In the spring of 2019, NAD introduced the Masters Series M10 ($2749). At first I assumed…
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High-quality playback of digital audio is evolving in two opposed directions. One is where a smart wireless loudspeaker, like the KEF LSX or DALI Callisto 6 C, needs to be connected to a simple source of data. The other is where a smart amplifier takes the data from wherever it needs and sends it to a pair of dumb loudspeakers. NAD's Masters Series M32 integrated amplifier ($4848 with its optional MDC DD-BluOS module), which I reviewed in May 2018, is a great-sounding example of the latter approach.
When I started listening to the NAD M10, therefore, I was anticipating a marked diminution in sound quality—even veteran reviewers aren't completely immune from expectation bias. Using the KEFs, I played some reference CDs, including André Previn's performance of Rachmaninoff's Symphony No.2 with the Royal Philharmonic Orchestra (Telarc 80113) that I had auditioned with the Vandersteen speakers and amplifiers. Following the Previn performance, I cued up the DSD64 file with Iván Fischer and the Budapest Festival Orchestra performing the same symphony (Channel Classics 21604) with Roon. (Roon…
Sidebar 1: Trying Dirac Live Room Correction
To use Dirac Live LE with the M10, I plugged the microphone supplied with the amplifier into the 3.5mm jack on the USB adaptor, also supplied, and plugged that into the USB Type A port on the M10's rear panel. I installed the Dirac Live app on my iPad mini, after first making sure that it and the M10 were connected to the same network. When I ran the app with the M10 driving my KEF LS50s, it found and identified the amplifier, reduced the playback volume, and performed a level check. I then followed the on-screen instructions, placing the…
Sidebar 2: Specifications
Description: Remote-controlled, network-connected D/A integrated amplifier with Dirac Live LE Room Correction, tone controls, multiroom capability, and front-panel touchscreen. Analog inputs: 2 pairs RCA (line). Digital inputs: 1 TosLink, 1 coaxial S/PDIF, 1 HDMI, USB Type A, BluOS (Wi-Fi), Bluetooth aptX HD. Supported file formats: MP3, AAC, WMA, OGG, WMA-L, ALAC, OPUS, MQA, DSD, FLAC, WAV, AIFF. Supported sample rates: up to 192kHz with bit depths 16–32. Supported cloud services: Spotify, Amazon Music, Tidal, Deezer, Qobuz, HDTracks, HighResAudio, Murfie, Juke…
Sidebar 3: Associated Equipment
Digital Sources: Roon Nucleus+ file server; Mac mini and iPad mini running Roon 1.6, BluOS apps; Ayre Acoustics C-5xeMP disc player, Digital Domain VSP digital format converter; PS Audio DirectStream DAC.
Integrated Amplifier: Luxman SQ-N150.
Power Amplifiers: Lamm M1.2 Reference, Vandersteen M5-HPA, both monoblocks.
Loudspeakers: KEF LS50, Rogers LS3/5a, PSB Alpha P5, Q Acoustics Concept 300.
Cables: Digital: AudioQuest Vodka (Ethernet), Esperanto Audio (S/PDIF), DH Labs (AES/EBU), generic plastic TosLink optical (15'). Interconnect:…
Sidebar 4: Measurements
I measured the Masters Series M10 using my Audio Precision SYS2722 system (see the January 2008 "As We See It"). As the NAD is a class-D design, I didn't run my usual preconditioning test of using the amplifier to drive a 1kHz tone at one-third power into 8 ohms. Nevertheless, before doing any testing I ran it for an hour at a moderate power level, to ensure that it was fully warmed up. Because class-D amplifiers emit relatively high levels of ultrasonic noise that would drive my analyzer's input into slew-rate limiting, all measurements were taken with Audio…
Upon hearing about this new product from Benchmark Media, the LA4, my mind turned to Laurindo Almeida, Bud Shank, Ray Brown, and Shelly Manne—the original L.A. Four jazz quartet. No such association was intended, however: the "4" merely designates change from previous Benchmark designs (footnote 1).
The LA4 is housed in a shoeboxy, half-rack chassis that stands apart from the contemporary hi-fi wide-and-flat norm. A large touchscreen, an engraved Benchmark logo, and a single large volume-control knob dominate the front. At the bottom left are a small on/off button and the IR sensor.…
Benchmark sent along a DAC3 B (footnote 2), which I connected to the Balanced 1 inputs of the LA4. I connected the front L/R outputs of my exaSound e38 Mk.III DAC to the Balanced 2 inputs. Independent AudioQuest Coffee USB cables from the outputs of my Baetis Prodigy X server fed both DACs. Monoblocked Benchmark AHB2s were connected to the balanced outputs.
Listening to the LA4
As soon as everything powered up, there was a big smile on my face. With the LA4 in control of the system, everything sounded right, and subtle differences among recordings, amplifiers, and speakers were clear…
Sidebar 1: Multichannel Application
I am, by preference but not exclusion, a multi-channel guy and, while the LA4 is a two-channel line amplifier, I wondered how using three LA4s might work for my 5.1 setup. It seems that Benchmark does this for show demonstrations, so they were quite willing to accommodate me. The physical setup was trivial, with the first LA4 handling the front L/R channels, the second LA4 the center and sub, and the third LA4 the surround L/R channels. Because the LA4 uses a discrete relay-based stepped volume control, Benchmark said that the three LA4s clustered…
Sidebar 2: Specifications
Description: Solid-state, stereo line preamplifier with touch-screen and remote control. Inputs: 2 pairs single-ended (RCA), 2 pairs balanced (XLR). Outputs: 1 pair stereo single-ended (RCA), 1 pair stereo balanced (XLR), 1 mono balanced (XLR). Input impedance: >50k ohms (balanced/unbalanced). Output impedance: 60 ohms (balanced); 30 ohms (unbalanced). Frequency response: –0.005dB at 10Hz, –0.001dB at 20kHz (balanced); –0.008dB at 10Hz, –0.005dB at 20kHz (unbalanced). S/N (A-weighted): 137dB (balanced), 116dB (unbalanced). Output noise (20Hz–20kHz): <2.1µV…