NAD M66 BLUOS STREAMING DAC PREAMPLIFIER REVIEW

Nad M66 Streaming DAC Preamplifier combines a DAC with a multi-room music streamer but also features Dirac Live Room Correction and Dirac Live Bass Control. It sports a 7″ touchscreen. looks very contemporary and costs £4499, 5990 Euros, or $5499.

Having recently reviewed an amazing £899 Network Streamer from another British company from my past, Cambridge Audio, I was next to receive perhaps the most advanced streaming DAC preamplifiers from another manufacturer I have eagerly followed since the 70’s. NAD, or New Acoustic Dimension, was set up in 1972 by a group of European HiFi importers with the aim of making their own products that would take on the world by storm. They wanted to prove that low prices and excellent quality could exist in the same sentence. Their seventy-one pound 3020 amplifier designed by ex-Dolby Labs engineer Bjørn-Erik Edvardsen, and released in 1978, took the world by storm, though I later opted for the slightly more expensive £139.90 Sansui AU-D33 (replacing a JVC JAS-11G!) when that came out in 1982. Despite this, I still had fond feelings for NAD and proud that unlike a lot of the HiFi shop staff, I actually knew what NAD stood for. This company has significantly changed over the years, and while still doing lower-end products like Cambridge also do, they too are moving into being a serious audiophile manufacture with ranges like the “Masters”. Their M23 power-amp is highly respected and the £4499 M66 (M for Masters) has been designed to match it technologically and visually. Built to supply that amplifier with everything it needs, plus do a lot more (more on that later) I first heard about this preamp when it was released in 2023, to replace their M33 DAC/Pre/power, so am therefore very pleased to get my hands on it now. 

Whilst initially a company set up at a meeting in London its constituent parts are anything but British. When MD Marty Borish hired audio engineer Bjørn-Erik Edvardsen, the aim was to create products to take on the big boys at little boy prices. There was a lot out there but not all of it was actually that good and most of it much too expensive for youngsters like myself. Yes, I dreamed of Nytech, Meridian and Naim, but the reality was I was left with either cheaper Japanese HiFi or awful British low-fi like Amstrad, Alba and Alpha. NAD’s ethos was to create low price HiFi so that anybody (especially the younger generation) could get introduced to it with just the bare-essentials of features, something quite different to the M66 up for review here. Whilst the 70’s was great for the Japanese brands like Sony, Sansui and Akai, British brands also sowed their seeds such as Arcam (then known as A&R Cambridge), Naim, QED, Monitor Audio and Linn, making it an exciting time for the UK industry, and I would rather read my HiFi magazines than do my maths homework.

Based initially in London, Edvardsen and his growing team explored with new techniques of design that by virtue of the excellent results turned the interest of enthusiasts, dealers and investors before even the name NAD was known to the world. That hard work led to the best-selling HiFi amplifier of all time, the 3020, followed by many well-respected products later (such as the 6100 cassette deck with the first ever Dolby C NR, and the 5100 CD player). Unfortunately, a company cannot rest on its laurels forever, so over the years they have been improving and developing ideas into what is now an extremely well-respected company producing products at both ends of the market. On their own and with help from others they have introduced technologies such as Modular Design Construction, Hybrid Digital, DirectDigital, Enhanced Ambience Recover System (EARS), and the 3020’s famous SoftClipping. Where the 3020 was very cleverly designed, albeit with only a MM phono-stage at the start (that’s why I chose the Sansui) and with a very useful upward facing connection panel at the back, its build quality wasn’t that great. That has all changed, and with their design team moving over to Canada they have their eyes set on creating highly advanced audio and facilities at all price points, whilst still keeping to a “minimalist” looking front panel. Although Borish and Edvandsen have long since passed away to another musical world, their passion that good quality music should be available to everyone, whatever the price, remains true to this day.

