Well I knew of Naim during the mid to later part of the 70’s but always thought their early amps looked like the product of hobbyists. Then I heard a very nice Naim system as a student in the very early 80’s and had wanted one ever since. Wind forwards 35 years, i now had the resources to but some Naim, I went to the HiFi shop several times and listened to a series of Naim boxes each time getting more and more expensive. I never thought to compare it to any other brand for comparable money.
I still have some Naim kit but I do wonder what I was thinking at the time, bit daft really.
I’d moved from a Heybrook TT2 to a Linn LP12 (not bad for a 17 year old) and still had my Cyrus 1 amp. A local Hi-Fi shop in Cardiff had a used Crimson 510/520 which I thought would be an upgrade and not having a lot of cash available, I bought them. The 510 pre amp used a pair of PP9 batteries to power it, and when I went to change them I found the previous owner had let one leak inside. It was a bit of a mess so back they went and I got my money back. Audio Excellence had a used 42.5 / 140 in their shop window which was just out of my budget, but my Dad kindly lent me the difference and that was the start of my Naim ownership.
I do remember that, whilst sounding great with my LP12, my Naim amps also picked up VHF radio as we lived about 5 miles line of sight from the Wenvoe transmitters. Careful orientation of the SNAIC4 (the old grey one) kept this to a minimum. The 42.5 was eventually replaced by a 72 (I still have my 140) when I went to University and both of these lasted many years and brought a lot of enjoyment.
Whether it’s been a full system, or individual parts, I’ve had Naim kit for the last 35 years. I can’t see that changing.
I was first tempted by the required rigid 5 meter speaker wires then I fell for the humming NAIM power supplies and last I learned to accept lovingly the early quitting disc transports…
The point is that like any other HI FI manufacturer, NAIM’s gear is not perfect but its sound is quite appealing.
By the late 70s I’d managed to somehow own an LP12 and the Gales but by this point the bolt together Naim amps (that my dealer used to demo everything- clever man) were out of reach. A couple of false dawns later I’d landed an early Meridian 101 preamp and a TVA1 valve power amp. Admittedly the huge black amp with its chrome capped transformers was just the perfect looking partner for the Gales so a deal was done. And to be fair, to this day I’ve never heard another system that could so awesomely blast out Boston’s first album in all its groundbreaking glory.
But by 1987 the big TVA was in trouble and I needed to decide on either service + expensive valve set or try something else. A 42.5 / 110 was brought home for a weekend demo. I wasn’t expecting it to be so different and yet so incredibly vibrant and engaging. It was a no brainer really and I’ve never felt the need to try any other make of amp since then.
Currently the LP12 is sounding better than it ever has and I haven’t played that Boston album in many years so perhaps it’s time to see if the freshly serviced 102 / HiCap / 250 can recreate the sound of the 70s…
First is the brand name. To me, the brand is synonymous with premium or fine hifi equipment. Although I started out late with Naim, I have always read about Naim in the hifi magazines back in the day particularly the Black series. The minimalist black boxes with green logo at the front look quite appealing to me although I have no idea what do they sound like.
Next is the infamous “PRaT” which seems to elicit all sorts of responses and some distasteful remarks. I can understand some people may not recognise what the term means or are unable to associate it with Naim. Nevertheless, I can comprehend that PRaT stands for pace, rhythm and timing, and I understand what these individual words mean.
When I bought some Harbeth speakers more than 12 years ago, they sounded dull and lacklustre with all the amps that I tried, about 7 altogether. When the Naim was recommended, I knew I had to try it to salvage the Harbeth since I need some PRaT. That was the primary reason I went for Naim. I started with the NAC 202 and NAP 200 which fortunately worked well with the SHL5s which I had. I lived with the system for about 7 years before the 202/200 and SHL5 were upgraded to 282/250DR and SHL5 Plus.
I had been using an a high level Audio Note UK system until the summer of last year when after two years of having to deal a total of seven hum, buzz and break down issues I sold it all and went on the search for a new system.
I heard several manufactures offerings ranging from good to blah! I knew that Naim gear ( having owned an active SBL system back in the day) was well built and could sound exciting but wanted to avoid that over grainy and tense character that even my old active system could at times sound like. But I also wanted to bring back the thrill of listening to music that requires better transient speed and less compression when the mix is complex. Which is where the Audio Note system failed.
After I heard an ND 555/ 552/500 with SL2’s I was sold. I’ve added a “tricked up” Solstice, S1, Kudos 808’s and high end Chord cables. Each step has brought the sound closer to the valve like organic texture and tone but without the “treacle”. I feel so lucky to be able to listen to such a fabulous sound in my home.
I believe that Naim manufacture some of the very best Streamers and Amplifiers on the market today. Certainly THE best that I’ve heard.
Back in the 90’s a room mate at uni had a separated system instead of a midi hifi system.
Speakers weee tannoys but it so under great and got me into hifi.
Went through various bits until I bought Roksan handy amp and CD player and quad 11L’s.
Sounded sublime until I heard a pair of Roger LS1’s on the same system and realised what I was missing.
Went with my mate to his local dealer who had a reference Naim system with PMC OB1s and it literally blew me away.
Sarah McLachlan’s ‘Angel’ was something else.
From that moment, I’ve been a naim and pmc fan.
Current system is:
Naim Supernait 2
NDX2
Pmc 20/24’s
LP12 akurate
Rega Aria
I’ve loved the journey but I’m pretty happy where I am and despite auditions of other brands, I just love the way naim sounds, looks and makes me feel.
