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Sovereign's LS6 review
I have had new the LS6 speaker cables for a week I guess and here are my impressions. I generally don't like writing reviews as I read them with a pinch of salt, but here it is straight and true.
My hi fi currently consists of Wired4sound DAC-A80's-ATC scm 35 speakers.
When I replaced my LS5 with the LS6 the first thing I noticed was unusual, it was that of fresh air, as if the speaker cable wasn't there at all. A very strange discription I know but that is the easiest way to describe it.
The second most obvious difference is it is as if I am no longer listening to hifi but instruments and musicians, that is not listening to black boxes and speakers but dynamic and passionate people expressing themselves through voice or instruments. A bass guitar has more texture making it sound not replicated but real etc... The Imaging is incredible, you don't just hear where a note starts and stops but also where the image of one instrument is and where the next one begins, nothing merges together but everything is well planted and all works together and you can hear strands of detail all over the place, what speaks to me the most is the shear transparency, natural and full range of the cable, as I said it is as if it's not there.
There is a Jack Johnson song called Pictures of people taking pictures, and it starts with such quiet quiet detail, you can hear Jacks voice dead centre really quietly starting off the sound it is quite incredible.
After a couple of days I popped the LS5 back in. Comparatively the LS5 sounded a bit harsh and nasal, it was too forward, I had to turn the volume down a bit. LS5 obviously a great cable, but the LS6 is so open, relaxed, honest and enables music to have this staggeringly realistic sound.
I also popped a pair of TQ black in after the LS5 that I had in a second system. Comparatively the TQ is a rich Phat sound, with round and controlled bass. I immediately thought this sounded nice but coloured. The more I used the TQ black the more I liked it. After a couple of hours I popped the LS6 back in, then i realised how muddy and blurred the TQ is, again a great cable but it's not an honest picture. The full bass I love with the TQ is there with the LS6 but controlled and there isn't the bloom you find with the TQ, just a confident solid sound.
To me the LS6 really is a new reference cable and for £210 for a 1.5m pair is a no brainer if Richard will trade in my LS5.
I have had new the LS6 speaker cables for a week I guess and here are my impressions. I generally don't like writing reviews as I read them with a pinch of salt, but here it is straight and true.
My hi fi currently consists of Wired4sound DAC-A80's-ATC scm 35 speakers.
When I replaced my LS5 with the LS6 the first thing I noticed was unusual, it was that of fresh air, as if the speaker cable wasn't there at all. A very strange discription I know but that is the easiest way to describe it.
The second most obvious difference is it is as if I am no longer listening to hifi but instruments and musicians, that is not listening to black boxes and speakers but dynamic and passionate people expressing themselves through voice or instruments. A bass guitar has more texture making it sound not replicated but real etc... The Imaging is incredible, you don't just hear where a note starts and stops but also where the image of one instrument is and where the next one begins, nothing merges together but everything is well planted and all works together and you can hear strands of detail all over the place, what speaks to me the most is the shear transparency, natural and full range of the cable, as I said it is as if it's not there.
There is a Jack Johnson song called Pictures of people taking pictures, and it starts with such quiet quiet detail, you can hear Jacks voice dead centre really quietly starting off the sound it is quite incredible.
After a couple of days I popped the LS5 back in. Comparatively the LS5 sounded a bit harsh and nasal, it was too forward, I had to turn the volume down a bit. LS5 obviously a great cable, but the LS6 is so open, relaxed, honest and enables music to have this staggeringly realistic sound.
I also popped a pair of TQ black in after the LS5 that I had in a second system. Comparatively the TQ is a rich Phat sound, with round and controlled bass. I immediately thought this sounded nice but coloured. The more I used the TQ black the more I liked it. After a couple of hours I popped the LS6 back in, then i realised how muddy and blurred the TQ is, again a great cable but it's not an honest picture. The full bass I love with the TQ is there with the LS6 but controlled and there isn't the bloom you find with the TQ, just a confident solid sound.
To me the LS6 really is a new reference cable and for £210 for a 1.5m pair is a no brainer if Richard will trade in my LS5.
NVA A70 Mk2 review
Postby Rick » Fri Aug 23, 2013 12:17 pm
Had my A70's a couple of months now but this is the first chance I've really had to sit down with them.
Firstly, they look great. Had reservations on the design when I initially saw the picture but glad to say they really look the business. They are approx half standard width and double height. They have a much more 'heavy duty' look about them without looking industrial. In terms of engineering, fantastic. Weight is usually a good sign and they feel reassuringly heavy. The new heatsink is a good move. I came from Mk1 A40's and though they didn't have a difficult load, I was always conscious of heat. Of course the old design had its limitations, its nice to now have something without those problems to think about. It'll probably help with resale value too.
Sonically, its a big step from the A40's which are a stand out amp anyway. The A70's have a great range and seem to deal with any type of music with ease. They clearly have a bit more beef to them but it doesn't feel overpowering. Accuracy, clarity and drive just where you need it. I'm not one for HiFi speak as I don't understand it and mostly think it's rubbish but can honestly say (Kind of Blue) I've never heard trumpet like it, my heart did actually skip a beat! Overall a really great amp, excellent value and does what it's supposed to do without fuss.
Recommended.
Rick
Postby Rick » Fri Aug 23, 2013 12:17 pm
Had my A70's a couple of months now but this is the first chance I've really had to sit down with them.
Firstly, they look great. Had reservations on the design when I initially saw the picture but glad to say they really look the business. They are approx half standard width and double height. They have a much more 'heavy duty' look about them without looking industrial. In terms of engineering, fantastic. Weight is usually a good sign and they feel reassuringly heavy. The new heatsink is a good move. I came from Mk1 A40's and though they didn't have a difficult load, I was always conscious of heat. Of course the old design had its limitations, its nice to now have something without those problems to think about. It'll probably help with resale value too.
Sonically, its a big step from the A40's which are a stand out amp anyway. The A70's have a great range and seem to deal with any type of music with ease. They clearly have a bit more beef to them but it doesn't feel overpowering. Accuracy, clarity and drive just where you need it. I'm not one for HiFi speak as I don't understand it and mostly think it's rubbish but can honestly say (Kind of Blue) I've never heard trumpet like it, my heart did actually skip a beat! Overall a really great amp, excellent value and does what it's supposed to do without fuss.
Recommended.
Rick
Re: A30MKII just plugged in !!!
Postby Ubik-energy » Sun Jul 13, 2014 10:35 pm
Although according to NVA advise, being this amp my first NVA product I forcefully intoduced it in my system, based on an active preamp. The nva replaces a reference class D diy power amp of 50 watts per channel, on which i had happily settled previously.
Already at first glance, and cold, the nva gave me the feeling to be smoother and much better balanced in frequencies reproduction. In fact I always had the feeling the class D amp was outstanding in the bass department, but a bit over dark in the mid band.
Anyway, NVA left connected and planned the morning after for a a serious listening. Done it, and the impression is of pure silk smoothness, really extended at the band extremes. The music flows with easyness and the soundstage is wide and deep, a true 3d impression, while the class d was just 2d.
Nuances and musicians presence is both dispensed in large amounts. Oh, another thing i noticed, is how easy this amp fills the room with sounds. Timbre is top notch and as many others noticed in reviews, there is not any sign of artificial sibilances in vocals, unless present in the recording.
