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Technics SU-G700M2 amplifier test

 A Triumph of Modern Technology

Technics SU-G700M2 amplifier test

Technics SU-G700M2 amplifier Test

The theme of classic Hi-Fi is increasingly exploited in the creation of modern stereo components. And it should be noted that a number of brands do this rightfully, because it is their amplifiers “with arrows” of the 70s that are the reference for designers of the 21st century. One such brand is Technics.

The SL-A1 powerhouse with a pointer indicator on the entire facade was the dream of many audiophiles 30 years ago, and modern Technics amplifiers have every chance of becoming the ultimate dream for many in our time. This is because the classic design hides the latest technology, several generations ahead of most competitors. And, importantly, Japanese engineers reinforce their technological advantage with their inherent perfectionism and attention to the smallest details.


Technics does not need a special introduction among american connoisseurs of high-quality sound. This is the oldest Japanese brand, which was especially popular in our country. Branded Hi-Fi components, stereos, headphones and portable players were very popular at the turn of the century - from the time foreign electronics hit the store shelves, until the moment when the Technics brand completely disappeared from these shelves.

And here it is impossible to do without a brief historical background. The Technics brand, along with Panasonic and National, was owned by the Japanese corporation Matsushita Electric Industrial. On a corporate scale, Hi-Fi was not a dominant activity, and as demand in this market segment declined, production of components ceased, and Technics Hi-Fi disappeared with it.

Technics SU-G700M2 amplifier test

Time has passed. Matsushita Electric Industrial Corporation restructured to become Panasonic Corporation, and the demand for high-end audio began to rise again. On this wave, the Technics brand was revived in 2014, and now the familiar logo adorns several lines of Hi-Fi components, as well as stylish multi-room acoustics and all-in-one systems.

In parallel with this, a line of vinyl players began to develop more actively, which did not lose their relevance as equipment for DJs, and now have regained their former popularity among audiophiles.

We need all this information to understand one simple fact: the current Technics is the same company and the same engineering tradition that produced the very components of the golden era of Hi-Fi.

Tradition and modernity

It is difficult to find a Hi-Fi manufacturer who would not talk about how carefully he treats all stages of component development. However, it is enough to listen to what happened as a result, or just look under the cover of the device to understand how these words correspond to reality.

Technics SU-G700M2 amplifier test

In the case of Technics, the seriousness of the developer's intentions is obvious even at the stage of distance acquaintance with technologies. With the Technics SU-G700M2 Integrated Amplifier, Japanese engineers re-traced the path of Peter Lingdorf in their own way, creating an all-digital amplifier.

In addition, quite traditional ways of improving sound, which have been practiced in High End equipment since the last century, were additionally applied: vibration control, careful selection of materials and components, and so on. This combination of cutting-edge technology and classic precision sound tuning looks very interesting.

The first thing we see if we look under the lid of the apparatus are thick steel walls and two partitions that divide the body into sections isolated from each other. In addition to shielding that protects the power supply, power amplifier and preamplifier from crosstalk, all three sections are vibration-isolated from each other and from the external environment.

Technics SU-G700M2 amplifier test

As for the contents of the amplifier compartments - there is nothing like traditional models. The power supply section does not have a toroidal transformer with large capacitor banks, the power amplifier section does not have a large heat sink with powerful transistors, and the preamplifier board looks more like a DAC module or a network player. Let's start with the last one.

Digital inputs and the only way

The Technics SU-G700M2 preamplifier is fully digital and based on proprietary JENO Engine technology. This is a complex digital circuit with a vanishingly low level of intrinsic jitter and an input signal reclocking system.

It amplifies digital signals and converts them directly into pulse-width modulation, which is fed to the input of a class D power amplifier. The preamplifier circuit operates under the control of a precision battery-powered clock generator.

As a result, from the available set of inputs, the SPDIF interfaces and USB feed the signal directly to the preamplifier circuit, and the signals from the analog inputs after switching go through an analog-to-digital conversion. The highest quality ADC chip available is from the audiophile-favorite BurrBrown brand.

Nevertheless, there was a place for an analog circuit in the preamplifier - this is a phono stage that works with both types of cartridges: both MM and MC. Its input stage operates in differential mode, and the output stage is built on low-noise FET transistors. A feature of the phono stage is an adjustable preamp level.

Technics SU-G700M2 amplifier test

The user can select one of four fixed volume levels to match the phono stage to the characteristics of the cartridge being used. Another useful feature is the ability to invert the phase of the input signal. This is necessary for listening to some old vinyl records.

On the rear panel, it is easy to notice a pair of analog outputs. The line output is connected only to analog sources and, apparently, produces the same signal that goes to the ADC. Variable analog output works differently. Given that the volume control occurs in the digital domain, the signal to it comes through the DAC. It is also curious that the amplifier has no digital outputs.

Based on the foregoing, it is most reasonable to consider the Technics SU-G700M2 amplifier as a thing in itself, which does not make sense to use partially - only as an external DAC or preamplifier. The ideal signal path is from digital inputs to speaker terminals, and the rest can be useful for some ancillary processes like recording sound from vinyl through the built-in phono stage or connecting a powered subwoofer to a regulated output.

Auto calibration

The main feature of the power amplifier unit is the proprietary LAPC (Load Adaptive Phase Calibration) technology. It radically changes the very principle of interaction between acoustics and amplifier.

Technics SU-G700M2 amplifier test

In normal situations, the amplifier is designed to work with some hypothetical load, the operating impedance of which is in the range from 4 to 8 ohms, and the phase is conditionally linear. At the same time, the actual impedance of acoustics, as well as its phase, are non-linear - and it is this non-linearity, combined with the ability of the amplifier to compensate for it, that determines the nature of the sound of the bundle.

Technics engineers have changed the rules of the game. LAPC technology measures the characteristics of the connected speakers and adjusts the frequency and phase characteristics of the output signal accordingly.

Thus, we get a pair of acoustics-amplifier, in which the impedance and phase of the acoustics are of no fundamental importance and minimally affect the result. In other words, the Technics SU-G700M2 is an amplifier that can literally handle any speaker. In any case, this directly follows from the description of the principle of operation of the technology.

Energy without noise

The third integral part of the amplifier is the power supply. And this is no less important part of the design than all the others. After all, the amplifier circuit only modulates with a musical signal the energy that comes through the power supply from the network.

