Naim UnitiQute 2 now on sale

9 May 2013

Naim UnitiQute 2

New at the High End Show, which opened this morning in Munich, is the Naim UnitiQute 2, the next generation version of the company's entry-level streaming system. Sellling for £1150 – the same price as the old model – it's going into the shops now.

The outward changes are minimal – the new model number and Mini USB socket for future firmware upgrades in place of the RS232 on the original – , but 'under the hood' improvements are more extensive. For a start the tuner is now compatible with DAB+ as well as DAB and FM, extending the use of the unit to a wider range of countries and futureproofing it should the UK decide to adopt DAB+.

But the main change is to the digital section: the UnitiQute 2 has a new four-layer printed circuit board designed to optimise ground planes and ground paths, and improved components at critical points to reduce noise. Naim says ' This has a significant effect on the digital audio performance, which reflects in improved sound quality.'

The UnitiQute 2 will stream or play files from UPnP or USB up to 32bit/192kHz (24-bit/96kHz from Apple Lossless), and offers gapless playback of all lossless formats and most lossy ones.

As with the other Uniti models, it also has vTuner internet radio, digital connectivity for iOS devices, and control using the Naim n-Stream app on iPods, iPad and iPhones.

Naim UnitiQute 2Five 32-bit/192kHz-capable digital inputs are provided – two electrical and three optical – along with two analogue inputs and preamp output for the use of an external power amp or subwoofer, the UnitiQute 2 can connect to a home network using wired Ethernet or Wi-Fi, and the speaker outputs are on Naim's usual 4mm sockets.

In addition to its current capability, the UnitiQute 2 will be upgraded next month with the release of Naim's firmware v3.21, which will add Party Mode, allowing the synchronisation of up to five network music players, and Seek2Time scrolling through tracks on playback.

MORE: Naim UnitiQute 2 review

 

by Andrew Everard

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