the Internet. It truly is international, and Stream Net works on TCP/IP, so I thought, What a good idea we have here. It’s international and it works. But obviously, at that time I didn’t know that the housing world was going to crash, but that really didn’t matter because we were really getting a scent at Naim at that point that through iPods people were starting to store more music on computers.

We were building up this competence level with networking audio and at the same time we got a knock on the door from Bentley: "Are you interested in making a premium in-car system?" Well, my R&D guys had finished making DVD players, and it was, "Do you want the keys for a Bentley or should we make another DVD player?" The DVD players were history -- you know what I mean? They set us very big challenges at Bentley. We had to make the world’s most powerful car production amplifier, it had to be this size and it had be quieter inside than outside and it needed lots of digital signal processing and all of that kind of stuff, so we started to work with other people on the digital signal processing -- in fact we recruited Hjalmar Nilsson from Sweden into our team and suddenly we added another competence to our experience and abilities with digital signal processing. Later this would make us see what we could do with loudspeakers, room correction and lots of other things.

So our armory was just getting stronger and stronger. Networking audio, the DSP speakers and everything else -- so the level of excitement was growing. I started to recruit more and more people in our software team -- really great people. One day we were talking about an integrated solution, because on the backside of this some of the marketplace was getting a little concerned about the number of boxes there were in the system. One of the guys had a particular interest in UPnP -- universal plug and play -- and he engineered an all-in-one system for us. He was head of software at Naim, so the Uniti was born, and bingo!

So in the past three or four years we’ve taken our turnover to just over £16 million. It cost a fortune to get there, but it transformed our retailers position with streaming, it transformed our market position and the competence level that we had, and what’s more, even though we haven’t arrived in terms of audio nirvana, the sound has given us a challenge for the future to make this as good as possible.

CT: So you are looking to offer complete solutions?

PS: One of the backbones of Naim from day one was always giving someone a solution that could have some predictability to the sound quality. So that became a strong feature, to have a Uniti product which was kind of future proof for a lot of people getting into network audio. Also, we had to add a traditional CD and an Internet radio. It was just too good to miss really. This has lead to a whole generation of Uniti family products and servers, and we are stretching this going forward with NDX, which is a network client. It has no amplification in it and is aimed at a higher-end market. Over the next year you will see us add to this client range, and we’ll probably end up with a series of clients which are at the same sound-quality level where CD players are today. These will also have servers, as this part of it, for me, is important. It’s all right to say rip it to your NAS and use EAC or dBpoweramp, but there are a lot of things that can ruin the rip. The quality of the transport, the environment it’s being ripped into. So Naim right now is controlling the ripping, storage and playback and that’s important to us if we go back to the "source first" in terms of where we first started, which was coming from and promoting turntables as being the best. Getting the best stored file at the highest resolution has to be the Holy Grail for storing new music for the future. So I think the industry now finds itself in a really fascinating place where hi-fi could become fashionable again. Apple have done such a fantastic job educating the world with wonderful products, so the man on the street knows how to use his telephone to download a song, how to replay it in his home and store it. Kids certainly do. And being in the right place at the right time, which is where I think Naim and some other companies are, is great because the competition has disappeared, especially if you’ve got the right set of products that people will want to buy and that relate to their lifestyles. I think Naim is in the position where the sky’s the limit. It is only limited by our own resources.

CT: Okay, that brings us up to now. So let’s talk about the Focal thing and how that started.

PS: We interact with a number of companies anyway, whether we are sharing parts or intelligence, sometimes even design, and I was aware of Focal for many years through their drive-unit capability. They have a great reputation and they also have a [speaker] cabinet manufacturing plant that I believe you have visited. What has happened is that there are very few people left in Europe who make cabinets, and we were certainly interested in trying to keep all of our cabinets sourced within Europe, so we met them a couple of years ago when Naim’s R&D people went to look at their technology to see if they could make a cabinet for us. That was really the start of the introduction between the two brands.

Nothing much happened relationship-wise then, but Naim was beginning to grow, and I had to ask myself that, at age 57, what do I need to put in place for the next generation of Naim products and how can we as a company deal with that? On the other side is the JV Trust, who is the major shareholder with 58% of the business, and the Trust, by and large, is a static entity that is not reinvesting in the business. So, usually you have a company whose owner is reinvesting, but in our case it wasn’t. And I definitely realized that the next stage of Naim’s growth must come the same way as it had before, from reinvestment. But the numbers had become so much bigger that it had become difficult to invest from your own petty cash, because now that is squeezed as we are 130 people. So a lot of your money is tied up with just running the business and paying the staff, including an ever-growing R&D department, which is very expensive, as well as marketing and everything else.

So we needed more cash. We could go to the bank or a venture capitalist or we could do a small flotation. There were a few options, and on the other side is the Trust, who, quite rightly, have some concerns about having all their eggs in one basket. And where would be their exit route to allow them to sell some shares for us to get new investment? Putting two and two together, I could see that there was an issue there. We had many meetings where I refused to talk about succession or a sale because I knew that what we really needed was a lot of cash. I had many calls and letters from people who wanted to talk about us selling Naim, but we didn’t take any of them seriously. We just didn’t go there. Then one day last year I got a letter from an intermediary who was working with Focal, who said they would be interested in talking to us about some collaboration or investment.

CT: So, you are saying that, as a company, Naim had reached a tipping point?

PS: Certainly a position where serious decisions had to be made. One point that I would emphasize is the increased rate of change and the speed of technology. We make streaming products, and if you haven’t got your app out the same day, people think you’re insane. Everything has to be now, and we are in the business of meeting our customer’s expectations about the technology -- the way it’s presented, the way it’s controlled and the way it’s supported.

CT: So, what do we call the tie-up with Focal?

PS: Well, it was a sale but with a strong merger element. But let me tell you about the meetings. Jacques Mahul, who is the founder of Focal/JMlab came personally to Salisbury and told me the story about how he had started his company and there were a lot of similarities between him and what Julian had done, and we spoke for a few hours about the possibilities. Was Naim looking to sell? Was the trust looking to sell? How could companies work together to consolidate? It was certainly interesting, but in truth it wasn’t a greatly productive meeting. You would have to ask Jacques what he thought about it, but it didn’t really go very far. It seemed to be about consolidation and things that I didn’t have too much interest in. It was just pure commercialism.

So I said to them that if we were going to talk, it had to be about raising the bar in creativity and reinvestment and those sorts of things. After that we didn’t talk for a while until Jacques called and asked the Naim directors over to Focal, and as soon as we got in the factory and Jacques took us around the plant and showed us, step by step, how they make things and how fastidious they are about quality, I was bowled over. It was just so impressive.

CT: And was the personal chemistry good by this time?

PS: It was fantastic. It was like hand and glove because they knew everything that we had been through over the past 30 years. They have been through it too. They really understood how tough it is to be a manufacturer, especially in this world of today. We had so much in common. We were so fascinated with what they had achieved that we began to talk about the possibility of combining resources, because we realized that if we could find the investment then, between the two of us, we could have a real push forward into the next generation of products for both of our companies. Look at Bowers & Wilkins -- £120 million; look at Sonos -- £300 million plus. There are other big players out there. Between us, we would be around £40 million, but it just shows how big the market size is if you get it right. Once you are at the size of Naim and Focal, there’s no going back really. You can’t say, "Okay, I will let half the staff go and we’ll just build the 250." I suppose you could, but that wasn’t the route we wanted to take. And that is certainly not Jacques’ idea either. At this point, Jacques had been planning to go into retirement, but after this deal, although he won’t be involved day-to-day, he is certainly back on the bus. He is so excited about this deal.

CT: A shared vision?

PS: Yes. I have been working with him and Christophe, the new president, and over the next year we will be looking at where these investments will be placed for the development of both brands to have a shot at the bigger basket where there is less competition, and if we get the right products we could be extremely successful and extremely profitable.

CT: What form will these new products take?

PS: Naim are really focused on getting the very best sound we can, as of course every manufacturer says, but we will definitely invest and develop the next generation of network products as well as two channel -- and in fact the whole chain.

CT: Will they be Naim products?

PS: They will only be Naim products. You will never see a Naim/Focal badge on a product together.

CT: What is in this for Focal?

PS: If we have an R&D team, we are not working in isolation. It’s good to have a load of friends and colleagues who can feed off each other and inspire each other in terms of thinking about a marketplace. So, straight away, there’s a cross fertilization of ideas and inspiration that’s there. They gain a very, very strong electronics partner, so with any of their needs for electronics, for instance, we can help them with guidance, supervision and all that kind of thing. If they are going to be involved in networked audio products -- you’ve already seen things like The Bird and some of their streaming products -- then they have a vision of how acoustics will evolve in the next generation of streamers and we have our vision of how electronics will develop, so, for example, there will be big possibilities to share a platform.

CT: So, what’s in it for    Naim?
    PS: The enormous freedom we get    from releasing this shareholding from a static trust to have millions of pounds pumped    into my R&D team to develop these particular products. Focal will end up owning Focal    and Naim. That’s the big picture and together it will be a hugely profitable    business. So the market will allow these two companies to grow and end up making a hell of    a lot of money and jobs for people. It is all about growth and development. The technology    crossovers are with R&D in terms of the next generation of electronics and streaming.
    CT: Will you still design and    build your own loudspeakers?
    PS: Yes, we already are. The    S800 has arrived and we have plans for an S200. We aren’t going to rebadge a Utopia.
    CT: Will you have access to the    Focal parts bin?
    PS: I would think that    absolutely we would have access to that.
    CT: To the Beryllium tweeter?
    PS: I am not sure whether it    would be appropriate for our design. Our speaker systems are designed using our solutions,    and everything we are doing right now is around the BMR technology in the Ovator range. If    we wanted to kick the BMR out and put the Beryllium in, we could, but it’s not really    about that. We’ve already conceived this idea and we believe there is a lot more    sound quality to come. The story isn’t finished with the BMR and the Ovator range. We    could ask them to look at cabinets perhaps. That could be interesting. They can make 3000    drive units a day. Could they make us a bass unit? Of course they could. Will they? I    don’t know.
    CT: So what immediate    differences, if any, are we going to see at Naim?
    PS: No one, retailers or    customers, will see any difference at all other than a step up in confidence from Naim as    we build for our future, because we are recruiting.
    CT: And your customer base,    which must be just about the most devoted and loyal. Will they still recognize the company    in the future?
    PS: Absolutely they will. Roy    George is still very active with design and he is the keeper of the voice of Naim. But we    are both really in caretaker roles. We add experience and move the brand forward.    Everything changes. As you can see from the forums, in some cases the jury is still out,    but from an end-users point of view, I don’t think you will see anything other than a    brand that grows stronger and makes great products.
    CT: Let’s look ahead, say,    three years then. What will be the picture then?
    PS: If everything goes okay,    then we will see Naim get stronger and stronger and have products that are even more    desirable than they are today under the Naim badge. There are no plans by Focal, who have    invested this money, to try and destroy something that has been built up over 30 years.    They understand the value of the brand.
    CT: It has been suggested that    this is really just a takeover, but what you are saying to me is that this is technically    correct, but one that leaves you with huge autonomy.
    PS: Okay. Let’s sort this.    The truth is that Focal & Co bought 100% of Naim shares. And the way this deal has    been managed is that, as part of them acquiring those shares, almost half of all the Naim    shares that they acquired were turned into Focal shares, so myself, the Trust, etc.,    anybody who was a shareholder of Naim, becomes a shareholder of Focal & Co. So I am    now a director of Focal and I sit on their board, but I am also personally a shareholder    of Focal & Co. that owns Focal/JMlab and Naim. But you asked what’s in it for    them? Well, some of Naim’s strength comes from the success that we have had in Europe    particularly, and we’ve got a good understanding of how that has happened. Part of my    job, sitting on the Focal board, is to pass on some of the experience of our success into    how we can help to influence the Focal brand to get stronger and have more market share.
    CT: Do they have an interest in    your in-car technology that you acquired through your successful experience with Bentley?    I know they make automotive audio products themselves.
    PS: Focal are extremely    successful in aftermarket, and we are not in aftermarket at all. Our design has been made    specifically for Bentley and all of the digital signal processing was made for that car,    so we can’t add to what they already do.
    CT: Will Naim continue with    Bentley?
    PS: Yes, we have a contract    with them and we are just finishing working on their new cars. We’ll see what they    think about our relationship with Focal. But we are still a British brand and we are still    British registered. That is important. Bentley is a strong company with strong vision, so    they will understand this move.
    CT: So let’s just talk a    little about the future of audio from your point of view. Is CD dead now?
    PS: I    don’t think so. I really don’t. There are still things to learn about CD replay    and making a good CD player. Is it difficult to get hold of some of the parts now? Yes, it    is, but if you look at the emerging markets like China for example, well, there are a lot    of CD players to be sold there. They are well behind the curve in terms of downloads and    although a lot of people have abandoned making CD players, I think we will see a lot more    come back.
    CT: Is streaming absolutely the    future?
    PS: I think it is absolutely    the future and that people will download music, store it in a particular way and there is    certainly the possibility of moving sound quality beyond where CD is now. The music    industry is in really good shape, apart from CD sales. More people are going to concerts    and there is more music being played in the home. Once you’ve got your music on an    iPhone or a computer, doesn’t it make sense to get a better amplifier or pair of    speakers? Storage is getting cheaper and cheaper, bandwidth is getting faster and faster,    control is now easier, so there are so many elements going in our favor that the people    who want a higher-quality experience will seek it out. Look, I don’t believe that    streaming is totally at the peak of sound quality today, but I think it has a future    beyond CD that is really worth fighting for. We’re not there yet. But it is the    challenge of having somewhere better to go that is exciting.
    CT: So, we met over 30 years    ago. It was a couple of weeks before you joined Naim, as I remember. Overall it has all    worked out okay then?
    PS: [laughs] Yes, it has and    the best thing is that today I really believe the audio industry has a great future, and    because communications are better and the business is so much more organized we are in a    much better position to take advantage because we are ready. I understand about the    process, I understand about the teams, I understand about the marketplace. We have very    well-defined distribution channels and the technology and communication paths to have an    effect worldwide. We can grow the business a lot and it wasn’t like that 30 years    ago.
    CT: I speak to people a lot    about streaming and there are as many opinions as I have ever heard about anything audio.    I have heard some mildly impressive results but never anything that, as a customer, would    make me want to make a large investment. I am quality driven and at this moment anyway I    would rather just put another CD on and enjoy that. As an audio writer I certainly need to    understand it, but as a music lover I am, as yet, unconvinced.
    PS: I know what you are saying.    I talk to retailers and say to them that, if they haven’t got streaming equipment in    the shop, and their customers have, then they’re getting behind the curve. I tell    them it’s your job to show them what you know, to help them set it up, to let them    get the best sound. You don’t need to sell it on the basis that this is better than    anything else, because they will catch you out if it’s crap.
    CT: So, then I should embrace    it?
    PS: Look, Chris. The lifeblood    to any true audiophile should be the music, and I know that is your heartbeat. For a lot    of audiophiles it’s not. It’s the kit. But access to music is a bit like feeding    your habit. If you’re not finding and listening to new music, then why have the kit?
    CT: I am with you 100%. The    real reason I have such a long history in audio is that I love listening to new music. I    need a constant stream of the stuff. I am a bit like a junkie, I suppose. Most of what I    hear doesn’t grab me. But I suppose it’s the promise that keeps me hooked.
    PS: Absolutely. And a lot of    this new music is going to be in the digital domain for download. This is why I love    Internet radio. Without that I would be listening to Radio 1, Radio 2 and the rest. Our    local radio station is terrible for new music. There’s a record shop in Salisbury    that is awful. Where do I hear new music? Because I am older and I’m not mixing with    a younger circle of friends I don’t get such constant recommendations. So, with my    Internet radio, I get access to world music and I can buy it at the push of a button. I    listen to Radio Paradise at 320k, where you probably listen to it on your iPhone at 128k.    Have a listen to this.
    