THE MASTERS SERIES

The M series includes some of the latest design ideas from NAD. DirectDigital, for example, is the world’s first closed-loop digital amplification, a computer-controlled DAC that compares the input with the output and makes corrections to the sound every 10 nanoseconds (very modern development of the Super-Feed-Forward or negative feedback designs of my Sansui amp and Quad’s 405). HybridDigital is a technology which blends the “best of both analogue and digital” so that digital and analogue sounds are just as good as each other. NADs motto on the box of the M66 is “Statement of the Art”, and certainly the M66 makes a big statement, a very big statement! It is surely called the “Masters” series as you almost need a Masters degree to fully understand and run it at its best. The M66 is by no means the preamp/network streaming section out of the M33! As well as all the usual digital interfaces you could ever need (2 coax and 2 optical, AES/EBU, plus BT and Wi-Fi), it also has LAN, HDMI eARC and USB, the first two of which are becoming more and more important these days. Analogue is heralded by two RCA and one balanced XLR analogue inputs, plus there are RCA moving magnet and moving coil phono inputs as well. But there’s a lot more still. 

DIRAC LIVE

The M66 comes complete with four XLR and RCA sockets to connect to your 4 (obviously you have room for four of them) subwoofers to not only get those frequencies down to near single numbers but also to get your room into a near-perfect sound signature. Using the in-built DIRAC (named after the British physicist Paul Dirac) and connecting the supplied microphone and USB dongle, you can take measurements to create the perfect flat frequency response in your room and position the subwoofer(s) to make it all sound good. It can also apparently reduce standing waves and reflections, so great big hairy boxes on the walls or floor might not be needed after all. As we speak, the recording side of the software doesn’t yet quite work on the M66 for the microphone and USB link to connect to the back of the unit ( it works fine on other DIRAC equipped’ NAD equipment). So, in order for me to test out this exciting new technology after installing DIRAC, I needed to download the microphone frequency pattern software from the supplied USB memory stick and connect the microphone to the mic input on my ASUS laptop. HiFi PiG spoke to the supplier and the issue with the M66’s USB connector for the microphone has been resolved with a recent software update, so can be used as intended, just plug into the back of the M66. The not-so-great looking flat circular microphone has a screw socket underneath so that you can attach a microphone/camera stand if you have one (it has the small size thread, so your professional mic stand might not fit!) Whilst this microphone is good, there are others available for you to conduct this test at an even better level, but they do cost (such as the UMIK-1 and 2). The first place to start is obviously the sweet spot – where you always sit with your coffee. You could get away with just doing a single reading, but for best results it is worth doing at least three, one on either side. This whole process does take its time, but remember that doing the 9 readings as I did should be fruitful in the end. A sweeping frequency response repeats until the software gets all it needs to evaluate your room and suggest a “filter design” (I like the sound of that over “level” and “EQ”). If you’re happy you can save it and name it and that’s it!  As the DIRAC Live full-frequency and bass control software is pre-loaded on the M66 I was able to use the microphone to see how the perfectly smooth pink noise sweeps from left to right through the speakers would look like on a frequency graph in each of these positions and then allow a correction filter algorithm to be created to perform the best overall frequency settings for my room, including the subwoofers, and then to name it and save it.

