I own it and love it. From a workflow standpoint it is: Source -> M2 -> Speakers, and I have noticed no difference between digital source of the same bit-depth and sampling frequency, (due to re-clocking/upsampling).I have not used an analog source, so I cannot comment on the quality of the A/D conversion process, and I have not used a 24-Bit 176.4 master, (as produced by Reference Recordings), though I am looking forward to doing so once I build a server with AES/EBU soundcard, (i.e. Lynx AES 16).If anyone else has experience with this amp, please chime in. For me, it is a one stop solution which eliminates a lot of mess, expensive cabling, and produces a gorgeous soundstage and detailed, effortless sound. Can you do better with very expensive separates ... of course, but you may end up spending 10 times the amount to climb the curve an incrementally small amount.
Direct Digital NAD M2

First, the M2 offers a wide variety of digital inputs: one S/PDIF, one AES/EBU, two coaxial, and two optical. The amp also offers two pairs of analog inputs (both balanced and single ended), which are converted to a high-resolution digital signal so the rest of the amp's many digital features can be utilized. Second, the output stage is a class-D design using technology developed by English company Diodes-Zetex, which features what NAD calls Direct Digital Feedback. This method of amplifier feedback determines any pulse error and passes this information back to the digital domain section of the amplifier where compensations can be made.
This was one of the products at the show that I felt warranted a full write-up and evaluation in Stereophilewhen I told the well-known class-D skeptic John Atkinson about the M2, he explained that not only did he agree but that his enthusiastic review will appear in the March issue of the magazine.
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