I had a bad thurnderstorm yesterday and today as well, so i had unfortunately to plug it off, stopping the break-in process, but more music and sensations to the next sessions. To conclude, i was skeptical before hearing this amp, or better said, I was not attracted as usual by that marketing hype, that accompany big names of audio. I only had a kid ingenuity for a strange black cube. After hearing it I must admit its not only seducing, it goes further....it conquers you with the power of music. This amp stays here, Mr Richard ! Thanxs so much for your fabolous work full of passion, and i dont know if it will be for a cable upgrade or another nva amp, but you will hear again from me
Daniele
Postby Ubik-energy » Sun Jul 13, 2014 10:35 pm
Although according to NVA advise, being this amp my first NVA product I forcefully intoduced it in my system, based on an active preamp. The nva replaces a reference class D diy power amp of 50 watts per channel, on which i had happily settled previously.
Already at first glance, and cold, the nva gave me the feeling to be smoother and much better balanced in frequencies reproduction. In fact I always had the feeling the class D amp was outstanding in the bass department, but a bit over dark in the mid band.
Anyway, NVA left connected and planned the morning after for a a serious listening. Done it, and the impression is of pure silk smoothness, really extended at the band extremes. The music flows with easyness and the soundstage is wide and deep, a true 3d impression, while the class d was just 2d.
Nuances and musicians presence is both dispensed in large amounts. Oh, another thing i noticed, is how easy this amp fills the room with sounds. Timbre is top notch and as many others noticed in reviews, there is not any sign of artificial sibilances in vocals, unless present in the recording.
I had a bad thurnderstorm yesterday and today as well, so i had unfortunately to plug it off, stopping the break-in process, but more music and sensations to the next sessions. To conclude, i was skeptical before hearing this amp, or better said, I was not attracted as usual by that marketing hype, that accompany big names of audio. I only had a kid ingenuity for a strange black cube. After hearing it I must admit its not only seducing, it goes further....it conquers you with the power of music. This amp stays here, Mr Richard ! Thanxs so much for your fabolous work full of passion, and i dont know if it will be for a cable upgrade or another nva amp, but you will hear again from me
Daniele
I recently upgraded to LS7 (TSCS), so here are my thoughts so far.
I was already perfectly happy with LS6 between my A80 Mk1's and Cube 1's, and doubted how much they could be improved on. But I was intrigued by the comments in praise of LS7 and decided to give it a try (especially with the generous upgrade option and 30 day returns policy).
For a brand new cable, first impressions were very positive. Music was immediately more dynamic, bass and treble more prominent and the flow of the music noticeably easier to follow. The sound just seemed to fill the room more, as if the 156 cores had opened the floodgates.
LS7 is very revealing of whatever it's presented with. I had been making adjustments to my PL-71 and at first vinyl sounded bright and harsh. It turned out that LS7 was highlighting the effects of misalignment in the arm and cartridge.
Differences in recording and pressing quality are also more apparent. I never knew just how much detail was hidden in the grooves of some of my old LP's. Again, presentation was vibrant and involving. As impressive as LS7 is at resolving detail, it's the ability to convey the spirit and emotion in a recording that draws me in. This was already apparent with my NVA setup, so I imagine that LS7 is allowing more of these characteristics to come through.
The usual NVA qualities of space, dynamics and realism were enhanced with LS7. Any initial brightness was short-lived with the sound becoming smoother as the cables were run in. LS7 will not hide any deficiencies, as I found with the Pioneer, but will be transparent to upgrades and other changes.
I only needed to switch once between LS6 and LS7 as the improvement was all too obvious. I find that I soon stop trying to listen to a new cable in its own right and start to think of it as an integral part of the system. In this case, it appears to be the "missing link" in my system, allowing it to show its true potential. NVA products are designed to complement each other and my experience of SSP, LS5, LS6 and now LS7 confirms that a cable upgrade can make a significant contribution to the overall performance.
The price may be quite a jump from the more affordable NVA cables, but for me its performance and construction more than justify the price, and reinforce the benefits of following the NVA upgrade path.
It will be interesting to see how much and for how long the LS7 continues to improve with use. What I do know is it won't be going back after the 30 day trial.
Steven
I was already perfectly happy with LS6 between my A80 Mk1's and Cube 1's, and doubted how much they could be improved on. But I was intrigued by the comments in praise of LS7 and decided to give it a try (especially with the generous upgrade option and 30 day returns policy).
For a brand new cable, first impressions were very positive. Music was immediately more dynamic, bass and treble more prominent and the flow of the music noticeably easier to follow. The sound just seemed to fill the room more, as if the 156 cores had opened the floodgates.
LS7 is very revealing of whatever it's presented with. I had been making adjustments to my PL-71 and at first vinyl sounded bright and harsh. It turned out that LS7 was highlighting the effects of misalignment in the arm and cartridge.
Differences in recording and pressing quality are also more apparent. I never knew just how much detail was hidden in the grooves of some of my old LP's. Again, presentation was vibrant and involving. As impressive as LS7 is at resolving detail, it's the ability to convey the spirit and emotion in a recording that draws me in. This was already apparent with my NVA setup, so I imagine that LS7 is allowing more of these characteristics to come through.
The usual NVA qualities of space, dynamics and realism were enhanced with LS7. Any initial brightness was short-lived with the sound becoming smoother as the cables were run in. LS7 will not hide any deficiencies, as I found with the Pioneer, but will be transparent to upgrades and other changes.
I only needed to switch once between LS6 and LS7 as the improvement was all too obvious. I find that I soon stop trying to listen to a new cable in its own right and start to think of it as an integral part of the system. In this case, it appears to be the "missing link" in my system, allowing it to show its true potential. NVA products are designed to complement each other and my experience of SSP, LS5, LS6 and now LS7 confirms that a cable upgrade can make a significant contribution to the overall performance.
The price may be quite a jump from the more affordable NVA cables, but for me its performance and construction more than justify the price, and reinforce the benefits of following the NVA upgrade path.
It will be interesting to see how much and for how long the LS7 continues to improve with use. What I do know is it won't be going back after the 30 day trial.
Steven
NVA LS6
Postby daws0n » Fri May 30, 2014 6:48 pm
I've recently taken delivery of a pair of LS6 speaker cable. I don't own any NVA gear, but my Exposure amplifier has low capacitance requirements as well so I thought I would give it a try. I've been a bit of a cable skeptic and have rarely delved into the expensive stuff but comparisons to (previously owned) TQ and Mr Dunn's straight talking got my interest.
It's replaced some cheap and cheerful Linn K20 (which I was perfectly happy with) and the difference is really something unexpected - there's an improved perception of transient response / immediacy dynamically speaking. It's not in your face, it's subtle but worthwhile.... Everything is clearer across the board with a bigger sense of scale. My dynaudio speakers now have a plumper low end too which is never a bad thing
Very pleased all in all and still bewildered as to how something as simple as a length of cable can improve sound so much when done right. I've experienced close before, but not this good.
My gripe however is that it's quite inflexible and difficult to hide away unlike the k20. Any tips on how best to achieve this?
daws0n
Postby daws0n » Fri May 30, 2014 6:48 pm
I've recently taken delivery of a pair of LS6 speaker cable. I don't own any NVA gear, but my Exposure amplifier has low capacitance requirements as well so I thought I would give it a try. I've been a bit of a cable skeptic and have rarely delved into the expensive stuff but comparisons to (previously owned) TQ and Mr Dunn's straight talking got my interest.
It's replaced some cheap and cheerful Linn K20 (which I was perfectly happy with) and the difference is really something unexpected - there's an improved perception of transient response / immediacy dynamically speaking. It's not in your face, it's subtle but worthwhile.... Everything is clearer across the board with a bigger sense of scale. My dynaudio speakers now have a plumper low end too which is never a bad thing
Very pleased all in all and still bewildered as to how something as simple as a length of cable can improve sound so much when done right. I've experienced close before, but not this good.
My gripe however is that it's quite inflexible and difficult to hide away unlike the k20. Any tips on how best to achieve this?
daws0n
NVA Phono 2
Postby guy » Mon May 05, 2014 4:04 pm
Wallace was right, told me that I would soon be looking for an NVA Phono.