For the review, I firstly didn’t employ the two subs that I have direct to the M66, but rather used my single Torus infrasonic generator (subwoofer to most people) connected to my power-amplifier speaker terminals just to hear the M66 without DIRAC through the good sound system that I was used to here at Elliot Towers. After this I used DIRAC to improve it further, and then re-did all the tests again, but with the subs connected to the line-output XLRs of the M66 to see if having the subs via this AI digital technology was even better – if you follow me. So, by doing this I was able to compare my normal speaker listening with two different routes using the DIRAC. The WB Torus is actually a very clever unit in that it has both high-input and low-input pluggery, so that I could A-B compare both high-output connected from my power-amp speaker terminals, or with low-level output from the M66 to the low-input of the Torus ensuring that the frequency response was selected as LFE. The Torus also has a phase control to ensure that the phase from the subs is in time with that of the main speakers. DIRAC similarly has this technology onboard, and ensures phasing between each subwoofer is correct. The differences in sound in my room from all three options above was quite astounding. Of course, room equalisation is nothing new; I still (embarrassingly) own somewhere an ADC Sound Shaper EQ unit with microphone input that you play pink-noise in the room and adjust the faders. Of course, a number of home cinema manufacturers also include forms of room adjustment, too. DIRAC is a lot simpler to use than my ADC or similar unit, and it is a lot different in how it works, using computer technology to do it all for you. Now in its third generation, the software comes in studio and home versions, and a number of other manufacturers also employ DIRAC Live, such as the Arcam (SA30) and JBL (SA750) streaming amplifiers and even the Dynaudio Focus series active wireless speakers. As part of my tests, I also set up my HiFi balance and sub levels badly, to see if DIRAC could even perform miracles! The fact that I used both the Torus and a completely different Sony-powered sub from my old 5.1 system from yonks ago didn’t seem to bother things too much as the DIRAC’s frequency, time and phase alignment algorithms work on each sub obviously in a different way.

BUILD QUALITY AND FEATURES OF THE NAD M66

The front of the 435x133x387mm M66 is very stylish with silver aluminium front and curved sides plus large black central area including a large 7” touch screen. On the top front is a small capacitive touch-sensitive button to alternate between standby and on. The M66 is not by any means a heavy unit (the box it comes in actually weighs more!) and it comes with four magnetically attached metal clamping feet with a thin rubber base to give a very good isolation from the shelf you place it on. Be careful, though, because if you decide to slide the unit to another position it might detach these metal feet! Apart from the central touch-sensitive screen and a large resistor-ladder volume control on the right, all that is left is a ¼” headphone socket bottom-left under the front curved aluminium frontage. A NAD icon appears on the left with the outer square changing colour depending on whether on standby or in operation. All very stylish and matches the M23 power-amp.

The rear is stocked full of the inputs and outputs as discussed above. There are also two empty MDC2 (Modular Design Construction) slots for optional upgrades should they come available, plus HDMI eARC input, RS232, IR in and 12V trigger sockets (2 in 1 out), and a reset service socket if the needs be. Obviously, the MC and MM inputs also have a screw ground connection and the main toggle on/off switch is placed near the IEC socket.

Whilst designed and engineered in Canada it is unsurprisingly manufactured in China. The remote is really good looking but does very little; I used BluOS on my phone to do all the selections and changes apart from volume control. The BluOS software is very good and detailed, but not the easiest to use. I wish the remote itself was a touch sensitive screen combining BluOS. Controls on the M66 screen allow you to get more information and selection choices should you require them. When playing analogue sources this screen changes by default to two VU meters, which looked lovely, and levels represent the input of the source, rather than post-volume control. The easy-set-up foldup manual is OK but doesn’t tell you much, and because so much is shown in grey it can be hard to read some of the words. The online manual is a lot more detailed, but doesn’t easily help to set up certain functions, which is probably why you need your Masters degree. Luckily for reviewers like me who need to work quickly, there are videos you can watch to show you how to set up DIRAC, but remember some of the videos don’t show the M66 per se (NAD’s own YouTube shows the M33). 

SOUND QUALITY

Using the brilliant ESS Sabre ES9038PRO DAC the digital sources sounded excellent as I would have expected, and even using the digital DIRAC technology made the best analogue sources sound remarkably life-like. With the DirectDigital headroom function, the M66 reduces input by 3dB then boosts it again after the analogue filter output to prevent inter-sample clipping and therefore distortion. The Analogue to Digital Converter is the ESS ES9822PRO, so all components are very well named on the PCBs.