Technics SU-G700M2 amplifier test

Historically, all attempts by engineers to improve the power supply of amplifiers and other components have been reduced to two directions: some improve linear power supplies, while others improve switching power supplies. Both of them have great potential, but if you think in absolute terms, impulse ones, as more modern ones, have more prospects. This is probably why this path was chosen by Japanese developers.

The power supply unit installed in the Technics SU-G700M2 has a record low noise level. Significantly smaller than good audiophile switching power supplies, not to mention the rest.

This was achieved by multiplying its operating frequency, which reaches 400 kHz (this despite the fact that 100 kHz is already considered a high rate!). Selected electronic components helped to ensure the stability of the circuit. And to suppress residual noise at the output, high-quality voltage stabilizers are used.

As a result, the power amplifier unit receives the purest power without any impurities in the form of noise and interference. In addition, the switching principle of operation, combined with increased frequency and the original capacitor bank, borrowed from the flagship SU-R1000 model, provide an exceptionally fast response of the power supply to the needs of the amplifier board.

This means that the dynamic performance of the Technics SU-G700M2 should be better than any other devices equipped with both linear and switching power supplies.

And for headphones

It is especially pleasing to note the fact that fans of personal audio have not been forgotten either. The Technics SU-G700M2 has a headphone output and another technological marvel hides behind the standard 6.3mm jack.

Technics SU-G700M2 amplifier test

The headphone amplifier circuit takes as input the same PWM signal that goes to the power amplifier, but then it is immediately converted to analog form. The analog part of the circuit works in class AA - this is also an original development of the company. The first stage in the analog part is a voltage amplifier and operates in pure class A, and the second stage provides the required output current to the connected headphones.

In practice, the headphone amplifier has a surprisingly clear and transparent sound, and also has a good headroom for driving high-impedance models. If it were not for the lack of a balanced output, its capabilities and quality class could be called exhaustive.

Second generation

The Technics SU-G700M2 amplifier belongs to the second generation, as indicated by the M2 index. Moreover, if you put two amplifiers side by side - SU-G700 and SU-G700M2 - the only difference will be only the inscription with the name of the model. The list of internal changes, according to official information, is rather laconic: the M2 model has expanded the functionality of the phono stage, and also uses elements of the power supply from the flagship amplifier.

At first glance, this is not enough to get any significant differences - especially if the source is digital. But with a direct comparison, it is simply impossible not to notice a significant difference in the nature of the sound.

Technics SU-G700M2 amplifier test

The first model, which we have already tested , impressed in the first place with its detail, dynamism and sound accuracy. The scene was drawn very convincingly and was not tied to acoustics. At the same time, exceptional sound composure, full control of acoustics and focus throughout the entire range were accompanied by some restraint in emotions. Reproducing the sound picture quite authentically, the Technics SU-G700 amplifier system clearly gravitated towards the analytical presentation of the material.

Other things being equal, the Technics SU-G700M2 gave a completely different result. Having retained most of the above properties, including exceptional detail, he made the scene even more voluminous and large-scale, and the sound was filled with a large number of micro-details and shades, giving it a pronounced emotional coloring.

And therefore, the perception of music as a whole has radically changed. If the first version of the amplifier gave a practical studio character of presentation with an emphasis on details, the second surprises primarily with a sense of realism and expressiveness, thanks to which from the first notes you literally fall into listening, forgetting about everything in the world.

Technics SU-G700M2 amplifier test

This comparison reminded me, oddly enough, of experiments with digital transports, when, moving from mid-budget models to High End, you don’t get any radical increase in formal characteristics, but the sound surprisingly comes to life, begins to breathe, live, fill with many nuances and shades that make the overall picture hyper-realistic.

What is characteristic is that in digital this effect is achieved solely due to the fight against various kinds of noise, incl. incoming food. And we see exactly the same approach in the case of Technics SU-G700M2. Further improving the power, the developers literally revived the sound.

Correct load

From the theoretical part, we concluded that the amplifier should be largely "omnivorous", since it is able to compensate for the imperfection of the acoustics connected to it. However, in practice, Technics SU-G700M2 gave reason to remember that in addition to electrical characteristics, acoustics have many other properties.

For example, with the most ideal control of the speaker from the side of the amplifier, the presence of a soft cone that lubricates the bass will not radically improve the sound. A miracle will not happen even if the acoustics as a whole do not have high resolution.

Technics SU-G700M2 amplifier test

Moreover, during the experiments, it turned out that high-end acoustic models made according to classical canons are also not ideal partners for the Technics SU-G700M2 amplifier: in such a bundle, the nature of the speakers themselves is too pronounced, and not their strongest sides, while when working with classic transistor or tube amplifiers, they also sound very interesting, demonstrating only their merits.

The best partners for Technics SU-G700M2 turned out to be those acoustic models that are built according to modern canons and focused on the most detailed, accurate and focused sound. In such bundles, the strengths of both the amplifier and the acoustics do not even add up, but multiply each other, giving an absolutely fantastic result.

One of these options is the operation of the amplifier together with the branded Technics SB-C600 shelf speakers. It is hard to imagine that such compact speakers are capable of sounding a large hall, but de facto, even in a large showroom, the sound turned out to be exceptionally large-scale, voluminous, with a massive bass foundation - as if a pair of medium floorstanders were playing.

The coaxial radiators that the bookshelf speakers are equipped with are phase-linear in nature and are capable of creating a three-dimensional scene, and in combination with the Technics SU-G700M2 they literally filled the whole room with sound, not even giving a chance to localize the sound source by ear. The only thing that I missed a little in this bundle was clarity and detail in the bass range. Still, a small coax in a bass-reflex design is clearly not the tool with which to achieve perfect bass.

Technics SU-G700M2 amplifier test

The ELAC Concentro S 507 acoustics became an ideal pair for the Technics SU-G700M2 amplifier. We will write a separate article about these speakers, but for now, to understand the scale, I will list their main properties.

ELAC Concentro S 507 is a representative of the flagship line. The model has four bands with a ribbon tweeter, a coaxial midrange/treble section and four bass drivers. With a low impedance of 4 ohms, it does not have the highest sensitivity (88 dB) and has a rated power of 240 W (with a minimum allowable of 60 W). And at the end of the portrait - the speakers cost about five times more than the amplifier.

The result of the joint work of Technics SU-G700M2 and ELAC Concentro S 507 is able to turn the most inveterate audio skeptic into an adherent of modern High End. The system gives the listener an absolutely real, live, holographic soundstage. The musicians just appear in the room - and there is a feeling that you can touch them.