Well, a Phono 2 came up on ebay at a good price (nearest and dearest thinks otherwise!) and I couldn't resist. unfortunately, I misunderstood the item description and needed to get it converted to MM input.
Doc agreed to carry out the conversion (at very short notice) and at a very reasonable price (£30). How many other manufacturers offer this level of service on second hand equipment? So, quick drive to Epping on Saturday morning - sorry for arriving a little earlier than agreed
- job done and now connected up.
Strange, but the "warming up"/settling in process seems to be far more pronounced with the Phono 2 than with the P50/A40's. Due to the change in resistors when changed to MM input perhaps?
I could appreciate the extra detail/information, when compared to the Edwards Apprentice, from the word go but today WOW
Detail, pace, coherence above all - different instruments in the mix "hang together".
Dynamics from my Dynavector DV20X are now much more evident. I had missed my 10X5 and considered the 20X to be a retrograde step in this regard, no such concerns now.
I tried my SSC between Phono and preamp using SC between pre and powers but find that I feel more comfortable using them the other way around (short SC between Phono and pre). Not sure why this should be the case, gut feeling made me thing that the "better" cable should be earlier in the chain.
I think that this will be the end to my major upgrades/changes for the moment, honest!
Just very happy with the sounds. Thanks to all involved and to Doc for being very helpful.
All the best. Guy.
Postby guy » Mon May 05, 2014 4:04 pm
Wallace was right, told me that I would soon be looking for an NVA Phono.
Well, a Phono 2 came up on ebay at a good price (nearest and dearest thinks otherwise!) and I couldn't resist. unfortunately, I misunderstood the item description and needed to get it converted to MM input.
Doc agreed to carry out the conversion (at very short notice) and at a very reasonable price (£30). How many other manufacturers offer this level of service on second hand equipment? So, quick drive to Epping on Saturday morning - sorry for arriving a little earlier than agreed
Strange, but the "warming up"/settling in process seems to be far more pronounced with the Phono 2 than with the P50/A40's. Due to the change in resistors when changed to MM input perhaps?
I could appreciate the extra detail/information, when compared to the Edwards Apprentice, from the word go but today WOW
Detail, pace, coherence above all - different instruments in the mix "hang together".
Dynamics from my Dynavector DV20X are now much more evident. I had missed my 10X5 and considered the 20X to be a retrograde step in this regard, no such concerns now.
I tried my SSC between Phono and preamp using SC between pre and powers but find that I feel more comfortable using them the other way around (short SC between Phono and pre). Not sure why this should be the case, gut feeling made me thing that the "better" cable should be earlier in the chain.
I think that this will be the end to my major upgrades/changes for the moment, honest!
Just very happy with the sounds. Thanks to all involved and to Doc for being very helpful.
All the best. Guy.
I've been turned to the dark side
Postby _D_S_J_R_ » Wed Apr 09, 2014 3:13 pm
Doc and all, thanks so much for allowing me to be here and lately, to be able to turn to the dark side
The SC and LS5 are superb IMO and can easily be used safely in any half decent system. The 'normal' stuff I'm using is a fig 8 version of the old Cable Talk 4.1, which sold for £4.50m. No 'edge' or 'grain' but perhaps a little full bodied in tone (the related 3.1 could be a little stark and 'HiFi' in direct comparison, but still tons better than QED SA). The LS5 reminds me of the heavier duty CT Concert 2 I used to sell, but possibly better, the sound being more 'positive' and better in the bass, yet totally unforced - the way I expect a heavier duty cable of quality to provide.
Put it this way, I'm not sure I want to give the LS5 back, so there! (I'll confirm prices and deal with it accordingly...)
Now to the AP20! Forgive the sort-of mini-review, but some readers may never have experienced the brand hands-on before.
Firstly, the subjective feelings about the box itself HAVE to be stated I think. Carefully unwrapping it reminded me of the Croft stuff I love so much. This sample even looks a bit like an old Croft too, volume on the left and input selector on the right - hell, even my old SMA IVPP has the same bloody knobs on! The feeling that one man assembled it appeals to me as well. The panels fit and are finished nicely too - maybe some info on keeping the finish wouldn't do any harm as shiny finishes and greasy mitts don't mix... The volume control feels very slick and the selector is light to operate.
Connecting up and operating couldn't be easier. Since the ONLY requirement is careful choice of speaker cables, I don't think this is a big deal at all in this instance. The phono sockets are perfectly ok for the likes of SC and SSC and the 4mm sockets happily accept the 'Z Plugs' soldered to the LS5 cables. neat, tidy and no risk of nasty amp-destroying shorts.
Now, I play at very low volume most of the time so any amp I use is barely ticking over. The little system I use in the 'office' comprises of, for CD, Denon 1520 as transport into the 'Ton-Up' Digit, AVI S2000MP+P pre with HH VX300 power amp into Rogers LS5/9 speakers. The speakers were designed 'flat' but something happened post development and all production samples have a 'distant' perspective, along with the larger active LS5/8 model. The bass on these 5/9's can be very 'squidgy' and full-of-itself if not sited properly, but the mid is very open and clear, given half a chance. After giving the AP20 ten minutes or so to stabilise (it sounded a bit 'forced' on first switch-on) I was stunned by how much better the bass quality was. I'm used to tight bass from my old Crown 'D' series power amps - they made a huge thing about high damping factor - and this is something the AP20 does in spades - but recent tellings off on other forums has persuaded me to not think about high damping factor being important. Well, this little amp redresses this big-time! since its output impedance is so low. The 5/9's don't go low enough to see how extended the perception of tight bass goes, but from lower-mid bass upwards, the quality is excellent and almost like going active. This sense of control seems to go into the midrange too, studio effects and reverb carelessly applied in a mix being easily reproduced. ABSOLUTELY NO HARSHNESS! Treble is clean and well reproduced. Can't go deeper as my gear and ears aren't really good enough. Definitely a monitor-grade amp and highly addictive in its sonics.
If I do get to visit hifi dave next week, I'm glad I'd be allowed to take the AP20 over for a comparison with what I still regard as the best universal all-rounder for general purpose use at around five hundred notes. Currently, I'm thinking the AP20 may well be a tier or two above this, but ONLY if you use the recommended cables (the Brio R has to be more all-things-to-all-men I think, so summat will have to give in the process I believe).
Finally, just to say I think that this is the sort of amp Naim should have started making. Clear, tight as a drum without drying the sonics out, superb imaging and totally without the treble grain and thumpy bass the current models have. That ancient RCA PA circuit Naim still use/abuse really has come to the end and things have moved well on now. One day, I'd love to try the bigger NVA amps, but for now, the only other amp manufacturer that comes to mind with a similar sort of presentation is Albarry, and despite the silly prices as dictated by one of the northern stockists, the presentation is very similar. These amps, and definitely including the AP20, make passive speakers sound more like good active ones and even though the Doc loathes BBC inspired designes with a passion, I can honestly say I can think of few other amps and speakers that would do the job as well, let alone better..
Thanks again for letting me try this
_D_S_J_R_
Postby _D_S_J_R_ » Wed Apr 09, 2014 3:13 pm
Doc and all, thanks so much for allowing me to be here and lately, to be able to turn to the dark side
The SC and LS5 are superb IMO and can easily be used safely in any half decent system. The 'normal' stuff I'm using is a fig 8 version of the old Cable Talk 4.1, which sold for £4.50m. No 'edge' or 'grain' but perhaps a little full bodied in tone (the related 3.1 could be a little stark and 'HiFi' in direct comparison, but still tons better than QED SA). The LS5 reminds me of the heavier duty CT Concert 2 I used to sell, but possibly better, the sound being more 'positive' and better in the bass, yet totally unforced - the way I expect a heavier duty cable of quality to provide.