The class-A analogue side is extremely musical, and despite all the beautifully laid out mesh on the sides and top (like on a top-end sports car) the unit doesn’t get very hot. Using BluOS digital sources (Qobuz, internet stations etc) sampling up to 24bit/192kHz is possible and gave me a really good opportunity to explore music that I don’t personally have on CD, R/R, or phono. The software worked quickly and sound production was vivid and very musical, which I expected at the price.

Firstly, listening without DIRAC and including analogue sources I was impressed with the bass speed and extended tops from cymbals or brass instruments. This is a very good preamplifier – I tend to use my passive transformer MFA Baby Reference as this is just so pure – but the quality from the active NAD really tops the charts for the price. Turning on the DIRAC really did open up the sound more, though I would say that it all sounded “different” rather than “much improved”. I am used to the sound in my room as it is, but adding the algorithms improved the focus and imagery of the sound, with a very clear and full bass. Even some of the reflections that I usually mask with a massive beanbag to the left of my living area disappeared on their own without me needing to rearrange my living room. Selection of the various DIRAC settings I had by now saved are accessible from the BluOS program. Playing via the headphone output was similarly impressive. This facility has its own dedicated amplifier with low output impedance and very high output voltage capability, though the lower bass I heard through the speakers was not quite as detailed on my bass-light AT cans.  I must also add that whilst the phono amplifier is very limiting in features, it does work very well and is very quiet. Mark Knopfler’s ‘Get Lucky’ album was very clear and his voice came across exceptionally well. His laidback style and instrumentation made for a very enjoyable and relaxed listen. Even the distortion from the guitars in the final track “Piper to the End” was so clear you could almost touch the sound particles.

Pat Metheny’s album ‘The Road to the Sun’ (2021) is somewhat different to the earlier jazz music he produced in the Pat Metheny Group, which he ran from 1977-2010, with this album including musique concrète mechanical sounds as well as lots of acoustic guitars. And whilst the  album is somewhat “muddy” in its presentation, the M66 with DIRAC opened up each of the many simultaneous acoustic guitars into their own defined space, making it easier to appreciate and enjoy each line. Interestingly, it is mostly other guitarists playing his compositions on this album; He only plays on one track, which is actually Arvo Pärt’s Für Alina”, using a striking 42-string Pikasso guitar, which allows him to create lots of different timbres on his own.

Keeping with guitars and through Qobuz, ‘Couleurs du XXe Siecle’ (Antoine Guerrero, 2024) has great close mic’ing of his acoustic guitar and the tightness and clarity including occasional sympathetic vibration from the wood on a number of occasions was highly engrossing and authentic. His breathing is also clearly positioned in the soundstage to the right (therefore on his left, suggesting he is a right-handed guitarist, looking at the fretboard), giving a very personal performance of 20^th century classics plus lots of colours – as the album title suggests – to me of blues, yellows and reds.

As I wanted to test the digi-end of this unit, I needed to play digital-drums and synth’ source pop music from the ‘80’s to see what the outcome would be. Bass thuds from Depeche Mode “Personal Jesus” didn’t violate my own sense of peace even though I don’t particularly like the track, but they were very tight and secure, and the DIRAC gave a better top-end space across the soundstage, plus a greater depth behind the speakers than I expected. “Take on Me” (Aha! – well, it was Christmas when I reviewed this!) really did have a clear top and the positioning of the vocal and digital drums was very precise, and I even sang along to it, even the high notes!

Still synths – this time 1970’s new wave/punk/rock and After the Fire’s second album ‘Laser Love’ and the brilliant Peter “Memory” Banks on keyboards – this album just sounded the best I have heard in terms of precision and placement. I saw them at the London Marquee studios in 1977, where 300 other fans were turned away as it was so over-subscribed!

