We were commissioned to build an opulent listening room for a client with discerning musical taste. We operate in a world where our clients generally ask for more speakers and bigger screens, so the relative purity and honesty of this listening room have rendered it a wonderfully exciting project.
An overview of the listening room project, by Guy Singleton.
Introduction – Listening Room Requirements
This small room (3.3m x 3.4m), in a traditional Neo-Georgian house, was undergoing refurbishment as part of an ongoing renovation project. The timber floors were to remain exposed following the renovation, which posed some acoustical issues, but we were confident in our ability to overcome them, and we set to work on a full design.
The client owned several types of media that would need to be accommodated within our design for the listening room, such as a treasured vinyl collection and an extensive CD collection. Two-channel audio seems to have had somewhat of a resurgence and we have seen an increase in the demand for turntables (record players). The client already used a Naim Uniti Serve and Naim Uniti 2, which formed part of a house-wide Naim multi-room audio system, the Naim server having an extensive ‘bit for bit’ CD collection that would form the backbone of the new system. The client preferred this to stay in use. Spotify and Apple Music would also be required, as well as internet radio.
Our Design for the Listening Room
Having completed an acoustical appraisal, we knew what hardware solutions were needed to overcome some of the room’s challenges.
Over the years we have listened to countless demos and installed many different speaker brands. We always make selections for our projects very carefully, based on what we expect for the technical performance of the system. For this listening room project, we opted to use the awesome Perlisten S4b, complemented with two Perlsiten D12 subwoofers. These are amazing speakers and, to be honest, probably the best pair of bookshelf loudspeakers we have ever installed.
These true THX Dominus Certified speakers and subwoofers give the room the dynamics, clarity, and tonal balance that our client sought. The subwoofers added gut-wrenching bass, that can’t easily be described in words. Undoubtedly these are some of the best subwoofers we have ever installed…. they are breathtaking.
All this power needs taming and what better way to do this than with a NAD M66 and its fabulous room correction/calibration algorithm by DIRAC Live Processor?
The Linn LP12, widely considered iconic system hardware, would handle the vinyl collection.
The Challenges of RdT60!
From a technical perspective, the characteristics of the listening room posed the most challenges, with an initial measured RdT60 time of 0.87sec (across six octaves). Once the carpet and underlay had been removed during renovation, it was clear that we’d need something special to address these issues.
Acoustic treatment for a listening room doesn’t always have to come in the guise of panels hung on the wall (although we did have one). Addressing this in other ways can yield excellent results. We asked the interior designer to provide curtains and a pelmet in a thick rich fabric (both lined and interlined). Together with strategically placed rugs and acoustic panels, this allowed us (with the help of the NAD M66 DIRAC room correction algorithm) to bring that number down to a more acceptable 0.48sec and, once the chairs, footstalls and people were in the listening room, we achieved a measured 0.37sec over six octaves.
Content is King in this Listening Room
It’s a bittersweet scenario to have so much content available to us. From streamed services such as Internet radio, Spotify, Tidal and Apple Music to physical content like CDs, vinyl, mini-disc, cassette, and DAT, there are a lot of moving parts in a music room.
Our brief was simple: as much access to content as practically possible, and playback in this listening room sanctuary had to be of the highest quality. Sounds easy?! It actually isn’t, but our job is to take care of the details, leaving the client free to enjoy the experience!
The use of a Naim Uniti Serve allowed us to rip bit-for-bit 44kHz 16bit CDs to a hard disc server and we also had a Naim CD player as part of the Uniti 2. We knew that the Linn LP12 turntable would handle the client’s vinyl media, leaving us just streaming services to cater for.
The Naim Uniti 2 acted as a head end for internet radio and Tidal with Roon being stealthily snuck in via the embedded input on the NAD M66.
The plus side of any NAD M66 Masters is amazing audio delivery and the M66 is one of the best. The limit for the M66 is that it does have 24/192kHz top-of-the-range Sabre DAC capability. The Room with 24/192kHz was still on the table with MQA capability thrown in for good measure.
After a quick calibration and input level trim adjustment, we knew this would be a truly great listening room.
Turntable – Linn LP12
These are legendary turntables, with almost iconic status amongst audiophiles. We felt that pairing this with the NAD Master M66 would deliver outstanding results as the M66 has one of the most exciting features concerning analogue pass-thru.