Put it this way, I'm not sure I want to give the LS5 back, so there! (I'll confirm prices and deal with it accordingly...)
Now to the AP20! Forgive the sort-of mini-review, but some readers may never have experienced the brand hands-on before.
Firstly, the subjective feelings about the box itself HAVE to be stated I think. Carefully unwrapping it reminded me of the Croft stuff I love so much. This sample even looks a bit like an old Croft too, volume on the left and input selector on the right - hell, even my old SMA IVPP has the same bloody knobs on! The feeling that one man assembled it appeals to me as well. The panels fit and are finished nicely too - maybe some info on keeping the finish wouldn't do any harm as shiny finishes and greasy mitts don't mix... The volume control feels very slick and the selector is light to operate.
Connecting up and operating couldn't be easier. Since the ONLY requirement is careful choice of speaker cables, I don't think this is a big deal at all in this instance. The phono sockets are perfectly ok for the likes of SC and SSC and the 4mm sockets happily accept the 'Z Plugs' soldered to the LS5 cables. neat, tidy and no risk of nasty amp-destroying shorts.
Now, I play at very low volume most of the time so any amp I use is barely ticking over. The little system I use in the 'office' comprises of, for CD, Denon 1520 as transport into the 'Ton-Up' Digit, AVI S2000MP+P pre with HH VX300 power amp into Rogers LS5/9 speakers. The speakers were designed 'flat' but something happened post development and all production samples have a 'distant' perspective, along with the larger active LS5/8 model. The bass on these 5/9's can be very 'squidgy' and full-of-itself if not sited properly, but the mid is very open and clear, given half a chance. After giving the AP20 ten minutes or so to stabilise (it sounded a bit 'forced' on first switch-on) I was stunned by how much better the bass quality was. I'm used to tight bass from my old Crown 'D' series power amps - they made a huge thing about high damping factor - and this is something the AP20 does in spades - but recent tellings off on other forums has persuaded me to not think about high damping factor being important. Well, this little amp redresses this big-time! since its output impedance is so low. The 5/9's don't go low enough to see how extended the perception of tight bass goes, but from lower-mid bass upwards, the quality is excellent and almost like going active. This sense of control seems to go into the midrange too, studio effects and reverb carelessly applied in a mix being easily reproduced. ABSOLUTELY NO HARSHNESS! Treble is clean and well reproduced. Can't go deeper as my gear and ears aren't really good enough. Definitely a monitor-grade amp and highly addictive in its sonics.
If I do get to visit hifi dave next week, I'm glad I'd be allowed to take the AP20 over for a comparison with what I still regard as the best universal all-rounder for general purpose use at around five hundred notes. Currently, I'm thinking the AP20 may well be a tier or two above this, but ONLY if you use the recommended cables (the Brio R has to be more all-things-to-all-men I think, so summat will have to give in the process I believe).
Finally, just to say I think that this is the sort of amp Naim should have started making. Clear, tight as a drum without drying the sonics out, superb imaging and totally without the treble grain and thumpy bass the current models have. That ancient RCA PA circuit Naim still use/abuse really has come to the end and things have moved well on now. One day, I'd love to try the bigger NVA amps, but for now, the only other amp manufacturer that comes to mind with a similar sort of presentation is Albarry, and despite the silly prices as dictated by one of the northern stockists, the presentation is very similar. These amps, and definitely including the AP20, make passive speakers sound more like good active ones and even though the Doc loathes BBC inspired designes with a passion, I can honestly say I can think of few other amps and speakers that would do the job as well, let alone better..
Thanks again for letting me try this
_D_S_J_R_
Re: The Phono Stages
Postby Gromit » Sun Dec 01, 2013 8:40 pm
zebbo wrote:
Bloody hell Gromit, are you simply out to make us, (me), feel as envious as possible?!
That's the plan.
Seriously...
The Phono 1's been switched on all night since about 7pm yesterday so it had a good few hours - admittedly without signal but with electrons whizzing through it nonetheless.
I've owned an MM Phono1 before, and found it to be a really rounded, enjoyable phonostage but never actually heard the MC version. The MC is noisier - there's no doubt there - but show me a phonostage which isn't (c/w its MM equivalent) and I'd be very surprised. The P1 is more sensitive to hum - plus having its own transformer inside the case it doesn't get isolated as well as the P2 which, once sited properly, is very quiet electrically.
Sonically?
Really it's a case of 'less of the same' vs the P2. It's softer, doesn't hit as hard - there's more warmth to the bass and it's not as quick-footed, as though there's more intertia. In my system the P1 doesn't quite have the 'cut' on stuff like ride cymbal that the P2 has either. You could argue the P1 is 'nicer' to listen to and perhaps less revealing? The P1 still has good drive though, and locks onto rhythms well - insert the P2 though and it's as though the music's tyres have been pumped up. Until you hear what the P2 can do, the P1 feels just fine.
Between all of them I'd stick my neck out here and say that yes, there is a decent jump (and most definitely worth the £ - not one jot of doubt in my mind in fact) from P1 to P2. However - and this surprised me - the real deal is when the 2nd psu is added. There's no real increase in inner detail, but it's the way the dynamic lid is lifted. Everything tightens up - the hifi bits do (yawn) of course, but the important bit - the music - just gains direction and purpose.
For me it'd have to be the P2/2xPSU. The P1 is a great stage, especially as a first rung on the ladder but you just know the P2 is inevitable.
Postby Gromit » Sun Dec 01, 2013 8:40 pm
zebbo wrote:
Bloody hell Gromit, are you simply out to make us, (me), feel as envious as possible?!
That's the plan.
Seriously...
The Phono 1's been switched on all night since about 7pm yesterday so it had a good few hours - admittedly without signal but with electrons whizzing through it nonetheless.
I've owned an MM Phono1 before, and found it to be a really rounded, enjoyable phonostage but never actually heard the MC version. The MC is noisier - there's no doubt there - but show me a phonostage which isn't (c/w its MM equivalent) and I'd be very surprised. The P1 is more sensitive to hum - plus having its own transformer inside the case it doesn't get isolated as well as the P2 which, once sited properly, is very quiet electrically.
Sonically?
Really it's a case of 'less of the same' vs the P2. It's softer, doesn't hit as hard - there's more warmth to the bass and it's not as quick-footed, as though there's more intertia. In my system the P1 doesn't quite have the 'cut' on stuff like ride cymbal that the P2 has either. You could argue the P1 is 'nicer' to listen to and perhaps less revealing? The P1 still has good drive though, and locks onto rhythms well - insert the P2 though and it's as though the music's tyres have been pumped up. Until you hear what the P2 can do, the P1 feels just fine.
Between all of them I'd stick my neck out here and say that yes, there is a decent jump (and most definitely worth the £ - not one jot of doubt in my mind in fact) from P1 to P2. However - and this surprised me - the real deal is when the 2nd psu is added. There's no real increase in inner detail, but it's the way the dynamic lid is lifted. Everything tightens up - the hifi bits do (yawn) of course, but the important bit - the music - just gains direction and purpose.
For me it'd have to be the P2/2xPSU. The P1 is a great stage, especially as a first rung on the ladder but you just know the P2 is inevitable.
Re: New TSS Customer
Postby evilC » Mon Nov 25, 2013 2:16 pm
Yes, folks I'm the one with the silly grin on his face!
When my A80 developed a fault I reverted back to an old (very old) ali cased A60. Upgrading to LS6 (from LS1) and recently from P50 to P90SA meant I wasn't really missing the A80s.
UNTIL...
