I’ve had the 3000 series Exposure pre + mono blocks for a little while before scaling back to the 3510. Never had a chance to listen to the 5000 reference series but suspect it will more of what I like about Exposure. I would describe Exposure’s house sound as having a smooth mid with an almost tube like bloom, full bass, detailed with loads of power. Fun and musical.
The Norma Revo IPA-140 brings alot more to the party. Absolutely no signs of harshness in the highs with extremely detail in the mids and tighter, more powerful bottom end. It opens the widow into the music even further. Stunningly musical and quick.
I quick update, as mentioned above I thought I’d be swapping the old NACA5 back in to compare but I don’t need to, the phantoms are just great. My system sounds just wonderful.
I recently went from Linn K20 4m to WH Phantom 5m and the difference was so big I’m still scratching my head. I Honestly wasn’t expecting anything but a subtle difference, but it turned my head immediately.
Went from TQ Black II to Phantom 2x5m. The phantoms should be included at purchase. Super great cables for the price and betters the TQ pretty easy in my mind (ears).
Many thanks Keith. Quite possibly you have a point. I simply left the set up to the Naim dealership, who considered the various options. I’ll admit to a heresy on this forum; I haven’t any idea what the mass of wires do behind the system and I leave well alone. That said, I do enjoy reading about the various tweaks folk make - I have ‘toed in’ my speakers as a result. That I can do!
Just upgraded my mains supply to the garage from the house (where the man cave is) and staggered by the difference it has made… not sure of the specs but the sparky said it’s more than double size cable into the board and 32amp ring to the dedicated Crabtree sockets…
Much fully sound more bass (bit too much to be honest) but better at a lower volume.
Took receipt of this baby yesterday ( the luxman) , bit of a brute to wrestle into my rack but sounding sweet already, be interesting to see how it compares to Naim pre/power of similar price?
Yes, but a beautiful brute! I considered the 507 (before actually getting a Moon instead - mostly for practical reasons). I hope you’ll enjoy your 509.
It is a lovely thing, thanks. I do love Moon kit as well, it’s so nicely crafted and I was very tempted when buying the Lux. This just came in as an open box so I grabbed it!
B250 ,RB300 with Projects cheap as chips
‘Pick it’ cartidge on my Origin Live modified Technics 1210mk11 whats playing? one of Ms Kralls better albums ‘When I Look in Your Eyes’
The enthusiasm of Alex Halberstadt, the reviewer of Stereophile (July 2022 issue) for the Entity phono preamplifier becomes clear from a few quotes from the review:
’… , the Entity sounded neutral, extended, and transparent. Listening to “Footprints” from Miles Davis’s Miles Smiles (Columbia CS 9401), I was bowled over by the portrayal of cymbals. Tony Williams is the Walt Whitman of the cymbals, and the Entity rendered his shimmering, impressionistic, primal playing with matter-of-fact presence. Some phono stages make cymbals into sheets of white noise, but through the Entity they sounded embodied, controlled, and starkly metallic, with no hardness.’
…
’The Entity’s most impressive quality was how exciting it made listening to records. This was largely a function of the Swedish phono stage’s knack for pace, rhythm, and timing. Another way to say it is that it made the musicians sound like they were playing together with uncommon empathy; yet another is to observe that the notes coming through the Entity were more musically meaningful than with the other phono amps I had on hand.’
…
‘For weeks after, whenever I played a record, I felt torn between the Entity and the Little Loco. I loved the tunefulness and drama of the former but wanted the more refined sound of the latter. Just then, a large envelope from Thomas O’Keefe arrived in my mailbox. It contained two pairs of Linn Silver interconnects ($452 for a 1.2m pair), the cables Fredrik Lejonklou used when voicing the Entity.’
…
‘The cable swap changed the sound of the Entity to a degree I was unprepared for. The Lejonklou Entity retained its remarkable timing and tunefulness but now sounded more refined, dimensional, controlled, and tonally richer.’
…
‘The Entity excels at communicating the emotion and meaning of music - the very things most of us sit down in front of our speakers to experience—and it does this considerably better than phono stages I’ve heard anywhere near its $2695 price. Fredrik Lejonklou is someone who does things his own way and has supreme confidence in his ears. I cannot wait to hear more of his work.’
Legally should be no issues. Or at least challenging defining the limits. If Naim have their own take on it I dunno. Lejonklou posted those quotes in his forum.
How much of someone else’s work can I use without getting permission?
Under the fair use doctrine of the U.S. copyright statute, it is permissible to use limited portions of a work including quotes, for purposes such as commentary, criticism, news reporting, and scholarly reports. There are no legal rules permitting the use of a specific number of words, a certain number of musical notes, or percentage of a work. Whether a particular use qualifies as fair use depends on all the circumstances.