And the most amazing thing is that realism and a sense of volume are perceived even by listeners who are in the next room. This combination has no equal in its ability to convey the atmosphere and acoustic space, which makes classical, jazz and live recordings sound great.

Technics SU-G700M2 amplifier test

All this is combined with absolutely even tonal balance and an exceptional degree of detail, allowing you to see all the subtleties of the mix, as far as the original quality of the content allows. The system keeps the listener's attention on the emotional and artistic component of the music.

Thanks to this, even compressed recordings can be listened to without any discomfort - and the situation when the music library has to be limited only to the best Hi-Res editions and individual vinyl releases is excluded. The most banal CD and the record released in the 80s by Melodiya can give no less emotions than a modern DSD file.


In my opinion, the Technics SU-G700M2 amplifier is the most convincing and demonstrative example of the triumph of modern technology. How it is possible to bring transistor or tube technology to perfection - we have already observed many times over the course of decades, but such a chic realization of High End sound in digital is extremely rare.

The only thing left of the classic approach in this amplifier is the fight against vibrations and interference, as well as careful selection of components in terms of impact on sound. And everything related to circuitry is a continuous innovation, which is shunned by many conservative developers and end users.

Technics SU-G700M2 amplifier test

Since we are dealing with circuitry that is radically different from the traditional one, approaches to the further improvement of the system should also be completely reconsidered. It is quite obvious that in a system with a Technics SU-G700M2, an external DAC will not help improve the sound in any way, and the influence of cables may manifest itself somewhat differently than with classic components.

At the same time, a change in digital transport can give a noticeable positive effect, and, considering how the developers improved the sound of the amplifier, it makes sense to continue research in this direction. Vibration decoupling mounts, network conditioners, and filters may well have a significant impact.

The only question that remained open for me is a rather modest choice of digital interfaces that the amplifier has. The set of inputs and outputs looks like we are dealing with an analog circuit, and not with a fully digital path. Digital outputs, an AES|EBU interface, and clock I/O would look appropriate on the back of a Technics SU-G700M2.


spectacular design, excellent sound, a large number of phono stage settings


standard set of digital inputs, limited system upgrade options


Technics SU-G700M2

Specs Technics SU-G700M2

Power: 2x70W into 8 ohms, 2x140W into 4 ohms

Impedance: 4-16 ohms

Frequency range: 5-90,000 Hz digital input, 5-80,000 Hz analog line input

Phono stage: MM/MS

Digital inputs: 2x optical, 2x coaxial, USB-B (asynchronous, USB Audio Class 2.0)

Digital Formats: PCM up to 32bit/384kHz, DSD up to 256 (native or DoP)

Analog inputs: 2x line, phono stage

Analog outputs: linear, adjustable

Dimensions: 430x148x428 mm

Weight: 12.6 kg

Soundcore Liberty 3 Pro TWS headphones Test

 Soundcore Liberty 3 Pro TWS headphones test

Soundcore Liberty 3 Pro TWS headphones Test

I tested the Soundcore Liberty 2 Pro headphones exactly a year ago - and I still remember them. Because few people could offer such sound quality in this price range. And if you add to this a sound calibration system for specific ears, which really works, unlike some others, the headphones become completely unique.

The only thing they lacked in line with current trends was noise cancellation. But in the next generation model - Liberty 3 Pro - this moment was corrected.

Anker, of which Soundcore is a subsidiary, continues to grow rapidly in the field of audio devices. Traditionally, those who actually work with music were involved in the creation of Liberty 3 Pro, so the word “Pro” in the title is quite out of place. 20 Grammy-nominated producers acted as a focus group - like last time, they promise an honest-studio sound. But with additional features.

Pebbles from another galaxy

Headphones still look alien - they have a rounded, pleasant case, similar to pebbles, with a neatly sliding lid. Light bulbs were added to the case: the LEDs are inside the headphone seats. Transparent ear cushions beautifully diffuse light, adding to the futuristic feel.

Soundcore Liberty 3 Pro TWS headphones test

The headphones are attached to their seats on magnets - the bulbs light up only when there is contact. And this is an excellent indicator, because in my test sample, for example, the left earpiece did not fit correctly the first time into the recess prepared for it - and, accordingly, did not charge. And due to the LED indication, I could immediately understand that it was somehow wrong - and quickly fix it.

The magnets on the headphones are of different polarity, so they can be hooked to each other if you don’t want to put them in a case. There are several color options: I had a bluish-silver, but there is also a pale lilac, black and white. 

The batteries of the headphones will last for eight hours of continuous operation - in my case it was more like seven and a half. The case will give the headphones three more full charge cycles. It's IPX4 water and sweat resistant, just like the Liberty 3 Pro, so you can play sports and run in the rain with peace of mind.

Headphone cases have an unusual multi-stage shape, which resembles a tower of the same pebbles. The lowest “pebble” is the wide and flat main part of the headphones. It has a hole covered with a mesh on the outside and a touch panel decorated with the brand's logo.

A silver stripe runs along the end, separating the outer glossy part, covered with transparent plastic, from the velvety matte one. On the sidewall there are contact pads for recharging.

Soundcore Liberty 3 Pro TWS headphones test

Next, the second structural element is attached - a hemisphere, on which the intra-ear silicone spacers are pulled. On the outer side of the hemisphere, on a small step, a sensor blackens, with the help of which the headphones determine whether they are inserted into the ear or not. It is for this step that the ear struts are attached.

From the hemisphere - like a pipe of a huge telescope - a sound guide protrudes. It is highlighted with glossy plastic in the color of the body and decorated with a small engraving.

By the way, the ear pads are unusual: they are not just silicone - they snap into place on the sound guide using a special plastic ring. It will be easy to choose the right ones - there are already four pairs of them in the kit, plus the same number of intra-ear spacers. If you suddenly lose your native ear pads, you don’t have to be upset: the usual ones, without a plastic ring, sit quite firmly on the sound guide, so you can find a replacement.

Soundcore Liberty 3 Pro TWS headphones test

The headphones are quite large, but if you choose the right spacers and ear cushions, their dimensions are not felt at all. What's more, Soundcore also shows you how to put on the headphones correctly: first insert vertically into the ear, and then rotate a little so that the spacer fits exactly in the desired cavity of the shell. Everything seems to be intuitive, but the developers decided to duplicate this moment with pictures - both on the box with the headphones itself and in the application.