  

paul then played me some    high-quality Internet Radio through a Naim HDX. This is an imminent software release from    Naim that adds Internet Radio to the HDX HD player/server, and the updated app will    automatically allow complete control. I have to say that listening through Paul’s    system to such high-resolution music from radio was impressive, and I can’t wait to    install it on my home HDX. Paul compared 128k, 192k and 320k, though he was quick to point    out that he still didn’t feel it was as good as FM can be, providing you have an    expensive aerial installed on your roof.
    With the interview over we sat back to    listen to some music after all the talking. Paul played me some of his current favorites    and a number of very high-quality downloads from numerous memory sticks. This was a great    way to end what had been a long day. Sitting there, with the music flowing, gazing out    over an English country garden, seemed the perfect answer to all the questions I had been    asking. It is early, but I have the feeling that the Focal deal will work out very well. I    know that Paul is very comfortable with the situation. Julian Vereker had real foresight    when he offered him the job over 30 years ago.

来自英国的音响品牌Naim向来低调，即使在大陆音响市场最疯狂的时候，它也没有如它的其它“同宗”音响品牌一样在中国大陆音响市场大力开疆拓土，而是依靠代理商稳健地开发市场。表面上看，它失去了一次急速扩张品牌、赢取快钱的机会，但也许正是这种稳健的商业操作手法，当现在音响市场全面趋淡之际，凭借其产品的品质及声音特点，Naim却慢慢地在市场上凸现出它的优势了，颇有点“酒香不怕巷子深”的味道。
    介绍Naim的资料很少，尤其是中文资料，这对人们认识Naim这个品牌多少有些不利。实质上Naim在英国音响品牌之中，是定位于中高端市场的，它与Linn（莲）有许多相似的地方，产品上彼此也有竞争。Linn的市场操作很前卫，产品的设计也倾向于前卫时尚，声音的品质也很有口碑。Naim同样也是一个在声音品质及产品品质上均有极好声誉的品牌，但市场的操作很低调，显得有点缺乏“进取心”。产品设计很传统，将Naim的产品汇总起来看，你会发现许多产品的外形几乎都一样，色彩上也没有什么变化。Naim的设计观念很实在，他们认为音响产品是用于听音乐的，它不是时尚用品，与其将许多金钱用在外观造型上及无用的功能上，倒不如将这些资源和精力都放在实质性地改善重播音效上。以Naim的CD唱机为例，五款定位不同的CD唱机，CDS3、CDX2、CD5、CD5i、CD5X，彼此间，CDS3、CDX2的外形的基本轮廓相似，只是面板上有些变化，但传动机构相同。CD5、CD5i、CD5X有着相同的机壳，内里的传动机构也一样，至于其内里的数字电路板等，彼此间也有雷同之处。将产品延伸开去，放大器、AV放大器，要找类似的相同点就更多了。至于说到Naim CD机、放大器、调谐器产品的色彩，那是清一色的黑，连表面处理工艺也一致。这就是Naim的设计观念：不追求外在的变化与时尚，心思都用在声音的还原上。

    外观
    正如前所说，Naim CD5X CD唱机的外观实在没有什么特别的，面板是一个三区域设计，左边是CD播放盘，中间是一个Naim的标志，右边是操作、显示区，操作键只有四个：播放、停止，前、后选曲，连常见的图形标识也没有。显示屏只可以显示四种状态，即HDCD、time、repeat、prog，可以满足基本的使用。这里值得一提的是CD5X的CD播放盘用的是手拉式抽屉，将转盘及读取装置一体化的结构，要播放CD时，捏住播放盘面板上的钮轻轻拉出，将CD唱片放入盘内，将随机附的一个磁力压块放在CD之上（增加CD旋转时的稳定性），然后轻轻将这个抽屉式的播放盘推入机器中，听到“啪”的一声，此时就可以播放CD唱片了。用户对这种操作方法有褒有贬，贬是嫌其麻烦，褒则说其很有味道，有玩LP的感觉。
背板的端子很少，但很特别。CD5X的后背板上，只有一个联动控制的端子、一组RCA输出、一个DIN端子输出及一个供电源升级的端子，而光纤、同轴数字输出端口一概欠奉，也就是此机只提供模拟输出，没有数字连接口。不提供数字端口是Naim CD唱机的一贯做法。现在这样还算好的呢，总算提供了RCA输出端口，早年它家的CD唱机可是只有DIN端子输出的。这可能与Naim喜欢自成系统有关，因它的产品涵盖音响的方方面面，从CD唱机调谐器、放大器、音箱一应俱全，且都是成系统设计，所以发烧圈也有这样的共识，就是听Naim要听一套，否则很难听出Naim的音乐味。Naim很负责任地将CD5X的DIN端子的各脚与信号的连接以图的形式放在此端子的上方，有助于使用者了解。电源升级口也是CD唱机的一个特别设计，厂家有特别设计的一个电源可以与此CD唱机连接，不过价格不菲，约是CD 唱机2/3的价钱。由于价格昂贵，所以没能一齐拿下，所以也就错过了试听的机会，不过据代理商介绍，用了此电源，声音的改善很明显。

    内部布局
    要打开CD5X的机盖有些小技巧，必须先用附机配的螺丝将唱盘锁紧，再将机箱底部的几个暴露在外的螺丝旋开，这时还是打不开的，记住在靠前面板的下方有一个用塑胶盖住的小孔，将此塑胶盖挑开，旋动螺丝才可以将机箱打开。
    CD5X的内部工艺及处理很漂亮，也有许多与我们传统的设计思维不一样的地方，例如这机器的内部就没有任何屏蔽措施；长距离的引线采用的是硬质导线架空连接，且数量不少，这让人联想到胆机的搭棚焊接。看来Naim的设计是另有一套，如能深入地解剖Naim的产品结构，也许对我们的音响设计师会有所启示。
    英制音响所用电源变压器小是公认的，至于CD唱机用的就更小，但CD5X却出人意料地用了一个超大的电源变压器，其体积大小若出现在英制放大器上，是75W×2的这样的规格的机器上才会用到。此环牛用黑色的纺织品包裹，显得很有档次。从变压器引出的两组输出及一组输入及控制用的导线采用不同的颜色及规格加以区分，电源高压端的绝缘保护做得非常好，让人有绝对的安全感，也让人对Naim的认真，严谨的制作肃然起敬。机内电源变压器、转盘约占3/5的位置，线路板分两块，一块是电源与数字电路，另一块是模拟输出及升级电源接口部分，两者加在一起约占2/5的容积，显示电路板直接安装于前面板后面。
    CD5X的电路设计很有特点，从线路板的布局看，电源及数字电路处于同一块电路上，D/A转换用的是BB公司的PCM1704，数字滤波用的是Pacific Microsonics的PMD200 HDCD芯片，这两片IC属常规设计，唯一不同的是一块Naim自己“写”的IC，相信是用于Naim机的互联控制用。让人大惑不解的是电源变压器只有两组输出，但却用了19个三端可调集成稳压器LM317。LM317的用途无非是做稳压及恒流源，从中可以看出电源的稳定在Naim的设计师心目中是何等的重要。两组电源都用了一个巨大的整流桥做整流，这本是小功率的整流二极管就可胜任的工作，CD5X这么设计，想必有其道理。电源滤波电解电容器只有三个，一个10000μF，另两个分别为4700μF，品牌为BHC，产于英国。此部分电路大多数都采用表面封装元件，工艺处理相当到位。
    模拟放大及输出电路采用了许多分立元件搭建，模拟放大IC用的是BB公司的OPA604AP（共四只），电源供电显然是由电源及数字电路板提供，不过此电路上仍然用了4个LM317集成稳压器。所用的电阻、晶体管及电容比较考究，尤其是电容，不同的工作场合，使用不同介质的电容，看来从声音考虑居多。不过同样令人迷惑的是，电源升级从电路结构上看主要是针对模拟放大、输出电路这一级的。用于升级的另购的专用电源万余元的售价，就为了这，值吗？为什么不在设计此CD 机时一并考虑？声音的改善与投入成正比吗？的确让人疑惑，但Naim的设计师这么做，也许有他们的道理，看来有机会一定要试这个让人疑惑的升级电源。

    指标重要吗
    指标很重要，但不是绝对的。说很重要是针对产品而言，那是一个标准；说不是绝对那是指标与声音之间似乎也不是绝对的对应的关系。另外，同为指标，还要看是何种条件下测得的，这反而更重要。CD5X的技术参数并没有很令人惊喜的地方，而且很特别的是CDX3、CDX2、CD5i、CD5X给出的都是相同的技术参数：如频率响应：2Hz-20kHz+0.1dB-0.5dB，失真：<0.1%（10Hz-18kHz满电平），这是厂家最常标注的技术参数，对于频率响应参数及失真，±3dB测得的频响与10kHz下测得的失真与上述的技术参数那是有很大的不同，这是需要加以注意的。不过Naim厂方在CD机技术参数中罗列的其它几个数据及说明倒是很特别，如相位响应、去加重等，这是绝大多数厂家都忽略的数据。Naim的音响产品的声音有被公认的好声，从它给出的参数来看是保守、朴实、可信的，是传统CD唱机的路子，但是它的一些在别人看来无关紧要的数据与说明，却是很详尽具体，说明它是有实力的，好声是有基础的，这也是令我仰服的地方。

    操控
    CD5X的操控不复杂，面板上的功能键只能应付简单的操作，随机所附的遥控器大小适中，操作起来也还算顺手，不过其键钮的排列实在不敢恭维。这款遥控器显然不是CD唱机专属，是Naim的CD唱机、调谐器、放大器通用的。本来这没有问题，只需按区规划好即可，但显然这款控器没有按我们常用的思维去设计，或者说设计者与我们的考虑不同，所以键钮的排列有点乱，加上只有英文标识，极少图标，使用者需要有一个适应过程，所以CD5X的遥控器设计上应该扣分。遥控器可以完成CD机的所有操作，读取的时间很快，加之有字型够大的显示屏的帮助，使用起来还算顺手。