Speakers Perlisten S4b
A bookshelf with this much technology is hard to find and can be the Ninja of any system – bookshelf, main for a 2.1 system, LCR, Dominus Surround, it can transform into anything you need. Features include proprietary DPC-Array controlling Mid/High frequencies and cantered by their finest 28mm Beryllium dome and dual 28mm TPCD ultra-lightweight domes. All transducers are developed from the ground up by their engineers, bringing decades of research and culminating in this world-class design. All S-Series speakers share the same DPC-Array and benefit from their unique timbre matching technique across the entire series utilising Beryllium and their advanced carbon fibre.
These speakers are an acoustic suspension to meet the demands of any listening room, with unparalleled dynamic range and musical finesse. They are extremely impressive, alone or combined with 2 PERLISTEN D12 subwoofers.
They are great for use in 2.1 systems, or any channel of theatre system utilising subwoofers, and can be used as surround, height or LCR. In terms of placement, they can be a bookshelf, placed on a stand, or on-wall mounted with a keyhole or available bracket. This new tweeter/waveguide DPC-Array delivers amazing accuracy, smoothness, and directivity control to handle the critical vocal range and delicate treble.
The S4b shares the same DPC-Array and benefits from their unique timbre matching technique as found in the entire S-Series range of speakers. They provide unparalleled dynamic range, low distortion, and musical finesse. The PERLISTEN S4b continues the line-up of speakers that have the distinguished honour of being the world’s first and only loudspeakers to be certified for THX Dominus – their highest rating.
Subwoofers – Perlisten D12
The model D12 Subwoofer; a small footprint and big sound. Benefiting from many of the technologies of their flagship subs, these sealed subs generate amazing performance in the smallest footprint. Low Q, shallow roll-off response geared for sound quality and smoothly integrating into the listening room. Also, these are an excellent choice when using multiple subs to optimize in-room response and smooth out seat-to-seat variation.
The D12 is the smallest subwoofer in the series, yet packs enough punch to be certified THX Dominus. Powered by our 1.5kW amplifier, all functions and safeties are controlled by a 48-bit data bath DSP and 32-bit ARM M4 Cortex processor, able to react in microseconds, powerful enough to slam. Ground-up drivers have been developed by the Perlisten team of engineers. Carbon fibre composite diaphragms, multiple aluminium shorting rings, massive magnets, multi-layer Nomex spiders and lightweight aluminium voice coil wire are the key ingredients – proprietary nonlinear modelling techniques allow us to simulate all these components and then optimise for real-world driver performance – free-air and in-box.
Further refinement is done with the aid of Klippel laser measurements to dial things in. All D-Series subs share the 2.4” LCD touchscreen display and the ability to control advanced settings using their App.
We used two in this listening room project.
Amplification – NAD M23 Masters
A no-brainer for the listening room project was the selection of the amplifier. The NAD M23 employs Eigentakt™ class-D amplifier modules, manufactured by NAD under license from Denmark’s Purifi Audio. Purifi’s load-invariant design provides wide, flat frequency response, even into challenging loudspeaker loads. Noise, harmonic distortion, and IM distortion are virtually unmeasurable at all frequencies and output levels.
Another benefit of the Eigentakt™ design is extremely low output impedance and correspondingly high damping factor, for iron-clad control of the loudspeaker output. NAD combines the Eigentakt™ design with a sophisticated switched-mode power supply, which can provide additional reserves of current when needed. Amazingly powerful and transparent, the M23 can deliver 2x260W of peak power into 8 ohms and 2x520W into 4 ohms.
The ideal amplifier will achieve vanishingly low distortion, ultra-high damping factor, and rock-solid stability with any loudspeaker played loud. Many amplifiers perform well in one or two of these areas but fall short in others. Thanks to Purifi’s highly efficient Eigentakt™ design and NAD’s proven switch-mode power supplies, the M23 excels in all three areas – without the excess weight and cost of the old-fashioned linear power supplies and class-AB output stages used with traditional amplifiers. Eigentakt™ outperforms previous class-D implementations by a significant margin, delivering transparent, detailed sound with expansive soundstaging and holographic imaging, at all listening levels and with all types of program material – even during complex musical passages.
Equipped with single-ended RCA and balanced XLR auto-sensing inputs, a three-position gain-control switch, and a 12V trigger input, the NAD Masters M23 HybridDgital Stereo Power Amplifier can easily be integrated into a high-performance separates system. Two M23 amplifiers operating in bridged mode can be paired together, each delivering 700W of continuous power into 8 ohms. The M23 amplifier can also be paired with NAD’s award-winning Masters M33 BluOS Streaming Amplifier. With the two Eigentakt™ amplifiers operating in bridged mode, the M33/M23 combination will deliver a staggeringly powerful 700Wpc continuous output.