In general, Soundcore was very respectful of inattentive users: each spacer is signed with an alphanumeric index indicating size and channel. The standard ones are R2 and L2, right and left spacers of the second size. There are two more smaller pairs (0 and 1) and one larger one - also with symbols embossed on the sides. And the ear pads are also numbered.

Customize everything you can

The main feature of the Soundcore headphones from this series is in the emitter. This is ACAA's proprietary coaxial design - Astria Coaxial Acoustic Architecture - embodied in the second generation.

This coax is not simple, but hybrid: dynamic and armature drivers are coaxially located in it. That is, not only does the system play like a small two-band, but also with a perfectly matched phase in a point source format.

High frequencies are handled by Knowles armature, specially commissioned by Soundcore, while a large 10.6 mm driver plays the mids and lows. The sound guide hole is covered with a plate resembling a turbine impeller.

Soundcore Liberty 3 Pro TWS headphones test

From a connectivity point of view, the headphones make it possible to fully appreciate the features of such a sophisticated design: they use Bluetooth 5.2 and support the LDAC codec, and even have Hi-Res Audio certification.

However, one of the most striking features of the Liberty 2 Pro was sound customization, and it carried over to the next generation of headphones - albeit in a slightly modified form.

The test itself in the Soundcore application is a little different - you need to press the button if you hear a sound of a certain frequency, gradually becoming less and less loud. However, in my case, the test results were not the most interesting: I heard all the sounds, and therefore the headphones did not correct the frequency response for me.

If you wish, you can also adjust the sound with an equalizer, choosing either one of the 22 presets available, or manually setting the sliders - eight bands are available. When using codecs other than LDAC, the 3D sound function appears. It adds a little reverberation to the melody, slightly lengthens the overtones and deepens the midbass, creating the illusion of volume - with it, the AAC codec sounds noticeably livelier and more cheerful.

However, the headphone customization does not end with the frequency response. You can also adjust the amount of noise reduction in the Soundcore app. This is also a small test that needs to be carried out in the most noisy environment - I stood next to a flyover under construction and received a maximum of 79 dB of roar. The headphones listen to the environment, correlate external noise with what the microphones already inside the ear pick up, and calibrate the system depending on the result.

And the effect turns out to be interesting: the low-frequency noise practically disappears, decreases to the level of a barely noticeable peripheral hum, but the mid frequencies, where voices dominate, become brighter against this extinct background, although they practically do not change themselves.

It turns out a kind of hybrid system of noise reduction and noise transmission. Perhaps if testing is carried out in some crowded cafe, the votes will be extinguished much more efficiently - but I could not find such a location, so I stopped at a construction site.

A system that dampens wind noise has been put on a separate switch in the settings - and it works. In many headphones with active noise cancellation, the wind blows mercilessly into the microphones, which noticeably spoils the sound experience - and if this problem is usually solved by the correct design of the case, then here the developers also rely on electronics.

The noise reduction system has two modes: in one it automatically selects the degree of noise reduction, in the other it offers to set it manually. The intelligence of the headphones does a good job of assessing the environment: after all, information comes from six microphones.

But the most striking moment in the settings concerns not the sound, but the control. I have never seen such flexible customization of gestures in any headphones. The Liberty 3 Pro has four options for pressing the headphones: short single, double, triple, and hold for three seconds. And for each of these actions for each earpiece, you can configure a specific command - a total of eight comes out.

I followed the proven path: a single touch on the right earpiece plays the role of a pause, a double one turns on the next track, a long hold switches the noise reduction modes. From the left earpiece, I turned down the volume with a single touch, added it with a long press, and launched the previous song with a double tap. I refused the triple taps.

The sensor felt great in 15-degree frost - it reacted instantly to finger touches, did not confuse double clicks with single ones and did not require deep pressing of the headphones. The main thing is not to get confused in management.

Two-in-one, but different

In the Liberty 2 Pro, I really liked the two-in-one effect, which was achieved by switching between the standard sound and tuned to my ears. Here, too, you can do this by turning noise reduction on and off.

In the standard version, the sound is similar in character to that of the Liberty 2 Pro, but with more drive - it is thick and dark in a good way. Not enough to hide all the details, but enough to add a perky mass.

The lingering Morcheeba, the funky soundtrack to “Super Crooks” by Towa Tei, the oppressive dark jazz in this mode sound amazing: they envelop, immerse themselves in themselves, lock them together with the performers in one small room, make them a participant in those events and part of those feelings that are laid in tune.

This sound twists intimacy to the maximum level, does not allow you to escape from the dialogue with the musicians, forces you to hear and feel every slightest detail - and you don’t want to resist this. Enveloping, the sound does not press at all - it becomes a cozy feather bed, a heavy blanket, from under which one does not want to crawl out.

Soundcore Liberty 3 Pro TWS headphones test

But the plus is that you can still get out - just turn on noise reduction. And this is the most unusual moment. Most often, noise-canceling headphones, on the contrary, lock the music deeper, reduce the stage, move the performers closer, but Soundcore has the opposite effect.

The walls are breaking down, the stage goes on - not to infinity, but diligently strives for it. The basses subside a little and the overtones shorten, the midbass loses its share of funk enthusiasm, and voices, strings, keys and gentle high-frequency modulations come to the fore. 

Soft synthpop, non-noir retrowave variations, Madonna, Idem, anything with a slow and beautiful piano are ideal options for this mode. At the same time, the hard Noisia sounds great: the meat becomes a little less, the effect of the wall of sound that floods everything around becomes less pronounced, and it is possible to immerse yourself in the music more consciously. The ball begins to be ruled by small overtones and details that stand out favorably against the background of a less dense, but clearer substrate.

Soundcore Liberty 3 Pro TWS headphones test

As a result, the first hours after tuning pass in an endless enumeration of these modes and in an attempt to understand which one is better - the one that gives the compositions more space, allowing you to take the position of an outside observer, or the one in which you are in the thick of things.

But you can't choose: both work out their characters to the fullest, suit one or another track, one or another mood. Is that the mode with noise reduction also turns off the outside world - and this is a great bonus.

All this applies both when listening with the LDAC codec and with AAC - except that with AAC the sound seems to be generally more empty and simple. But the effect between modes is preserved. Perhaps I was lucky with the setting, and those who calibrate the noise reduction in other conditions will get a different effect.

