Equipment Reviews

History, technology, and design

Last year, Naim Audio celebrated its 50th anniversary. It’s incredible to think that there have only been four iterations of Naim’s core model range during those 50 years. Put that in the context of mass-market brands that revamp their entire product line every year, and you’d think the R&D engineers in Salisbury spend most of their day playing croquet on the corporate lawn before retiring inside for a spot of tiffin! I have been behind the scenes, though, and the factory is a hive of activity. The place has a vibe reminiscent of Bletchley Park, where the Enigma code was cracked during WW2: a hodgepodge of buildings and a whole lot of boffins. Serious-looking types stare intently at advanced CAD workstations, while others bustle about in white or beige engineer’s coats, taking prototype next-generation audio hardware under cover into secret listening rooms.

Naim Audio has a staff of 150 and annual sales approaching £35 million. Five decades after its foundation, Naim is one of the most iconic brands in the British audio pantheon, with a devoted, worldwide customer base. Many people aspire to owning a Naim; even the bottom rung of the company’s range has always felt a cut above mainstream audiophile brands like Cyrus, Cambridge Audio, Arcam, and Technics. However, it’s fair to say that buying into the Naim ecosystem has always been a stretch, at least for people like me on real-world incomes.

Naim Audio’s Salisbury HQ: cracking the musical code for over 50 years

Listening to great music can be an emotional experience. Think back to the times you have sat in a dive bar somewhere, and maybe there’s a girl singing and playing acoustic guitar in the corner. She might be a complete nobody, yet you find yourself moved beyond words. There’s a directness to such occasions that is incredibly hard to replicate in hi-fi. For me, Naim gets closer than most. There’s no denying that Naim’s products are designed to create—in your own home—the emotional response you get from live music.

Another reason why Naim has such a devoted following is its legendary after-sales service and support. The firm can still service and repair pretty much anything it has ever made, except for some CD players where replacement transports are no longer available, or loudspeakers where drive units are obsolete. Last year, I sent in my Naim CD player for repair. Even though it dates from the early 1990s, it was returned to me with a new DAC after undergoing a full service. I would imagine there are very few manufacturers in the world still repairing 30-year-old CD players or 50-year-old amplifiers!

Such exemplary ongoing support means that there is a healthy demand for secondhand Naim equipment, which can be purchased with confidence. My own Naim journey started in 1988, when I bought an ex-demo Naim Nait 1 amplifier for £200. I could sell it on eBay tomorrow for £600–£800! Adjusted for inflation, that’s about how much it cost me back then. In other words, after enjoying nearly four decades of musical pleasure, I could sell it and get my money back. It’s pretty hard to think of anything else in my life that has offered such incredible cost/benefit.

My venerable Naim Nait 1: 1973–1988 “Chrome Bumper” style

The first-generation Naim amplifiers were black boxes with the machined aluminum walls of the case left exposed at both ends, leading Naim fans to refer to the series as the “Chrome Bumper” range. In fact, the very earliest Naim amplifiers came in cases that were bolted together, with thinner-gauge aluminum sides. Later, the top, bottom, and sides were fabricated from a thick, one-piece aluminum casting that provided cooling. This later variant has achieved cult-classic status; it was revisited as part of Naim’s anniversary celebrations last year with the launch of the Nait 50 integrated amplifier. In 1989, the firm revamped its Chrome Bumper aesthetic and created the “Olive” series. It has the same casework as the first generation, but the sleeve/case edges are finished in black and the front panel is olive green, etched with stunning backlit green logos and function labels. I confess to having a soft spot for the Olive series, because it is so distinctive, both visually and sonically. Utterly infectious and emotive to listen to, a “six-pack” active system is still one of the most arresting sights and sounds in high-end audio. The bulk of my reference system, including the CD player, is from this series.

Naim “Olive” series, 1989–2002

Naim’s third-generation models emerged in 2002, and have since become known as the Classic series—perhaps because they reverted to an all-black design, but with backlit green controls and a prominent Naim logo. My resident Naim NDX streamer hails from the latter part of this era and has proved an admirable performer. I don’t think this iteration was as visually distinctive as its predecessors, but it marked a period of white-hot innovation for Naim, as the first streamers and the flagship 500 series were developed.