    声音评价
    CD5X显然是为听音乐的人士而设计，它也许不是以追求音场及细节为目的的发烧友之首选，但是在认真听、听久了CD5X之后，你对音场及细节的过分追求会有所动摇。玩音响的目的应该是听音乐，能使人感动的器材才是最值得尊敬的。CD5X就是属于能感动人的音响器材，它的声音、韵律感很好，节奏起伏流畅，声音有厚度且有真实感，而且这又是在不丧失重要细节的前提下给出的。它的低频也显示出相当的质量，有厚度且松软自然，这是十分难得的。至于谈到全频段的平衡性，我想在常规的频段内，十数Hz到20kHz之内，Naim有它的优势，而且在中频段这一块，Naim处理得特别棒，也许是他们深深明了：人们可以听到的大部分声响的频率都在于此，所以研究的重点也在于此，这也是Naim高人一筹的设计理念。在SACD的风头下，HDCD已被人们渐渐谈忘了，在英制的CD机上还会被强调，在美制CD机上只能算是“附属功能”，在日制CD 机中，也已逐渐被忽略了。属于英系的CD5X保留了这个功能，不仅是所用解码芯片带有此功能，而且厂方是很认真地将这一功能发挥，播放HDCD时声音的细节有明显的改善。
    Naim是很有特点的音响品牌，CD5X自然也会带有其浓厚的声音特点，那就是音乐味，为听音乐而设计是它的追求也是其产品的特色。正因为特点鲜明，所以褒贬不一。不过从中立的角度看，音效派也好，音乐派也好，他们都是有追求的，彼此也有互通的地方，听听何妨。说不定听完之后你的观点也会随之而变，我深信Naim的CD5X多少有那么点魔力。

Naim的cd player設計方向
Naim音响公司采用大部与钗h低档机所用的相同的集成电路，作出了价值高达3000英磅的cd唱机。该公司的创始人Julian Vereker的说法如下，音响工程是最难解决的电子学课题之一，“必须处理15种8度音和100dB的动态范围”。他的音响获得这些指针的方法，是以系统来消除薄弱环节的问题。Vereker说，包括大部分数字电路的芯片组并不是薄弱环节。 该公司采用的是菲利浦公司的芯片组，包括译码器，侦错电路，数/类（D/A）译码，伺服驱动器以及雷射读取芯片，Vereker说“我们假定，菲利浦公司当时在设计这些芯片时，很明白这些芯片将用来做什么，我们相信他们的设计”。这与其它一些音响公司在努力改进性能时，总是把眼睛盯住所用的器件和技术的来源形成鲜明的对比。虽然有的公司已从器件方面得到了些好处，但另一些公司从中尚无所获。

然而，Naim公司却把眼睛盯住整个音响系统，这样能得到显著的改进。值得密切注意的一环是D/A转换器后面的抗扰频（antialiazing)滤波器。D/A的输入信号频率为44.1KHz，位数为16位。由于音频带宽仅仅延伸到20kHz，所以，有人相信，要把数字量化（噪声）移去，只需要简单的模拟滤波器。

事实上，模拟滤波器可完成更多的任务：对付急剧的下降（Steeproll off）的幅频特性，Naim公司采用了七极点设计的滤波器。这样做有两点理由。第一，虽然20kHz以上的频率，理论上不是音频，听不见，但威克尔相信：高频噪声对音质有影响。第二，电路的数字部分引入了显著的相位线性误差。即使不发生错误，也会产生某些奇怪的效应。还有就是要正确感受到声音的空间立体效应，两路立体声信道的相位必须匹配。

该滤波器由标准运算放大器做成。Naim公司的工程师测量了数字芯片的性能以及计算模拟相位响应的数据。从中他们开发了一种滤波器，在整个频率范围内，可产生接近线性的相位响应以及平坦的频率响应。Naim公司在cd唱机的开发中，一个起重要作用的因素，是颤噪声（Microphong)效应的识别。Vereker观察过去所用的集成电路，除了发现硅器件对振动灵敏外，其它未发现什么问题。单个晶体管一般无问题，但公司已避免采用运放电路，因为当输出端噪声显著时会出现振动。

cd唱机的设计除了采用集成电路外，又别无选择，按Vereker的说法，所用的大部份数字芯片都有颤噪声。解决办法是把印制电路板用弹簧将它与激光唱机底座在机械上隔离开来。细心设计的三支弹簧将会把产生的振动阻尼掉。

将激光唱机的转盘隔离也是必要的，因为激光的聚焦情况以及转速都可能受振动的影响，顺便提及，弹簧需要很仔细地选择，因为最后受阻尼的振动并不一定为伺服驱动器或光拾音器电路时间常数的子谐波（submultiple）

Naim公司进一步采用了夹紧的设计，将激光唱片保持固定在转盘上。钗h厂家采用了牢固地夹紧措施来保证无滑动。但是，这样却能很可能把伺服电机的振动传送到光盘。Naim公司采用光磁夹紧（light magnetic clamp）方法来保持光盘既足够牢固又能使振动的影响减到最小。Vereker借助于实验：把机器固定在实验室的实验台上，测量激光唱机的输出频谱表明，当电路板有弹簧时，噪声跌落40dB，这是对那些认为把注意放在降低振动上是陈腐的观点的一种驳斥。

另一种潜在的薄弱环节是电子电路的定时。Vereker说“在模拟电路中要处理频率和幅度，但在数字系统中，处理的是时间”。他估计在cd唱机中的定时要精确到10的负九次方秒。当信号被重复计时时，误差会导致产生晃动，从而使音频输出发生畸变。

时钟本身是石英晶体，因此没有问题。但是印制电路板的布局是重要的，因为长的引线或电路走线会引起时延。Naim公司在它的印制电路板布局，减少尺寸以及合理走线方面花了很大精力。射频设计所用技术和方法都使用了。最值得注意的是采用大量的弯曲走线来减小急剧的阻抗变化。

电源噪声也是对数字信号有影响的。首先Vereker假定，cd唱机并不需要像模拟放大器所需的低噪电源（在模拟放大器中，电源噪声直接成为音频噪声）。但是，电源噪声窜入数字信号将会产生显著的定时误差，使音频输出发生畸变。要克服这些，归根到底cd唱机必须要用合适的电源，它在性能上要与最好的模拟系统所用的电源等效。

雷射头是cd唱机中的另一个要求严格的器件，尽管菲利浦提供的电路工作得不错，但考虑到它们集成在系统中，潜在的问题还是有的。cd唱片有一系列的凸起部分，这是在压制时产生的，它代表了音频信号。盘的表面是镀的，所以反射性能很好。

来自红外线二极管的光经聚焦射在唱片上。当光射中镀银表面的平板时，光被反射回去，但是，当光射中凸起部分时，光就被散射，检测器接收不到红外光线。于是，当散射光能从雷射转盘机构的其它部分反射回来时，问题就发生了。这些光大多没有什么影响，但是，常有足够光到检测器，从而引起误差。

这种误差对音频信号的影响是难以定量表示，但人耳的感觉却是很清楚的，Vereker把它的作用描述为使声音像敲“破铜烂铁”（“brash and clangy”）。解决的办法是把红外吸引涂料涂在有问题的地方，因为在正常的机械运转时，涂料可能被频繁地碰触，这样会降低涂料的吸收性能。

Naim公司把激光唱机作为一个整体来设计，反映了系统设计师有价值的战略眼光。集中在系统元器的精力是很少的，因为元器件已经工作得不错，这时从重视其它方面可得到更显著的收益。Naim在超级Hi-Fi系统方面的声誉卓著，其中原因之一就是很重视注意到一些细节。总之，凡影响音质的每个环节都要进行分析，试验和评价。

我们需要把系统作为一个整体来理解，凡影响最终性能的每一方面都要进行分析，试验和评定。对系统设计来说，把眼光只盯在对性能有最显著影响的元器件，常常不是最佳的方法。

http://bbs.hifidiy.net/viewthread.php?tid=517289

Naim Supernait integrated amplifier
By Art Dudley • Posted: Jan 30, 2008
"We've tried making it more powerful. When I was away on holiday, some of our people cooked up a more powerful version and presented it to me on my return. It sounded awful."

That was Naim Audio's founder, the late Julian Vereker, MBE, talking to Sam Tellig about the 15Wpc Naim Nait 2 integrated amplifier, as reported in the April 1990 Stereophile (Vol.13 No.4). His words were the first thing this ever-cynical reviewer thought of upon learning that, some seven years after Vereker's death, the company he left behind had been rattling those same pots and pans.

Then again, after 23 years of writing about domestic audio, I've come to where I can tell when a company is promoting a product simply because they must, and when there's some sense that the thing they're offering is special. And it's obvious: Everyone at Naim thinks that the new Supernait integrated amplifier is really special.

So my hopes of pre-judging a new audio amplifier were once again dashed: I would have to get my hands on a Supernait, read the owner's manual, install it, and use it to play music. Most of which seemed like a pleasant idea, once I stopped to think about it.

Description
A considerable increase in power is not the 80Wpc Supernait's only calling card: It also contains a 24-bit D/A converter, addressable through any of five S/PDIF inputs: two RCA coaxial jacks, two TosLink optical jacks, and one front-mounted 3.5mm "mini-TosLink" jack, the latter for use with portable media players, which also accepts analog signals. That's a remarkable thing, made all the more remarkable by the fact that Julian Vereker also scorned the idea of having D/A converters and their datastream sources physically separate from one another. It's getting so a fella can't even leave the planet for a few years without other people coming in and stirring the pot.

The Supernait's digital input section begins with a Crystal CS8416 receiver chip, which identifies the incoming datastream as 44.1, 48, 88.2, 96, or 192kHz. Conversion is handled by a stereo 24-bit/192kHz D/A chip from Burr-Brown. As the owner's manual states, the Supernait's digital circuitry is designed to recognize stereo PCM datastreams only; its digital output will be muted in the face of DSD, DTS, or other such data. Absent a recognizable digital input signal of any sort at any of the five inputs, the S/PDIF board powers down altogether, in an effort to maintain the purity of an alternative (analog) signal.

The Supernait's analog inputs outnumber their digital counterparts: There are six in all, most of them addressed by both RCA jacks and Naim's traditional DIN sockets. (Where both exist for a given input selection, the two types of jack are wired in parallel with one another.) The DIN input socket reserved for Aux 2 also contains a 24V DC output, to power one of the company's outboard phono preamplifiers. (Typically, that would be the Naim Stageline, although I imagine the company's Prefix, specific to the Linn LP12 turntable, would work as well.)

Unlike other recent integrated amps, the Supernait incorporates a fully active line-level preamp, said to be derived from class-A circuitry developed for the company's flagship NAC-552 ($28,100 including companion power supply). Volume and balance are controlled with very-high-quality potentiometers—I heard not the slightest trace of degradation when adjusting the latter to the left or right of center—which are motorized for use with Naim's standard remote handset. I was very happy that the serenely attractive Supernait lacks a digital display; instead, it has a single tiny LED each for the volume and balance knobs, and equally subtle illumination for the soft-touch selector switches. (I can also live without knowing which digital sampling frequency is in use at any given time, though not everyone may share that indifference.) Sadly, unlike the NAC-552, the Supernait has no mono switch.

The output section of the Supernait's power amplifier, derived largely from Naim's NAP200 amp ($3100), is biased to operate in quasi-complementary class-B. That's very much a Naim tradition, albeit one that Julian Vereker suggested wasn't a strict requirement for good performance, but merely an architecture within which he was comfortable working. (Vereker also thought it possible to make an excellent-sounding tube amp, but disliked working with such high voltages.) According to some Naim insiders, the quality of their power transformers—designed in-house and sourced from the same company for most of Naim's existence—is among the keys to their amplifiers' musical success. One staffer told me that Naim has actually looked into the idea of using switch-mode power supplies in some products, going so far as to build a couple units of the company's classic NAP250 using such a thing—but the noise levels were always unacceptably high compared with the more traditional approach.

Setup
A pioneer in recognizing the need for good power-supply design, Naim Audio has also distinguished itself with an original approach to power-supply implementation. Almost from day one, Naim has made sure that all of their low-level circuitry is kept as far as possible from the power-supply circuitry that feeds it, and that all amplification circuits use a central point within that remote power supply as a common reference for zero voltage potential: a system-wide star ground, if you will. That philosophy has given way to a commercial line in which remote power supplies are available for many of their products—as standard items or, just as often, as upgrades representing various levels of cost and refinement.

Naim Supernait integrated amplifier Page 2
    
          So it goes here: As a first step, one can upgrade the performance of a Naim Supernait with the addition of a Naim FlatCap2x power supply ($1150), whereby the latter provides a cleaner, stiffer, and altogether more serene 24V to the analog preamp section of the former. After that, the HiCap2 ($2050) and even SuperCap2 ($6350) power supplies may be applied.The potential for upgrading a Supernait doesn't end there: One can also buy any of Naim's separate power amplifiers, for use in place of the Supernait's own, by means of its preamp-out jacks. Or, a Supernait owner who has biampable loudspeakers could buy that extra amp and, via an entirely different set of jacks on the Supernait, use it alongside the Supernait's own.