And yes: the background noise that interfered with the Liberty 2 Pro has been virtually eliminated in the new generation.

Not evolution, but development

It's hard to make good headphones even better, but Soundcore did it. The Liberty 3 Pro is a significant step up from the last generation, and that goes for everything.

They have even more settings, which allows you to get exactly the sound from the headphones that suits a particular user, taking as a base a funky, perky and at the same time detailed character that goes a little into the dark.

Ergonomics has become much friendlier to different ears - the struts seem to have softened, the cases themselves seem to have lost a little weight and do not stick out so much, and the transparent plate on the outer panel gives the design visual harmony. The control setup is the most detailed of those that I have met, and this is a huge plus.

Soundcore Liberty 3 Pro TWS headphones test

Noise reduction works quite peculiarly and, perhaps, does not reach the top representatives - but Liberty 3 Pro cost one and a half to two times less. And besides, in addition to turning off the background rumble, noise reduction gives another advantage - the second version of the sound character.

And this variety is one of the best features of the headphones. I want something thick, noir, dense - please. I want open spaces and breathtaking keys - no problem. One touch of the earpiece (or the screen in the app) and the world changes. 

The bundle has become a little simpler - there are not seven pairs of ear pads, but only four. But at the same time, Liberty 3 Pro is devoid of the shortcomings that I noticed in the second model - and, on the plus side, they are endowed with a bunch of advantages.


Lively and detailed, albeit a little dark sound, a detailed, convenient and working sound calibration and noise reduction system that dampens noise reduction well, support for the LDAC codec, wide control options, solid equipment, price


None at this price


Soundcore Liberty 3 Pro

Specs Soundcore Liberty 3 Pro

Headphone type: in-ear, completely wireless

Driver type: ACAA 2.0 coaxial driver (Astria Coaxial Acoustic Architecture), consisting of a dynamic diameter of 10.6 mm and custom reinforcement from Knowles

Frequency response: 20 Hz - 20 kHz

Connectivity: Bluetooth 5.2, SBC, AAC and LDAC codecs, support for simultaneous connection to two sources

Battery life: earbuds up to 8 hours, case up to 24 hours, quick charge for 15 minutes provides 3 hours of use, supports Qi wireless charging

Microphones: six microphones

Additionally: support for voice assistants, sound calibration system, four pairs of ear pads and four pairs of in-ear spacers included, IPX4 protection

Weight: headphones - 8 g each, case (with headphones) - 58 g

Bowers & Wilkins PI5 TWS headphones Test

 Bowers & Wilkins PI5 TWS headphones test

Bowers & Wilkins PI5 TWS headphones Test

It is usually more convenient to test a simpler version of a technique first, and then a more complex one: this way the impressions are brighter, the emotions are stronger, the wow effect is more tangible. And with fully wireless headphones from Bowers & Wilkins, it turned out the other way around: first I met the top PI7s , and then I listened to the PI5s.

And it cannot be said that because of this impression from PI5 I have deteriorated - oddly enough, on the contrary. With the PI7 as a reference (I still think they offer the closest audiophile sound of any TWS model), the PI5 is not far behind them. And that's great.

It's all in the nuances

The finish is slightly different. The case of PI5 is matte, but with a glossy lid: for PI7 it is framed in metal-like plastic. Tactilely, everything is very pleasant: the case under the fingers is soft, neat, the lid does not play, it closes with a neat and pleasant click.

There is a narrow slot on the front of the case with a status LED. It glows green when the headphones are on, flashes blue in pairing mode, and flashes red when the model is running out of power. Compared to PI7, there is no button below the LED. 

Bowers & Wilkins PI5 TWS headphones test

Inside, everything is familiar: the same matte plastic and the same neat round key that launches pairing mode if the headphones do not enter it automatically. If you hold the button for a long time, all connection settings will be reset.

The headphones themselves do not differ in shape from the PI7 - they are small, combine chopped edges with soft contours and somehow subtly resemble a Bauhaus teapot. But compared to the white-bronze PI7, the black PI5 looks much calmer. 

There is no additional shine and other shades: the headphones themselves are black, and the meshes on them, and the washer on the outer part of the case, and the touch panel. Only golden contact pads near the sound guide and thin letters of the brand logo on the side surface of the washer dilute the monochrome. The white version of the PI5 shines with silver instead of bronze accents.

Bowers & Wilkins PI5 TWS headphones test

Microphones are hidden under small grilles - both conversational and noise reduction systems. The inside of the earbuds - the same cone that goes into the sound guide - is made of glossy plastic, while all other elements are matte. The sound guide itself, protected by a fine textile mesh, is short, but due to the shape of the case, this is not particularly felt: the headphones can be placed deep enough in the ears without any problems.

The ear pads are the same as those of the PI7 - with a jumper and a sponge inside. They are easy to put on and have a fairly standard size, so if the three pairs included in the kit do not fit, you can easily pick up a replacement from other manufacturers.

The case is the same size as the PI7, and the battery is the same as in it, as in the headphones themselves. Recharges using Type-C - from zero to maximum somewhere in a little over three hours. Headphones on a single charge will last 4.5 hours, and after 15 minutes in the case they will work for another couple of hours. I scolded the small battery in the PI7 review, but here I must admit that fast charging helps to come to terms with this.

Bowers & Wilkins PI5 TWS headphones test

You can view the charge level of each earbud in the Bowers & Wilkins Headphones app. In the settings, you can turn off the function that automatically stops playback when the headphones are taken out of the ear, turn on the noise reduction or transparency mode. And yes, you can run tracks for meditation in the application. I still have questions about their presence, but I cannot help but note that the fire crackles bewitchingly.

More Consistency

In terms of ergonomics, the situation is the same as with the PI7: Bowers & Wilkins engineers very successfully (for me) designed that part of the earphone where the main body goes into the sound guide, and therefore the headphones fly into the ears easily and sit there firmly and comfortably. After three hours with them there is no discomfort, and during training they do not fall out of the ears. And yes: you can train and walk in them in rain and snow, IP54 water resistance allows this.

The controls are simple: one touch of any earphone - pause, double - the next track, triple - the previous one. With a long press on the left earpiece, the noise reduction mode is turned on or off, with the right earpiece, this operation calls up the voice assistant. The sensors respond to even the lightest touches, so you do not need to press the earpiece into your ear in order to switch the track.

