The Persistence Of A Renewed Brand

Ratings

Pros

• Great bass quality, fast, precise, punchy and very well executed.
• Technical quality throughout the entire frequency range.
• Very clear, clean, transparent, bright, detailed, resolute sound, but more melodious, musical and warm than its NM20 brother.
• Very light, comfortable and ergonomic capsules.
• Very flexible cable.
• Zippered case.

Cons

• Micro detail may be hidden behind more prominent macro detail.
• Relatively thin cable and no possibility of a balanced plug.
• Somewhat classical V tuning, without much tuning variation from the NM20 model.

Purchase Link

https://nfacous.com/products/na20

Link to the WEB

https://nfacous.com/

Introduction

The new NF ACOUS NA20, part of the Music Series, is a complete upgrade of the NF Audio NA2. It uses an optimised cavity as well as the patented SRA (Selective Reflection Adjustment) technology. It reduces reflected sound, making the sound purer by means of 5 damping networks that control the air pressure and 2 tuning sponges. Adjusts the balance of air pressure between front and rear, providing a better sound. The new MC2L-100M dynamic driver is equipped with a new magnetic structure and an improved diaphragm, which offers a better sound quality and experience. The beryllium-plated diaphragm is lighter than traditional materials. Vibration is lower and detail performance is better than with traditional diaphragms. The NA20’s capsule is made of high-strength polycarbonate (PC) material with a frosted surface, in addition to the decorative CNC-carved aluminium parts. Achieves a balance between texture and lightness. The newly designed integrated electronic tuning PCB greatly improves the IEM’s aural durability and adaptability to different musical styles, and effectively expresses its creator’s intentions. The shape of the NA20 has been created through years of experience by NF ACOUS engineers. The nozzle is slightly curved to mimic the shape of the second fold of the ear, a curve has been placed to reduce pressure against the crus helix, and a slight protrusion has been added to add support to the concha. In short: the shape is ergonomic and very comfortable for long listening or mixing sessions. Packaged with a newly designed storage case and a new gold-plated 6.35-3.5mm adapter. The packaging uses the family’s traditional vinyl design, unique yet space-saving. Let’s take a look at everything this new NA20 model from the renewed NF ACOUS brand can offer.

Specifications

• Model: NA20.
• Driver: MC2L-100P dual cavity dynamic, dual magnetic circuit and beryllium plated diaphragm.
• Cable: 0.78mm dual pin 6N OFC.
• Sensitivity: 109 dB / mW.
• Impedance: 32Ω.
• Acoustic isolation: 25 dB.
• Frequency response: 9-40kHz.
• Distortion: < 1%.
• Max. SPL: 125 dB.
• Connector: 3.5mm.
• Dimensions: 150 × 132 × 83mm.
• Package weight: 300g.
• Starting price: $118.99.

Packaging

The presentation of the NF ACOUS NA20 is the same as the NM20, only the colour changes to a brown/golden. While the NM20 belongs to the PRO series, the NA20 belongs to the Music series. The NA20 comes in the classic CD-shaped packaging of the brand, whose dimensions are 150x132x83mm. It has a ring for hanging. In this case, as I said, the revised model is brown/coffee/golden, the packaging has a lot of these colours. On the main side you can see the name of the model from top to bottom, on the left side, in thick golden letters. In the centre is a real photo of the capsules with the cable. On the back side the name is repeated in the same way, but this time horizontally. This time there is a realistic photo of the capsules without cable, descriptions of the model’s features and a summary of the contents in the right vertical margin.
The box comes out from the side, it is black with the brand logo in holographic colour in the centre. It opens like a book in the middle and shows that foam CD containing the capsules on the right side. The left side contains the user guide. Underneath is the new zippered case. Underneath the CD with the capsules is the cable and a blister pack containing 4 pairs of silicone tips model MS42. In a nutshell:

• The two NA20 capsules.
• One 6N copper cable with 3.5mm gold-plated SE plug.
• One 6.35mm SE adapter.
• One zippered carrying case.
• One user’s guide.
• Four pairs of silicone tips model MS42, sizes XS*S*M*L.

The new rectangular zipped case is retained. The rest is more than classic.