I didn't do any of those things, but I did borrow a Naim Stageline-S phono preamplifier ($485), which I connected to the Supernait's Aux 2 socket using the 5-pin-to-5-pin cable Naim supplied for that purpose, for signal and DC power. Beyond that, there was nothing extraordinary about my Supernait installation. I used it in two different systems, on two different, lightweight tables, but otherwise paid no special attention to siting or isolation. I used only the 14 AWG power cable that came with it. And I mostly used Naim's own NACA-5 loudspeaker cable, terminated with Naim's 4mm plugs—although I took a chance and also tried my own 6m pair of Auditorium 23 cables, which are at least superficially similar to Naim's own stranded-copper cables. Nothing blew up, and the system sounded good; I seldom ask for more than that.
I noticed one good thing right off the bat: The Supernait didn't produce the same loud switch-on thump I've come to associate with earlier integrated amps and preamp-amp combinations from Naim, more than a few of which I've owned over the years. That's reportedly because the Supernait uses separate internal power supplies for its switching circuitry, along with its digital circuitry and front-panel microprocessor. Thus, the analog preamp and amp supplies aren't stressed when the power switch is thrown.
The only glitch I encountered was when I first connected the Naim Stageline-S phono preamp to the Supernait's powered DIN socket. I muted the amp before doing so, but in the interest of keeping the Supernait fully warmed up, I neglected to turn off its power switch before remaking the connection—which is clearly warned against in the manual. The tiny but inevitable bit of DC noise that resulted triggered the Supernait into a forced mute mode, where it resolutely remained for 30 seconds before returning to normal. During 29 of those 30 seconds I held the heels of both hands against the sides of my head and muttered a profanity over and over, directed at myself. I learned a darn good lesson that day.
Listening
My first music experience with the Supernait came courtesy of the Tone Poems album by mandolinist David Grisman and guitarist Tony Rice (CD, Acoustic Disc ACD-10). Listening to the Supernait in place of the Quad II amps that usually drive my Quad ESL loudspeakers, with my Sony SCD-777 SACD/CD player driving the Naim's analog inputs, I was struck at first by how much larger than usual the two instruments sounded on the first track, "Turn of the Century." The Naim was also more explicit than my older tube amps, and gave good insight into the minutiae of Grisman's and Rice's playing techniques: slurs, slides, subtle dynamic nuances, and the like.
On that disc and the others that followed, the Supernait displayed the sort of overall tonal balance that one might think of as the Naim "house sound"—or at least an updated version thereof: Its treble extension was a bit rolled off, compared to that of other modern amps, but not so much as to make it sound dull. Indeed, this incarnation of the Nait integrated was the airiest and most open yet—and I've heard them all so far. Throughout the rest of the sonic spectrum, the Supernait continued the trend that seems to have blessed virtually all of the company's electronics and CD players over the past five years: The sound was less "gray" than earlier Naim products, with more timbral color and texture, albeit not to the levels of same that one expects from very good, very low-power tube amps.
A few days later, having left the Supernait to warm up and run in as much as possible, I returned to Tone Poems—but this time I bypassed my Sony's internal D/A converter, connecting its transport to one of the Supernait's (coaxial) digital inputs. The sound was darker still—pleasantly so, although I wouldn't have wanted any less in the way of treble extension. At the same time, I found it easier to relax with the music, and to follow and make sense of the melodies: My system sounded just a shade less "hi-fi" with the Sony's transport addressing the Naim's digital input.
Using the Naim's digital input to play the Del McCoury Band's cover of Richard Thompson's "1952 Vincent Black Lightning," from Del and the Boys (CD, Ceili Music CEIL 2006), my impression was of greater-than-usual musical precision. Mike Bub's acoustic bass line was a model of pure momentum and insistence coupled with truly metronomic accuracy. Bub's intonation, too, came over as dead right—and I dare say that pitch uncertainties were banished to such a great extent that more timbral clarity was able to come through as well, despite the darker tonal signature. Throughout the spectrum, in fact, clutter was banished in favor of order and precision. Rob McCoury's tonal shifts on the banjo—muting with the palm of his hand, altering his distance from the instrument's bridge—were preserved, and were signaled with greater clarity than by any other amp in the house, save for the Shindo Masseto preamp and Cortese amp.
Listening to Joanna Newsom's brilliant Ys (CD, Drag City DC203CD), with its generally rich, predominantly acoustic arrangements, it was again clear that Naim has made real progress since the very first, mildly clangy-sounding Nait integrated from 1983, in terms of preserving texture and color without compromising the signature Naim strengths of good pitch accuracy and timing. The new Naim sounded especially rich in its lower registers—the sheer thrum of Newsom's Lyle and Healy harp was superb, with very good bass weight and depth. Again, trebles weren't as extended or airy as some would like to hear, nor were the highest overtones quite as delicate and sinewy as with my tube gear—or, for that matter, the very good combination of DNM 3D preamp and PA3_S power amp, which is also in house. The DNM and Shindo combos also did a better job of bringing the voice forward from the rest of the mix, as well as "freeing" the sounds of the strings from everything else, and capturing a more human feel throughout. But the Naim had tremendously good moving clarity, for lack of a better expression: It was explicit at showing me where each line was going, as in the dramatic ritards at the ends of some sections in Newsom's "Emily."
Soon after sorting out the Naim Stageline phono preamp and its connections, I played an impressive vinyl reissue of Dexter Gordon's One Flight Up (LP, Blue Note/Cisco Music BLP-84176)—highlighting, in the process, many of the same strengths described above. The Donald Byrd composition "Tanya" opens with a simultaneous snare-drum stroke and a low B-flat on the upright bass, leading into a steady ride-cymbal pattern. The Naim, ever the rhythm section's friend, truly nailed the excitement of every such downbeat, and maintained a high level of musical excitement throughout the entire 18-minute piece. It nailed the color of the bass and the reeds, too, and gave a good sense of the sheer temporal randomness of Kenny Drew's piano chordings. The only thing lacking was the last bit of delicacy in the cymbal work, which sounded less mechanical and even somewhat more melodic, if you will, through my best tube gear.
In keeping with all of my earlier Naim experiences, the most important aspect of the Supernait's performance—the thing I found myself jotting down in my notes, again and again—was not the treble this or the imaging that, but rather the success with which the gear disarmed me and made it easy to enjoy the notes and the beats. I was sold on the Supernait—the concept and execution, if not the merchandise itself—when I used it to listen to Elisabeth Schwarzkopf's lovely recording of Strauss's Last Four Songs  (LP, Angel S 36347). The music began to draw me in with the first notes; two dozen measures later, when the sound of the orchestra unfolded and became huge, it was obvious that the Naim knew just how to play it: follow the drama, the curves of the melodies, and the change in intensity when the singer leans into it. Make her voice sound like her voice. Make it big when it's supposed to be. Don't add any noise. Finis.
Conclusions
Back in 1983, the Naim Nait integrated amplifier was introduced as a sort of bare-bones, hair-shirt entrée to the world of Naim amplification—which was then and is now demonstrably different from everyone else's world. It sold for around $500.
In 2007, that particular torch is carried well by the Naim Nait 5i, which sells for $1495. All things considered, today's entry-level Naim is only a slightly greater investment than the original, even though its shirt is less hairy.
The Supernait is something different altogether—and demands a different sort of comparison in terms of performance and price. Apart from the vintage pieces I've owned and enjoyed in recent years, my last Naim preamp-amp combination, purchased new, was an NAC72 preamp with HiCap power supply and an NAP250 power amp. The Supernait sounded somewhat better than my memory of that system, and played music almost as well. I would still give even an older NAP250 a slight edge in terms of sheer musical momentum.
The new Naim is the most well-made Nait: on a par with Naim's top electronics, with a build quality that befits a $4950 amp. The question remains: Does the Supernait deliver $4950 worth of music? To answer that, one has to keep in mind the uniqueness, and the evidently good engineering, of its onboard D/A converter. If you lack the ability or the interest to take advantage of that feature, then I don't think the Supernait would be a very good value for you, fine and flexible though it is. But if you intend to couple it with a similarly good datastream source—and I can't help wondering what, if anything, that implies for the future of Naim's CD-player line—then it's hard to imagine a $5k investment delivering more genuine musical involvement and satisfaction. The Supernait is a bold move on Naim's part; having now lived with it, I can tell why they're proud.

原帖由 zunertel 于 2011-11-17 22:18:00 发表 Naim太过保守，设计上没有平衡输出绝对是败笔，市场是在发展的。 所以，Naim这几年的业绩不理想，现在只能被focal收购

尽管业绩不良,可人家的价格却非常坚挺.欧洲人真会做生意,好像奢侈品的买卖决不降价!