Bowers & Wilkins PI5 TWS headphones test

With a good fit comes good passive noise isolation. Headphones do a good job at blocking high frequencies, voices and harsh sounds. And the noise cancellation remains one of the best in the class. Microphones practically do not react to gusts of wind, they filter the roar of a flyover under construction and the champing of slush under the wheels of cars. 

Voices become much muffled, although they do not disappear completely. These headphones will not save you from frolicking children, but from calm conversations in a cafe or in the office - completely. 

Unlike the PI7, the noise reduction in the PI5 does not have an adaptive mode - the noise reduction is set to maximum by default. And okay: in PI7, the adaptive mode worked quite strangely, and PI5 without it shows more consistency. Noise canceling can be turned on either in the app or by long touching the touchpad on the left earcup. Moreover, this touch only affects the operation of noise reduction, the noise transmission mode is turned on separately.

Bowers & Wilkins PI5 TWS headphones test

The funny thing is that in the application you can turn on both modes at the same time - and the effect is unusual. Apparently, the noise-transmitting mode is set to amplify primarily sounds in the mid- and high-frequency ranges, while the noise reduction dampens the monotonous low-frequency noise most effectively. And when these effects are mixed together, you get the strange effect of a world devoid of bass. Buses rush past with a whistle, as if they have no massiveness, excavators click their buckets like tweezers. Everything that happens around immediately becomes somehow light, airy.

I don’t know in what situation such an effect may be required, but the fact that the noise reduction and noise transmission functions work independently, and not mutually exclusive from each other, is convenient.

Whole picture

The main differences between PI5 and PI7 are in the sound. The first concerns connectivity: the PI5 supports the aptX codec, not the aptX Adaptive like the older model. The TWS + system is used to synchronize the signal in the right and left headphones, plus the headphones themselves support a maximum of 16-bit sound.

The funny thing is

The second difference is emitters. The PI5 has one: a dynamic one with a diameter of 9.2 mm. In PI7, in addition to it, reinforcing is used, voicing high frequencies. And the difference in sound, taking into account these features, is quite logical.

The character is still recognizable: it's a detailed sound that blends audiophile precision with comfort and warmth. But at the same time, it has less detail and air at high frequencies and more solidity in the middle - where guitars with vocals frolic. 

Noise reduction still helps to create a clean background for compositions, against which they reveal themselves as brightly and vividly as possible. Bass is accurate, slightly elevated, but this elevation only adds enthusiasm to the compositions, but does not shift the entire focus of attention to the bottoms. There is plenty of control: the headphones are ready to hum angrily, as required by the saddest Mogwai tracks, and quickly knock the drum in the metal.

Bowers & Wilkins PI5 TWS headphones test

Due to the fact that the high-frequency range is slightly less detailed than in PI7, the headphones sound friendlier. Bad mastering, of course, and they will not forgive, but they can listen to Spotify without disgust, which the older model did not allow. Japanese hip-hop, which is not available on other streaming services, played volumetrically, provocatively, the voices were perfectly distinguishable and slightly crawled forward over a dense, sloppy beat in a Spotify style.

The transition to streaming services with support for a higher bitrate gave a noticeable increase in quality: the bass picked up, and the vocals began to fit more evenly into the overall mix, and the detail increased. So with these headphones it makes sense to use FLAC streaming - but they do not have that easy analytical snobbery that is felt in PI7. 

The stage is large, large-scale, not as deep as we would like, but the stereo effects in “Summon The Fire” from The Comet Is Coming do not collide with each other, revolve around the saxophone and gurgling percussion quite freely. The symphonic soundtracks sound impressive, tight—in Halo: Infinite’s opening “Zeta Halo,” the chorus begins in a noise-canceling-scorched void and spreads across the great hall without any obstruction, fading neatly into carefully calculated aftertones. Drums in "The Road", "Tower", "Heavy Artillery" from the same soundtrack are ethnically rounded, strings and cymbals do not lose their brightness against their background and remain sonorous and clear.

Bowers & Wilkins PI5 TWS headphones test

In PI5, sound comfort, its integrity are brought to the fore. Compositions are perceived as complete, finished works, and not as a set of elements. Every nuance, every detail is exactly in the right place and fits perfectly into the surrounding sounds, clinging to them and making up a single picture with them. There is more melomanism here than audiophilia. 

All for the sound

The main advantage of the Bowers & Wilkins PI5 is the sound. These headphones sound thoroughbred, high-quality, but at the same time not as detailed as the PI7 - and because of this, they forgive a lot for both compositions and listeners. This model is really closer to the people - both in terms of the nature of the presentation and in terms of cost. 

It's nice to listen to music in these headphones: it sounds interesting, lively, a little less detached. The headphones have good noise reduction, the effectiveness of which, however, greatly depends on the fit. The package bundle is not very rich, but the ear pads are standard, so it will not be difficult to find the right ones.

Bowers & Wilkins PI5 TWS headphones test

For those who thought the PI7 had too much to offer, the PI5 will please: these are simple headphones that just play music - and do it well. The sound has the character of acoustics from Bowers & Wilkins, albeit a little lost in detail. And all these “though” and “but” arise only because there are PI7s that have raised the bar. Without comparison, the PI5 are excellent headphones in their category, standing out from others with a special sound.


Recognizable branded sound, high-quality noise reduction, more relaxed attitude to low-quality content than PI7


Non-universal fit


Bowers & Wilkins PI5

Specs Bowers & Wilkins PI5

Headphone type: in-ear, completely wireless

Driver Type: 9.2mm Dynamic Driver

Frequency response: 20 Hz - 20 kHz

Connectivity: Bluetooth 5.0, SBC, AAC, aptX codecs

Battery life: earbuds up to 4.5 hours, case up to 20 hours, full charge time 2 hours, Qi wireless charging and fast charging supported

Microphones: four cVc2 microphones, two in each earpiece

Noise cancellation: active, with two levels of noise transmission

Additionally: support for voice assistants, three pairs of ear pads included, IP54 protection

Weight: headphones - 7 g each, case - 55 g

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components

 Having received a fair share of experience and impressions from the Great Journey , we will continue to surf the expanses of the universe of "black boxes". Of course, the variability in the switching of Naim components is very extensive and, as a rule, in a domestic environment is dictated by the cost of the components. Today we decided to succumb to the price hierarchy by putting together a very positive (despite the color) setup: a Naim NAP 250 DR power amplifier, a Naim NAC 202 preamp powered by HiCap DR and a Naim NDX2 network player. Where will such a logical path lead us?

