Naim SUPERNAIT and Neat Momentum 4i, Power and refinement

As I was packing up the Naim CD5 player and the Naim Nait 5i integrated amplifier after finishing the tests published in our January 2008 issue, I must admit I felt sad. That integrated amplifier had given me such a good time over the previous weeks that I had grown used to its liveliness and the very special soundstage it seems to create. Fortunately, almost immediately, Gordon McGLade, head of Hometech Spain SL, the importer of Naim and Neat for Spain, was already enthusiastically preparing a new, higher-level proposal so that we could continue exploring both brands' ranges.

This time he sent me the direct "big brothers" of the integrated amplifier and loudspeakers tested previously, specifically the SUPERNAIT stereo integrated amplifier and the Neat Momentum 4i loudspeakers. Although my colleague Luis Llana had already tested this amplifier in the "Proposals" feature on the De Cine store published in CEC issue 51, its features encouraged me to test it more thoroughly and in my own room.

SUPERNAIT

That is how Naim has named this integrated amplifier, in capital letters. It is, from start to finish, a special product, both from the point of view of today's market and of Naim's own philosophy, past and present. The concept is based on the legendary effectiveness of the Naim Nait, but with a different design, more powerful and refined, which also abandons the traditional British minimalism of stereo integrated amplifiers, since it incorporates under the same chassis a 24-bit/192 kHz digital-to-analog decoder, solely for stereo PCM data streams.

The connectivity is tailored to the needs of this configuration, incorporating 6 analog line inputs (in RCA form and Naim's typical, peculiar DIN standard) and two outputs, one for a subwoofer and the other for an analog recorder.

These inputs are accompanied by five digital ones: two S-PDIF and three EIAJ/Toslink optical inputs, one of which is located on the SUPERNAIT's front panel, offering the possibility of connecting portable audio equipment. Its most unusual feature is that it can operate both as a digital input for a mini-Toslink connection and as an input for analog signals. As an operating principle, the digital-to-analog decoder is automatically disconnected when an analog input is detected in use. All the digital inputs can be assigned to any of the sources at the user's discretion via setup using the remote control.

In principle, the idea behind this integrated amplifier is for it to act as the true core of a system for a long time, and to this end it offers several options for gradually raising the level of quality. First and foremost is the possibility of adding Naim's own separate power supplies, such as the FlatCap2x, HiCap or SuperCap models. In addition, the SUPERNAIT can act as a preamplifier, adding one of the brand's external power amplifiers, or it can become a simple power amplifier, or even use its own amplification section together with that of another external power amplifier to bi-amp a pair of loudspeakers. Of course, all this can be combined with Naim's external power supplies.

The amplifier can also be integrated into a multichannel system, acting as the power amplifier for the front channels for an A/V preamplifier. It has to be said that this product seems destined to enter our listening room and never leave again, especially considering its power. The Nait 5i already drove fairly serious loudspeakers, such as my B&W Nautilus 804s, with complete ease with its rated 50 W, so with the SUPERNAIT's 80 W and Naim's current delivery, we can expect it to be capable of a good deal more.

The SUPERNAIT is a magnificent product, both in concept and in performance. It offers great flexibility, both for growing as a product and for incorporating the new universe of digital sources in the world of audio without physical media toward which we are inexorably moving. But, above all, it is a magnificent amplifier, with spectacular current delivery and the exquisite build quality that characterizes Naim. The very high-quality potentiometers in the motorized volume and balance controls and the "soft" buttons for selecting sources and controlling the (analog) tape loop are, together with the perfectly machined casing in the traditional black, good examples of that excellent finish. Its performance makes things very difficult for its most direct rivals, against which, given its concept, I would even say it has a certain advantage. Only its price may limit its popularity, especially among those who still believe they will never need a digital-to-analog decoder in a stereo amplifier. In any case, it is when you listen to it and try it out that all the virtues of a component that seems "bigger" than its physical size and specifications might suggest come to light.

NEAT MOMENTUM 4i

After the excellent impression made on me by the Neat Motive 2, which I had the opportunity to test in our past issue 52, I was very keen to listen to a more ambitious offering from this British loudspeaker manufacturer that would allow me to see whether the extraordinary value for money of its simplest range is maintained in its higher ranges. For this challenge, the Spanish importer suggested the series Neat has presented most recently, the Momentum. These loudspeakers are fundamentally aimed at stereo listening, since the series consists of just two models, the 3i monitor and the 4i floorstander, although those interested in integrating these loudspeakers into a multichannel system could well turn to the center and surround monitors of the Motive series.

Both the floorstander and the monitor share a common design principle in that they use bass drivers mounted in an isobaric chamber (see sidebar) to achieve an extraordinary bass response. Given the relatively large size of my listening room, and in agreement with the importer, we decided to test the Momentum 4i floorstanding loudspeakers.