漁樵耕讀 拓樸音響黃智鈺
劉漢盛

與黃智鈺談畢，他說他的需求其實很簡單，就是喜歡音響喜歡音樂。他也不期待能夠賺很多錢，就像古人能夠打打魚、砍砍柴，維持日常生活。晚上則看書度日，這樣的人生就很有意義了。沒錯，人一生如果能夠鍾情於一件事情，盡全力去做好它，也就不枉此生。拓樸音響規模很小，產品也是有一搭沒一搭。但是他家所做出來的東西不是大量生產的產品，而是黃智鈺的作品，那是他智慧與哲學思考匯集而成的個性化作品。
一、請向音響論壇的讀者介紹您以及您的公司
二、當初是什麼理由促使您進入Hi-End音響工業？
這二個問題我一齊回答，因為它們互有關連。我在學生時代就對音響很有興趣，後來會進入「音樂與音響」雜誌也是想開拓視野。記得當時在台北博愛路有一家華府音響，店裡有一件機器引起我的興趣，那就是McIntosh。藍色的表頭，黑色的玻璃面板，非常高雅漂亮。別人可能關心聲音怎麼樣，要多少錢。而當時身為專科學生的我根本買不起，不過因為學的是工程，所以對這種器材到底怎麼做出來的深感興趣，怎麼會有人有這種才華去做出這麼有魅力的器材？也因此心裡一直很嚮往。直到現在，老實說，雖然McIntosh的聲音不一定為某些音響迷所認同，不過我覺得它還是實力派的產品。有如果有機會的話，有一天我還是會買一部來收藏。
畢業後大約半年時間在一家電視製作公司任職（當時製作『綜藝一百』），由於覺得興趣不合，因此就離開了。基於學生時代我就曾以筆名投稿「音樂與音響」，寫Luxkit的文章。離職後就跑到雜誌社求職。在雜誌社遇到梁中鍔，他見到我就說我們正在找你啊，既然要找工作，那麼來上班吧！。就這樣我進入雜誌這一行，那時大概是1984年吧。
當時對雜誌完全沒概念，進去的第一天剛好雜誌社從杭州南路搬到信義路，我的第一份工作就是搬書。後來從助理輯採訪等工作開始，也幹得很起勁。日後被調到「音響技術」。老實說當時「音響技術」已經遭遇問題了，不是財務問題，而是路線問題，當時的創始人梁清一已經把興趣轉到電腦上。時代逼著你不得不從音響DIY轉到別的方面，開了幾次會後，決定停止「音響技術」而轉成「高傳真視聽」。轉型「高傳真視聽」之後，我任副總編輯。雖然年紀很輕，不過資歷還算完整。大約三、四年後，我又回到「音樂與音響」任總編輯。
在「高傳真」任內，我最自豪的就是「我們要走出去」。當時不比現在，國外廠商來得少，也少有產品發表會。我決定要走出去，不僅是去採訪日本電子展，美國CES，還要去採訪國外廠商。其實，這些動作就是因為好奇：你的東西是怎麼做出來的，你的想法到底如何？不過，老實說大部份廠家都是應付而已，只有少數幾個廠家能夠真正告訴你我的東西是怎麼做的，我的邏輯是什麼。
總結的說，我會進雜誌社，其實就是為了想要製造音響而做準備。為了製造音響這件事，第一天上班我就跟梁清一吵了一架，因為他認為這是最沒有出息的事。多年後我們還談到這件事，他說多年前他到美國，看到電腦能做那麼多事，感到很震撼，他看到電腦業的未來，所以興趣就轉移了。當時還是AppleⅡ之前的時代，音響套件生意還很好。不過也可能因為他與套件廠商都很熟，早已看出音響套件只是典型台灣小手工業，遠景不可期，規模也不大，所以想法才改變的。他的看法絕對是正確的，他是台灣少數從最基礎開始把電腦搞懂的人之一。
想想當時最快樂的事就是進入梁清一的辦公室，看著滿牆那些MJ雜誌、無線電的技術等等書就很滿足。第一天見面，我就跟梁清一借書回家看了。當時梁清一看清音響套件市場而離開，多年後我回頭看這件事，也有一種感想：人一生只要找到一件事情能夠鍾情，好好去做，也就不負此生了。有時候，不是每個人都在乎能賺多少錢。
我的電子知識是自學的，學生時代，我的電子學可能就比系主任還好。那個時代他們留洋所學的已經是電腦了，像類比這麼基礎的東西他們並不在意。可以說我對電子的知識是自學的，但是我對音響的見識卻是在雜誌社裡得到的。
從高傳真回到「音樂與音響」這段歷程可說是救火隊。當初「音樂與音響」會辦得好的原因有二，第一是他開風氣之先，當初就只有音樂與音響，唯一的必然是最好的；第二的原因是憑張先生的才華，辦「音樂與音響」可說大才小用。所以它可以辦得高水準。可惜張繼高先生有更重要的事情在做，可說在中期之後就早已不管社務。「音樂與音響」在沒有領導者之下又走了好多年，編輯風格固定，廣告營還算穩定，但是並不好。最後，還是開始虧損。
當時「音樂與音響」已經累賠了好幾年，可說賠掉了好幾個資本額。而如果要論夠資格接「音樂與音響」總編這個位子的人，台灣在我前面至少也有一千人，我是排不上的。為什麼，因為擔子太沈重了。第一是財務上的，已經賠了這麼多年，還有誰要賠下去呢？第二是文化上的，在張繼高底下，到底誰有資格來接這本雜誌？以張先生的資格來講，他是可以出任文建會，可以出任新聞局的人。所以我接下這個擔子其實是那個時代的扭曲。
總之沒人要接，在最後一次開會時，擺明如果沒有人要接就是要停刊了。最後，我跟董事會說，讓我去找一個人，假如這個人願意接手，財務問題可能暫時可以解決。這個人就是承奇的徐文進先生。當時承奇剛崛起不久，在我與承奇徐文進先生的交往下，我認為他這個人是個人物，而不是普通的商人。徐先生聽了我的提議之後，很爽快的說馬上回去與董事會商量。很快的，在二、三天之後就答應了，OK，接下來。
就這樣舒緩了「音樂與音響」馬上辦不下去的困境。財務問題解決之後，就要解決人的問題。當時我建議由林宜勝先生來接總編輯，因為從各方面的條件資歷來說，他都夠資格，可惜後來還是沒成功。就這樣我接下總編輯這個位子。
接總編輯半年之後，我就知道這樣還是做不下去。為什麼？「音樂與音響」已經與時代有斷層了。你想想看，當時的一些老作者有東海大學的系主任、文化的系主任等等，他們恐怕沒有辦法相信他們是在跟一個三十歲不到的總編輯在談。「音樂與音響」必須改變，這之間我們也嘗試變了二三次，但都沒有成功。我也與張先生商討過，可惜當時他太忙，真的沒有時間來顧這邊。記得當時我們連他的「知音人語」都要派人去站崗才拿得到，因為他在主持民生報的「民生論壇」，它的影響力遠大於「音樂與音響」，你說他怎麼會有精神寫呢？
因此，「音樂與音響」名義上有我這個頭，但事實上卻像沒頭一樣，沒有人拉得動這部老車。那麼大那麼重的車要轉向，前面沒有軌道，到底要怎麼走？而且這還需要心理建設，老實講以黃智鈺要去改變張繼高的東西，這是萬萬無法想像的事，所以它還需要很多年的心理建設。
在我接手的幾年間，還是一直在討論一個問題：總編輯到底要由誰來接？後來有一次張先生告訴徐文進先生說，「音樂與音響」由年輕人來做可能會不行，但是由老人來做萬萬不行。由此可見，張先生也是贊成改革的。可惜這個改革來得太晚了。
後期，雜誌的財務有些改善，但並不是靠著雜誌本業，而是靠賣套件，它在財務上的幫助很大。其實那也就是我開拓樸的前兆，因為那本來就是我的興趣所在。只不過繞了很大圈才實現我的夢想，而且是非常意外的實現。
後來，我實在承受不各種壓力，提出辭呈。我當初提出來的看法是這樣的：第一，張先生過世之後，代表那個時代已經結束，在那個時代的好雜誌許多也停刊了，像文星，像婦女雜誌。這代表著上個時代的雜誌無法以舊有的方式走下去。第二個是體質的問題。在當時那麼多本雜誌中，「音樂與音響」的體質最差，負債最多，包袱最沈重，如果該停，第一個要停的就是「音樂與音響」。而且早在四年前或更早，張先生就認為應該要停刊了。對他而言，停掉「音樂與音響」並不是了不得無法接受的事情。後來雜誌一家家停刊證明我的看法是對的。我辭了之後大約半年，承奇又開始做，後來這些事大家都知道了。
三、在過去那些年，有哪些設計者或產品對您產生強烈的影響？
假如跟這個店有關的，影響最強的應該是Audio Note這個品牌與該公司的Peter這個人。他帶給我的影響包括他第一次介紹「Sound Practice」「美聲實作」這本雜誌給我。當時這本雜誌還是影印的，小本的地下雜誌。當時也恰好是我音響觀上的一個分歧點。這麼說好了，我「貴」為總編輯，可以接觸到世界上最好最貴的器材，但始終覺得有一鼓反省的力量在腦海中：我已經是少數能夠接觸那麼多又貴又好器材的人，但是我對那樣的聲音還是不滿意。如果連我都這樣，那麼其他人怎麼辦呢？印證這十年的經濟情況，可以發現那個時代名不符實的產品太多，大家拼命做貴、做大的器材，但是實質上聲音卻不是那一回事。這讓我在精神上覺得很苦悶。
當時，Peter的觀點也與我一樣，他認為當時的音響科技只是「Bigger Technology」。原來十對功率晶體的，增加為二十對。技術本身並無不同，只是功率增大了。而他提出一個思考，叫做「Different Technology」。他們認為，如果要用來為音樂服務的話，思考方式必須不同。所以我常講Audio工程師不能只是一個電子工程師的道理就在這裡，因為問題不一樣。
從六年前我開始看「Sound Practice」，發現裡面那些人講的話不一樣，看事情的角度不一樣，他們提出的強烈批判與反省風格強烈的吸引我，你知道我這個人有很深的批判性格。剛好那時很意外的有一件事發生，有一天一家國產廠商拿了產品來「音樂與音響」找我，我看了之後不客氣的告訴他這種東西有誰要？很絕的是這個人也不生氣，反而說：總編你認為要怎麼改進？教教我該怎麼做？剛好那時是「音樂與音響」二十週年，我就說東西改成簡簡單單、漂漂亮亮、賣便宜就行。就這樣做出二十週年紀念機種。
就是這麼多湊巧的因素剛好合在一起，使得我開始瞭解真空管，以及知道世界上還有一小撮人他們的想法與別人不一樣，對重播音樂的看法也不一樣。所以...哎，簡單講我的人生就是一堆災難與意外，我辭掉總編時真的不知道自己要做什麼，只是知道這本心愛的「美聲實作」（當時附在『音樂與音響』裡面）不能讓它停掉，而且它已經收了二年訂閱費，但是卻還沒出滿。於是我就與承奇徐先生商量，不如這些債我來扛，將「美聲實作」獨立出來。
當時很苦啊，前面三期完全在償債，只有支出沒有收入。「美聲實作」是季刊，一年才出四本，廣告無論怎麼拉也無法平衡，就算一個人做也無法平衡。想想看，我白天在外工作八小時，晚上回來自己做「美聲實作」，還要注定虧本，這真是情何以堪？在這樣的情況下，我就想反正業餘來做也不行，乾脆就開店來做。當時也沒有具體的計畫，只是想既然要用於斯，那就要取於斯。開始就想到既然自己裝需要機箱，那就打打機箱供應給自己裝的人。從這裡取得微薄的收入，只要能挹注讓「美聲實作」繼續出刊就好。
機箱之後，再來就是Audio Note的Kit One。這實在是一件傳奇的產品，外表長得那麼醜，但是聲音表現卻不差，全世界對它都有好評。這是第一個奠定拓樸能夠生存下去的產品。
其他影響我的還有Cello的Tom，他也給我很多啟發，他是很實物層面的人。還有，在觀念上也有很多人給我啟發，假如他們真正願意談的話。我是個兼容並蓄的人，並不堅持要哪一個教派。舉例來說，Goldmund的風格也很強烈，他一再強調的就是速度。人家都是大水塘設計，偏偏他就是小電容。可是他也得到他所想要的，他的想法得到印證，這與別人的理論是矛盾的。

