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Single box audio solutions are not exactly breaking news. In fact, the streaming amplifier category is overflowing with choices at wildly varying price points and feature sets. The Naim Audio Uniti platform debuted way back in 2009 and has proven to be the standard bearer for sonic excellence and ease of operation in a single chassis. They continue to be built in the Salisbury, UK factory and, while this assures exceptional build quality, it pushes the price out of reach for some.Well, we’re here to highlight three wallet friendly one-boxers that “borrow” from Naim Audio’s versatility while offering a different sonic spin.

The Marantz Stereo 70S is one of our most popular items and for many reasons. It delivers a robust 75 watts per channel of Class A/B power and 192 kHz / 24-bit audio. The 6-input 8K HDMI board and ARC allows for seamless integration with the display of your choice. Accessing the stream of your dreams is guaranteed as well; it basically does them all. If you don’t fancy working with the supplied remote, the HEOS app will replicate its functionality and then some. Speaking of HEOS, you can build a plug-and-play multi-room environment by simply adding HEOS-enabled Smart speakers, and run all zones from the app. At $1299.99 it’s a very compelling package.

Where was the Parasound NC200INT integrated amplifier ($1400.00) when I was getting started in the hobby. This wonderful amp is brimming with assets. One hundred and ten watts of Pascal Class D power, Burr Brown based digital connectivity with 24-bit/192kHz resolution, and a rather good MM/MC phono stage, come standard. If that’s not enough, there are tone controls, analogue bass management, a dedicated headphone amplifier, and a back-lit remote. The lack of internal streamer may deter some, but the addition of the cost-effective WiiM Mini quickly solves that problem. To quote the Parasound hype sticker, the “NC200INT offers precision engineering and powerful performance—all wrapped in a sleek, 1U chassis at an unbeatable price point. Ideal for listeners who want a complete system upgrade without compromises, it delivers clarity, warmth, and connectivity without overextending your budget.”

Ignore at your peril.

While hardly the most riveting topic, the humble record brush remains key to analogue fulfilment. The carbon fibre variant, first introduced in the seventies by Decca in England, is the accepted standard. The advantage of carbon fibres is they reach deeper into the groove for that pesky dust while conveniently discharging static. There have been myriad of different manufacturers down the years and we routinely stock four versions.

The Rekkord LP brush is what I consider to be the bare minimum. It employs two rows of carbon fibre bristles that gently lift the dust. It is cleaned by passing the bristles over the attached bracket. It is simple, very affordable at just 20 bucks, and effective. The Audioquest refines this basic design by employing a whopping 1,248,000 super-conductive carbon fibres (unconfirmed at the time of writing) and an uncoated gold grip making you the static-eliminating ground. Neat!

Things get a little more interesting with the designs from Ortofon and Kirmuss Audio. The Ortofon Record Brush ($51.00) employs those same two rows of bristles but these are much more tightly wound. This allows you to be a little more vigorous, resulting in more effective debris removal. Also, the stylish injection molded handle contains a conductive plastic to help disperse static.

The Kirmuss Audio KA-B1 “2-in-1” record brush ($67.99) has clearly been designed by a person who has given day to day record care plenty of thought. One side of the brush features those soft carbon fibre rows, spaced slightly further apart than the AQ or Rekkord offerings, and is designed for static elimination. On the flip, is a parastatic wet/dry velvet “strip” to pull off deep seated dust. Also, this side may be used as a “buffer” at the final stage of cleaning with a record cleaning machine. An extra step but it’ll be worth it to some. Lance noted the KA-B1 to be particularly efficacious for cat hair removal.

 All four brushes are recommendable and, depending on your requirements, one is likely to land over another. I have been using the Ortofon brush for a while now and it works for me. Maybe it’s that cool Danish industrial design...