I’ve been a Naim owner since 1985 when I bought a Naim Nait, but I still don’t understand how amplifiers can affect the pace and rhythm of music (I believe the term PRaT has been around since Naim Audio was purely an amplifier manufacturer). I understand rhythm as it is a fundamental of music. Pace to me is determined by the metronome markings and timing is determined by the conductor’s interpretation of those markings across the piece. In none of these cases can I see how they’re affected by the amplifier. I accept that if an amplifier is unable to respond rapidly to transients it can affect the musical experience, but the overall pace, rhythm or timing of the piece doesn’t change.
Hi and thanks for a good post Cohen… I share the same sentiments.
Enjoying the thread here… wonderful - thanks all who wrote their experience. Always interesting.
Curiosity often kills a cat after maiming it… While I’ve always bought into the “purist” Naim sound, to the delight of Naim but the “disgust” of some of my audiophile friends who deem it blasphemous to stick with only one marque [where’s the fun without exploration…?] - I know that cables can improve the music by a mile, or offer us that step towards improving the sound… but at what trade off if any? There usually is. But my mind is open and although Naim have always optimised their sonics as an entire system down to the wire and many are happy with things as is, as I was… read you’re happily using Chord Signature Power cords… Sarum Ts for interconnects? Did you perceive any loss in PRaT or was that preserved and improved on by a certain percentage? 10% for a high end system is still quite some, where diminishing returns for the outlay at the top ranges reign. At some point, I will and have to stop and just be happy with my music. We need to!
When I swapped cables or components in my then olive system, which wasn’t often, it was always a trade off. Things just snapped back into place when I returned to the originals. Today’s black boxes seem a little more tolerant and “universal” but I still prefer to keep things on even keel as I love the Naim sound. I will change something for the better if I do not perceive any “degradation trade-offs” from the originals which offer that “Naim sound” most of us here connect with - guess that is the same for most of us.
Good question … which has gotten me thinking… and yet… whenever I do an A-B… the Naims just propel the music in such a manner where most of the others sound slower and don’t quite catch up as quickly in the pulse of the music, nor as emotively. So however they do it, Naim just connects that much more - it’s a perilous sonic spell they continue to weave.
I love the mids and highs of tubes by the way. The clout of other behemoths out there - it’s so wide, and fun for those who wish to explore and be happy buying. Naim is my second wife. But yes… I’d like mistresses out there too but the one I come home to for the long run is still whom I’ve married… I think it’s time to be single again.
Yes, it is true that pace, rhythm and timing of the original piece or recording don’t change but the amplifier that is reproducing the signal may alter the presentation. It may not exactly be pace, rhythm or timing but something else. To me, all these terms are closely related to each other and may mean the same thing.
In the simplest choice of words, to me, a more accurate start and stop of notes contribute to PRaT. The Naim amps gave me that when matched with Harbeth speakers. Fast-paced or dynamic music with fast thumping bass would be necessary for this type of evaluation. All other amps which I tried didn’t do well as there was smearing of notes and the overall piece sounded “slower”. It may not sound right but that is the best way I could describe it.
FWIW in my experience the Naim sounds best with Harbeth speakers. With other speakers, other amps do equally well in the PRaT department.
Firstly I’m a big big Naim electronics fan but I feel that the cables can be improved upon.
So yes I’ve made it clear that for what it’s worth I prefer the top Chord cables over Naim’s IN MY SYSTEM. That includes the latest SignatureX over Powerline mains cables. Zero doubt in my mind. Same with Chord Music v Superlumina. Superlumina is super quick so a thrilling listen but somewhat “tense” for my tastes. It’s like Ekos v ARO. I’d go ARO every time for a more consistently good sound.
The sound from my system now is quite extraordinary. So natural and textured but quick and integrated when needed. I listened to Dire Straits Telegraph Road yesterday on vinyl and it was the best that it has ever sounded. I hadn’t really “got off” on that track since I owned my 1980’s active Isobarik system. It had me bopping around playing air guitar like a teenager . Can you imagine that being the case if the timing had been screwed up by the cables?
Your profile states that you are looking to “rebuild”your system. If that is still the case my advise is for you to keep an open mind regarding cables. You may prefer Naim’s over alternatives and if so kudos to you
I agree that Naim amps do seem to be able to react fast to musical transients and it may be that Naim Audio sales folk have coined the term ‘PRaT’ in an attempt to describe this. But I’m still not convinced that it’s anything other than marketing mumbo jumbo.
Hey… it’s all good to each of us, what we prefer, in our systems which we live with. As long as it rocks your boat, opinions are outside and don’t matter. I am happy for you! If something sounds better to you, then it does. I love alternative feedback, but never for the sake of things. If we don’t explore, we will never know. Exploration comes with effort, time, money… if we are happy to spend that collectively, just do it.
Nothing is more satisfying when we are happy with what we have.
Great litmus.
One of my challenges as a fly-by-night, shallow audiophile looking for better quality sound is that I wish to keep an even keel when listening to differences. It means only controlled A-B tests at a certain volume with run-in equipment might be conclusive, a challenge in most stores since they don’t carry everything we want to hear. I fear hear-say the most. But with neutral friends, whose ears I trust, their feedback helps some.
Still I prefer my own A-Bs because I have to pay, live with and face my equipment for as long as I own them. It’s my ears, not anyone else’s that will decide if I connect or don’t - blah blah blah - till the other half steps in and says, “hell no!”… lol In which case, nights will be spent blissfully on the couch after the sparks and cold wars rage for a time… and peace finally settles when I buy it anyway…
I’m not sure the term PRaT has been used for the full five decades, but it has been associated with the Naim brand for a long time.
I’m not disputing that Naim amps have consistently exhibited an ability to respond rapidly to musical transients (that’s one reason I’ve stayed with them), it’s just the application, and acceptance, of the words pace, rhythm and timing to describe the way they perform, which, as I have argued previously, cannot be true.
. Can you imagine that being the case if the timing had been screwed up by the cables?
Nothing is more satisfying when we are happy with what we have.