The external design of the loudspeaker follows a minimalist aesthetic very much in line with that of its smaller siblings, the Motive, but without their characteristic backward tilt. Straight, sober lines in beautiful wood finishes in different shades define the look of these impeccably finished cabinets, which, although considerable in size, do not seek to stand out too much in a domestic setting. Even so, their appearance is somewhat "classic", even a little crude due to their square lines, when compared with other rivals with more rounded, modern lines. Aesthetic preferences aside, I must criticize the absence of a fabric grille to hide the cones, both from a purely aesthetic point of view and simply for safety if there are small children in the house.

Although the Momentum 4i is technically a two-and-a-half-way bass-reflex design, it actually uses 4 drivers. In a normal listening position, only two are visible: the NMT 25 mm inverted titanium dome tweeter and the "ultimatum" type midrange driver, in the brand's terminology, a 168 mm treated cellulose pulp cone. However, at the bottom and inside the cabinet, two other 168 mm bass drivers are hidden, mounted vertically and pointing toward the floor, forming a genuine isobaric subwoofer. As is usual at Neat, all the drivers are its own designs, although manufactured by third parties to its specifications. With a nominal impedance of 8 ohms, a minimum of 5 ohms and a sensitivity of 88 dB, the Momentum 4i does not seem at all difficult to drive, something that is always welcome when choosing a particular amplifier.

The rear of the cabinets has two bass-reflex ports, one behind the tweeter chamber and the other slightly below the mid/bass driver. These outlets, together with the downward-firing driver of the isobaric assembly, make it advisable to be quite strict about the general recommendation of leaving at least 0.5 m of clear space both behind and around the loudspeakers at their listening position, since both the ports and the driver at the bottom will generate airflows and sound waves that must be able to circulate freely. Of course, the presence of this cone in the base makes the use of the supplied decoupling spikes absolutely essential. I would like to highlight a thoughtful detail from the manufacturer, which supplies with the loudspeakers small saucer-shaped bases for the decoupling spikes, to avoid scratching parquet floors. These parts cost very little, and the user will be grateful to be spared a trip to a store to get them. The binding posts, of good quality and capable of accepting spades, bananas and bare wire, allow bi-wiring and passive bi-amping by removing the supplied jumpers. For my taste, however, they are placed too high above the floor, making the speaker cable more visible than if they were closer to the base.

LISTENING TESTS

After the appropriate warm-up period, I began, as usual, with discs of increasing instrumental complexity. As a source I used a Pioneer multi-format player throughout, both through its analog outputs and, mainly, using its digital outputs and the SUPERNAIT's digital-to-analog decoder.

First, to assess the strengths of the Naim electronics separately from those of the Neat loudspeakers, I began the test using my B&W Nautilus 804s. After my experience with the Nait 5i, I expected from this big brother that speed or immediacy of response so typical of Naim, whereby, regardless of the sound pressure level we are at, if the track we are listening to has a momentary increase in volume, it occurs with complete naturalness, without stridency, without any sense of the electronics running out of breath and without losing an iota of the exquisite level of detail throughout.

In addition, the soundstage seems to come closer to the listening position, creating a sense of being deeper than usual. Indeed, all of this was there again in my room, but even more so: the SUPERNAIT seems to open up the soundstage even further in all directions and makes the loudspeakers disappear completely in favor of precise placement of voices and instruments on the virtual stage it draws.

Of course, the almost instantaneous dynamics of the Nait 5i are multiplied in this case, however complex the musical passage, and my loudspeakers seemed to have more "temper" than usual at those moments. It is a very particular sonic signature, typical of Naim, which takes some getting used to, but which, once you are accustomed to it, I at least find quite addictive.

Having confirmed that the SUPERNAIT delivered the expected sensations, I swapped the B&Ws for the Neat Momentum 4i and began comparing some of the discs I had listened to previously, to familiarize myself with the loudspeakers and compare their response with the one I am more used to. There is not the slightest doubt that the Momentum 4i are excellent loudspeakers, perfectly capable of standing up to any competitor in their market segment, which, incidentally, is one of the most hotly contested. These are serious loudspeakers, in their design, price and ambitions. Loudspeakers whose purchase fits the profile of a demanding enthusiast with a medium-sized or large listening room who wants to listen to symphonic or operatic works of great musical complexity, with significant transients, massed instruments and voices, etc. Getting a realistic sound from these works is a challenge. Well, the Neat Momentum 4i have all that.

To begin with, the overall tonal balance is very good. Voices and instruments of all kinds have a natural sound, rich in nuance and detail, making for enjoyable listening. Tchaikovsky's Violin Concerto, in Anne-Sophie Mutter's version with the Vienna Philharmonic (SA-CD Deutsche Grammophon), presents a clear, vibrant violin, perfectly centered and on a plane closer than the orchestra. The soundstage, even with a large orchestra as in this case, is drawn with precision, distinguishing the positions of the strings, the brass, the cellos, the percussion, etc. The treble is never harsh or tiring. The midrange makes it possible to separate the different instruments well while conveying all the warmth of the strings or woodwind. It is in the bass, as might be expected from the special configuration of the Momentum 4i, that we find the most striking surprise: its extension is spectacular. Following what a double bass is playing in a jazz group or a rock band is not always easy with some loudspeakers. We often lack sound pressure in the last octave and a half, a little "spice" in the bass. That is why many enthusiasts use an additional subwoofer solely to reinforce the range below where their loudspeakers reach, typically below 40 Hz. The Momentum 4i do exactly that, but in an integrated way.