Naim “Classic” series, 2002–2023

A day in Salisbury

Early in 2023, I was invited up to the Naim factory for a sneak peek at the fourth generation of Naim separates, which the company refers to as its New Classic range. This was undertaken under conditions of press embargo, so I couldn’t discuss it with anybody or write about it until Naim had geared up production for the worldwide launch. This new series represents a tasteful and elegant overhaul of the design, but satisfies a number of key design objectives aside from a mere cosmetic refresh:

• Simplify the range by offering a clearer upgrade path for end users, and in particular, rationalize the complex power-supply options of the previous generation.
• Take advantage of new developments in circuit design that enable greater energy efficiency and higher performance levels. A good example of this is the way the components now incorporate energy-efficient standby and soft-start modes.
• Incorporate latest-generation technological advances, such as ladder-resistor volume controls and new acrylic case materials to reduce eddy currents.

Naim’s New Classic 300 series, comprising NSS 333 streaming DAC / NAC 332 preamp / NAP 350 monoblock

I came away from my day at the factory impressed by what I heard, but even more impressed by the evident love, passion, and dedication that Naim’s engineers and marketers have put into the new range. From launch day, chief technical design engineer Steve Sells was available on the Naim forum to answer questions from the public, supported by other senior Naim staff. Show me any other large audio firm in the world where that happens. For 50 years, the firm has positively encouraged direct interaction with its customers, and that in turn has created fierce brand loyalty.

I have used Naim amplification exclusively in my reference system since 1988, and have heard pretty much every amplifier or source component Naim has ever made. I wrote the launch reviews on the NAC 552 preamplifier and Naim SL2 loudspeaker for Hi-Fi News in 2002. In the past 12 months, I have lived with my own predominantly Olive system but also used a NAC 252 / SuperCap / NAP 300 DR / NAP 300PS system in my home for an extended period. In short, I’ve loved this firm, its people, and its products for over 30 years.

Lest you think this makes me unfairly predisposed to Naim products, let me disabuse you of that notion. Sure, I have a deep respect for the sonic priorities of Naim Audio: the ability to convey emotion, speed, dynamics, and listener engagement. I admire the way the firm supports products far beyond normal product lifecycles, and the way it interacts with customers. However, if the new series didn’t cut the mustard sonically, or lacked the operational integrity and fluidity of its predecessors, then I’m likely to be more critical than any regular reviewer. I’ve got skin in the game!

At home with Naim Audio for 36 years

Arrival

Several months after my visit, Naim delivered a full suite of 300-series components from its New Classic range for review. First up is the NSS 333 streaming DAC ($10,999, all prices in USD), which was accompanied by its optional NPX 300 power supply unit ($8499). The shipment also included a complete 300-series amplification system, comprising the NAC 332 preamplifier ($10,999), a pair of NAP 350 monoblock power amplifiers ($8499 each), and an additional NPX 300 to use as an upgrade to the internal power supply of the preamp. Naim also supplied the requisite cables to permit interconnection between my legacy Naim equipment and the new range to facilitate comparison.

The supplied core system, minus optional NPX 300 power supplies

The NSS 333 streaming DAC, the subject of this review, sits in the range above the NSC 222 streaming preamplifier ($8999) and its predecessor, the NDX2, which hasn’t yet been discontinued ($8799). At a lower entry point, the ND5 XS 2 remains available too, although one would expect this (like the NDX2) will eventually be discontinued.

The case design of the NSS 333 is quite stunning. A 5.5″ color display on the right-hand front panel shows source selection, volume, and album art. To the right of that are four small, circular backlit buttons for power, play/pause, input selection, and preset selection. In the center is a recessed gloss-black acrylic panel with a white, illuminated Naim logo. To the left is a matte-black aluminum panel sporting a single USB Type-A socket for connection to a music library on a USB drive. I would have welcomed a headphone socket for solo listening.

I must confess that the switch from green to white logo lighting caused me some consternation when I saw it, bearing in mind that practically everything the firm has ever made since 1988 has featured green illumination. I asked the reason for the color change and was informed that the engineering teams tried green, but it didn’t look right. Besides, it was felt that the time was right to move toward the design aesthetic of the flagship Statement and budget Mu-so ranges. For the record, I would have preferred the color to be switchable between white and green, if only to permit better matching with legacy Naim components.

