OK, 150 staff, I see - apols.
I’m also coming around to the casing design the more photos I see and I’m sure a dealer visit will confirm. There appears to be every suggestion that there is a lot more to come and It seems to me an odd approach to launching a whole new range by doing so in stages - We don’t know what the full range of options are yet so looks like I’m going to have to wait before laying down my hard earned.
Speaker cable has two long parallel conductors. They can carry large current pulses with bass notes.
Any current flowing in a conductor gives a magnetic field.
i.e. there will be a magnetic field around the +ve conductor and a magnetic field around the -ve conductor.
These two magnetic fields will oppose each other forcing the two conductors apart.
Note: the cables will force apart when the ‘bass unit cone’ moves out and force apart when the ‘bass unit cone’ moves in.
The conductors moving apart changes the cable properties dynamically with the music (inductance and capacitance).
While the ‘transfer characteristic’ is only minutely changed and only effects supersonic frequencies it does change the perceived audio quality. This is because the amplifier must behave well in the MHz region for the feedback stability.
NACA5 has a stiff webbing between the conductors for mechanical stability. i.e. less effected by the magnetic fields
All analogue inputs on the NSC 222 are pure analogue all the way through.
The literature around New Classic does try and emphasise both that form follows function at Naim, and some details about the new case designs. Sounds like the case redesign isn’t a trivial part of the new series.
The front panels are 20mm aluminium, I bet in the flesh they are substantial boxes! Be interesting to understand how case design and electronic environment improvements have affected performance and reliability.
NPX 300 has:
Analogue 1 = +/-22V
Analogue 2 = +/-22V
Accessory = +5V
Digital 1 = +15V
Digital 2 = +15V
Digital 3 = +10V
Digital 4 = +10V
ErP = 5V for 0.5W standby
SNAXO likes +24V
It would work fine on +22V (the class A analogue circuits are tolerant) but we have to offer genuine VFM
Great info Steve - thanks
Interesting reading about the decisions behind making naca5 stiff. Something naim went away from with Super Lumina though
But are they really a product from Naim/Focal, or one created by the forum hive-mind?
Is the signal into the non phono analog input available for multi room? I would assume no but I sometimes multitoom vinyl so curious if that is still available.
Its pretty clear, I think. That the NPX300 is more like an XPS than a Supercap.
The NPX300 seems to be able to power most things than an XPS (or a 555PS) can…
Thanks a lot for the information, that’s good to know. I do think it’s a great service to have technical people on hand to answer questions about the new products. Well done Naim.
@PeakMan That is a very good point actually, but there is logic in Naim & Focal going down that cooperative route, especially with the potential advances in DSP and room optimisation etc. R&D from both companies could potentially result in something special… or a dogs dinner.
@Eoink Missed that news - all attention here on the Naim launch!
Lumin have the same and it has created great goodwill in their community getting direct answer to tech questions and not to forget for R&D to get direct feedback from their customers on issues, needs, thoughts. Might be bit to much keeping up with this long term for Mr Steve but now around the release at least is I personally believe it adds great value and USP to the brand in a world where the distance between customer and product in general become greater for each year.
Same here, might be eating “pie” for dinner.
Multiroom is digital, so no, the analogue signal remaining analogue means that it can’t be multiroomed.
Three products have created 1200+ messages in little more than a couple of days - imagine having to deal with questions about a completely new range!
(And phew, I’ve caught up with the thread.)
Yeah that is what I assume but was wondering if there was some kind of clever calculation making it possible.
Hi Steve I really appreciate the time you are taking answering the queries from the forum members…from a practical and technical viewpoint your input is fascinating …
We have a white paper coming out soon to explain.
We use balanced impedance outputs and balanced inputs.
We moved to balanced input because we had 5 different inputs connection sockets on our power amps (see earlier post - RCA, XLR stereo, XLR mono, XLR balanced). We wanted ‘one’ to make life easy for customers.
Statement has balanced XLR - we have chosen this as the input for all power amps from now on.
We worked for about a year designing the balanced input. Tried all sorts of sophisticated electronic balanced circuits, transformers and then a simple zero feedback class A buffer powered by DR regulators worked on 250. Sounded better than it is was not there. Due to the buffering and where signal currents from from pre-amps to power amps flow.
Balanced is compatible with single ended pre-amps too (via legacy lead sets). We already used the XLR for tens of years.
It is also the industry standard on high-end amps.
all in all it was the clear winner from the feasibility study.
…Single ended is best for short runs and audio generally IMHO. This is why we have chosen balanced impedance outputs. The WP will explain this. It is to do with harmonic structures…i.e. two equal but opposite signals will have their even ordered harmonics cancel leaving odd order…too much detail for this thread.