Turning to jazz and Dudley Moore Trio, again the exact positioning of the drums (left) piano (mid) and double-bass (right) was in HD, though the old sound recording of the theme from “Beyond the Fringe” (2013 re-master) was anything but. Oscar Peterson’s quiet/slow “Time and Again” and “Goodbye JD” have similar positioning of the musicians but this 2012 HR remix of the 1964 album is so clear it sounded very tight, with precise musicality and was great fun. Top-end cymbals had improved clarity and positioning with the DIRAC, with less of the reverb from my room interfering with it. The lowest plucked notes from the double-bass were so crisp and extended and positioned with such exactness that the DIRAC, plus all the M66’s electronics, gave a performance to be proud of.

CONCLUSION

“HybridDigital” certainly did ensure that both digital and analogue sources were equally as good. Whatever I played on the M66 was enjoyable, engrossing and with DIRAC was excellently positioned and markedly “tightened up” in my listening room. Whether you would want to use it depends on the way you listen to music. For me, I found the technology enlightening, but occasionally it gave a certain amount of HF harshness on some instruments, and that made me switch it off, though of course then the whole positioning of instruments changed! It is an amazing technology, and perhaps with more time and a few more subwoofers I could get it just perfect, but for now I will have to still rely on my ears and absorption materials around my listening area to get the sound I naturally feel is right.  With or without DIRAC, this is a startling piece of electronics and whilst medical doctors might write “NAD” on patient documents to mean “no abnormality detected”, I wholly concur that this is also true here. This M66 is a Masterful product and all the music came across as pure and normal as you would expect from this price point, with no signs of abnormality, something that even their iconic 3020 would never have achieved. However, I still can’t remember to this day if the company is called “NAD” or “N.A.D”!

AT A GLANCE 

Build Quality:

So much better than the 3020!

This is brilliantly built, both on the outside and inside, too.

Sound Quality:

With or without DIRAC this is an excellently engineered piece of kit, sounding very natural, whether analogue or digital sources

Value For Money:

For £4499 this is not cheap, but considering the features, build, and life-long DIRAC technology, this won’t annoy your bank manager

We Loved:

Very clean and pure preamp section

Easy to use once you have Mastered the technology

Both analogue and digital sources sound equally musical

Excellent functionality

Very quick sound and flat across all frequencies

Excellent headphone and phono-stages.

We Didn’t Love So Much:

Don’t actually like the touch-sensitive button at the top. Would rather just touch the “NAD” icon appearing on the left of the unit. 

The online manual is not actually that great, I feel this Master’s Degree product should really have a 200 page instruction thesis at least…

Elevator Pitch Review: If you are after an all-function analogue/digital preamplifier, plus a streamer, plus you need to re-organise your living room with lots of absorption material, then you could probably save yourself a lot of time and money buying this DIRAC equipped Master series M66. It does (almost) everything you will need to keep your music sounding as good as you can get it in your (not quite so perfect) living room. £4499 is not cheap, but I was very impressed by its technology, sound and operation. And, even as an analogue die-hard, I was forced to admit that the company that once produced the iconic 3020 integrated amplifier over 46 years ago have certainly raised the bar for digital audio musicality and technology into the 2nd quarter of the 21^st century.

Price: £4499, 5990 Euros, or $(US)5499

Janine Elliot

SUPPLIED BY OLEX COMMUNICATIONS/NAD

System used:

Pre-Audio GL-1102N/Ortofon Kontrapunkt b (turntable/cartridge); Krell KPS20i (CD); Sony TC-766-2 (reel-to-reel); Krell KAV250a SS (amplification); Wilson Benesch Arc and Torus subwoofer, Sony 5.1 system sub (speakers); Tellurium Ultra Silver 2, Esprit Audio, and Townshend F1 and Isolda cables, Coppice Audio stand and Townshend rack.