White is the new green

The top of the casing is still mostly black aluminum, but the black acrylic center panel extends over the top of the case from front to back. The purpose of this acrylic is not just to add a luxurious glossy sheen; it’s there to reduce eddy currents flowing through the case that could have a deleterious effect on the sound. The case features beautifully machined heatsinks along the entire length of each side. These heatsinks are common to the entire 300 series—on the NSS 333, they cleverly disguise the on-board Wi-Fi antennas. To the rear is a plethora of socketry, including an IEC mains socket, RJ45 ethernet port, USB Type-A data port, 3.5mm remote jack, and a mini optical (TosLink) socket for system automation with other 300-series components. There’s also a service connection port for factory use. Inputs for digital sources include BNC S/PDIF, coaxial S/PDIF, and dual TosLink S/PDIF; there’s also a BNC S/PDIF output. On the other side of the case are twin XLR balanced outputs, a pair of RCA unbalanced outputs, and a DIN output socket. It wouldn’t be a Naim without that DIN socket! From the very beginning, Naim’s designers have held to their belief that DIN sounds best, and I admire this commitment to founding principles. It’s good to see alternatives offered, though, as it makes integration of this streamer into systems from rival manufacturers simpler. In addition, there is a signal ground switch and two large Burndy sockets for connection to the optional NPX 300 power supply unit.

The NSS 333 supports a full gamut of music streaming services via the superb Naim app, which is available for iOS and Android. From the app, one can access Tidal, Spotify, Qobuz, internet radio, and network-attached storage (NAS) drives or other connected UPnP devices, in various formats up to 32-bit/384kHz. Multiroom playback is also supported, so the NSS 333 can be paired to other Naim products, including Mu-so wireless speakers and Uniti players. Integration into non-Naim music systems can be achieved via Apple AirPlay 2, Chromecast, and Roon.

The NSS 333 comes lavishly appointed with a Naim Power-Line Lite mains cable, Naim five-pin DIN cable, cleaning cloth, two Burndy blanking plugs for those not using the optional NPX 300 power supply, and a rather smart acrylic Zigbee remote control with backlit white buttons, customized for the NSS 333. Usefully, the remote doesn’t require line of sight to operate. My only criticism is the fact that the streamer remote is physically almost identical to the one which accompanies the NAC 332 preamplifier. The two remotes have different functional capabilities, so this seems to me to be a backward step; previously, a single remote could operate every component in a Naim system. I was curious why Naim had chosen to design a system that requires two remotes to operate it, and was informed that many customers who run Naim systems with both streamers and CD players didn’t want streamer controls on their remote—a somewhat flat-earth perspective, but there it is! The remote follows the design aesthetic of the polished black acrylic featured on the casework; it looks lovely, but might in time prove prone to scratching.

The NSS 333 is based on the latest-generation NP800 streaming platform, which Naim claims to be futureproofed via software upgrades. In my experience, Naim is superb at updating its player and app software. This platform was originally developed for Naim’s second-generation Uniti models, and proved extremely dependable during my lengthy evaluation period. The only issue I noticed was that it seemed incapable of accessing the UPnP playlists I had created for my first-generation Naim NDX streamer. Tidal playlists worked fine, but those involving locally stored files were problematic. It’s an annoying limitation for users of Naim’s first-generation streaming hardware who want to upgrade to the new platform, assuming mine was not an isolated case. My recently acquired NDX2, which uses the same streaming platform, has no issues in this regard.

The DAC features Naim’s favored Burr-Brown PCM1791A chip running in external filter mode. There are two separate digital boards; the first fitted with an ARM microcontroller for system control, while the second contains SHARC digital signal processing circuits. Discrete class-A op amps are used with custom Naim filters. The circuit uses custom polystyrene ultralow-dielectric-absorption post-DAC filter components. Two fixed-frequency 44.1kHz/48kHz synchronous master clocks are employed for ultra-low jitter. The NSS 333 uses Naim’s proprietary DSP 705.6kHz/768kHz integer oversampling digital filter. Although not considered exotic, the 1791 DAC was chosen after extensive listening tests because Naim found it sounded superior to more expensive options.