Where was the Parasound NC200INT integrated amplifier ($1400.00) when I was getting started in the hobby. This wonderful amp is brimming with assets. One hundred and ten watts of Pascal Class D power, Burr Brown based digital connectivity with 24-bit/192kHz resolution, and a rather good MM/MC phono stage, come standard. If that’s not enough, there are tone controls, analogue bass management, a dedicated headphone amplifier, and a back-lit remote. The lack of internal streamer may deter some, but the addition of the cost-effective WiiM Mini quickly solves that problem. To quote the Parasound hype sticker, the “NC200INT offers precision engineering and powerful performance—all wrapped in a sleek, 1U chassis at an unbeatable price point. Ideal for listeners who want a complete system upgrade without compromises, it delivers clarity, warmth, and connectivity without overextending your budget.”  Ignore at your peril.

Sometimes it’s about how you look at things, and in this case, it took a YouTube review by Andrew Robinson to truly see the Naim Audio CI-Uniti-102 streamer amplifier ($1949.00). With the custom install logo and HDMI eARC it was easy to overlook this amplifier as a legitimate audio solution. A big mistake.

This amplifier rocks. The 150 watts per channel in 8 ohms delivers a devil-may-care performance with just about any loudspeaker. In fact, the 102 is 2 ohm stable, delivering a whopping 480 watts into this load. This impressive spec is possible due to the Texas Instruments TPA3255 chips being deployed in a parallel bridged mode with a 1.2 kilowatt switch mode power supply. As good as the Parasound is, Naim’s effortless sound just about edged it in absolute sonic terms. It doesn’t have the complete connectivity and features of the Marantz, but the HDMI and optical inputs will likely be enough for most. The Naim control app allows you to dive deep into the 102's capabilities. There are speaker profiles for all the Focals and the Manager software is the ultimate sonic tweak. Robinson pointed to a lack of a traditional remote being a dealer breaker for some. Naim have corrected the oversight and, come late September, a handheld will be available to assist with basic functions, letting you put your phone down and concentrate on the music.

All three amps have their merits. The price and feature set of the Marantz is hard to argue with. The Parasound will attract the burgeoning audiophile with its seductive sound and wallet friendly price tag. The Naim, at least for me, is the one. It is its fantastic combination of power, flexibility, and customizability that sets it apart and, just maybe, Naim Audio’s Uniti excellence is in reach after all.

While hardly the most riveting topic, the humble record brush remains key to analogue fulfilment. The carbon fibre variant, first introduced in the seventies by Decca in England, is the accepted standard. The advantage of carbon fibres is they reach deeper into the groove for that pesky dust while conveniently discharging static. There have been myriad of different manufacturers down the years and we routinely stock four versions.

The Rekkord LP brush is what I consider to be the bare minimum. It employs two rows of carbon fibre bristles that gently lift the dust. It is cleaned by passing the bristles over the attached bracket. It is simple, very affordable at just 20 bucks, and effective. The Audioquest refines this basic design by employing a whopping 1,248,000 super-conductive carbon fibres (unconfirmed at the time of writing) and an uncoated gold grip making you the static-eliminating ground. Neat!

Things get a little more interesting with the designs from Ortofon and Kirmuss Audio. The Ortofon Record Brush ($51.00) employs those same two rows of bristles but these are much more tightly wound. This allows you to be a little more vigorous, resulting in more effective debris removal. Also, the stylish injection molded handle contains a conductive plastic to help disperse static.

The Kirmuss Audio KA-B1 “2-in-1” record brush ($67.99) has clearly been designed by a person who has given day to day record care plenty of thought. One side of the brush features those soft carbon fibre rows, spaced slightly further apart than the AQ or Rekkord offerings, and is designed for static elimination. On the flip, is a parastatic wet/dry velvet “strip” to pull off deep seated dust. Also, this side may be used as a “buffer” at the final stage of cleaning with a record cleaning machine. An extra step but it’ll be worth it to some. Lance noted the KA-B1 to be particularly efficacious for cat hair removal.

All four brushes are recommendable and, depending on your requirements, one is likely to land over another. I have been using the Ortofon brush for a while now and it works for me. Maybe it’s that cool Danish industrial design...

Last time out I enthused about adding a Silent Angel Bonn N8 network switch to my setup, and I am still marvelling at how much more engaging it is to listen to streamed content. I was then going to add the Forester F1 linear power supply and report back.

