I hear mixed views on this ‘upgrade’. Could you say a little more about what the SL brings in the context of a 552/555 based system?
Thanks in advance,
G
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On my system I tried the hiline … and it was not good…edgy and very forward…it did not appear to compliment my system. The SL calmed the edginess yet seemed to give more detail … together with better bass…it was an immediate win win…much more musical in my system. It was a purchase I had not planned…but for me it was neccessary … I can recommend it. I cannot recommend the din to xlr 552/500 SL … that did nothing on my system…unlike the Morgana.
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Interesting, I’ve never thought of the hi line as edgy, fragile yes!
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Perhaps if it’s not inserted properly. I’ve encountered this.
G
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I do hope the hi line is fine 
Really can’t afford the SL cable!!
They turned up today and the courier just left them outside the front door!! No signature, just left precariously stacked!!
Unbelievable really!!
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Bloody hell — I am almost feeling stress just looking at it…
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Yikes! Remember to let them acclimatise indoors and carefully undo the transit screws.
Enjoy!
G
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Yea transit screws….
Fond memory’s of my old CD5 lol
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Interested in your thoughts once you have it up and running
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Gosh……hope thats the worst of it🤞🏽
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Hope the stuff is OK, as this is one of the perils of selling on that well-known auction site, in that, as a vendor, it seems to be very challenging (cum impossible?) to arrange adequate insurance cover on larger items like these through the automated postal arrangements they offer — remembering that PayPal and e-bay have ‘guarantees’ built in to them, but only so long as you follow their (quite limited IMV) processes…and if you deviate from these as a seller, things may not be straightforward in protecting your position.
As a general comment, I often see higher value items for sale with very modest postage attached and I wonder if the vendors are aware that by using ‘standard rates’ (with very limited insurance cover) they could be taking material risk – especially when some courierco’s nowadays have terms which allow them to ‘dump & run’ (with a photo being adequate proof of delivery).
The picture on the Forum many years ago of a NAP500 head unit which had been bent in to a U-shape sits heavy in my memory (sad, I know 
).
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Belive me it doesn’t matter who you use these days, the way stuff gets treated when in transit is very much the same, it all rests on the people that touch your package on its journey and that’s just luck.
All you can do is have the correct insurance in place and the last thing you want to put on the parcel is a FRAGILE sticker as that to some is like a reg flag to a bull.
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Hi… I haven’t read the thread, just your opening question.
Having been where you appear to be I’ll answer.
The 252 and 552 (both DR) are very different beasts with different sonic qualities. The way I look at it the 252 is the top of the 202 evolution tree, whilst the 552 is the top of the 282 tree. If you love the 252 and optimised your system and room for it you may not gel with the 552 at least initially .
Having said that… you will most likely have an itch that you can’t scratch until you buy a 552… certainly if it is a viable option for you…
The 552 is ultimately more resolving … so provides a larger gamut of performance compared to the 252, but whether you find it ultimately preferable in the short or long term… only you can decide.
There is a lot of hype saying the difference is night and day etc … no it isn’t (for DR variants) … at least in my experience, and a few others I know… but you don’t see that so often on this web site.
So I advise audition first. (Edit I see you have purchased now)
I did enjoy my 552 … but did it bring a huge amount of extra enjoyment over my 252… truthfully… no. But I did own a legend… and that in itself was something.
So tread carefully and have fun.
BTW… the 552 is a breeze to setup compared to the fussy 252
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Sounds like there was something wrong with it. I found the SL very smooth compared to the HL and with a lower “noise floor” but at the expense of textural detail. Couldn’t live with that, which is a shame, because I much preferred the more robust construction
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A very good summary Simon! One which I would echo.
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The pros and cons of this type of conundrum were summarised by the brothers Crane in one episode of the sit-com ‘Frasier’ (slightly different context, but still involving music).
Niles: "Whatever happened to the concept of ‘less is more’ "?
Frasier: “Ahhh…but if ‘less is more’ just think how much more ‘more’ would be”!
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??? That’s an odd way of looking at it. The 252 is basically a 282 with no power section (look at the interiors). Why do you think its more like a 202 than a 282?
I think Simon was referring to the overall sound signature with the 202 / 252 rather than the amp topology being grouped together. Also that the 282 and 552 seem to share a similar more dynamic DNA. I can see that analogy.
Obviously the 252 trumps the 202 and the 552 trumps the 282. In my mind the 252 is a worthy upgrade on both the 202 and 282 but it is different in its presentation.
The 552 appears to take the boisterous / dynamic DNA of the 282 and add a level of refinement and detail etc to trump the lot though.
I love the 252 but I am loving the 552 a little more.
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Everybody will have a view; and that is all it is. You will have to decide if its worth the money.
Me, I’ve listened to all three,282,252 and 552. For me best vfm was and is the 282. Yes, 552 was better but at a significant extra outlay. If i spent more time listening to my music then i might pay out for the 552 ( only ever pre owned though). Right now I’ll have to stick with the 282 and 2 off HCDR.
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Because of the characteristics of their sonic performances. I don’t think this view is particularly new or unique, a few have made similar observations over the years.
The 202 and 252 are lower contrast, more laid back. The 282 and 552 have more forward presentations.
I have owned all four at various times.
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