NPX 300 power supply (top) is an optional upgrade

Extensive galvanic isolation in this design minimizes interference between the digital, analog, and control circuits, which is a welcome addition. Naim has always advised leaving its equipment permanently powered on for reasons of thermal and sonic equilibrium. Over the years, my experience has been that there is both a running-in period from new (several days) and a warm-up period from cold (a few hours), both of which are required for the system to come “on song.” In an era of increased energy costs and environmental concerns, Naim has implemented some clever techniques in the 300 series to reduce the environmental impact. When the equipment is in standby mode (i.e., powered on but not playing music), it is powered by a low-consumption secondary switched-mode power supply. Once a signal is detected, the secondary supply shuts down and the unit switches to the main internal toroidal power supply (or external NPX 300 if this is being used).

This time around, Naim has clearly worked hard on presentation. The new packaging is superb, which makes unboxing these units feel special. Where it falls down is the manuals, which are a little scant on detail. For example, they don’t explain how to program the remotes to operate the entire 300 series ecosystem (which I gather is possible), or how a portable player can be connected to the unit. The diagrams and wiring schematics are also rather small and difficult to read, compared to Naim’s previous manuals. Finally, I would have liked to see a little background on the development of this range—a little more theater and history, if you will! Once again, I’m going to cite SME, which sets the benchmark for manuals—copiously illustrated with clear photographs, leading you step-by-step through installation and operation. Heck, SME even had the manual for its new Garrard turntable properly bound. It’s printed on vintage cream parchment paper, using the same typefaces as in the original Garrard manuals, and the photographs were taken on the same vintage Ilford film stock. When you’re buying into an audio system that costs as much as a new Jaguar, I think you have the right to expect exemplary manuals. To hell with the bean counters . . .

Naim’s impressive new packaging

Listening—NSS 333 into the Leema Acoustics Tucana II Anniversary amplifier

My system is fed from a dedicated mains spur wired in accordance with Naim best practice: 10mm twin and ground into unswitched Crabtree wall sockets. From there I use two Grahams star-grounded, medical-grade six-gang distribution blocks fitted with a Chord Company Power ARAY mains filter.

I elected to set up the NSS 333 before installing the other Naim components. At that time, I was wrapping up my review of the impressive Leema Acoustics Tucana II Anniversary integrated amplifier. Out went my usual Naim NDX streamer and in went the new NSS 333, which (like the NDX) was hardwired to my router via ethernet, not connected via Wi-Fi.

I selected one of my favorite evaluation playlists, which opens with “Budapest,” from Jethro Tull’s 1987 album Crest of a Knave (16-bit/44.1kHz FLAC, EMI Records / Tidal), and resumed unpacking. This is a track I have heard countless times, and seconds later, I looked up somewhat startled at the difference in sound. I heard significantly more air and space in the recording than I was accustomed to through the NDX—the performers seeming much more tangible in the room. This was combined with a far greater sense of detail and a notably natural and unforced delivery. This didn’t sound like Tidal anymore, but like a local rip played back from my NAS. Through the NDX, I always found Tidal sounded inferior to local rips from CD or local download files, but this sounded vastly better.

The beautiful color screen depicts artwork, bit rate, and file format

So staggering was the change that I stopped unpacking for a while and sat in the hot seat, listening in rapture. Make no mistake: if you are currently using a first-generation Naim streamer then you’re going to experience a huge uplift in sound quality with the new breed. The Blue Nile’s “Saturday Night,” from the band’s second album, Hats (16/44.1 FLAC, Linn Records / Tidal), demonstrated this beautifully. The backing synths sounded gloriously airy, and Paul Buchanan’s plaintive vocals had stunning clarity and even more purity than I had noticed before. His staccato jabs on Telecaster felt even more strident and attacking, punctuating the primarily electronic piece with sounds from the analog age. This is a magnificent track, hugely evocative and atmospheric, featuring lines like “quarter to five, when the storefronts are closed in paradise.” It’s the ultimate exercise in less-is-more, both instrumentally and lyrically. Profoundly affecting, its timelessness is reflected in the fact that when I played it to my 18-year-old daughter, she was captivated. I was amazed to discover that this cult audiophile album is now out of print on both vinyl and CD. Given that Linn makes perhaps the world’s most iconic turntable, and this is by far the label’s most acclaimed album, I find it incomprehensible that it’s only available in the streaming world. Hats would probably make it onto my list of the 20 best albums ever made, and those curious to learn more about Scotland’s most enigmatic band would be well advised to read the excellent book Nileism: The Strange Course of The Blue Nile (2011) by Allan Brown.

Control room at Air Studios, London, for Chasing the Dragon—the author directing proceedings!