Construction and Design

The capsule model of the NA20 is the same as for the NM20, but now with a nice, warm mix of brown, coffee and gold tones. The frosted, fuzzy polycarbonate remains, which is still very light and strong, even if it doesn’t look like it. The rim of the outer face is formed by a gold-coloured aluminium piece. The logo is visible in the middle in gold ink. The shape is the same as that of the NM20, NA2 and NM2, and the two strategic holes are retained. The shape of the capsules is maintained because the design is very advantageous, both ergonomically and musically. The comfort was evident in those previous models and after the new studies carried out by the brand, it continues to rely on it. The 2Pin 0.78mm connection interface is still projected on an 8-shaped piece. One of the holes of the capsule is on its side. The other is on the slope of the inner side towards the nozzles, which coincides with the centre of the driver. The mouthpieces are also made of aluminium, with a base, a narrower inner diameter of 5mm and a crown with an outer diameter of 5.8mm. The mouthpiece is protected by a perforated metal plate. The model name is written on the rim of the capsules in gold lettering, as well as the indication L, R for the channel.
The wire is 6N made of oxygen-free copper. It consists of 4 tightly wound strands, resulting in a smooth, shiny, dark golden cable, with that mixture of brown, with a very adequate thickness and very manageable, yet not very windable. The plug sleeve is unchanged from the other models, being cylindrical and grey, except for the flat part where the brand name is inscribed, this time NFACOUS. The splitter piece is a triangular black plastic medal, with the logo on one side. The pin is metal, with two holes inside. The two-pin connector is covered by a rigid, transparent plastic sleeve. The sleeve is angled and has the classic vertical axis spacing. The cables coming out of these connectors are protected by a semi-rigid, transparent sheath, which gives them an over-ear shape. The cable has a Velcro strap with the brand name in white letters.
The NA20s have a 6N copper wire in a colour I have not seen on the previous NF models I own. They retain the polycarbonate construction, this time frosted, like the previous NM20 and keep the aluminium parts, on the edge of the outer face and also used for the nozzles, but changing the colour pattern to a warmer one.

Adjustment and Ergonomics

Both the shape and the ergonomics are the same as the NM20. The weight is negligible. It is a pleasure to review a model as light and as comfortable as the NA20. The classic semi-custom shape is a bit more slender and fits my ears very well. It gives the opportunity to use several sets of tips to find the best fit and the best passive isolation. As usual, the tips used have been the large tips with homemade foam padding. The large amount of foam inside makes the tips expand inside my ear canal. The good diameter of the canal allows a great clarity of sound. This, together with the expansive power of the foam, means that the amount of contact of the surface of the tips with the walls of my ears is the greatest. In this way, the bass is also propagated by this contact effect. The use of these homemade tips is nothing new, as the large diameter of my ear canals is the reason why I had to look for this type of solution. With them, the fit remains durable, with remarkable hold and no discomfort. There is hardly any friction with the parts of the ear. The insertion, which is slightly deeper depending on the tips, increases the insulation level (according to the manufacturer, up to 25dB).
Regarding the cable, the connectors have the same shapes and the detail that separates them from the head. The cable is very manageable and there is no noticeable increase in weight.
Same capsule model, they are still very comfortable.

Sound

Profile

These new NF ACOUS NA20s belong to the Music series, aimed at generating a more immersive, smooth, silky, musical, even warm sound, compared to the NM20s of the Professional series, whose use leans towards studio and live music. It is a V-profile with a slight tilt towards the sub-bass, with the upper mids and upper treble reduced by the same degree. The 2.5kHz peak has been reduced and also, although to a lesser extent, the 5kHz peak. The treble has been controlled more subtly, but it all helps to give this new model a higher bass presence and a slightly more relaxed upper midrange and treble. All of this contributes to a more permissive, musical and pleasurable listening experience, and is more viable for extended listening. Although its V-profile still exhibits a moderately recessed and sunken first half of the midrange.

Bass

Talking about NF ACOUS bass is like talking about a seal of guarantee and quality when it comes to their performance. The NA20s have a slight enhancement in the sub-bass compared to the NM20s and that makes their bass darker and deeper. But the quality does not differ, they are just 2Db at the low end, while the quality of their performance and behaviour remains the same: it is a technical, concise, fast lower range, with a punchy, tight and dry response. The texture is subtle and smoothly rough, pleasant. This is noticeable in the very low-frequency pure tone test. The lower LFOs are silky, dark, with a medium but palpable physical component. The result is a very natural wave, very well executed, with a good sensory component and a negligible, very insignificant undulatory component, which does not colour, cloud or detract from the colour or bass generation. The result is a bass that remains very natural, very well marked, which increases its dark, physical, deep and sensory side, without losing one iota of its technical conditions. The low end is real, natural, with a level of energy that can be felt, but is not predominant. The bass is elastic, but shrinks very quickly, leaving very little decay and disappearing with speed. The elasticity shows in the kick drums, and they treasure strength and a certain degree of incipient violence that makes one want more. However, it takes hold of the whole and remains in a V-profile that is not heavy in the low area, despite its good presence, punch and forcefulness. But technical quality, resolution and precision are still predominant. And that’s something you can easily appreciate in the dirty, complex and unfiltered bass test. Again, the dirty bass lines are executed in a very clean, exemplary way, totally under control and showing a very low level of distortion. The NA20s do not suffer at all in the worst conditions and draw complex bass in a very detailed, refined, technically advanced way. The MC2L-100P driver proves to be very adept in the worst scenarios, bringing out the best in the most difficult moments. The low level of texture, its speed and fast decay are key to generating sub-bass lines that are generated at high speed. The NA20 is able to follow these lines with total precision and more importantly, sounding very effective, realistic, natural and never forced. The technical skill of the ensemble allows layering and layering to occur with an ease that is impressive in the face of the complexity of the passages. Undoubtedly, another canonical low end for a very restrained price.