我瞭解、交往比較深的可能是Mark Levinson這個人，他是我見過最Smart的人。並不是因為他懂電路才華，他可能不懂電子。最主要的是他有明星架勢，這樣就已經掌握了許多先天優點，只要他一站出來就吸引人。還有他對音樂的品味與對錄音的成就都很強。不過後來我反而發現在設計哲學上他是我負面的教材。台灣剛接觸他應該是從他的 HQD喇叭開始，當時我們以為他所要的聲音就是某種聲音。可是當我到他家聽過之後，才發現我們對他的浪漫憧憬根本就是搞錯方向。他要的是什麼呢？他是真正原音重現基本教義派，他的器材就是疊起來用起來，要真正能夠有「能力」再生出像現場聽「春之祭」這麼震撼的聲音，這聽起來該是多大的聲音。
有件事情很妙，我去Mark Levinson家時，印象最深刻的就是，這個人名動四海，但是終究還是要被他媽媽罵。有一陣子他蠻落魄的，住在他媽媽家，用Double Performance、Four Amati來聽他自己用DAT錄的現場「春之祭」。我們先不管有沒有失真，就音響的能力來講，那真是Powerful到嚇人，那種音量就像你現場坐在音樂廳前排聽般。後來我檢視他的一些設計，才知道他要的是原音重現音響基本教義的東西，而不是浪漫的東西。很多這種例子讓我重新去理解他們腦袋裡的東西，他們要的東西是不一樣的。
自從瞭解Mark Levinson這個人所要的是原音重現音響基本教義派的東西之後，我必須回頭去思索，是不是每個人都需要這樣巨大的聲音？比如說你需要多大的器材，多大的能量，多大的聲音。而他住在美國康乃狄克州，這樣聽都要被他媽媽罵。換回我們在台灣、在香港、甚至在全世界可能百分之九十九的人在家裡享受音樂時，顯然不會是這種型態。當一般人不是用這種型態在接近音樂時，設計者就必須思考，你必須把有限的成本用在正確的地方。你只有這些成本，到底要去買電晶體？或是用在別的地方。所以這裡面就產生了截然不同的二條路線，一條是Mark Levinson，一條是Audio Note或Ensemble這樣不同的路。他們要的是音樂浪漫感動人的力量，但是感動人不需要弄得那麼大聲，大聲是要花錢的，那些都是代表著無限的成本。
Mark Levinson這個人給我一個啟發：這個世界上應該允許有另外的選擇，不是只搞原音重現音響的基本教義。我們可以走另一條路線去感動聽者，後來拓樸走的就是這條路線。
我再舉一個例子，Class'e以前二個老的老闆，他們是少數我去他們家聽過，而讓我覺得好聽的音響，那是種能夠享受的聲音。老實說，走過那麼多地方，我發現許多設計者家裡的聲音都弄不好聽，這種不好聽並不是品味的問題，而是根本上就有問題。Class'e就是比較正面的例子。當時他們確定一件事，就是線路上在同樣技術下十年都沒變，但卻一直在做Refinement的工作，每個細節作很多的研究。同樣的作法也發生在英國Mission身上，他們認為音響的基本線路其實已經沒什麼好動的了，幾十年傳承下來，能夠好好動作的就是這些，唯一要做的就是你怎麼去實踐它。所以他們有Mark One、Mark Two等等一系列的產品。
以上這些例子縮短了我的困惑，因為剛出來設計器材，你會迷失在太多的東西裡面。後來我可以把研究設計時間縮短，這可說是站在巨人的肩膀上的結果。我們可以確定有些東西是不必再去考慮的，你要花時間的是在Refinement的工作上。
四、在過去十年間，有哪些產品是您樂意給予現階段最高技藝成就（State of the Art）美譽的？
這個問題我想了一個晚上，在這裡要請你原諒。站在非常理性的產品設計者來講，這個世界上其實沒有所謂現階段最高技藝成就的產品。不過這十年來有些東西對我來講有特別注目的，例如3/5a。我要藉這個機會澄清一下，3/5a一則被神話，一則被矮化，這是不怎麼健康的。3/5a幾乎是最小的喇叭之一，在那麼小的體積中，因為智慧的設計，使得它是唯一一對能夠提供一個Hint的小喇叭，也就是說「平衡」，這就是它所有的價值。你也不必去神話它，它沒有什麼飛天鑽地的本事，但它也不是沒什麼勁的東西，幾十年下來印證了它可以存在。
所以我認為3/5a大概是設計史上與金龜車一樣的產品，它的道理可以一直延續下去。
我舉例來講，3/5a後來遇上的對手就是Linn Kan與ProAc Super Tablette，從反面來說3/5a不是最精細，但是平衡性最好。而其他二者在高頻上可以更好，解析力更好，但是平衡性卻不如。所以如果講音樂性，3/5a顯然是一種Smart Design，甚至是一種智慧的設計，它是有用智慧的，而這種智慧顯然是「取捨」的問題。如果你想得到更好的高頻，有許多喇叭可以選擇。但是如果你想用那麼小的喇叭得到一個全景，那就只有3/5a。
3/5a對我的影響就是要用智慧去設計產品，要去想一些不是那麼明顯易懂的東西。後來在我自己的設計裡面，很多東西都是這樣思考的。例如我的300B，本來八瓦的輸出能用的功率就不多，你不必把它放在低頻的再生上，因為世界上能夠再生50Hz以下的喇叭已經不多，你可以把重點放在別的表現上。
第二個讓我注目的產品就是英國Chord擴大機。為什麼我會說Chord擴大機對我的設計具有啟發性？因為它是少數使用Switching Power電源、而聲音又能夠被接受的擴大機。Switching Power並不是新技術，幾十年前就有，SONY也做過，其他許多廠家也做過，但是聲音就從來沒有好聽的，可能當時的技術不夠成熟吧。Chord代表的意義是：第一，它把Switching Power帶到市場，而且能夠被人接受。第二，它是少數先知型的器材。目前電的取得還算便宜，我們還感受不到電的珍貴，所以音響還沒有像汽車發展的歷程。汽車發展是因為石油漲價之後才改變的，今天任何一個3000 CC引擎的能力在以前，連5000 CC的引擎都達不到，因為大家都習慣於浪費便宜的汽油。石油危機以後，加上空氣污染，讓大家去思考要怎麼省油，而且性能還不能差。而音響還沒有發生像石油危機的革命。
也就是因為這樣，如Peter所言，今天的擴大機設計還在Bigger and Bigger。作為一個設計者，我是很反對這種現象的。因為從設計觀點來看，這就好像你用五十噸的水泥去做二公尺的牆。設計是一種經濟學，你用你的知識、所學，去把各種事情安排到實用、安全，這才是設計的最高峰。設計本來就含有經濟學的道理，例如本來二棵樹就可以搭起的橋，你卻要用五十噸水泥去建，後者當然行得通，但是它不是好設計。
現在的音響界由於搭配的選擇較多，就發生了許多怪現象。例如你買了推力奇大的擴大機，但是卻配了一對很好推的喇叭，這意味著擴大機百分之九十的能力都浪費掉了。就算你選的是難推的喇叭與大擴大機，那也只不過是在測試雙方的極限而已。這種路線在我的觀點而言是錯的，而Chord的Switching Power卻能夠把電源效率提高到百分之八、九十，更重要的是聲音卻不糟。
五、身為一位Hi-End的設計者，您認為科技與音樂之間有什麼關連？
它當然有關連，比較簡單的講就是就由科技來服務音樂。如果我們把這種關係弄清楚之後，才會瞭解所面對的事情有多嚴重。你可以做一部磁核共振放大器，那並不難，因為它要的只是精密而已。但你如果要服務的是音樂，一連串事情就來了。例如目前沒有任何的記憶體能夠記憶下馬勒的交響曲，不過這只不過是技術上的問題而已。更重要的事情是音樂是要給人耳來聽的，藉由耳、腦以及它所代表的各種經驗、感情的反應等等產生，這些是目前都無法做到量化的。其實音響的所有基本音響學、心理學在五十年代時就都已經很完備了，沒有什麼新的建樹了。換句話說，音響是個很危險的行業，因為你所研究的東西不知道要服務什麼東西。這也就是目前音響界很亂、發展的方向不定的原因。
音響相關技術想要服務的東西其實是藝術，這個問題很大，它想訴求的東西非常不確定。就好像要你寫程式，但是卻不知這個程式到底要給什麼電腦使用。今天如果設計擴大機時不知道要給什麼喇叭來用，那還談什麼去掌握聆聽者的各種複雜生理心理的反應。
儀器測試有其進程，例如以前測諧波失真、奇次偶次諧波，再後來的暫態反應、瞬間互調失真等等。其實目前的測量方法有點大家都在說謊的感覺，我的意思是如果真要測下去，大家都沒得玩了。儀器所測試出來的結果與我們耳朵所聽到的境界其實還差很遠，所以它最後還是回歸到經驗問題，你很常聽音樂，你的靈魂、經驗裡有一種說不出來的感覺告訴你這是對的。九○年代以後，如果你到CES，就會發現某個設計者說我去聽了多少音樂會等等。因為他們發現，除了經驗之外，沒有其他的說服力。唯一的辦法就是接觸真實的音樂，而且還不能很笨的把某個音樂廳當作一個典範，因為每個音樂廳的效果可能會不同。
人類可貴的東西就是你可以從各種現象裡得到一個共識，但是目前的音響發展已經有點背離這種智慧。例如你到許多音樂聽去廳，可以發現它的音色可能是不暗、稍暗或更暗，但絕對沒有「亮」的音樂廳。如果亮就不符合自然，自然界的東西如木頭等等，其高音的耗散永遠比低音快。如果設計者做出亮的聲音，就表示他沒有聽現場音樂的經驗。
如果在設計器材、我面臨要選擇聲音比較亮或比較暗的零件時，我會選擇比較暗的零件，因為它符合自然。其實3/5a也是一樣的道理。所以我認為音響科技還需要很多的研究，而這些研究並不是電子方面的。
六、當您在設計一件產品時，技術測試與聆聽測試哪一項最重要？
這個答案前面我們也涵蓋到一些。Class'e的老闆曾給我很好的答案。他說：就哲學上來看，我們根本不知道我們要測什麼、該測什麼？怎麼樣才會好聽？在設計產品時，儀器測試一定要做，但是你不要高估或低估它。儀器測試只不過是確定產品的基本品管，但並不代表會「好聲」，目前的儀器測試只能保證產品被好好的生產出來。如果你要做一個好的產品，儀器測試一定要做，但是聲音的表現如何卻會反映在設計者的聆樂經驗上。例如以前的McIntosh走的是大塊山水的路線，它所給你的是一個全景，它不會告訴你形體怎樣解析怎樣等等細節，但卻給你整體渾厚的東西。後來音響界走精細的路線，精細到最深層，連小提琴幾根毛不順都聽得出來。其實這並不是什麼錯，而是反映了設計者對音樂的認識。如果你常聽馬勒，我猜想這類人不太可能走精細的路線，因為這種音樂太長了，你不得不用印象式的方法去理解它。反之如果常聽的是奏鳴曲之類的音樂，它可能傾向分析派的。無論如何，一個設計者的技術能力應該能夠反映出他的音樂觀與音響觀。
在此我再舉一例。大部份的音樂在百分之九十的時候都處在低電平狀態，只有百分之十的高潮，因此低電平的表現能力就顯得很重要。而在我的單端小功率擴大機設計中，我所注重的就是Inner seeking，往內求答案，而不是往外求。也就是說，我們這一派所尋求的，就是在大部份（百分之九十）的時間中擴大機的表現是正確的，而那百分之十就留給幾百瓦的擴大機吧！
至於聆聽測試是否最重要？其實這是與儀器測試相互關連的。例如，我們如果聽到一部擴大機很好聽，我還是會上測試台，測測看到底它的規格有什麼不同。我們會試圖去找出儀器測試與聆聽測試之間的關連。
七、當您在調整空間音響效果時，哪些是您認為必須優先處理的？
我常說空間沒有正確的，只不過要找出問題比較少的空間。空間基本發聲的條件要健康，這在目前已經有許多儀器可以測試，一般人有經驗的話也已經可以掌握到八九不離十。記得以前在剛引進TTF空間測試時，我們就發現你聽起來沒有問題時，量起來大部份也沒有問題，我們都已經訓練有素了。
在處理空間時，我有幾個簡單的原則。一般人比較難改變房間的比例，但是如把喇叭背牆弄成硬的會比較好。因為基本上硬的是全反射，你只要找對座標，問題就比較少。而聆聽位置後面要偏軟，這樣比較好處理。如果喇叭有Bi-Wire功能，可以先把高音與低音分開聽。通常我會先調中低音段，聽聽看它濃不濃？此時二喇叭之間的距離或到側牆之間的距離要先考慮。一定要聲音達到濃纖合度才行。喇叭與側牆距離調好之後，才來調前後距離。前後調完再調向內投射角度。如果能夠依循這三個步驟，而且空間又不會很畸形的話，聲音應該都能夠掌握。
八、當您在為新產品作最後的微調時，您喜歡用哪些CD？
我們選測試CD時，經常用的是分類法。例如我們聽小提琴，就要選幾張不同表現的類型，音色在中間的、稍暗的、更暗的。每次都要用這幾張去聽它。假如你聽到原本列為更暗的聽起來都已經很亮了，這表示該器材的寬容度很低，這肯定是不對的。在開發機器時，除了小提琴之外，大提琴，管弦樂、爵士樂等我們都會聽，每次大概要聽個四十張左右的CD。我們並沒有特別用哪一張效果CD來做準，因為你到了客戶那裡會發現許多意料之外的因素。我們只能取大數，依照這個原則，什麼樣的音樂我們都能對應。
九、您的產品有哪些異於別人的特點？
我把產品定位在以設計為導向，少量生產、商業色彩低、具有強烈個性的產品。它們是一種「作品」，就好像服裝或家具等設計師的作品。如果我的東西是產品，我就變成一個作業員，每天在工作台上很快就會厭倦。事實上，Hi-End音響本來就必須具有設計者本身強烈的個性，這也就是日本Hi-End音響搞不起來的原因之一，因為他們都是集體設計。我要說商業色彩低並不代表不要賺錢，而是產品本身要有設計上的意義存在。例如Pass最近提倡的超對稱設計，這種設計會不會被用在一般擴大機上呢？這就是設計上的意義。
再以我的Voyager為例，其實它本來是被定位在工作平台，可以任由使用者去改機去調整，它是給人玩的。可惜並沒有很多人去動手玩，這其實已經違反了我設計的本意。想買我機器的人要先有心理準備，你買的是一部有個性的「作品」，而不是大量生產的「產品」。
十、請給予我們的讀者一些建議，好讓他們能夠正確選購音響器材。
最重要的是瞭解自己。以買車為例，大部份人在買車之前，已經知道自己要買幾CC的車，什麼顏色，多少預算。然而，很多人在買音響前卻不知道自己要買什麼器材。如果連自己都不知道需要什麼，音響店怎麼可能賣給你正確的器材呢？
還有，要認清自己的預算，以預算為出發點去尋找器材，不要一直改變。以CD唱盤為例，我就傾向買便宜一點的，然後每年換。例如買一部一萬元的CD唱盤，每年再升級換更新科技的。這比第一次就買五萬元級，而用了好幾年還划算，因為數位科技一直在進步。
而在音響店試聽時，要用自己的CD、自己的方法來聽。如果你讓店家用他們的CD以及方式來聽，這就好像你被催眠般。道理很簡單，音響店一定會選擇最適合他們器材的CD來播放，你在不自覺間就被催眠。
最後，你要清楚自己想走的路線是什麼？你是想要大塊山水式的原音重現音響基本教義派音響效果？還是要解剖式精細的浪漫享受？例如老AR走的就是大塊山水的音響效果，而目前許多器材走的是精細解剖的路子。把自己想要的音響效果弄清楚，就不會買錯東西。
《音响论坛》杂志1998年11月，总122期之《專題企劃－十年音響十年情－音響論壇10週年》
刘汉盛采访拓樸音響黃智鈺

绝妙的黄金组合：评Naim SuperNait合并功放+ProAc Response D Two书架箱搭配
发布: 2008-2-01 12:00　来源：影音中国

■ 文/刘健

Naim（名）和ProAc（英国贵族）都是声名在外的英国老厂，当然也是在各大音展上亮相的常客，笔者之前对这两个品牌的产品虽然也都有过一些接触，但却全部是蜻蜓点水，一直未有机会细听。所以此次是第一次正儿八经将它们摆到试音室里聆听，在笔者的心里同样存在许多未知要留待慢慢发掘。

次世代的合并机？
“次世代”的概念随着蓝光光盘的不断推出和PS3的大量出货而逐渐得到强化，它代表了一种未来产品的发展方向。视频行业的这种趋势已经相当明显，1080p全高清分辨率和HDMI传输方式已经成为不可阻挡的潮流。在音频行业里，许多先驱者还在不断探索当中。Naim全新推出的SuperNait合并功放应该也算是这方面的一种尝试。SuperNait极为强调多样化的输出功能，你或许难以想象，在它细小的箱体上厂方一口气便设置了多达十一组输入端子。SuperNait的背板后面密密麻麻，拥有6组传统的模拟输入，并加上5组数字输入端子，包括同轴与光纤，输入格式从标准的S/PDIF到24bit/96kHz都可以接收。另外，SuperNait更不甘于仅仅充当一部传统意义上的合并功放，在其内部更是首度置入了数字/模拟转换器。SuperNait所使用的数模转换器，绝大部分是直接从Naim的高阶DAC移植过来，这种改变的意义非凡，这样一来，无论是由CD、LP、收音机等装置所传送的传统模拟讯源，还是由iPod、 PC等装置所传送的其他数字讯源它都可以来者通吃。可以肯定的是，未来欣赏音乐的人群当中有相当大一部分比例乃是通过iPod这样随身携带的数字播放机来欣赏音乐，通过提高讯源的适用范围，SuperNait无疑可以为自己争取到更多的目标人群。不仅如此，在SuperNait的前面板上还特别设置了耳机输出端子。Naim为了获得好声，并且不影响机内主要线路的声音表现，甚至还为耳机放大装置了专用的放大线路，等于多装了一套独立的耳放在里面。如果家中配备了多房间系统，SuperNait也装置了双向RS232连接埠，可以轻松进行联机设定。总的来看，对应未来发展数字家庭的蓝图似乎从其身上可见一斑。

Naim Supernait合并功放
●定价：￥52900元
●总代理：威达（852）24182668
●规格：输出功率：80瓦x2；输入：11组（6组模拟，5组数字）；Tape输出：2组；Tape输出电平：75mV, 600 Ohms；输入灵敏度：75mV,     47 kOhms；数字输入：S/PDIF升频至24-bit/96kHz；前级输出电平：0.775mV, <50 Ohms； v>J72RX?*输入过载定额（全频段）：40dB；    瞬时能力：400VA；电压增益：+29dB；静止消耗：10VA SW UJIZ|= ；外形尺寸：(H x W x D) g3c1m$  ：87 x 432 x 314mm。