Having recently attended a recording session by Interpreti Veneziani for Chasing the Dragon Records at Air Studios, I turned to the brand-new 24/192 stereo download of Vivaldi in London I was sent shortly after the session. This is a breathtaking recording by an ensemble of some of the finest classical players in the world, produced in scintillating style by Mike and Françoise Valentine at one of the world’s premier recording studios. The instruments are exquisitely clear throughout the recording, but their magnificent timbre was revealed by the NSS 333 in a way I simply hadn’t heard before via my Naim NDX streamer. The dynamics were off the scale, and soared in a way that reminded me of the live sound I heard in the room at Air. At all times, the more subtle instruments in the ensemble remained clearly illuminated, and subtleties of bowing technique and player emphasis were sumptuously revealed. The NSS 333 produced a sound that was beautifully balanced, from the deepest double-bass notes to the highest registers of the violins. Anybody who has previously regarded Naim components as offering a somewhat tailored sound envelope is going to be in for a shock on hearing this.

Listening—NSS 333 into Naim NAC 332 preamp and NAP 350 power amps

I elected to continue with the system installation in order to see how the new streamer performed in the context of the new Naim 300 system. What was striking was the relatively low gain that the system seemed to produce compared to both my Naim NAC 82 / NAP 250 combination and the Leema integrated amp. To achieve what I would call session levels, with peaks around 85dB, I had to wind the volume control to approximately the 2 o’clock position. I found this surprising, given the high power rating of the NAP 350 amplifiers (175W into 8 ohms or 345W into 4 ohms). That’s roughly double the output of my NAP 250, which only needs the volume control to be at around 11 o’clock to be similarly loud in my room. I discovered later in the review period that the volume is limited by default in the 300 series to prevent users from launching their speaker drive units across the room when switching sources or raising the volume suddenly. The full rated power can only be delivered after a specific button sequence is entered on the NAC 332. This wasn’t mentioned anywhere in the manual, so I wonder how many owners are not getting the full benefit of the power capabilities of their new Naim 300 setup.

Even in reduced-output mode, I found the 300 series capable of delivering session levels in my rather large listening room. The system stayed cool, even when being driven hard; thanks in part, no doubt, to the NAP 350’s extensive heatsinking and the silent cooling fans, which activate at high levels.

The all-Naim combination offered a startlingly low noise floor, with a real sense of blackness between musical notes. The Vivaldi recording in particular seemed to benefit from this, and there was an enhanced sense of the size of the large acoustic space at Air Studios as a result. Compared to my own experience of Naim components in the past, the sound of the 300 series was significantly cleaner, especially at high frequencies. Sonically, the presentation was even more detailed than I’ve heard with previous Naim generations, but didn’t have any of the strident top-end tendencies that the brand has sometimes been criticized for. The soundstage was truly impressive for its depth and width, and I think this was one of the biggest advances made in the new range. It made everything I played feel somehow more intimate and lifelike.

“Down to the Waterline,” from Dire Straits’ eponymous debut album (16/44.1 FLAC, Vertigo / Tidal), demonstrated an exceptional level of deep-bass control from the 300 series. Underpinning the track, the bass guitar and drums were extremely powerful but highly articulate, and I heard greater precision than with my resident Naim system. There was absolutely no sense of one-note bass; I heard sumptuously melodic bass lines that propelled the layers of guitar and vocals on top. As you would expect from a Naim product, timing was absolutely first-class. The attack, sustain, and decay of notes were rendered with stunning speed and verve. At the risk of sounding clichéd, the bass in particular had a more analog sound than I heard when replaying the track on my Naim NDX streamer or CDI CD player. Those who have found digital sources more fatiguing than vinyl in the past had better go and listen to the NSS 333! I don’t think I have ever heard a digital source that sounds more natural, unforced, and just downright organic. This is a landmark streamer from a company with the technical resources in analog and digital engineering to deliver a world-class result. This is certainly the best Naim source I have ever heard, bettering every CD player the company has ever made, and all of the Naim streamers I have heard at length (excluding the flagship ND 555, which I have only heard at shows).