Naim Audio is one of the pioneers of British style. Both in sound and in device design. Based on their many years of experience (the company was founded in 1969), Naim engineers continue to work on the development of new devices and directions, but at the same time they do not forget about already released components: from time to time they are also improved according to scientific and technological progress or their own developments. 

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
The black box system looks impressively stylish!

Just in our case, there is such a component that has been upgraded more than once and has already become legendary to some extent - the NAP 250 DR powerhouse.

Naim Audio NAP 250 DR: Discreet Regulation, NA009N and 2 ohms

The first generation of Naim Audio NAP 250 power amplifiers was released back in 1975. Since then, the powerhouse has gone through multiple upgrades, mainly related to increasing the power characteristics of the power supply and replacing the element base with a more modern one.

But years passed, and after the presentation of the quintessence of their capabilities - the Statement line, namely the mono-assistant NAP S1 - Naim designers decided that the relatively budget, but beloved by everyone, NAP 250 simply had to get a new upgrade.

No sooner said than done.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
Work in a load of 2 ohms? No problem!

Let's start with the power supply: here the integrated voltage stabilizers were replaced by discrete ones, Discreet Regulation, which, firstly, made it possible to provide almost 30 times lower noise threshold than its predecessor, and secondly, determined the very two letters in the name of the device - D.R.

From now on, all honest people should know: if you see the letters DR in the name of the Naim component, you will find discrete voltage stabilizers inside the device. You do not see - you will not find. In general, everything is simple here. In addition, thanks to the rest of the power improvements, the NAP 250 DR got the opportunity to work quietly and for a long time into a 2 Ohm load.

Let's continue with transistors: in the same NAP S1, semiconductor transistors with the marking NA009N, custom-made for Naim Audio, were used for the first time. It took more than a year to develop these transistors. After their application in the NAP 250 DR circuitry, according to the manufacturer, the dynamic and frequency characteristics have noticeably increased.

Such an increase is provided due to the fact that the NA009N has noticeably better organized cooling and has a much larger margin of safety: engineers say that the new semiconductors can withstand loads up to 80 A and 350 W! Of course, these transistors are more than enough for the NAP 250 DR, since its declared power is 80 W at a load of 8 ohms.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
There are almost no secrets left inside the black case

Transistor cooling radiators are attached to the device case. The housing, in turn, is assembled from black anodized aluminum and has a certain number of solutions that protect all circuitry from resonances, vibrations and pickups. By the way, the main part of the space inside the case was taken by a flat toroidal transformer - this is a necessary measure, since the NAP 250 DR refused to work without it.

In appearance it is difficult to talk about something new. Have you seen the components from the classic Naim series? So, we can say with a high degree of certainty that the Naim that you saw is the twin brother (or just brother) of the NAP 250 DR.

A monolithic black case, which is slightly beaten with a designer chiseled relief on the front panel. In the center is the Naim logo, which is dimly illuminated in green when the device is turned on. The front panel is decorated with a round power button.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
Standard power connectors have their own vibration isolation on all Naim Audio devices - this is one way to close the way for vibrations inside the case

The rear panel is not rich in switching. Its largest element is a label with the name of the model. On the sides of it are two pairs of terminals for connecting an acoustic cable, which are designed only for banana connectors. There is even an old English saying: “If you love Naim, get used to bananas.”

The left side of the rear panel has a network connector, the right side has one XLR standard connector for receiving an analog signal.

This is how the Naim NAP 250 DR turned out. Outwardly - almost like all Naim, but inside - with features.

Naim Audio NAC 202: star, microprocessor and DIN

The next contender for debriefing is the Naim Audio NAC 202 preamplifier.

Outwardly, it differs in many respects from its partner in the system - the NAC 202 has buttons on the front panel! When the device is running, they are also highlighted in a dim green color, as well as the logo in the center. In terms of functionality, the buttons are sharpened for selecting inputs, although they can also be switched from the remote control.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components

The NAC 202 was designed on the basis of a more budgetary preamplifier - NAC 152 XS. The main changes during the upgrade affected the organization of grounding inside the device - new boards were added, the grounding in which is organized according to the "star" type.

The essence of this implementation of grounding is that all voltages in the circuit are measured and measured relative to one specific point. This decision, according to the designers of Naim, made it possible to achieve a more open, transparent and airy sound.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
The functionality of the buttons on the front panel is duplicated on the remote control

Then drastic measures were taken: a microprocessor was added to the circuit, which was allowed to control everything that it is potentially capable of controlling (of course, without harming the sound). One of the most important points is that the microprocessor controls protection circuits that constantly monitor all power circuits and, in which case, will safely turn off the NAC 202.

Having resolved the problems with internal power, the engineers set to work: they added a power input for single-brand StageLine and Prefix phono stages. Then the NAC 202 was deprived of almost all RCA standard connectors, leaving only a couple - because the preamplifier cannot be completely without “tulips”. However, by the abundance of branded DIN connectors, one can understand that NAC 202 has a pronounced focus on working with brand brethren.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
Contact "pins" on wires with DIN connectors also have a slight deliberate backlash - be careful with them!

To power the Naim NAC 202 with clean, smooth and quiet current, we used a Naim Audio HiCap DR power supply. As you may have guessed by the DR from the name, the HiCap is equipped with the same discrete voltage regulators as the NAP 250 DR.

And this is not at all surprising: knowing how important the issue of proper nutrition is for Naim, they simply could not entrust the role of an external power supply to a device that does not have the letters DR in the name. They used to trust, but then DR had not yet been invented.


The signal source in the system is a Naim Audio NDX2 streamer, a detailed test of which has already appeared on the pages of our magazine . To avoid long read, we will not delve into the internal arrangement and external charms of this streamer.

In short, the NDX2 can be called one of the exemplary devices that other manufacturers will not be ashamed to focus on. This also applies to circuitry, and elaboration in terms of user-friendliness.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
Icon of modern streaming

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
Only DIN, only hardcore!

All switching of components between themselves passed through DIN connectors, which, according to the Naim developers, allow to avoid "ground loops". The fact is that the DIN connector carries a common ground for the left and right channels, while the generally accepted RCA or XLR allow the formation of “loops”, since both the left and right channels are equipped with their own “ground”.