This extra punch in the bass is a specific sonic signature that we may identify with to a greater or lesser extent and that may not be to everyone's taste, so to be sure the best thing is to have a listen before deciding.

Personally, I find it more realistic, especially when listening to solo piano, but even if we like this extra bass we must take into account the characteristics of the room in which we install the Momentum 4i. Unlike a solution consisting of a dedicated subwoofer added to a pair of loudspeakers, the configuration of these Neats lacks specific controls for taming the lowest frequencies to suit the room in which they are placed, so the Momentum 4i may require a certain amount of acoustic treatment in their room. In my case, with 45 square meters and the acoustic treatment anyone has in their living room at home (that is, no acoustic treatment), I had no problems whatsoever. I have to admit that, although I searched my record collection for tracks that would make the Momentum 4i lose their composure, I had to give up without succeeding. One after another, discs I consider to have "difficult" bass sounded perfectly controlled, such as the track "Temptation" from Diana Krall's album "The girl in the other room", Leonard Cohen's complete album "Ten new songs" and Liszt's "Rapsodie espagnole". In all of them, with no loss of control of any kind, the deepest bass could be followed note by note with power, without obscuring the midrange or treble in the slightest.

As I mentioned earlier, the soundstage is excellent with a large orchestral mass, so it is even more so with small ensembles. Specifically, on the aforementioned Leonard Cohen album, the voices of the singer and his accompanist Sharon Robinson are clearly outlined and centered, easily pinpointed, with the electronic instruments accompanying them behind them.

Of course, the dynamics provided by the SUPERNAIT are spectacular at all times. Since these loudspeakers are relatively easier to drive than my B&W 804s, the volume control sat slightly lower with the Neats, but it very rarely went past the "9 o'clock" position in either case, with more than enough sound pressure.

To round off the test a little more, I had a brief listen to the Momentum 4i with my usual amplification: a preamplifier/power amplifier combination from the defunct Michi series with an RHB05 power amplifier, delivering 100 W into 8 ohms. The expected ease of driving the Neats did not disappoint, and I was able to confirm that they shine just as much with any quality electronics as they do with Naim's, making them quite easy to match with many systems.

The SUPERNAIT–Momentum 4i combination is an almost perfect marriage, with two components that work together almost unbeatably, but which will also give any user a great deal of satisfaction separately. Because of some of their special characteristics they may not be the ideal components for everyone, but that does not prevent them from earning our highest rating for what they demonstrated in the tests.

Specialists' rating: 6

The Greek root of the term reveals the concept: constant pressure. The isobaric loudspeaker construction technique consists of aligning one driver behind another in an enclosure, so that constant pressure is produced between them. The drivers can be aligned cone to magnet and wired in phase, or cone to cone or magnet to magnet and wired out of phase. The aim is for both to move at the same time when the signal is sent to them, maintaining constant air pressure in the enclosure. The driver radiating outside the enclosure thus operates under ideal conditions, as long as it is working above the resonance frequency. In this tandem, the resonance frequency is 0.707 times lower and there is a greater moving mass, without increasing the Q factor, while the level of distortion is reduced. At the same time, slightly more is demanded of the amplifier, which obviously entails doubling the cost. The aim is for the bass extension to reach half an octave further than the same driver and enclosure mounted individually; in other words, with the same cabinet volume and the same drivers, the response goes half an octave lower.

Gordon McGlade, Hometech. We would like to thank Jorge for his article, written with great affection. It is true, musicality is the most important attribute for Naim, and we hope everyone understands what that means. The SUPERNAIT has been a star for Naim and, with its on-board DAC, it is within the reach of many more people; its price is truly justifiable. With NEAT Acoustics there is perfect synergy. We really recommend trying this combination in stores.

Naim SUPERNAIT and Neat Momentum 4i, Power and refinement

Specifications

Naim SUPERNAIT
INPUT SENSITIVITY 75 mV, 47 kohms. PREAMP OUTPUT LEVEL 0.777 V, <50 ohms. POWER 80 W RMS per channel into 8 Ohms. STANDBY CONSUMPTION 10 VA. DIMENSIONS AND WEIGHT 87 x 432 x 314 mm, 12.8 kg.

Neat Momentum 4i
CONFIGURATION 2.5-way bass-reflex/isobaric. BASS 2 x 168 mm; treated cellulose pulp cone. MIDRANGE 1 x 168 mm; treated cellulose pulp cone. TREBLE 1 x 25 mm; inverted titanium dome. SENSITIVITY 88 dB/1 W/m. IMPEDANCE 8 ohms (minimum 5 ohms). RECOMMENDED AMPLIFICATION 25-200 W. DIMENSIONS AND WEIGHT 1,000 x 220 x 230 mm; 22 kg/unit. DISTRIBUTOR Hometech Spain (902 170 007).