SUPPLIED SPECIFICATION

LINE IN, SINGLE-ENDED /ANALOG AUDIO OUTPUT

• THD (20Hz – 20kHz)
• <0.001% at 2V out
• Signal-to-Noise Ratio
• >105dB (IHF; A-weighted, ref. 500mV out, unity gain)
• Channel separation
•   >116dB (1 kHz)
• >106 dB (10 kHz))
• Input Impedance (R and C)
• 56 kohms + 100 pF
• Maximum input signal
• >5.6Vrms (ref. 0.1% THD)
  >8 Vrms (Analog Bypass)
• Output impedance
• Source Impedance + 22 Ohm
• Input sensitivity
• 185mV (ref. 500mV out, Volume maximum)
• Frequency response
• ±0.2dB (20Hz – 20kHz)
  ±0.2dB (Analog Bypass, 20Hz – 20kHz)
• Maximum voltage output
• -IHF load >5V (ref. 0.1% THD)
  >10 V (Analog Bypass, ref. 0.1% THD)

BALANCED IN, BALANCED /ANALOG AUDIO OUTPUT

• THD (20Hz – 20kHz)
• <0.001% at 2V out
• Signal-to-Noise Ratio
• >105dB (200 Ohm source; A-weighted, ref. 500mV out)
• Channel Separation
• >116dB (1 kHz)
• >106 dB (10 kHz)
• Input impedance
• (R and C) 56 kOhms + 100 pF
• Maximum input signal
• >5.6 Vrms (ref. 1% THD)
  >8 Vrms (Analog Bypass, ref. 1% THD)
• Output impedance Source Impedance
• + 22 Ohms
• Input sensitivity
• 90mV (ref. 500 mV out, Volume maximum)
• Frequency response
• ±0.2 dB (20 Hz – 20 kHz)
  ±0.2 dB (Analog Bypass, 20 Hz – 80 kHz)
• Maximum voltage output (IHF load)
• >10 V (ref. 0.1 % THD)
  >20 V (Analog Bypass, ref. 0.1 % THD)

DIGITAL SOURCE IN, SINGLE-ENDED /ANALOG AUDIO OUTPUT

• THD (20Hz – 20kHz)
• <0.0005% at 2V out
• Signal-to-Noise Ratio
• >108 dB (IHF; A-weighted, ref. 500 mV out, unity gain)
• Channel separation
• >126dB at (1kHz)
• >115dB (10 kHz)
• Input sensitivity
• -20.25 dBFS (ref. 500 mV out (-6 dBV), max Volume
• Frequency response
• ±0.2 dB (20 Hz – 20 kHz)
• Maximum voltage output
• -IHF load >5 V (ref. 0.1 % THD)

DIGITAL SOURCE IN, BALANCED /ANALOG AUDIO OUTPUT

• THD (20 Hz – 20 kHz)
• <0.0005% at 2V out
• Signal-to-Noise Ratio
• >108 dB (IHF; A-weighted, ref. 500 mV out, unity gain)
• Channel Separation
• >126 dB (1 kHz)
• >115 dB (10 kHz)
• Input sensitivity
• -26.25 dBFS (ref. 500 mV out(-6 dBV), max Volume
• Frequency response
• ±0.2 dB (20 Hz – 20 kHz)
• Maximum voltage output (IHF load)
• >10 V (ref. 0.1 % THD)

LINE IN, SINGLE-ENDED/SUBWOOFER OUTPUT/2SUBWOOFERS

• THD (20 Hz – 20 kHz)
• <0.005% at 2V out
• Signal-to-Noise Ratio
• >84 dB (IHF; A-weighted, ref. 500 mV out, unity gain)
• Output impedance
• 480 Ohms
• Maximum voltage output
• -IHF load >5 V (ref. 0.1% THD

BALANCED IN, BALANCED /SUBWOOFER OUTPUT/2SUBWOOFERS

• THD (20 Hz – 20 kHz)
• <0.005% at 2V out
• Signal-to-Noise Ratio
• >80B (IHF; A-weighted, ref. 500 mV out, unity gain)
• Output impedance
• 480 Ohms
• Maximum voltage output
• -IHF load >10 V (ref. 0.1 % THD)