当然在外观上SuperNait的设计仍然是Naim一以贯之的黑盒子造型，简单实用。SuperNait的主要操控都集中在前面板上，整齐的按钮让操作一目了然。在箱体内部，SuperNait也继承了所有Naim的传统。不仅在电源供应上采超额设计，采用7组独立绕组的特制环形变压器也是Naim长期以来的好声之秘。在SuperNait之上，Naim也一如既往地宣称不需要用家加装任何电源处理装置，认为凭借着Naim优秀的电源供应线路，不管市电的供应有多糟糕也都可以将之处理得很好。这种信心可真是相当之爆棚啊，一般的厂商几乎没人敢说这种大话。单纯凭借着这种自信，SuperNait的风头便不是一般的盖了。还有更盖的是Naim对DIN端子的一贯支持。相信如果不是资深的老音响玩儿家，对于这种端子的样貌脑子里肯定都是一片模糊。这种端子曾经风行一时，后来受到RCA端子的冲击而走向没落，目前除了Naim以外已经鲜有厂商关注，印象当中好像只有英国的Chord（当然不是我们所熟悉的生产功放的那一家，而是另外一家专门生产线材的厂商，在我们杂志上曾经有过介绍）宣称仍在生产这种线材。虽然新一代的Naim产品，包括Supernait在内，全部都纳入了RCA端子的设计，但是厂方还是强调DIN端子的声音比较好。由于DIN端子并不普及，所以Naim的器材都直接附上原厂制作的DIN线材。这种执着真是不一般。
新形象新意思
ProAc的产品型号大致可以分成Tablette、Studio和Response三大系列，其中Tablette是ProAc的中坚产品系列，历史也最悠久。1979年推出的第一代Tablette成为ProAc的里程碑式作品，在一片巨型化的音箱产品当中凭借着小巧的外形和仅四吋大小的低音单元异军突起，扬名立万。ProAc也多次对其进行了改进，推出了不同的后续版本。现在已经更新到了Tablette Reference8 Signature，使用了新的单元和分音器，但仍延续着古典式的造型，中规中矩。Studio系列也是ProAc较早的产品系列之一，现在有向Response系列靠拢的趋势，算是中间价位的补充。至于Response系列则是ProAc的高级系列，笔者以前在欣赏会上曾听过旗舰型号Response 5的激情演出，记得当时搭配的是丹麦Vitus Audio的功放组合，声势倒是相当惊人，不过其价格也着实让人感到乍舌啊。基本上是可远观而不可亵玩焉，没办法亲近。后来在音展上看到陈列的Tri Tower，印象才开始大为改观。

ProAc Response D Two书架箱
●定价：樱桃￥38600元；黑檀￥49000元
●总代理：威达（852）24182668
●规格：阻抗：8欧姆；推荐功率：30-150瓦；频率响应范围：30Hz-30kHz；灵敏度：88.5dB；外形尺寸（高x宽x深）：17”（430mm) x 8”(203mm) x 101/4” (260mm)；重量：24磅（11公斤）。

ProAc Response D Two书架箱是Response系列的新改良型产品。在数字之前加了个“D”字，这个“D”字是代表Dynamic（动态）之含义。Response D Two虽然也是方正的造型，但娇小的身材配上精致的脚架，令之看上去十分的家居，再加上音箱上配上多种高级的原木贴皮，让它看起来简单而又不失典雅。厂方说Response D Two的箱体看起来比较传统，但却是利用先进科技来进行制作，背板上使用了厚度达25mm的桦木板，以获得坚固的特性以及优良的阻尼系数，箱体内壁更涂有厂方秘密配方之特殊阻尼物以有效提高声箱的声效。并且所有箱体都是在位于英格兰Brackley的工厂当中制作完成，不会假手他人。
Response D Two为两路两单元结构，ProAc音箱上所采用的喇叭单元一向都是特别订制的产品，资料显示Response D Two上的中低音单元使用了与Response D15音箱上中低音单元基本相同的技术，直径6.5英寸（165mm），并在单元中央加装了铜制的防尘帽，承受大功率时可帮助线圈散热，主要区别是在所用线圈和磁体方面又进行了一定的修正，高音单元则和其他型号一样采用的都是1英寸丝膜球顶高音，安装位置稍向内倾，以获得更为精准的结像，并且采用了前倒相的方式，将倒相孔放置在中低音单元正下方，增加了音箱摆位的灵活性。Response D Two的背板上提供了双线分音方式，可对应Bi-Wire及Bi-Amp连接。别看这对小音箱个头不大，重量却是相当有份量的，这也表明了它的用料非常实在。
80瓦很剽悍
根据资料显示，在8欧姆负载下，Naim SuperNait合并功放可以提供每声道80瓦的输出功率，这在功放输出功率以大为上，动辄几百瓦多则上千瓦的年代实在是显得有点微不足道，尤其是对于一款高阶的合并功放产品而言更是如此。不过这也算Naim产品的一大特色，Naim产品的标称功率一向不高，即便是高端产品和低端产品之间的输出功率相比也差不了几十瓦，比如入门级的Naim Nait 5i合并功放输出功率就是50瓦。Naim SuperNait上的80瓦输出功率，已相当于NAC202+NAP200前后级功放的推力水平。为什么厂方不提供功率更大的产品，是否厂方太过吝啬？No，试过之后你一定不会再这么想。ProAc Response D Two书架箱88.5dB的效率相比ATC或丹拿那样传统的钉子户要好相与得多，不过好推可谈不上。现场以Musical Fidelity音乐传真A1008 CD播放机作为讯源，以Naim SuperNait合并功放来推动ProAc Response D Two书架箱，前来做客的一位朋友惊呼，这真的是80瓦的推动力么？无他，只因为Naim SuperNait合并功放将ProAc Response D Two书架箱推得太好了，不仅速度轻快、反应迅捷，而且该有的动态、该有的气势、该有的低频延伸样样不缺，尤其是对低频的控制力相当出色，将之推得四平八稳、服服帖帖，完全没有一点脾气，而且大动态下仍然安之若素，似乎还留有一定的余裕。即便是换上一部几百瓦的合并机也很难比Naim的这部SuperNait合并功放做得更好了吧。为了进一步验证，笔者在现场还换上了香港山联音响的“贵族”系列高端型号产品Saboteur落地箱，这对落地箱身材高大魁梧，Power Handling标称是250瓦，一幅功率大食的模样，笔者也想看看Naim SuperNait合并功放在更严苛的要求下还能不能过得了关，结果Naim SuperNait合并功放同样是不负所望，将这对大号的Saboteur落地箱完全置于掌握之下。由此我们也可以作出推断，Naim SuperNait合并功放上的每声道80瓦输出功率真的是实打实的数据，再加上SuperNait还可以单独当作前级或后级使用，未来若想要以Bi-Amp驱动喇叭，或是搭配超低音使用，Supernait也都可以支持搭配，不会浪费既有的投资，灵活性更大。依这种情形来看，用它来应付市面上的绝大多数音箱产品基本上都不会有什么问题。

意想不到的真实
笔者之前对ProAc的产品并不熟悉，所以若不是亲耳细听无论如何也难以相信ProAc Response D Two书架箱竟然能够发出如此高贵且明艳动人的声音。它的声音没有什么特别的取向，就是中性自然，注重真实的还原感，与听者之间没有距离。你刚开始听起来可能没有什么感觉，但是却越听越有味道。笔者也一直都在强调真实的声音最好听，没有浓郁的箱音，没有夸张的延伸，也没有其他的修饰，却可以让音乐与你的灵魂赤裸相见。就好比是一个人的嗓音，不管是沙哑的、清脆的还是别的什么，只要是自然、真实的声音就总会有人欣赏，也最自在安详。过多的修饰意图掩饰反倒是扭捏作态。

全面的表现力
Naim SuperNait合并功放与ProAc Response D Two书架箱的组合并不强调某一频段上的特性，整个频段之间量感均匀，衔接流畅。在它们身上，你还可以感受到纤细刚毅的特质。你没有看错，在它们身上，纤细和刚毅这两个似乎有些矛盾的形容词竟奇妙地得到了完美的统一。笔者专门挑选了一张由Naim自己出品的试音碟《Cheery Naim Sampler》来进行测试，这张碟的选曲很有意思，主要都是一些情感细腻、非常考验器材分析力的曲目。Naim SuperNait合并功放与ProAc Response D Two书架箱的组合表现让人眼前一亮，不论是《Prayer for the Enemy》还是《Asiguzel》，都展现出了极好的高频延展性以及出色的分析力，不仅弦乐的细节超多而且通透清澈，似精雕细琢的无瑕美玉，将乐器的质感突出，纹理一一浮现。Hugh Masekela的一曲《Stimela》一直被当作是声音测试的典范，用Naim SuperNait合并功放与ProAc Response D Two书架箱的组合听来，Hugh Masekela的声音有着醇厚的厚度和清晰的声线，而且这段现场录音分明能够将人带入当时的情境，对比鲜明的动态变化极为衬托器材素质。最后笔者还试了一段由BMG出品的斯特拉汶斯基的管弦乐曲《春之祭》，比较笔者之前所听过的Telarc版本，这个版本那种大鸣大放的粗犷原始气息要少了很多，场面更加精致，但作为高潮部分的“献祭”一段同样高潮迭起，声势硕大。Naim SuperNait合并功放与ProAc Response D Two书架箱的组合营造出了宽阔的音场和充沛结实的低频，该有的厚度和量感一点也不逊色，和之前欣赏弦乐时的表现截然不同，真的是动静皆宜、刚柔并济。其表现力之全面在同价位段上的组合当中绝对名列前茅。
本来由于截稿日期临近、时间太过仓促的关系，笔者原想要推掉这一次的试音，后来在主编的再三要求下才不得已勉而为之，谁知听过之后却差点欲罢不能，也不由得暗自庆幸自己最终没有走宝。在笔者看来，这次的Naim SuperNait合并功放+ProAc Response D Two书架箱组合真的是绝配的黄金搭档，彼此之间的契合度极佳，它们之间似乎有一种魔力，能让人坐在凳子上不想起身。如果你不相信它们之间有这种神奇的火花，那么你真应该好好坐下来听听看。

影音中国特别鸣谢《新音响》杂志友情提供版权

Naim Ovator S-400
£ 3250
5
The S-400s are an impressive achievement. They're unarguably the most rounded Naim speakers we’ve ever heard
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    For
    Agile and punchy sound; precise midrange; great at communicating rhythms; cohesive and subtle sound; impressive engineering; wide dispersion design
    Against
    Not the last word in treble polish

Naim makes an astonishing array of products for a company of its size.

Its range starts from CD players and streamers, continues with amplifiers and tonearms and ends with speakers. You can also include system essentials such as cables, equipment supports and even music software on that list, too.

But out of this impressive variety of products, we suspect nothing is more divisive than the company's series of speakers.

Over the years these have been loved and loathed in equal measures, due to their single-minded approach to music replay.

Perhaps more than any other Naim component, its speakers have tended to emphasise the structural elements of music such as timing and agility ahead of considerations such as tonal faithfulness, refinement and stereo imaging. It makes for a strong sonic flavour that not all have liked.

Radical driver technology
The Ovator S-400 is a realignment of what a Naim speaker should be. It's an attempt to retain the traditional Naim characteristics while being less fussy about partnering equipment and set-up.

In attitude it's as mainstream a Naim speaker as we've heard, yet technically, the S-400 is arguably the company's most radical offering yet.

The heart of this smart floorstander is a Balanced Mode Radiator unit, more commonly referred to as a BMR driver.

This innovative unit covers everything from 700Hz upwards. The only way to reproduce this frequency band conventionally is to use multiple drivers and integrate their outputs with an electronic crossover of some sort.

The trouble with such an approach – and remember that the vast majority of speakers made employ this kind of design – is that the crossover point invariably falls between 2-3kHz, which is exactly where our hearing is at its most sensitive.

It's broadly in the band where vocals occur, and any distortion – be it of phase, dynamic or detail – is easily heard.

Naim's arrangement avoids this issue, moving the crossover point of its paper-coned bass drivers to a less-sensitive part of the frequency range.

Unusual box design
Other technical highlights include an unusual design for the bass drivers' enclosure: it loads the drivers as a close-box arrangement would, but still allows a small amount of controlled air leakage.

There's also a suspension system between the speaker cabinet and the heavy die-cast plinth. This decoupling arrangement removes some of the movement caused by floor vibrations leading to a more stable platform for the drive units to work from.

It's clear much thought has gone into the design of these speakers. For example, there are little details such as the intentionally loose single-wire speaker terminals, which reduce the amount of vibration feed into and out of the S-400s by the speaker cables.

The relatively complex crossover is mounted in the plinth, too, and is easily removable to allow a switch to active operation. Traditionally this has been the natural way to upgrade Naim's speakers.

The Ovators aren't the most luxurious speakers as far as finish is concerned, but are clearly of high quality. We particularly like the understated design and unobtrusive (fixed) grilles.

Agile, but still weighty
What of sound quality? The S-400s are still recognisably Naim speakers. They're blindingly fast and able to respond to signal changes with a keenness we rarely hear. Sometimes such speed is bought by making the bass leaner or less extended. Not here.

Those twin bass drivers punch extremely hard with the likes of Major Lazer's Pon The Floor. As expected, the speakers time well too, delivering the powerful rhythmic drive from this track with pleasing enthusiasm and a tremendous sense of momentum. These speakers charge along in a deeply impressive manner with music like this.

Large-scale dynamic shifts such as those from a 24-bit/192kHz files of Shostakovich's Symphony No.11 are delivered with convincing force and authority. And if you want excitement, like other Naim speakers before it, the S-400s will deliver in spades.

