What makes the 552 better than the others

I saw those prices today and felt mildly faint.

Unless it’s crying out for a service, an non DR’d 552 or 500 will sound superb. Yes, the DR upgrade is worth having, but the 552/500 did not sound like rubbish before DR availability, did they?

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After a six week shut down, I powered the rack up yesterday evening. This evening, I quickly sat down for a one track test to make sure all was well with the connectivity and basic performance. As expected, the sound was a bit gritty, with slightly ponderous timing, and a slightly soft and more recessed image than a fully warmed up system. For a 552/500, sounded a off the pace, as would be expected. Three albums later I rose from the Sofa. That says it all about the 552 for me. It’s so musical. Even when cold and settling down, I can’t stop listening.

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A few more days of warming up since I last posted (Day 13 just started).

Quite amazing things seemed to have been happening. It’s just pure music now, and I’m gobsmacked listening to vinyl after a mostly CD ripping day.


These Oboe concertos are sounding so alive. The nearest I came was with the demo Rega Aura phonostage and the 252/300. Still got the Aria. Just shows what the unDRed 552/500 can do.

Phil

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I have had my 552 for what, a couple of months now, though there was a gap of 3-4 weeks while the 300s went away for service and dr-ing. Since they came back I have been mostly working downstairs in front of the main system, way more than I ever did with the 52. Just sounding so lovely …

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The 552 is very fussy regarding warm up…I would think it a very difficult product to demo against other equipment … it needs to settle in. I was amazed when I got mine … it gradually opened up and up…

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Ah sign of the times.

The thing I now notice is how enjoyable the bass is. I don’t know if I am alone, but the 252/300 bass was too hard and loud in relation to the rest of the music. The only explanation i have if it not the 252/300 is that I put the 500 on the bottom shelf to keep it away from the 552.

Phil

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Even though serviced in November 2016 the 552/500 combo continues to get better and better as if going through the normal burn in. Of course, I don’t know how much it was used after it’s service, but just loving the enjoyment this unDRed combo delivers.

Phil

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Great news Phil. Glad the 552 / 500 is enthralling you as much as you hoped. Do keep us updated as it continues to improve.

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The improvement continues. Playing Melody Gardot (My One and Only Thrill, Lonesome Heart and Currency of Man) and Genesis Foxtrot I hear much more body and depth in the music. Mind you I had a bit of a rest during the hot weather when I just wanted to be outside.

The current underwhelmed thread seems to make very quick decisions whereas it seems to me that these systems need to be left to settle for a long time. Yes, you can hear what a 552/500 does quickly, but the reward comes gradually. No one should worry about second hand gear especially from a dealer. In the worse case a service will bring it back to new.

Phil

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The progress continues. Most noticeable is that the piano is sounding sublime. It’s as if the soundstage has improved at the same time so all the subtleties of the musicianship are becoming revealed. Firstly on Saturday night I played Boris Giltburg Rachmaninov Etudes Tableaux

And now the Stephen Bishop Kovacevich Beethoven (top bar) which being a Concerto has full orchestra.

All this with the Innuos Zenith into nDAC.

Must be 3 months since I bought the 552/500. The 500 transformer hum has also reduced over this time and now only has brief periods. If the original owner had the service done and didn’t like the hum then I have been the lucky one. It might also explain why the boxes have got better and better over a relatively long period.

Very Happy.

Phil

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I had the exact same feeling. Everything’s now more balanced. The 500DR series is really amazing. What a pleasure to sit and listen!

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That is what the 552 does well - it not only does the ‘start’ but is the first in the range IMO to also render the ‘stop’ of struck-notes so that the harmonic-structure is revealed - previously veiled behind the overhanging fundamental.

That effect is throughout the frequency response and bass is cleaner and has better timing and less over-fullness. I think the is an effect of the suspended sub-chassis as all the boxes that include this all get that improvement.

DB.

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It is such a joy just to be able to listen to the music (Beethoven’s 3rd symphony at the moment) knowing that you are hearing all the orchestra in proper balance. It’s the soundstage and beauty of the bass where only the 552/500 delivers, as well as the mids as highs that the other Naim combo also do. There is none the lightness even if exciting at times of the 282. I still think there are albums where I prefer the sound of the 282, but it just a matter of accepting that the 552/500 is right and is giving a new appreciation of the music (after a dip with early Genesis albums they are sounding great now the run in is nearly done). The 252/300 DR was not a end for me rather a appetiser for the 552.

I suppose in a different room a 252 or 282 can be enough, but not in my room and with my speakers. But I bet the 552 would also come up trumps in the different room also.

Phil

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Phil
Nice to hear that you enjoy your system to that level.
How big is your room and would you mind telling me how the speakers are placed. From front wall an how far apart from each other
Thanks


A picture is probably the easiest way to answer. The speakers are about 2.15m apart and 0.85m to front of speakers from the wall. I set the speakers with the 252300 DR using the Jennifer Warnes Ballad of the Runaway Horse method listening to the double bass. When I got my preloved unDRed 552/500 I just installed and left the system alone to burn in. Boxes are on Naim glass, balls and cups positioned as per Fraim approximately. The room is irregular but about 6m by 5m.

The chair near the speaker sometimes gets moved, but we have to live in the lounge as well. Also the reason for the irregular speaker positions. We can also have the patio doors open with no serious ill effects other than the neighbours getting to hear the music as well. But it works!

Phil

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I have that track, Run Away Horses, What’s the method if you don’t mind me asking? :thinking:

There was a thread running 3-4 months ago. Basically start without toe and close to wall and move out one speaker to find positions where the double bass is strongest. Then choose the best one and bring the other speaker out to the same position. Then adjust the toe for best stereo image (move around checking the position of the double bass is constant) and finally the rake for height of singer. Best to find the thread ‘Creating a Soundstage’ (I think) though.

Surprisingly when listening to the tv which is central the sound is central even though the speaker centre is not.

Phil

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Cheers, I’ll give it a go. :+1:

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