With its elegant all-alloy casework, the Masters M23 HybridDigital Stereo Power Amplifier is as pleasing to the eye as it is thrilling to the ears. The M23 has the same quality of construction for which NAD’s Masters Series is renowned. Rigid panels and magnetic iso-point feet provide a rock-solid foundation for the M23’s multi-layer circuit boards and intricate internal construction. Truly the M23 represents a new pinnacle in power amplifier design.
- THD (20 Hz – 20 kHz)
<0.00069% (XLR), <0.0013% (RCA)
Processing – NAD Masters M66
Not only is the Masters M66 BluOS streaming DAC-preamplifier the most advanced preamplifier NAD has ever offered; it represents an entirely new class of hi-fi separate components. In addition to a plethora of inputs, including MM/MC phono and HDMI eARC, the M66 incorporates an audiophile-grade DAC and a high-resolution multi-room music streamer. Along with the full frequency version of Dirac Live Room Correction, the M66 features Dirac Live Bass Control, allowing independent control of each connected subwoofer, for smooth, consistent response throughout the listening room.
The combination of Dirac Live Room Correction and Dirac Live Bass Control enables the M66 with its 4 independent subwoofer outputs to deliver more accurate in-room performance than any two-channel component ever offered.
With its elegant aluminium casework, super-smooth volume control, and vibrant 7” touchscreen, the M66 exudes class and quality. Visually, sonically, and technologically, it’s an ideal match to NAD’s award-winning Masters M23 power amplifier. Of course, the Masters M66 BluOS Streaming DAC-Preamplifier can be paired with any high-performance power amplifier.
At the heart of the M66’s digital section is ESS Technology’s flagship Sabre ES9038PRO DAC, an audiophile-grade design known for its exceptionally wide dynamic range, ultra-low noise and distortion, and outstanding time-domain performance. The M66 is the first component to feature NAD’s innovative Dynamic Digital Headroom (DDH) circuitry, which is activated with a control in the BluOS app. DDH eliminates digital inter-sample peak clipping distortion, which can occur during digital-to-analogue conversion with sudden high-frequency transients. The benefits are especially noticeable with percussion instruments—rim shots are faster and less strident; cymbals are more realistic and less splashy.
The M66 employs a multi-stage resistor-ladder volume-control circuit. This minimises thermal and related distortions that are characteristic of traditional analogue volume controls, maximises dynamic range, and accurately matches left and right-channel output across the entire volume range.
So that DSP-enabled functions like Dirac Live are available with all sources, analogue signals are converted to digital by ESS Technology’s flagship ES9822PRO ADC chip. However, users can select the Analogue Direct mode, which bypasses all digital processing which is how we had set up the fabulous Linn LP12 and utilised the MC internal preamp. Moreover, the M66 has separate signal paths for analogue and digital sources. Internally, the analogue and digital sections are physically separated and shielded from each other with their separate power supply sections. Listeners can even use the BluOS app to disable the M66’s Wi-Fi and Bluetooth circuits to prevent RF interference.
The M66 integrates Dirac Live Bass Control. Connect the supplied calibrated microphone to the M66’s USB port and then launch the Dirac Live app on a smart device or personal computer. Alternatively, connect the mic directly to a laptop or computer running Dirac. The app will walk you through the calibration process, and then generate correction filters that compensate for acoustic problems like standing waves and unwanted reflections. You’ll enjoy vastly improved clarity, more precise imaging, improved timbral accuracy, and deeper, tighter bass.
In a world’s first for a stereo component, the M66 features four balanced subwoofer outputs and integrates the full version of Dirac Live Bass Control, which allows independent calibration of multiple subwoofers. Dirac Live Bass Control optimises subwoofer output in both the frequency and time domains. The result is a seamless blend between the subwoofer(s) and main speakers, resulting in a smooth, consistent bass response throughout your listening room, not just in the sweet spot.
Roon and Listening Room Content
The client had lots of content “scattered” to all four corners of the globe and in various guises. Our brief was simple: organise and deliver, to the very best levels possible so the client could access it all in the listening room.
We installed a Mac Mini as a “Roon” server to help with this task and used “Tidal Max” to deliver unparalleled music quality. Spotify delivers content audio bitrates usually at 320 bit/s but can be as low as 24kbit/s depending on your network connection, which is rather low. Tidal’s subscription has three tiers ranging from “Low 320bit/s, High is up to 16 Bit 44kHz (CD Quality) with their current “Max” quality available up to FLAC 24bit, 192kHz. There are ranges in between, including 24bit, 96kHz which is also a substantial increase in quality over CD.