The TSS arrived. With a BUMP. Man, is that P/S heavy!
The first record sounded OK, but I have learnt never to judge NVA kit on first install.
I guess it probably took about 2-3 hours to 'warm-up'. By the next day there was no stopping it, or me. Playing old and new favourites, hearing something and thinking 'I wonder what ... sounds like now?' - so there was a lot of track jumping. It is all those little details at the back of the mix that that are now so clear. Those once complex passages that aren't anymore.
The P90SA added detail, but the TSS added space and character. Although neither has added anything - they are just less in the way than anything else I have had.
Clive
I have just got a glimpse of how good applemarc's system must be!
evilC
Postby evilC » Mon Nov 25, 2013 2:16 pm
Yes, folks I'm the one with the silly grin on his face!
When my A80 developed a fault I reverted back to an old (very old) ali cased A60. Upgrading to LS6 (from LS1) and recently from P50 to P90SA meant I wasn't really missing the A80s.
UNTIL...
The TSS arrived. With a BUMP. Man, is that P/S heavy!
The first record sounded OK, but I have learnt never to judge NVA kit on first install.
I guess it probably took about 2-3 hours to 'warm-up'. By the next day there was no stopping it, or me. Playing old and new favourites, hearing something and thinking 'I wonder what ... sounds like now?' - so there was a lot of track jumping. It is all those little details at the back of the mix that that are now so clear. Those once complex passages that aren't anymore.
The P90SA added detail, but the TSS added space and character. Although neither has added anything - they are just less in the way than anything else I have had.
Clive
I have just got a glimpse of how good applemarc's system must be!
evilC
Re: Balanced line mains
Postby terrybooth » Sat Aug 16, 2014 9:26 pm
I've now had a chance to have a decent listen with this in the system (I have all the amps plugged into it, previously they were plugged into a couple of two gang extensions - not standard mains but screened 4mm cable). As ever, I think I'll really find out what it is doing when I take it out of the system. But for the moment my conclusion is that it improves just about everything.
The music is more 'in the room', the soundstage is bigger, there is more distinction between the different performers and parts to the music, each bit of the music has some more of it's own character, there's more dynamic range, little grace notes and pushes to the music are more apparent, the highs and the lows are clearer.
There is a downside. And that's that there's someone playing a didgeridoo quietly in the corner of the room - the noise floor of my listening room is now around 4db more that is was (measured on an app on my tablet). This is not noticeable most of the time but it is in quiet passages of music. But this is an 'undoped' transformer, I think, and it will not be helping that it is sat directly on a wooden floor - maybe I need some 'state of the art racks' to sort this.
I suspect that my amps are now buzzing rather less than they were but I haven't really listened for that.
Postby terrybooth » Sat Aug 16, 2014 9:26 pm
I've now had a chance to have a decent listen with this in the system (I have all the amps plugged into it, previously they were plugged into a couple of two gang extensions - not standard mains but screened 4mm cable). As ever, I think I'll really find out what it is doing when I take it out of the system. But for the moment my conclusion is that it improves just about everything.
The music is more 'in the room', the soundstage is bigger, there is more distinction between the different performers and parts to the music, each bit of the music has some more of it's own character, there's more dynamic range, little grace notes and pushes to the music are more apparent, the highs and the lows are clearer.
There is a downside. And that's that there's someone playing a didgeridoo quietly in the corner of the room - the noise floor of my listening room is now around 4db more that is was (measured on an app on my tablet). This is not noticeable most of the time but it is in quiet passages of music. But this is an 'undoped' transformer, I think, and it will not be helping that it is sat directly on a wooden floor - maybe I need some 'state of the art racks' to sort this.
I suspect that my amps are now buzzing rather less than they were but I haven't really listened for that.
Re: Balanced line mains
Postby Gromit » Sat Jul 12, 2014 3:03 pm
Ok, then - what does it actually do?
We all know (DSJR espesh
) that the 42.5/110 isn't exactly what you'd describe as a shrinking violet. Violent is perhaps a more apt description. Still, I quite like it and enjoy its front-row presentation. Adding the BMU...
If you've heard what a HiCap does to a Naim pre-amp, this will be fairly familiar but not only does the presentation with BMU added gain scale, it's as thought someone has put a metronome behind the music. Best way I can try to describe it is this - without it, there's less sense of the time domain in music being wholly accurate. Imagine a turntable playing at varying speed, but without changing pitch, and you'll hopefully get the idea. Add the BMU and the timing is restored to clockwork precision, the temporal smearing being removed. Of course, music still ebbs and flows against this, but in a much more accurate and realistic way. I'd also say taking the BMU out of the system makes its contribution all the more obvious.
Sonically (as opposed to musically) it's a shot in the arm for the amp's ability to portray colour. Acoustic piano (which I listen to 50% of the time) gains body, it resonates for longer and its physicality is improved too. High frequencies integrate better into the mix, and are no longer a separate sprinkling on the top just to give a sense of extra detail - the HF of the Sapphires is now sweeter, less obvious. They were always clean at the top, it's just that there's always been a little too much of it.
At the risk of 'gushing' now I've experienced what the balanced mains can bring, I'm not not wholly sure I'll be happy to live without it.
Postby Gromit » Sat Jul 12, 2014 3:03 pm
Ok, then - what does it actually do?
We all know (DSJR espesh
If you've heard what a HiCap does to a Naim pre-amp, this will be fairly familiar but not only does the presentation with BMU added gain scale, it's as thought someone has put a metronome behind the music. Best way I can try to describe it is this - without it, there's less sense of the time domain in music being wholly accurate. Imagine a turntable playing at varying speed, but without changing pitch, and you'll hopefully get the idea. Add the BMU and the timing is restored to clockwork precision, the temporal smearing being removed. Of course, music still ebbs and flows against this, but in a much more accurate and realistic way. I'd also say taking the BMU out of the system makes its contribution all the more obvious.
Sonically (as opposed to musically) it's a shot in the arm for the amp's ability to portray colour. Acoustic piano (which I listen to 50% of the time) gains body, it resonates for longer and its physicality is improved too. High frequencies integrate better into the mix, and are no longer a separate sprinkling on the top just to give a sense of extra detail - the HF of the Sapphires is now sweeter, less obvious. They were always clean at the top, it's just that there's always been a little too much of it.
At the risk of 'gushing' now I've experienced what the balanced mains can bring, I'm not not wholly sure I'll be happy to live without it.
Phono 2 / dual PSU - My thoughts
Postby zebbo » Sun Aug 19, 2012 12:48 pm
Hello all
Well I've had my Phono 2 in place for a couple of months now so thought I'd let you all know what I think.
I'd been using an Anatek MC1 for a couple of years and was really happy with it, but I do like trying stuff out and constantly pitched it against other phonostages amongst which were - Graham Slee Reflex, EAR 834P, Puresound P10 & a Whest TWO. The Anatek sounded better, to me, than all of them.
Throughout all of this I kept looking at the little black box on E-bay that was the Phono 2 but at £490 it couldn't compete surely.
Anyway, curiosity finally got the better of me and I ordered one, with the additional power supply. It was on 30 days home trial anyway so how could I lose?
It arrived a few weeks later and I unpacked everything. I have to admit that I was more than a little disappointed to discover that the case of the head unit wasn't a good fit, being about 1-2mm proud on one side, and also two of the rubber feet had fallen off! Regardless I set it all up, powered it up and left it to cook for a while. I didn't call the Doc about the casework at that time as I figured I may as well try it out first, then if, as I suspected it would, it failed to beat the Anatek it would be returned anyway.
I like to use Paul Simon's Graceland LP as a good test for the phonostages so pulled it out and cued it up with the Anatek - lovely, as usual, all nicely balanced, punchy but not overbearing, good detail and nice vocals.