Thus, the switching scheme looks like this: NDX2 is connected to the NAC 202 preamplifier, which in turn is connected to the HiCap DR power supply. The NAP 250 DR power amplifier is also connected to the HiCap DR and receives the signal from the preamplifier through it. Having built the connection in this way, we fundamentally comply with the precepts of Naim Audio engineers: no “ground loops”!

Another reality

The acoustic system that participated in the testing is two-way floorstanders Totem Acoustic Forest. They look quite modest, no frills. But with the Totem brand, you should not make hasty conclusions.

The musical material was flown over the network from Tidal - as it turned out, this is not so simple.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
HiCap DR - strong, stylish

The mono-brand system (with the exception of acoustics) seems to hint: I am coordinated, carefully built and ready to demonstrate the result that engineers and developers were aiming for. I must say that, considering the engineers and developers of Naim Audio in this context, it seems that they were set up very seriously.

Naim sound is legendary, no exaggeration. In particular, when the conversation turns to the integrals of this brand, you can hear both enthusiastic exclamations and languid sighs in the dialogue.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components
All connection schemes via DIN connectors are carefully displayed in the instructions for the devices

When it comes to dividing the functionality of an integrated circuit into different "black boxes" - such a dialogue becomes more moderate in terms of languid sighs.

This system perfectly demonstrates how you can grow, educate and make more mature the same sound paradigm. Naim remains recognizable in intonations, but ceases to allow itself some minor excesses, which were allowed due to the "youth" and versatility of the younger components.

First of all, this is expressed in a fair increase in realism to what is happening in the sound picture. That is, if the integral player can afford some edits in the picture, then the system on separate components takes its tasks much more seriously: if the vocal was recorded without deep overtones, this is how you will hear it.

At the same time, a more versatile device can afford to “turn up the heat” and embellish this or that moment. But this does not mean that the same integrated circuit will be worse: I know music lovers who consciously abandoned the separate Naim path and found their perfect world in a company with a Naim integrated amplifier. These are two bordering universes that have common ground.

A system of this level can often serve as a revelation. This is what happened this time too, and more than once.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components

It was thought that the inimitable academic vocals performed by Carlos Mena would no longer be able to impress, since they had been listened to many times. What a surprise it was when in the composition "Ave Maris Stella" it turned out that Carlos' vocal cords have different degrees of tension and vibration! Don't think that this was analysis for the sake of analysis - I was ready to accept any result. And he was impressive!

By and large, these vibrations of the vocal cords can be heard on almost any system. But it's one thing when the system just plays - and quite another if it becomes a source of realistic sensations, regardless of whether you were ready for their perception or not. This can be compared to a movie: when an explosion is heard in a film, sometimes we can be scared, but it is unlikely that we will believe that this explosion is real.

This system with Naim Audio components is able to touch those strings of perception that are responsible for the analysis and systematization of real events in real life. As a result, what is happening in the musical material can often be perceived as the presence of a performer or instrument in a room next to you.

Sometimes it is so realistic that a certain amount of discomfort is felt, as the listener's brain intuitively begins to look for a singing person or a playing instrument. Naturally, this search ends in failure, which causes a little dissonance.

Moreover, all of the above can be attributed to any genre or sound range.

System test with Naim Audio NAP 250 DR, NAC 202, NDX 2 and HiCap DR components

Now we can move on to the disadvantages. But they will not concern the setup itself, but the scrupulousness with which it relates to the reproduction of music. The owner of such a system will have to pretty much sort out / update the music library, since the slightest signs of compression in any of the ranges will be heard as clearly and realistically as Carlos's vocals.

As a result, about a third of the material from Tidal's personal playlists, which were carefully assembled for testing setups, was deleted there, "on the spot". Naim is a witness to this


Once again, Naim Audio proves that attention to every detail in the design and manufacture of components can enable the listener to experience music that is often difficult to put into words.

To be honest, no one doubted. After getting to know Naim's black box systems, there was only one question left: how good would the listening experience be this time around? At the same time, we were ready for criticism - but, apparently, not fate.

high level of realism when playing musical material; no binding to genres; tonal balance

price; high degree of exactingness to the musical material

Naim Audio NAP 250 DR , Naim Audio NAC 202 , Naim Audio NDX 2 , Naim Audio HiCap DR

: upscale audio

Naim Audio NAP 250 DR - $7,899

Naim Audio NAC 202 - $3,999

Naim Audio NDX 2 - $8,799

Naim Audio HiCap DR - $2,859

Naim Audio NAP 250DR

Type: power amplifier

Number of channels: 2

Power: 2x80 W (8 ohms)

Frequency response: 2 Hz - 65 kHz (±3 dB)

Gain: 29 dB

Input impedance: 18 kOhm

Analog inputs: XLR x 1

Speaker connectors: two pairs (banana type only)

Dimensions (WxHxD): 432x314x87 mm

Weight: 15.8 kg

Naim Audio NAC 202

Type: preamplifier

Number of channels: 2

Analog inputs: 2 x RCA, 7 x 5DIN, 1 x RCA (RC5), 2 x DIN, (RS232 optional)

Analog outputs: 1 x 4DIN

Input impedance: 47 kOhm

Sensitivity: 75 dB/mV

Dimensions (WxHxD): 432x314x87 mm

Weight: 7 kg

Naim Audio NDX2

Type: network player

Number of channels: 2

Frequency response: 10Hz - 20kHz

Harmonic distortion: 0.02%

Supported formats: DSD (64/128), WAV (32/384), FLAC, ALAC, AIFF (24/384), MP3, AAC, OGG, WMA, M4A

Streaming protocols: UPnP, Chromecast, Apple AirPlay, TIDAL, Spotify Connect, Bluetooth (AptX HD), Internet Radio, Roon

Digital inputs: Coaxial 1 x S/PDIF (RCA), 1 x BNC; Optical 2 x Toslink; Ethernet 1 x LAN (RJ45); USB 2 x USB type A; WiFi, Bluetooth

Digital outputs: 1 x BNC

Analog outputs: 1 x RCA, 1 x 5DIN

Dimensions (WxHxD): 432x301x87 mm

Weight: 10 kg

Naim Audio HiCap DR

Type: external power supply

Output voltage: 2 x 24V

Connectors for connecting external devices: 1 x 5DIN, 4 x 4DIN

Dimensions (WxHxD): 207x314x87 mm

Weight: 7.35 kg