I’ve been auditioning the Linn Selekt Edition Dual Organik, and listened to the following configurations into PMC active twenty5.23i.
Linn Selekt solo as source and volume
Linn Selekt as source into 332/300
Naim 333/300 as source into 332/300
The Selekt without pre (1) was a pretty easy ‘no’, but with the 332/300 in (2) I could hear the Linn doing ‘bits’ better, piano for example sounded marginally more like a real piano, but put on something like Genesis ‘Seconds Out’ and it just didn’t pull me in - like they were playing in the room next door. A tad polite and flat sounding.
The 333/300 332/322 (3) is better by some margin to my ears. More engaging and ‘hear through’ right into the recording studio or venue. It’s simply a much more engaging listen, demanding one’s attention.
I know folks will jump in about Sound Optimisation, but I have a pretty ideal listening triangle, averagely damped room and good distance from rear and side wall interactions. It should just work in a space like this (my naim kits always have). Plus I just don’t have the temperament to not be forever fretting about whether it was in fact ‘optimised’.
So, curiosity satisfied and I now love my naim NC 300 even more!
I don’t think SO should come into a like for like comparison, especially if you are happy with your room. As for a preference, I preferred the Linn into my old 252 compared to the 333/332 (no PS) into ATC active 40s but at this level it is all about what is preferred by the individual rather than better/worse I feel.
Hi Graeme. The digital pre v naim analogue pre was my experience as well, though I know others have had different listening experiences.
Thats the reason I run Linn DS (NG variation) into Naim pre/power. As a source I found the Selekt slightly better than the old KDSM even with Organik (but I heard that comparison using linn digital pre into Linn power amps so wasn’t comparing the quality of the analogue out).
The NG however is on a totally different planet - the best source I have personally heard. It finally caught up and surpassed my LP12 (and is voiced similarly) something I will have to address in the future. I personally never got on with the sound of the naim streamers (I heard 555 into an active 3 x 300 / Titan 808 setup). But glad you have clarified what you enjoy!
The fact that you have scratched the itch and confirmed to yourself that you are happy with what you have means that the effort to make the comparison was worthwhile. The fact that the Linn made Genesis sound like they were in the next room would be the winner for me, and even better if it could make them totally inaudible!
If you get the opportunity, I wonder if you’d fancy borrowing an Atom HE and testing it against your four boxes. £28,000 vs £2,000 would be really interesting, top vs bottom of Naim’s range (500 and Statement excluded).
Nice thread - so I do need need to open another one.
Due to some time-chaos I had only a sort listen to:
linn select dual organic into 332/300 - 350 - Sopra2.
Can not tell if it is representative - as I have different amps and speakers.
The sound is very nice and different - and I do not know what is streamer and what is amp related.
It was very detailed and nice with air and transparency. But I was missing the „involving edges“ (the good edges the nds delivers). Some roughness which is not stressing but emotional - hard to describe - must be the naim sound.
Too early to tell - next step - home demo!
Drive and emotional engagement is what I missed. It is ‘nice’ as in ‘agreeable’ but, as my Oxford English expands, ‘Often used as a vague commendation’. I found my attention wandering very quickly.
Without emotional engagement, music is nothing, whether it’s Genesis or something decent. I’m listening to Sean Shibe playing Bach on guitar and it’s just so involving and really draws you in. Not all hifi can do this. People talk of how wonderfully detailed systems can be, but who gives a fig about detail if it doesn’t stir your soul?
The Campoli Salon Orchestra recordings from the 1930’s sound so engaging recorded from old LPs!
I have a soft spot for old Alfredo as my late and dearest friend knew him well in later life. When he passed, his wife gave him a wonderful bronze bust of him, which still sits in my late friend’s widows living room.
If you are interested I’d try the Tchaikovsky Violin Concerto as a start. He also ‘had’ to play the Bliss, as Arthur Bliss dedicated the Concerto to him. My late friend once asked Campoli if Bliss knew much about a concerto structure and Campoli replied in a kind of Cockney Italian - ‘I hope so, because he knows f#ck-all about the violin’.
A wonderful, lyrical ‘Bel-canto’ style of playing (his mother was a singer).