I switched everything over to the NVA and cued up again, expecting any differences to be subtle and probably negative, well, how wrong I was!
The vocals were noticeably cleaner, though seemed to lack a little of the Anatek's warmth, but the detail and textures were something else! I sat mesmerised as I listened to familiar tracks that sounded so much fresher and cleaner with deeper, more textured bass. At the end of the album I thought to myself "that couldn't have been as drastically different as I thought it was, surely". So, back to the Anatek and play it again...... yep, nice vocals, a little warmer than the NVA, but everything else now seemed to be submerged in a sort of "fog", as if the singer was on the stage in front of the curtains and everyone else was playing behind them! The decision was simple.
To double check my findings I invited a couple of friends, who are into hi-fi, around for an evenings listening and, despite both being sceptical of possible improvement, they were both amazed and impressed.
Having decided to keep the Phono 2, I phoned the Doc regarding the dodgy casework and he immediately agreed to build a new one to replace it and said I could continue using the original one until it was ready, superb all round, I'm a very happy camper!
Postby zebbo » Sun Aug 19, 2012 12:48 pm
Hello all
Well I've had my Phono 2 in place for a couple of months now so thought I'd let you all know what I think.
I'd been using an Anatek MC1 for a couple of years and was really happy with it, but I do like trying stuff out and constantly pitched it against other phonostages amongst which were - Graham Slee Reflex, EAR 834P, Puresound P10 & a Whest TWO. The Anatek sounded better, to me, than all of them.
Throughout all of this I kept looking at the little black box on E-bay that was the Phono 2 but at £490 it couldn't compete surely.
Anyway, curiosity finally got the better of me and I ordered one, with the additional power supply. It was on 30 days home trial anyway so how could I lose?
It arrived a few weeks later and I unpacked everything. I have to admit that I was more than a little disappointed to discover that the case of the head unit wasn't a good fit, being about 1-2mm proud on one side, and also two of the rubber feet had fallen off! Regardless I set it all up, powered it up and left it to cook for a while. I didn't call the Doc about the casework at that time as I figured I may as well try it out first, then if, as I suspected it would, it failed to beat the Anatek it would be returned anyway.
I like to use Paul Simon's Graceland LP as a good test for the phonostages so pulled it out and cued it up with the Anatek - lovely, as usual, all nicely balanced, punchy but not overbearing, good detail and nice vocals.
I switched everything over to the NVA and cued up again, expecting any differences to be subtle and probably negative, well, how wrong I was!
The vocals were noticeably cleaner, though seemed to lack a little of the Anatek's warmth, but the detail and textures were something else! I sat mesmerised as I listened to familiar tracks that sounded so much fresher and cleaner with deeper, more textured bass. At the end of the album I thought to myself "that couldn't have been as drastically different as I thought it was, surely". So, back to the Anatek and play it again...... yep, nice vocals, a little warmer than the NVA, but everything else now seemed to be submerged in a sort of "fog", as if the singer was on the stage in front of the curtains and everyone else was playing behind them! The decision was simple.
To double check my findings I invited a couple of friends, who are into hi-fi, around for an evenings listening and, despite both being sceptical of possible improvement, they were both amazed and impressed.
Having decided to keep the Phono 2, I phoned the Doc regarding the dodgy casework and he immediately agreed to build a new one to replace it and said I could continue using the original one until it was ready, superb all round, I'm a very happy camper!
Re: Roll on the weekend!
Postby tinturkey » Sun Jul 15, 2012 1:17 pm
Music listened to over yesterday afternoon till now (excerpts from!):-
Shostakovich 5th Symphony (Bernstein NY Phil. 1979 CD)
Mahler 2nd Symphony (LSO Kaplan 1988 CD)
Respighi Pines/Fountains of Rome, Roman Festival (Montreal SO Duthoit 1983 CD)
Band of the Grenadier Guards (Hands Across the Sea 1998 CD) - One of the many recordings I perfomed on with this Band.
A CD named Fantastic Journey performed by the Cincinnati Pops Orchestra (Erich Kunzel 1990 Telarc)
James Last/Astrud Gilberto - Plus (1986 CD)
Level 42 (Level 42 1981 CD)
A few tracks from Naim Sample CD's listened through lossless files - mainly modern jazz.
Well, what can I say? After spending probably thousands and thousands of £'s since I was 17 (I'm now coming upto 60) on hifi (if you can be bothered I've listed what I've been through on the AoS forum), I think I may be finally 'there'. 'There' being the sound of music, pure music, a true representation of what the recording engineers put down when the music was recorded, eminating from my speakers.
I have used most of the recordings for years to 'evaluate' hifi equipment.
The Shostakovich. I listen for the timbre/fullness of the double basses at the beginning (perfect). About 3\4's through the first movement there is a double bass pizzicato combined with piano section, these are joined by the brass section, notably the bass trombone (perfect again - the bass trombone player projecting massively just the way the recording engineer wanted it to). The second movement - more full bowed double basses (can't you tell I was a double bass player!). Third movement - massed sweeping violins (always a test for fatigue to ears - no fatigue here, just sweet sounds). Fourth and last movement - exhilerating brass, always listen for the part where the xylophone joins in hammering out semi-quavers (brilliant, the xylophone protrudes from the rest of the orchestra - excellent). The last part of the fourth movement full strings, big, big brass, tympani and bass drum (the immediacy/strike of each tympani and bass drum beat - scary!!). The wide soundstage, the depth created, the dynamics (attack/bite of each note), the sweetness of the high violin notes, the heft of the brass and basses and the might of the tympani and bass drum - all absolutely perfect. The listening on all of the music mentioned above was similarly - perfect.
I could obviously go through the rest of music, but I'd bore everyone reading this to death, although (just one more example) on the Hands Acrsos the Sea CD, on a couple of marches (I played tuba on this recording), there are quite a few pedal Bb's (for the not knowledgable in music here, these are really low notes that I ued to enjoy putting in - hard work but enhanced the sound of the tuba section). This is the first time I have heard them properly portrayed - since 1998!
After hearing equipment like this (NVA), you wonder why everyone else doesn't have the sense to buy it. I can truely say, after all these years, that this last day and a bit have been spent listening to the nearest thing that the recording engineer at the time of recording wanted us to hear. Not only the best sound, brilliant customer sevice. Richard really went to town to get my amps finished for this weekend (wife still away till about 5 so more listening - then work again).
Thanks very much Richard for getting it so right. Long may you carry on manufacturing this incredible sounding gear. The question being now, do I really need to buy the T.D.S?
Just read through the above and have got to put on record - perfect being in my opinion, although, I would challenge any other hifi manufacturer to beat the NVA sound - especially for the price!
Postby tinturkey » Sun Jul 15, 2012 1:17 pm
Music listened to over yesterday afternoon till now (excerpts from!):-
Shostakovich 5th Symphony (Bernstein NY Phil. 1979 CD)
Mahler 2nd Symphony (LSO Kaplan 1988 CD)
Respighi Pines/Fountains of Rome, Roman Festival (Montreal SO Duthoit 1983 CD)
Band of the Grenadier Guards (Hands Across the Sea 1998 CD) - One of the many recordings I perfomed on with this Band.
A CD named Fantastic Journey performed by the Cincinnati Pops Orchestra (Erich Kunzel 1990 Telarc)
James Last/Astrud Gilberto - Plus (1986 CD)
Level 42 (Level 42 1981 CD)
A few tracks from Naim Sample CD's listened through lossless files - mainly modern jazz.
Well, what can I say? After spending probably thousands and thousands of £'s since I was 17 (I'm now coming upto 60) on hifi (if you can be bothered I've listed what I've been through on the AoS forum), I think I may be finally 'there'. 'There' being the sound of music, pure music, a true representation of what the recording engineers put down when the music was recorded, eminating from my speakers.