PHONO INPUT, SINGLE-ENDED /ANALOG AUDIO OUTPUT (Analog bypass)

• THD (20 Hz – 20 kHz)
• MM: <0.008% (ref. 2 V out)
  MC: <0.02% (ref. 2 V out)
• Signal-to-Noise Ratio
• MM: >82dB (A-weighted, ref. 500 mV out)
  MC: >75dB (A-weighted, ref. 500 mV out)
• Input Impedance (R and C)
• MM: 56 kohms + 100 pF
  MC: 100 ohms + 280 pF
• Input sensitivity
• MM: 1.7 mV (ref. 500 mV out, Volume maximum)
  MC: 123 μV (ref. 500 mV out, Volume maximum)
• Frequency response
• ±0.2 dB (20 Hz – 20 kHz)
• Maximum input signal at 1kHz
• MM: >80 mVrms
  MC: >7 mVrms (ref. 0.1 % THD)

LINE INPUT, HEADPHONE OUT (Analog Bypass)

• THD (20 Hz – 20 kHz)
• <0.002% (ref. 1V out)
• Signal-to-Noise Ratio
• >98 dB (32 ohms loads; A-WTD, ref. 0.5V out, unity gain)
• Frequency response
• ±0.3 dB (20 Hz – 20 kHz)
• Channel separation
• >62 dB at 1kHz
• Output impedance Source
• Z + 4.7ohms
• Maximum input signal at 1kHz
• MM: >80 mVrms
• Power consumption
• at Auto Standby ON and Network Standby OFF 0.5 W*
  at Auto Standby ON and Network Standby ON 2.0 W**
  OFF mode (Power switched OFF) 0.1 W

BluOS AUDIO

• Supported audio file formats
• MP3, AAC, WMA, WMA-L, OGG, ALAC, OPUS
• Supported high- res audio file formats
• FLAC, MQA, WAV, AIFF, MPEG-4 SLS
• Sampling rate
• up to 192 kHz
• Bit depths
• 16 – 24

CONNECTION

• Ethernet/LAN
• Ethernet RJ45, Gigabit 1000 Mbps
  Wi-Fi Built In:Wi-Fi 5 (802.11ac), dual-band
• Bluetooth Quality
• Bluetooth 5.0 aptX HD
• USB
• Type A

USER INTERFACE

• Supported operating system
• Music playback from network shares on the following desktop operating systems: Microsoft Windows XP, 2000, Vista, 7, 8 to current Windows Operating Systems and macOS versions**
• Supported Hi-Res Audio File Formats
• Free BluOS Controller App available for download from the respective App stores of Apple iOS devices (iPad, iPhone and iPod), Android devices, Kindle Fire and Windows or macOS
  desktops
• Front panel
• 7-inch full colour touch screen
• Remote control
• SRM1 remote control
• Streaming cloud services
• Tidal, Qobuz, Deezer, Spotify, Amazon Music HD, SiriusXM, LiveOne, HighResAudio, JUKE, Napster, Pandora, Presto Music.
• Free internet radio
• TuneIn Radio, iHeartRadio, Calm Radio, Radio Paradise

GENERAL SPECIFICATIONS

• Supports bit rate/sample rate
• up to 24 bit/192 kHz
• Frequency band
• 2.402G- 2.480G
• Maximum transmit power (dBm)
• 7 dBm ± 2 dBm 

DIMENSIONS AND WEIGHT

• Dimensions (W x H x D)
• 435 x 133 x 387 mm (17 1/8 x 5 1/4 x 15 15/64 ”)
• Net Weight
• 7.6kg (16.7lbs)
• Shipping Weight
• 16.25 kg (35.8 lbs)
• Shipping Size (W x H x D)
• 569 x 258 x 519 mm (22 13/32 x 20 7/16 x 10 5/32’)