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NAD D 3020 AmplifierWhen the D 3020 came out last year, I thought it a little odd. I didn't quite 'get it', and failed to see why NAD would change the form factor so dramatically. Now, though, the idea has sunk in. Just as the original late seventies 3020 was a genre-defining product - a small, compact, black integrated that was full of useful features yet cost very little - so the D 3020 begins to look like the shape of integrated amplifiers of the future. Its 'stand-up' design is striking, and looks and feels lovely with its rubberised side panels, backlit fascia and top panel. It can be used on its side too, and NAD supplies sticky feet for this if needed. There's a big, rubberised volume knob with clever display behind a tinted Perspex fascia, and the source indication is backlit. The amp is a joy to use, and great fun, too.
Inside are NAD's latest Class D power modules, specially developed and bang up to date. The amp is claimed to put out 30W RMS per side into 8ohms, with up to 150W on 2ohm peak transients no less. The circuitry uses the latest version of NAD's PowerDrive circuit, and has Soft Clipping to protect speakers from the amp being overdriven. It offers two optical and one coaxial digital inputs, plus asynchronous USB (working up to 24/96) and wireless aptX Bluetooth. This and a 6.3mmheadphone aside, facilities are minimal on this attractively styled, modernist machine.
What's so interesting about this amplifier is that it uses radically different technology to NAD's classic 3020 amp (and derivatives) to get a superficially similar sound. That rich, fruity bass is there, as is a lively midband that's bristling with detail and a wide, expansive soundstage. Treble is crisp and clear, but decently smooth too - just like classic NADs used to be. But in other respects the D 3020 is quite different; it sounds a little more 'etched' than its predecessors, or indeed most of the other amplifiers here. There's a sense that it pushes right into the guts of the recording and throws out masses of detail, but there's also a slightly electronic, processed sound, which leaves you wanting the more natural strains of the Cambridge Audio Azur 651A or Marantz PM6005 with acoustic music like Randy Crawford.
Actually, it does vary according to he type of music you listen to. The Kraftwerk track is a joy, the NAD appearing to be massively detailed and it manages to slot it all together in a surprisingly enjoyable way. Bass is a good deal more sumptuous than most others here except the Vieta VH-HA100, but the NAD has loads more detail and insight. Once you get used to that spotlit midband you begin to relax into the music and enjoy its strengths. The trouble is, turn the volume up with speakers of average or below sensitivity, and suddenly on the first big bass transient on Computer World, the NAD goes AWOL, momentarily muting to pull itself back from clipping. Effectively then its output power is quite limited, which means you need to match it to sensitive loudspeakers, and/or not listen at high levels. Still, when properly partnered, the D 3020 sounds propulsive and detailed, and this olds for its analogue or digital inputs. All of which makes it an interesting little box for sure. |