NSS 333 with NPX 300 power supply

Introducing the NPX 300 power supply to the NSS 333 provided a further reduction in noise floor. I also heard a subtle improvement in soundstage depth, with increased tangibility of musical instruments, particularly on natural recordings like Cowboy Junkies’ The Trinity Session (16/44.1 FLAC, RCA Victor / Tidal) or the Interpreti Veneziani recording discussed earlier. Speed and timing precision remained the same, but the dynamic range was certainly enhanced by the darker background afforded by the NPX 300.

Hawser-like Burndy cables link the NSS 333 to the NPX 300 power supply

Streamed from my NAS, Shawn Mullins’s brilliant album Light You Up (16/44.1 FLAC, Vanguard Records) sounded incredibly rich and involving. The track “No Blue Sky” revealed his fabulous vocal command, even when singing falsetto. On “The Ghost of Johnny Cash,” his honey-dripped, bourbon-soaked vocals were deliciously enveloping, with all of his natural timbre intact. Throughout the album, acoustic and electric guitars and electronic organ interjected across a broad, deep, and sweeping soundstage.

I found myself savoring this album even more than usual. That’s the thing about reproduction at this level—one is immersed in the music, simply because the whole thing feels almost like a live performance. It’s worth noting that while this streamer/PSU combination certainly offered enhanced quality of reproduction, such improvement is only likely to be fully realized in the context of a high-quality partnering system such as Naim’s 300 or 500 series. The NSS 333 is so utterly brilliant that it’s likely good enough for all but the most elite of systems.

Conclusion

Without question, the NSS 333 streaming DAC is one of the very best products Naim Audio has ever made. In the future, I believe it will be hailed as a design classic, in the same way that the original Nait, the NAC 52 preamplifier, and the NAP 250 power amplifier are revered today. For decades, many of us who grew up listening to vinyl have bemoaned a lack of emotional involvement with digital sources, but the NSS 333 rewrites the rule book on this for all time. In a word, it’s sublime. It’s the streamer for audiophiles who have always felt that there’s something not quite right about digital, but couldn’t put their finger on why. Perhaps Jason Gould, Naim’s brand ambassador, said it best when we were chatting at the 2023 UK Hi-Fi Show Live in Ascot: “Most hi-fi companies design and build audio equipment with their heads, but at Naim we use our hearts.” If you need the music you love to excite you, soothe you, make you dance, or send shivers up your spine, the NSS 333 delivers at a level that is simply staggering.

“Most companies design and build audio equipment with their heads, but at Naim we use our hearts.”—Jason Gould, Naim Audio brand ambassador

Naim Audio has knocked it out of the park with the NSS 333. It’s one of the most beautiful and musically involving streamers ever made. Buy one and you’ll be spared from a lifetime of trawling seedy bars for a singer-songwriter to give you goosebumps.

. . . Jonathan Gorse
jonathan@soundstage.com

Associated Equipment

• Turntable: Michell GyroDec turntable with SME Series IV tonearm and Audio-Technica ART-20 cartridge.
• Phono preamplifier: Trichord Research Dino Mk 3 with Never Connected Dino+ power supply, PS Audio Stellar.
• Streaming DAC: Naim Audio NDX.
• CD player: Naim Audio CDI.
• Preamplifiers: Naim Audio NAC 82, Naim Audio NAC 332.
• Power amplifiers: Naim Audio NAP 250, Naim Audio NAP 350.
• Integrated amplifier: Leema Acoustics Tucana II Anniversary.
• Power supplies: Naim Audio HiCap, Naim Audio NPX 300.
• Loudspeakers: ATC SCM40.
• Cabling: Chord Company Sarum T loudspeaker cables, Naim NAC A5 loudspeaker cables, Naim interconnects on all Naim amplification, Chord Co. Sarum T Super ARAY XLR, Chord Co. SignatureX Tuned ARAY DIN-RCA, Chord Co. SignatureX RCA-XLR, Chord EpicX ARAY RCA. Chord Co. Chameleon interconnects for phono stages, QED interconnects for secondary sources.

Naim Audio NSS 333 Streaming DAC
Price: $10,999.
Warranty: Two years, parts and labor.

Naim Audio Ltd.
Southampton Road
Salisbury SP1 2LN
United Kingdom
Phone: +44 (0)1722 426 600

Email: marketing@naimaudio.com
Website: www.naimaudio.com

North American distributor:
Focal Naim America
156 Lawrence Paquette Industrial Drive
Champlain, NY 12919
Phone: 1-800-663-9352

Website: www.focalnaimamerica.com