Make sure you run them in
However, there's a far wider range of talents on offer here. The sweet and delicate vocals from Little Dragon's Ritual Union are delivered in a suitably subtle and intimate manner.

There's an unusual focus and solidity to these thanks to the wide-bandwidth BMR, and it's all seamlessly integrated with that powerful yet controlled bass.

Given a serious amount of running-in – we're talking weeks here, not mere days – the top-end is suitably refined and airy. That said, by the highest standards it's just a little lacking in sparkle and exhibits a slightly monotonal character.

Stereo imaging is decently precise, but it's the Ovators' wide dispersion that impresses more. This trait gives a wider than normal listening sweet spot, which is in stark contrast to many rivals.

The S-400s deliver the kind of presentation that brings the musicians into your listening room rather than transporting you to the recording venue.

Either way, it's more a question of taste than outright quality.

These are ambitious speakers in terms of technology and performance, and on the whole they hit the target brilliantly.

Their presentation is still more about energy and drive than outright tonal faithfulness, but they're good enough all-rounders to be some of the best speakers we've heard at this price level. Job done, we'd say.

这位对naim有很深的理解。

转

一个初烧的漫谈
这是我的这第一次发帖
。我对器材的理解并不是很深，电子方面知识贫乏，
所以能描述的感觉也只能是很笼统的commonsense。所以即使有说得不合适的地方，希望各位手下留情轻拍。这个贴基本没有什么重点要研究讨论的话题，只是我的一些发现和介绍一下我所在国家的一些器材，还有我对这些器材的一些认识。


回想起来，已经听了耳机系统超过五年了。但是我想我并不是烧得很重，听过对比过的器材并不多。一共有过3个耳机，三个耳放，而且基本都是看着评测邮购的，
就最后这个耳机是试听后买的。

最近花了很多的时间，来升级了自己的系统。期间这几个月，看尽了不少论坛，中文的英文的，也跟很多音响店的人聊过，也终于是经历了多次试听，最后购买了现在的设备。心里是非常的兴奋，也希望把这几个月自己的感受，一些困扰了我很久的问题最后得到了答案，对器材的一些新的理解，分享一下。

这次买hd800，其实有部分原因是因为k701实在很夹头。刚好当时有朋友来旅游可以退税，就想着买个好些的耳机吧。这是我第一次在店里试听耳机。（耳机在英国实在没有什么市场，所以选择也很少，卖耳机器材的也少，能试听的就更少。）其实当时也不知道自己该听什么，当时是用的LehmannBlack Cube加naim hdx裸机。听起来其实并没有太惊喜，确实比k701佩戴舒适很多，听起来自然一些。结果最后还在商家的介绍下，买了个exdemo的hicap给当时的音源，naimcd5x。这算是我走进对比器材的起点。

顺便就是说说naim这个品牌。英国其实是个很封闭的地方。对欧洲产品很欢迎，大部分欧盟以外来的产品，都很重税。例如grado的耳机，在这里就不及森海的流行，因为grado要涨价超过50%才能在英国销售，性价比就相对低不少了。日本器材也一样。所以在这里，也就是naim和linn，creek，chord这类本土器材最多人用了。Naim是个很有个性的公司。一直不太喜欢随大流，但它独特的声音特性却令很多人着迷，也令很多人厌恶。直至现任的director之前，naim的机器甚至没有rca借口以至naim跟其他牌子器材搭配非常麻烦。Naim坚信自己的器材配搭自己的器材，甚至线材，才能出最好的声音。然而，naim对好声音的定义也与别不同。它追求的是所谓的PRAT，就是pace, rhythm and timing。这是个很主观的素质，是很没有说服力的。它们追求的是系统的音乐性重于hifi素质。所以如naim所说，如果你追求的是音场的宽广，定位准确，高解析度等等，naim不是你想要的机器。反而就是因为这些定位，令我毫不犹豫地选择了naim的cd5x，作为当初第一次音源升级。

当时用的是系统是k701和graham slee solo的第一代。（这个graham slee solo不是现在的豪华版，是05年时跟dt880一起买的，整体素质是不如后来的solo 2代和超线性的。将当时的一台50镑买的rotel 15年古董机器换成cd5x，对系统的提升老实说不是很大。在解析度，音色准确度等方面是有一丁点提高，整体乐感是好了。在dt880下，提升的程度感觉是略大一些。但现在回想起来，依然感觉这cd机并不是买得很对。升级音源的这些钱，无论是用来升级耳放还是耳机，或者一样一半，提升的程度相信都会大得多。这个我想是我在这里掉进的第一个误区。英国人很强调音源第一。他们总是说源头不搞好，后面出来的也不会好。但我现在的理解是，钱要花得值，系统就需要平衡，不应该有瓶颈。一套系统的素质，就局限在它最弱的部分的素质。而且给我的感觉是，在这个级别，系统的整体特性更多是由耳机和耳放决定。音源可以带来的改变并没有那么大。可能这就是系统瓶颈吧。

说回这个hd800和hicap，捧回家后，加入到系统，作了一翻对比。事实上，即使店家不停强调lehmann是配搭hd800极佳的耳放，也是hd800展览的选择，我依然觉得在graham slee solo上的hd800听起来要好听得多，是非常多（只是我的感觉，很多人或者会反对）。Lehmann上的hd800很平淡，有些沉闷和内向，而在solo上就一下全变得热情奔放一些，节奏感很强烈，冲击力要强得多。但我确实发现大部分英国卖hd800的地方都会建议使用lehmann的，这我觉得是跟graham slee的推广工作没做好有关。早在5年前，我就发现外国论坛上只要听过它的人都有很多好评，但是绝大部分人并没有听过它的产品。我在之后升级solo成超线性的时候跟graham的partner John也谈过这个问题，但他的解析是，这样他们才能保持产品的成本低。我觉得这也不无道理。起码造福了喜欢和知道它的这个人群吧哈哈。假如它花更多资源到广告和推广，这耳放估计就不是五六百镑了。

说到这里不得不说说graham slee这个老头。不得不佩服的是，这么大的年纪了，还能亲自从设计，选材，测试，到售后，收发邮件甚至发货都能自己做。当然他还有两个partners，但以他的产品的质量和数量，这也是很厉害了。虽然用我们的话来讲，他们这就基本是山寨。要是我详细形容一下当时我去升级时看见这些机器是怎样和在什么地方造出来的，看到的人估计有不少都不会考虑他们了。但他的东西我真能感觉到质量好，尤其是对比了同是山寨的rudistor之后。这或许也解析了为什么rudistor在英国没什么市场。英国人那种古板严谨的估计看见rudistor的包装就怕了，都不用开机了。我的rpx300寄到的第二天，音量旋钮就松了，当时心里面确实很难受的。而且graham slee的服务绝对是一等一！从我第一次购买solo到第二次升级，graham slee都是个人邮件给我介绍产品的特点，从测试到机器到发货都有不断的沟通。尤其是升级这一次，他知道我是用k701和hd800之后并询问究竟应该升级成solo二代还是超级线性的时候，他用自己的k701来试听两个机器，边试听边给我讲解两个的优略。给人一种很贴心的体验。


然后说说这个跟hd800一起买的hicap电源。这是naim产品的另一个特色。就是升级选项。一台cd5x裸机就是一台很优秀的机器了。但是，当你资金允许又希望升级的时候，你并不需要把它卖了换一台新的，你只需要买一个升级电源，就能让它变成一台更优秀的机器。升级电源插入后，cd机的模拟部分会和转盘部分分离，由升级电源单独供电。而升级电源的选择又从500多到7000多镑都有，能用于cd机，前级，甚至naim自己的耳放。然而，我觉得最惊讶的是，这个电源带来的改变简直可以用惊人来形容。我完全没有想过一个电源能很根本地改善一台cd机的性能。外国论坛上的描述是，naim系列里面，1600的机器，加上1100镑的电源后，能跟3000多的机器媲美。当然3000多的cd机，可以加上3000的电源，又能让机器提升很大一个级别。从这里我觉得，naim在定价方面也下了很大的功夫。设想一个用1600镑机器的人，如果需要升级到3000镑的级别，他可以选择折价卖掉旧机器，再加钱买3000的机器（这时他还可以选择其他生产商的机器），或者只需要1100镑，就可以达到同样的效果。真是很聪明的策略哦。扯得有点远了，说回这个电源。加了之后，即使在k701和旧款solo这个瓶颈上，都能带来立即明显的改善，更不用说在hd800下了。底噪降低了不少，动态有很大的提升，解析度高了很多，音场宽广了，定位准确了，感觉从原来2维空间一下变成了立体的。基本我知道的形容hifi的词汇都可以用上。

升级成ultra linear的改变也是非常大的，我感觉整体来说音调要暗一些，不如以前明亮，但低音部分改善是最大和令我最满意的。音场也是，比起一代要大多了。声音比旧的有味道一点？不知道是否应该这样形容，但就是听着确实有感情一些，听着也更自然真实。再说说这个超线性的来头。其实当时graham slee是把二代solo借出去给论坛的各位资深大虾们试听了一轮，一个传一个，然后征集大家的意见之后，根据大家认为的不足方面改进而设计出来的。

升级solo后，再用hi cap了的cd5x和老rotel对比，差别就很大了。从解析度，动态音色，都有很大的优势，明显高出了不止一个级别。唯独是音场，我觉得并没有太明显好出多少。但从另一个角度来讲，这台50镑的古董机，反而很可能是性价比最高的。到了这个级别，我觉得音源的重要性就比较能体现价值了。题外话一句，对hifi素质的追求，用几十倍甚至过百倍的价钱，得到的又是多少倍的回报呢？

Rudistor和之后的cds3，发生得很突然。一位好友把耳放连音源连k701一起搬走了。在我只剩下一个hd800的时候，也是我重新从零开始去思考搭配一套新系统的一个机会。以前从来没太在乎的东西，一下子来了很大兴趣。之后就是很漫长的网上搜集资料，研究和学习的过程了。最后选择了rudistor，基本就是在这个论坛上总结出来的。很感谢多位前辈们的引导。虽然也是没有试听就邮购了，但在这里，确实是没有办法试听到rudistor的。所以我也只能close my eyes and jumped了。
这个rudistor一来，接回以前的老rotel，我才发现我之前对耳放的不重视而相信了音源第一是多么大错特错。这个耳放真的是非常好。至于怎么好，我自己不太懂得怎么去形容，但我知道小白的博客里面对rudistor的风格的描写是非常的准确的。
我是完全同意他所描述的rudistor的特点，除了我并没有感觉到这个器材有特别的甜味。我觉得总体来说就是比solo好出很大一个级别，让音乐变得非常动听，又不会像solo那样给你很大的冲击力给你很刺激的感觉，但又能用温和一些的方式去表达动态和气势。回想起来，如果让我再选一次当时升级cd5x，我会宁愿将这些钱来买这个rpx300。

在我选购新音源之前，还有一个小环节。我邮购了几个cardas的rca盖子。套了两个在耳放的rca输入端。这个改善比我想象中大很多。尤其是用这个老rotel的时候，解析度高了很多，对声音的控制力强了不少，尤其是低频，臃肿的地方一下线条感清洗了，动态也强了一些。但同样的盖子套在cd机的输入端，却没有改善声音，反而把低频量减少了很多，动态削弱，听着非常古怪，很不平衡。同样的效果出现在我之后的cds3上。比较奇怪。

对音源的选择，这个我可是费了不少功夫到处去试听了不少器材，最后选择了一代传奇，naim cds3。可能因为英国人对音源第一的信仰，试听音源倒是很轻松的事情。但我只说比较印象深刻和我觉得比较新鲜有趣的几个，分别是Linn Akurate ds，Naim HDX 加 Naim Dac，Naim Unitiserve 加 dac，再加xps电源，和我最后的选择cds3+xps。

说到linn的ds，我想先说说这个ds的概念。Linn是个很前卫的公司，早在去年，linn已经宣布停止所有cd唱机的生产，全系列改为ds。因为他们觉得ds要比cd机的声音优秀得多。所谓ds，就是digital player。它的原理，就是一个streaming机器，需要先将音乐文件储存在一个外置网络硬盘里面，然后用这台ds获取网络硬盘的数字信号，转换后输出到功放。这个外置网络硬盘的设计原来也是有来头的。据说这样可以最大限度的减少机器里面的震动，而且让机器里面完全没有活动的零件，也减少了很多不必要的磁场。我的认识是，这就是未来的hifi。这将是可以完全取代cd格式的一种新发明。黑胶唱片到现在还有它的地位是因为黑胶唱片依然有很多数字音乐不能媲美的特性，但我想不出任何cd唱片里用ds技术不能媲美的特性。依我看来，cd是像录音带一样，将要被完全淘汰了。据多个外国评测，linn的ds跟同价位当年的cd机比较，确实都是完全胜出的。虽然我一向不是linn的fans，但我也觉得linn这次的举动让我眼前一亮。Naim的unitiserve是今年推出的，其实跟ds是接近原理，除了unitiserve多了一个版本，是内置硬盘，可以把音乐储存在内置硬盘里。
我的感觉是如果naim都出这样的产品，就证明这确实是大势所趋了。跟linn截然相反的是，naim在科技上总是落后的，90年代的时候，英国hi end生产商naim也是最后一个开始生产cd机的，今天的digital player，相信也是如此。