I have used most of the recordings for years to 'evaluate' hifi equipment.
The Shostakovich. I listen for the timbre/fullness of the double basses at the beginning (perfect). About 3\4's through the first movement there is a double bass pizzicato combined with piano section, these are joined by the brass section, notably the bass trombone (perfect again - the bass trombone player projecting massively just the way the recording engineer wanted it to). The second movement - more full bowed double basses (can't you tell I was a double bass player!). Third movement - massed sweeping violins (always a test for fatigue to ears - no fatigue here, just sweet sounds). Fourth and last movement - exhilerating brass, always listen for the part where the xylophone joins in hammering out semi-quavers (brilliant, the xylophone protrudes from the rest of the orchestra - excellent). The last part of the fourth movement full strings, big, big brass, tympani and bass drum (the immediacy/strike of each tympani and bass drum beat - scary!!). The wide soundstage, the depth created, the dynamics (attack/bite of each note), the sweetness of the high violin notes, the heft of the brass and basses and the might of the tympani and bass drum - all absolutely perfect. The listening on all of the music mentioned above was similarly - perfect.
I could obviously go through the rest of music, but I'd bore everyone reading this to death, although (just one more example) on the Hands Acrsos the Sea CD, on a couple of marches (I played tuba on this recording), there are quite a few pedal Bb's (for the not knowledgable in music here, these are really low notes that I ued to enjoy putting in - hard work but enhanced the sound of the tuba section). This is the first time I have heard them properly portrayed - since 1998!
After hearing equipment like this (NVA), you wonder why everyone else doesn't have the sense to buy it. I can truely say, after all these years, that this last day and a bit have been spent listening to the nearest thing that the recording engineer at the time of recording wanted us to hear. Not only the best sound, brilliant customer sevice. Richard really went to town to get my amps finished for this weekend (wife still away till about 5 so more listening - then work again).
Thanks very much Richard for getting it so right. Long may you carry on manufacturing this incredible sounding gear. The question being now, do I really need to buy the T.D.S?
Just read through the above and have got to put on record - perfect being in my opinion, although, I would challenge any other hifi manufacturer to beat the NVA sound - especially for the price!
Re: NVA LS6 loudspeaker cable
Postby jandl100 on 2012-06-25, 01:37:25 pm
Thanks to a loaner pair from the Good Dr BH, I've been listening today, comparing the LS6 with my own Tellurium Black. The Blacks, in fact all of the Tellurium cables, have been getting some rave reviews on some of the forums and magazines, and they are very good. Similar price to the LS6, the LS6 being a bit more expensive.
The LS6 wins by a fairly easy margin.
Better rez, better focus, more powerful and better defined bass.
It's a bit brighter, which may help with the rez, or maybe the Tellurium is a bit darker. Same thing!
The LS6 are easily worth the slight price premium, imo. A very fine cable ... hmm, I wonder what the LS7 sounds like ... :?
jandl100
Postby jandl100 on 2012-06-25, 01:37:25 pm
Thanks to a loaner pair from the Good Dr BH, I've been listening today, comparing the LS6 with my own Tellurium Black. The Blacks, in fact all of the Tellurium cables, have been getting some rave reviews on some of the forums and magazines, and they are very good. Similar price to the LS6, the LS6 being a bit more expensive.
The LS6 wins by a fairly easy margin.
Better rez, better focus, more powerful and better defined bass.
It's a bit brighter, which may help with the rez, or maybe the Tellurium is a bit darker. Same thing!
The LS6 are easily worth the slight price premium, imo. A very fine cable ... hmm, I wonder what the LS7 sounds like ... :?
jandl100
Re: NVA LS6 loudspeaker cable
Postby 29mile on 2012-07-09, 10:38:27 pm
LS6 review – bl**dy good I say so good I just bought it ! ( sorry to those in the queue for the delay but the good Doc has agreed to make up some more for beta testing ).
Slightly more seriously there is little more that I can add to the comments already made and I can only compare them against my resident LS5’s. As a seasoned NVA user I am used to upgrades simply adding more of the same and here the LS6’s did not disappoint. Sound wise more resolution better separation enhanced mid-range and albiet not deeper bass but tauter and crisper. Music wise is where they score by adding more timbre sharper dynamics and just a better sense of performance. Vocals shine particularly ( all NVA kit seems to excel at this btw) and that sense of realism is really enhanced. Which comes to the crux – you become more involved in the music the whole point of the hifi exercise for me. NVA gear just sits in the background unobtrusively and its sheer transparency just lets the music shine through unimpeded. LS6 just adds to this and for any NVA user the synergy LS6 provides means I would simply go for it !
Mervyn
29mile
Postby 29mile on 2012-07-09, 10:38:27 pm
LS6 review – bl**dy good I say so good I just bought it ! ( sorry to those in the queue for the delay but the good Doc has agreed to make up some more for beta testing ).
Slightly more seriously there is little more that I can add to the comments already made and I can only compare them against my resident LS5’s. As a seasoned NVA user I am used to upgrades simply adding more of the same and here the LS6’s did not disappoint. Sound wise more resolution better separation enhanced mid-range and albiet not deeper bass but tauter and crisper. Music wise is where they score by adding more timbre sharper dynamics and just a better sense of performance. Vocals shine particularly ( all NVA kit seems to excel at this btw) and that sense of realism is really enhanced. Which comes to the crux – you become more involved in the music the whole point of the hifi exercise for me. NVA gear just sits in the background unobtrusively and its sheer transparency just lets the music shine through unimpeded. LS6 just adds to this and for any NVA user the synergy LS6 provides means I would simply go for it !
Mervyn
29mile
New TDS's no they are not going back
Postby applemarc on 2012-06-23, 05:58:58 pm
I pick these up on Wednesday I had them powered up while I was finishing the installation of my 15 amp power points. On Thursday I set them up and played a cd on repeat one thing I noticed was how good female voice was right from the start.
Sat down to have a listen and this is just the initial thought’s, Outstanding, now I don’t know if it’s the TDS’s or LS7 but probably both compared to my well run in Conrad Johnson Premier 350 and Purist audio Design cable at about £20,000+ the new barely used amps leave these for dead. I’m not yet ready to go into too much detail as Richard says that it will take them a month to burn in but I have only once heard voice this clear and that was with a pair of Jadis JA 500’s, at the time these sold for £22000 and these where not as good as the TDS. Top and bottom end are really good this is what I have listened to so far.
Enigma MCMXC ad
Tracy Chapman 1st
Pink Floyd Dark Side and Wish you where Here
Bebel Gilberto Tanto Tempo
Peter Green Splinter Group Best of
Leontyne Price Blue Album
Puccini Madama Butterfly and Tosca
T Rex Electric warrior
David Bowie The man whole sold the world
I know it’s an odd mix but I just wanted to play a variety
Tomorrow I will start with some serious listening I am planning on getting my mobile fidelity UHQR’s out these rarely come out of their box
applemarc
Postby applemarc on 2012-06-23, 05:58:58 pm
I pick these up on Wednesday I had them powered up while I was finishing the installation of my 15 amp power points. On Thursday I set them up and played a cd on repeat one thing I noticed was how good female voice was right from the start.Sat down to have a listen and this is just the initial thought’s, Outstanding, now I don’t know if it’s the TDS’s or LS7 but probably both compared to my well run in Conrad Johnson Premier 350 and Purist audio Design cable at about £20,000+ the new barely used amps leave these for dead. I’m not yet ready to go into too much detail as Richard says that it will take them a month to burn in but I have only once heard voice this clear and that was with a pair of Jadis JA 500’s, at the time these sold for £22000 and these where not as good as the TDS. Top and bottom end are really good this is what I have listened to so far.