F1 is designed with a singular purpose: To supply extremely stable DC power with ultra-low voltage fluctuation to the connected devices. Upgrading to an enhanced power supply reduces voltage ripple and electrical noise. Purifying the power allows the master clock to lock in with zero phase noise, precisely regulating network data packets. This reduction in jitter directly translates to improved clarity (less digital hash) and soundstage dimensionality. The resultant sound seemed more relaxed, naturally layered, and remained nicely delineated.

Without question, the biggest improvement came with the introduction of the N8 switch. Like many things in this hobby, these kinds of upgrades are incremental and can be subtle. In my system, the F1 added meaningful improvements. Whether it represents value for money at $899.00 is something you will have to decide for yourself. For me, the Bonn N8 and F1 are integral to my streaming.

Lately, as some of you know, I have been skulking around the blind alleys of digital audio. More specifically, I have been rabbit holing the many ways and means to improve my music streaming experience. A month ago, I added the Wattson Emerson Digital network which proved to be a massive improvement. Subsequently, I added a Sbooster linear power supply resulting in further sonic inroads. Inevitably, the network switch would be next.

For context, I currently use a solid switch. It’s a Luxul AGS-1008M 8-port switch fed by an ifi SilentPower power supply. Based on the level on my previous setup, this $250.00 investment seemed sensible. What did make me question my sanity was the introduction of the $849.00 Silent Angel Bonn N8 network switch.

This audio grade switch elevated my streaming even further. Eschewing the bog-standard wall wart in favour of medical grade regulation and employing a precision clock module to reduce jitter and latency issues, the N8 floored me. Trust me, you can believe their website hype:

“The Bonn N8 enables an isolated “Network Ecosystem” to create an independent low-noise, low-interference HiFi audio zone that effectively separates your audio devices from household traffic and reduces the degradation of network broadcasting storms and latency caused by bandwidth-intensive activities from PCs and other devices. The result is greater signal purity with lower noise, distortion and greater resolution of fine detail.”

The best analogy I have is when I had a dedicated power line installed for my system. Having my audio system mostly isolated (still on main panel) and no longer undermined by appliances, dimmers and the like, was revelatory. I am in no way suggesting the addition of the Bonn N8 was in this league, but by showing the middle finger to deleterious network noise, the level of enjoyment from my streamed music has never been higher.

So, I’ve had the Technics SL-1300G in my system for roughly a year and I am more than content.

I contemplated the 1200/1210G but couldn’t make a case for needing the strobe or the pitch adjustment as I'm unlikely to start collecting 78 RPM shellacs. Besides, I get most of the performance of the 1200G (ΔΣ-Drive, Coreless direct drive motor, and three-layer platter) and I prefer the minimal good looks of the SL-1300G.

My Luna Cables Gris loom made the transition, as did the Ortofon Concorde Music Bronze cartridge and the Ortofon SM-101 cork/rubber hybrid mat. Being an inveterate analogue empiricist, I was determined to extract maximum performance from my new deck.

I first changed out the SM-101 in favour of the MITMAT Premium twin tier mat. This Canadian made mat employs PVC microcell technology to dissipate spurious energy that will negatively affect playback. Combined with an Ortofon record stabilizer, more music emerged LP after LP. Not quite a new record collection, but you get the idea. I think the fact that the stylus/LP interface floats on 6mm thick shock absorber is a big contributor.

Lance, our devoted Hegelian, shares his thoughts on what might be the most impressive Hegel yet.

So, I am sitting here, the night before this article is due, staring at my computer screen, struggling to put my thoughts about the Hegel H150 into cohesive, intelligible sentences. I have been a Hegel fan for some time, and I feel that this new offering from them is special and I want to do it justice. In the numerous prior attempts at this exercise, I kept going on about the technical features and specs which are anyone can simply look up on the web and, as impressive as they are, just read like a checklist. 