Over the last few years (since the invention of the iPod roughly speaking), people have substituted quality for convenience. The 1980’s, 90’s and 2000’s saw CD as the premium way to listen to your music. MP3 changed that. Then the allure of having 10,000 songs in your pocket was far too appealing and CD sales started to tumble. Two-channel audio has seen somewhat of a resurgence, and clients are demanding higher-quality listening experiences; so demand for high-quality listening experiences is gaining traction.
https://www.dolby.com/en-gb/music/
Spotify is great for low-quality convenient music, that needs a lower-performing network, but Tidal and Qobuz are the leaders in high-quality streamed music and, consequently, that is where we focused our efforts, as this dedicated listening room was to be all about the audio experience.
“Roon” acts as the curator and organiser. It will search Tidal and any local UPnP music servers that you may have locally, to form a single place of control and search. It requires a server (running PC / Mac) to host the software and an iPad/iPhone or Android device to act as the control interface. In this high-performance listening room, we used an Apple Mac Mini.
In the words of the adage, if you put garbage in, you get garbage out! If you’ve ever been to a music system demo when the dealer has played you some carefully selected content and left you speechless, then this is a large factor in that puzzle. Playing Spotify (although very convenient), will leave you somewhat underwhelmed due to the nature of the compressed and watered-down nature of the content. Tidal and other FLAC (high-res) tracks will give you a much fuller and richer experience.
To help explain this it’s like drinking skimmed, semi-skimmed and full-fat milk, or in this case, yoghurt. That is the ace up the sleeve of all of the best-performing listening room systems in the world. I can honestly say that several tracks left us blown away and they conveyed emotion that we’ve never heard in those tracks before.
(Chris Stapleton – ‘Whiskey and You’ 48kHz 24bit / MQA 96kHz, if you’re interested.)
Servers and Players
For this listening room, the client’s existing Naim Audio UnitiServe delivered the core functionality in an HDX high-end music server. CDs were ripped with bit-perfect accuracy and streamed in pristine quality to all compatible Naim devices using the n-Serve app. And for larger libraries, like our client’s, which exceeded the 2400 CD capacity, the system could be paired with an external NAS for limitless storage.
The Perfect Listening Room Environment
To create a sublime physical experience, we continued the house-wide Lutron Homeworks Lighting Control System in the new listening room. This would provide beautiful scenes of light, and limitless control, at the touch of a button. It was important to create the perfect relaxed ambience for memorable evenings of exceptional audio in the listening room sanctuary.
We selected a whisper-quiet Lutron Palladiom wire-free shade for the room. Being south-facing, we wanted to ensure that any strong sunlight did not overpower the relaxed vibe, or indeed fade any of the soft furnishings. Lutron shades are incredibly quiet, which is perfect for this listening room.
A stylish Alisse keypad facilitated the control of the lights and shading. With additional schedules for automated events, such as opening the blind in the morning and turning the lights on in the evening, the lighting and shading are intuitive and require nothing but a minimum of effort. The emphasis in this listening room is truly the music!
Listening Room Acoustic Treatment
As we described, this room itself was far from perfect for optimum audio. With hard, parallel surfaces, a large window and being modest in size, the listening room was undoubtedly going to be a challenge. We began the process with our audio calculations, which would inform all of our later decisions for the listening room. We recognised that it would be incredibly important to address the challenges to ensure that the listening experience was of the finest quality.
With a two-fold approach, we worked to overcome the acoustic challenges with excellent technical design and additional digital room correction. In terms of the technical design, we worked to overcome the less-than-perfect physical attributes of the room using acoustic treatment. This included a purpose-made diffusion panel and further wall-mounted absorbers. We cladded the insides of the cupboards with acoustic foam, to prevent them from degrading the audio experience, and we treated the void under the floorboards to prevent it from becoming a bass trap.
Every part of the listening room was tested to ensure there was no resonance, and every part of the construction was made to be solid and well-fitting, so that there were no rattles or vibrations. It is this attention to detail that yields the results we are renowned for.
Listening Room Calibration
Of course, the NAD M66 has almost limitless features and DIRAC calibration options, some of which are very advanced and not for the faint-hearted. But this is where we excel. Three independent pre-sets were saved, one for each seat as a priority, and one as a compromise between the seats that were evenly weighted. This meant that if the listening room was used by either of the principles, they would get a ‘perfect’ no-compromise experience and if the room was used by both, they would enjoy a well-balanced approach. Of course, NAD and the amazing DIRAC will do most of the heavy lifting, but the real magic happens when you diver deeper into the settings and features.