Enigma MCMXC ad
Tracy Chapman 1st
Pink Floyd Dark Side and Wish you where Here
Bebel Gilberto Tanto Tempo
Peter Green Splinter Group Best of
Leontyne Price Blue Album
Puccini Madama Butterfly and Tosca
T Rex Electric warrior
David Bowie The man whole sold the world
I know it’s an odd mix but I just wanted to play a variety
Tomorrow I will start with some serious listening I am planning on getting my mobile fidelity UHQR’s out these rarely come out of their box
applemarc
Re: New TDS's no they are not going back
Postby applemarc on 2012-06-27, 03:36:35 pm
OK OK I get the message but with listening to music and trying to get more work done so I can buy more NVA statement amps how much time does that leave me to write a report. I work with computers all day. Anyway here is an update.
I have decided to get rid of the Martin Logan’s and keep the PMC PB1i’s, as with the TDS’s they sound great. Oh you wanted to hear about the TDS’s.
I have now had a serious listen to the following LP’s
Cat Stevens Tea for the Tillerman Mobile Fidelity MFQR 1-035
Alan Parsons Project I Robot Mobile Fidelity MFQR 1-035
Pink Floyd Dark side of the moon Mobile Fidelity MFQR 1-017
Holst The Planets Mobile Fidelity MFQR 1-510
Santana Abraxas Japanese Pressing
Kraftwerk Minimum-Maximum UK Pressing
Carl Orff Carmina Burana
Poulenc Concerto for Organ
Dave Brubeck Time out
This is what I have noticed, so when listening to Carmina Burana the difference between the quietest passages and the loudest was noticeable bigger, I think this is what they call dynamic range, but this was much more noticeable than with any amp I have owned. Also I noticed how quiet the background noise was compare to the Conrad Johnson.
Tea for the tiller man was crystal clear and again dynamic range was wider than before. I could also hear more clearly the plectrum on the acoustic guitar.
Kraftwork’s Min-max the bass is exceptional deep and the whole recording is again better than my previous amps.
Dave Brubeck Time out I can only say that the saxophone has never sounded so good.
So here it is I have changed my speaker cable for LS7 my interconnect to SSP and my Amps to TDS’s so I can't say what each individual item has done to the sound but what I can say is I’m getting a sound that I did not think was possible. I have found that the volume on my preamp has crept up to a point I have never had it, the sound is relaxed no hint of any edginess and no real heat from the amps. I have started selling my cables and my used Apple computers to I can buy more NVA.
Sorry this is not a proper review but it’s not something I am any good at. Give me a Mac with a problem or a network issue then I am at home. If anyone has a specific question please ask.
applemarc
Postby applemarc on 2012-06-27, 03:36:35 pm
OK OK I get the message but with listening to music and trying to get more work done so I can buy more NVA statement amps how much time does that leave me to write a report. I work with computers all day. Anyway here is an update.
I have decided to get rid of the Martin Logan’s and keep the PMC PB1i’s, as with the TDS’s they sound great. Oh you wanted to hear about the TDS’s.
I have now had a serious listen to the following LP’s
Cat Stevens Tea for the Tillerman Mobile Fidelity MFQR 1-035
Alan Parsons Project I Robot Mobile Fidelity MFQR 1-035
Pink Floyd Dark side of the moon Mobile Fidelity MFQR 1-017
Holst The Planets Mobile Fidelity MFQR 1-510
Santana Abraxas Japanese Pressing
Kraftwerk Minimum-Maximum UK Pressing
Carl Orff Carmina Burana
Poulenc Concerto for Organ
Dave Brubeck Time out
This is what I have noticed, so when listening to Carmina Burana the difference between the quietest passages and the loudest was noticeable bigger, I think this is what they call dynamic range, but this was much more noticeable than with any amp I have owned. Also I noticed how quiet the background noise was compare to the Conrad Johnson.
Tea for the tiller man was crystal clear and again dynamic range was wider than before. I could also hear more clearly the plectrum on the acoustic guitar.
Kraftwork’s Min-max the bass is exceptional deep and the whole recording is again better than my previous amps.
Dave Brubeck Time out I can only say that the saxophone has never sounded so good.
So here it is I have changed my speaker cable for LS7 my interconnect to SSP and my Amps to TDS’s so I can't say what each individual item has done to the sound but what I can say is I’m getting a sound that I did not think was possible. I have found that the volume on my preamp has crept up to a point I have never had it, the sound is relaxed no hint of any edginess and no real heat from the amps. I have started selling my cables and my used Apple computers to I can buy more NVA.
Sorry this is not a proper review but it’s not something I am any good at. Give me a Mac with a problem or a network issue then I am at home. If anyone has a specific question please ask.
applemarc
Really impressed with NVA
Postby Sovereign on 2012-03-24, 12:56:16 am
I have recently bought a second hand pair of A80's and A40's and I am very impressed!!!!!
I am coming from using a top of the line John Farlowe Expo set up (II pre amp and IX PSU and a IVDR 2 Power amp) I have never heard resolution, separation and tonal balance like this. I just can't believe it, and the price , Richard should be a Millionaire, maybe he is.
If your reading Richard, thanks for pioneering your methods and producing such good amps and thanks for keeping the price down so we can all enjoy the high end.
Sovereign
Postby Sovereign on 2012-03-24, 12:56:16 am
I have recently bought a second hand pair of A80's and A40's and I am very impressed!!!!!
I am coming from using a top of the line John Farlowe Expo set up (II pre amp and IX PSU and a IVDR 2 Power amp) I have never heard resolution, separation and tonal balance like this. I just can't believe it, and the price , Richard should be a Millionaire, maybe he is.
If your reading Richard, thanks for pioneering your methods and producing such good amps and thanks for keeping the price down so we can all enjoy the high end.
Sovereign
Re: Quick comments and thoughts on SC vs. SSC
Unread postby kimangelis » Thu Aug 21, 2014 11:28 am
I used to build my own sound-pipes, bought the raw aerospace tech. control cable lengths from RS. Easy to build but a sod to install.
Just swapped over from SC's to SSC's and the difference was quite marked. I did the usual swapping back-and-forth, and came to the conclusion the SSC was allowing more through rather that 'sounding' different. The overall sound (signature?) remained the same whichever (SC or SSC) I used, it's just there was more of it with the SSC. Also got hold of a used SSP as an interconnect. Before I broke it (now re-soldered), again there was more coming through albeit with the same signature as the SC/SSC.
Used to use a fancy silver interconnect between the CD player and P50. The SC matched it (and then some). The SSC blew it out of the water. So oddly the fancy silver cable was adding something to what is otherwise a very neutral set-up (Rega Brio/P50).
So... objective subjectivity.
kimangelis
Unread postby kimangelis » Thu Aug 21, 2014 11:28 am
I used to build my own sound-pipes, bought the raw aerospace tech. control cable lengths from RS. Easy to build but a sod to install.
Just swapped over from SC's to SSC's and the difference was quite marked. I did the usual swapping back-and-forth, and came to the conclusion the SSC was allowing more through rather that 'sounding' different. The overall sound (signature?) remained the same whichever (SC or SSC) I used, it's just there was more of it with the SSC. Also got hold of a used SSP as an interconnect. Before I broke it (now re-soldered), again there was more coming through albeit with the same signature as the SC/SSC.
Used to use a fancy silver interconnect between the CD player and P50. The SC matched it (and then some). The SSC blew it out of the water. So oddly the fancy silver cable was adding something to what is otherwise a very neutral set-up (Rega Brio/P50).
So... objective subjectivity.
kimangelis
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