I even thought about sneaking them in by saying “I could tell you about this feature or I could tell you about that feature” But I won’t. I figure the best way to convey my feelings about this electronic marvel is to tell you about the day I brought it home. I knew it was arriving that day simply because I had the tracking information and was regularly checking it. A lot. Like multiple times a day. Check. Refresh. Refresh. Refresh. Just like the crosswalk button it doesn’t make it happen any faster. When it did arrive at the store I tried to play it cool and act like it wasn’t a big deal, but I think my hugging of the box betrayed that attempt. Now I had to wait for the workday to end so I could go home and set it up. What a long day! Finally, after the seemingly longer than usual drive, I was home and in my listening room with my new Hegel H150. It’s finally time! First thing that needed to be done…remove everything that was no longer necessary in my setup. First was the stand-alone streamer. Why? Because the H150 has one built in. Next was the phono pre-amp. Why? Because the H150 has one of those as well. (See what I did there). Then came the throng of power cables and interconnects associated with those components. Lastly the original heart of my system, the Hegel ROST integrated amplifier, was pulled from its longstanding post. I neatly packed all of the retiring gear back in their boxes, a little pensive as they have served me well in their service but also keen on the more minimalist space created. All that remained were my turntable and CD transport with a void in between. In goes the H150 completing a simple uniform stack that does everything the original setup did, just tidier. Functionally the same but sonically? That’s where things are quite different. I have lived with the Rost for a good number of years and had the same pair of speakers in play the entire time. With the H150 being a direct and not too distant relative of the Rost I did expect it to be somewhat better sounding, but that was not the case. It was substantially better sounding! The dynamics were bigger, the detail unclouded, and the music more engaging. This was all very apparent right away. I just sat there with a big smile and said “Holy s*#t.

Now being an industry insider, I had heard great things about this latest offering from a brand that has a proven track record of careful and calculated improvements in new products. I have already become familiar with their flagship products and spent a good amount of time in-store with the impressive H400 and 600 integrated amps and the recently introduced reference DAC the D50. It is evident that all of the behind the scenes work in creating those products directly trickled down into the H150. To me it is the most impressive piece in Hegel’s current, already impressive lineup. An entry level priced all-in-one solution that musically feels more like their reference products and offers versatility and performance way beyond its price.

Well, I can see now that this tale is starting to sound like a typical review and I’m drifting into specs and audio jargon so I am going to summarize this account by saying I couldn’t be happier with my decision to purchase the Hegel H150 and I’m glad I’m done writing so I can go and spend some quality time with it.

Perhaps the biggest surprise of our recent Simple Systems Event was the Naim NAP250 power amplifier. Lance and I were tasked with setting up the main demo room and, as such, spent quite a bit of time listening to this amp. Over a couple of days, we were continually surprised and impressed by its performance. Cosmetically understated it may be, but its sonic attributes were loud and clear. It presents music in an orderly fashion. The bass is taut, the midrange is open, and the treble extended, never sounding forced. Rhythms are propulsive and timing is spot on. I was so smitten by this amplifier that I decided to dig into its history.

The NAP250 was first introduced in 1975 to replace the NAP200. The 250 was born out of Julian Vereker’s dissatisfaction with the available amplifiers of the day. Firmly in the “if-it-ain't-broke ...” category, the amp remained virtually unchanged until 2002. In fact, until the introduction of the Statement series, the NAP250 was the blueprint for all Naim amplification.

The first major technical revision was in 2002. The NAP250-2 featured a new power supply and transistors. In 2013, the NAP250 received “Discrete Regulator” status. “Like the flagship NAP 500, ..., the NAP 250 uses a new circuit design with improved earthing arrangements, built on a very high quality, anti-resonance main audio circuit board. The NAP 250 uses the same NA009 transistors that were custom designed for the NAP 500. These outstanding components each provide up to 80 amps and 350 Watts, negating the need to use parallel pairs of transistors (which always have a negative effect on sound). Additional NA009 transistors are used in the fully regulated power supply, ensuring the very best performance.” Additionally, a new top-quality transformer is deployed providing the ability to deliver more than 15 Amps and swing a massive 400VA on transients. The NAP 250 is stable into any load and able to drive a 2-Ohm load for long periods of time.

Over time, the power rating of the NAP has increased from around 70 watts to 100 watts. The iconic chrome bumper styling and willfully obtuse use of DIN connectors are things of the past. What we have in this latest version is a truly wideband amplifier (1.4Hz - 100kHz) that can seamlessly pair with other brands and exploit the advances in high resolution digital audio technology.

The Naim Audio NAP250 power amplifier is a modern icon capable of rubbing shoulders with the very best.