Multiple microphone locations around the main listening position will make sure you have a well-calibrated system with good smooth bass response. In one location that isn’t actually too hard to achieve; it grows in complexity when the listening window and seating area are larger.
NAD Masters – A Review
When I offered to write a review for the NAD Masters products but the new M66 in particular I obviously felt passionately about it or I wouldn’t have offered. I dont often do this, as I have lots of people that I respect in this industry and wouldn’t want to say anything out of turn which may upset other brands, but I wanted to make an exception for the NAD.
There are many products that I’ve enjoyed using or installing, and many manufacturers are really making great headway into delivering solid-performing systems, so it becomes increasingly difficult to single out one that is just in a different league. For this I wanted to use real hi-fi terminology like ‘unveil’ and ‘transparent’ ‘rich’ and enveloping’ but somehow my custom install background made that rather difficult. I hope to tell my Ci friends exactly what I thought about this product but in a way that I thought they would see the real value in both its performance and features.
This would mean I would need to describe the value in our marketplace and where I felt this would bring their clients the best results. It’s a wonderful piece of equipment and one that I would buy with my own money every day of the week and twice on Sunday. In a world of really good products everywhere you seem to look; this is that diamond that will make your two-channel (and four subs) sparkle.
Of course, the new ‘DIRAC Live’ adds the magic with the calibration, but it can only play the hand it’s dealt, and boy was it dealt a blinding hand. The Sabre DACs are straight out of the top drawer, with industry-defining silicon allowing for the very best streaming services to excel. But if, like me, you have an extensive vinyl collection that you enjoy, then the analogue passthrough will surely catch your eye.
I’ve convinced myself that I can hear the difference and I’m sure I can. It sounds more………well, analogue. I know I said I’d try to avoid those ‘plinky plonky’ Hi-Fi terms but this part of the review needs one; it simply sounds more rounded with some subtle midrange benefits.
When you apply the analogue passthrough, as far as I can tell at this early stage, you do lose the benefits of the DIRAC Live calibration and bass management, but that all seems to dwindle into obscurity as you’re met with so many other benefits. If you are a Ci integrator and are sometimes asked about a high-performance two-channel system (plus up to 4 subwoofers), then I can’t emphasise enough just what an impact this product has made on me.
I remember all of my starstruck moments, from the launch of Kaleidescape, my first experience of Trinnov, and the first time I saw an EPG guide on Sky. There have been a few but it takes something really good for me to sit up and take notice. The M66 has rapidly earned its place in my system and my heart and that’s not an easy place to get. What are the downsides? Well, there aren’t many.
The first and most obvious one that leaps out at you is the supplied microphone. Okay, okay, it’s no big deal really. Most of us have a comprehensive calibration kit with top-specified microphones, so this isn’t an issue. But if you were hoping for a calibration kit to help out, I wouldn’t.
I could also do with a few more 12v output triggers, for those that are the system’s support act. These are minor things and nothing to really moan about. It is Apple-like in its packaging and build quality with a real sense of ‘statement’ about it. Mine is in a cupboard in a rack, so I don’t really get to enjoy the beautiful exterior as much as I’d like, but I know it’s in there and I know it’s pretty.
I don’t want to blather on about THD, signal-to-noise ratio or the wonderful BluOS, it’s all on the website, you should absolutely check them out. If you know what you’re looking at you will know that the figures and engineering data make spellbinding reading. The new RP1 CEDIA (Performance Facts) recommended practice will bring many of these numbers into focus and allow you, the integrator, to really see the value in the product.
I spoke to a few friends of mine who are ‘REALLY’ into their Hi-Fi and they all agreed that this product is one of THE 2 channel preamps to have and one that will be nestled into their system as soon as availability allows. Check out the NAD Masters range, particularly the M66 and M23, you won’t regret it.
(In the system we have a Linn LP12 (with a Koil MC cartridge) and that connected straight into the onboard MC preamp was delightful. Full, detailed and so, so refined. It’s a two-channel dream.
My system also encompasses 2 x NAD M23s which I also can’t speak highly enough about, but that is another story.
The system comprises of two Perlisten S4b loudspeakers and two Perlisten D12 subwoofers (each independently integrated) allowing for truly astonishing bass management. This allows a really deep level of subwoofer integration).
Further Reading
For a technical read, here is Guy’s article on LFE and here is one on dynamic range. Here is our listening room page.