Mids

The star of the show is the female voices, which are now more mellowed by a slight reduction in the upper mids and upper treble. That point of warmth and depth in the lows benefits their musicality, and the softening makes them sound more pleasant, melodious and honeyed, and more controlled. Roughness has been removed in favour of a more accentuated control than the NM20 model, but it still retains a touch of sparkle that makes them vivid, splashy and energetic, but on a more musical and subtly rounded level. However, that touch of sparkle still allows for a slight level of sibilance.
Male voices gain from the warmer tuning of the NA20s, as they are charged with a little more base, physical component, but they also gain in a texture that remains and projects throughout the entire length of the voice. Male voices and the first half of the mids benefit greatly from analogue sources in this respect, as it allows them to express this greater lushness in their texture, which increases their richness of nuance and detail. It is clear that the male voices and the first half of the mids remain somewhat lean and relatively sunken. However, the quality of the playing, the level of transparency, the crispness and clarity with which this first half of the mids is executed manages to minimise the hollowing effect, bringing the detail and texture in an evident, sweet and melodious way, broadening the musical effect as opposed to the V-shape that is evident in that range. Unfortunately, I still feel a sense of hollowness that I sometimes try to minimise by turning up the volume, something that can be achieved in some more acoustic genres in order to enjoy the quality of the vocals. At that point, I think NF ACOUS is ready to look for other more neutral and balanced profiles, but without the need to keep that peak around 5 kHz where it seems to be anchored.
In any case, the better balance demonstrated between both halves of the mids compared to the NM20 is a pleasant improvement towards the musicality of the ensemble, giving it a greater versatility, within a technical capacity that cannot be denied in this model. This is how that almost analytical feeling persists, very precise and resolute, but not in such a cold or blunt way.
The midrange is still very clean, less bright, but very clear, generating a dark background with very well separated and not homogeneous notes. It is still noticeable that the driver is very technical, very dynamic, transparent, fast and marked. But there is also a certain sweetening at the most critical end.

Treble

A warm transition is maintained between the upper mids and the first treble due to the characteristic peak at 5 kHz. This is followed by the classic control roll-off, with that valley between 6 and 8 kHz. Compared to the NM20, the peaks are not as high and the valley is not as pronounced. The result is a slightly more homogeneous and natural high end, but still demonstrating a high level of energy, generating a remarkable sense of brightness and light. The sensation of fairly thin, concise and incisive notes persists, maintaining a crisp impression of treble, but not as high as with its sibling. The result is a greater musicality and the distinct impression of a sound that is less bright overall, more melodious and not as demanding in the upper range.

Soundstage, Separation

The NF ACOUS NA20 has a higher depth point compared to the NM20 and improves the layer generation. The image impression is not as sharp between near and far. Macro detail is not as splashy in the close-up and the mid-distance is more nourished. Still, the scene doesn’t seem too big and the impression of width and height is maintained, with a more surrounding sound. Without being too voluminous or large, it is not intimate either, despite the closeness of many elements. The idea of an oval scene persists, less volatile, less gaseous, but eminently frontal, with a marked sense of laterality of the elements.
Peaks between 2.5kHz and 5kHz can produce overlap and opacity at other frequencies, minimising the presentation of micro-detail and maximising that of macro-detail. However, the level of resolution of the NA20s is quite high and, when this micro detail is frequency separated, it appears in the mix quite clearly.
The positioning of the image is quite good, with a high orientation towards the light, a level of transparency and a dark background that generates a precise, concise and marked musical recreation, with a great dynamic feel and speed.

Comparisons

TFZ Athena

The TFZ Athena is the result of a collaboration between TFZ and Angelears. It is a classic revisited. Coincidentally, the frequency response is very similar to that of the NF ACOUS NA20. However, they are not as similar as they may seem at first glance. On a physical level, the Athena’s capsules are larger, thicker and bulkier. Their design is more semi-custom while the NA20s have an almost minimalist capsule, thinner, smaller and with superior ergonomics. The Athena’s are not uncomfortable at all, but the NA20’s are hard to beat in this respect.
The Athena comes with two sets of silicone tips, each consisting of three pairs. The NA20 only come with one set of four pairs. The Athena comes with a leatherette pouch, while the NA20 adds the classic rectangular zipped case. The Athena cable is made up of four thicker blue strands, as opposed to the four thin strands of the NA20. Without a doubt, the Athena cable and the NA20 cable only gain in flexibility.
As can be seen in the frequency response graph, there is a strong resemblance between the two models. Although the NA20s have a higher sub-bass boost point.
In reality, the TFZ Athena seems to be a slightly slower, less technical, less dynamic and a bit darker and more diffuse version of the NF ACOUS NA20. In addition, the NA20s are more sensitive and require less power to match the perceived sound pressure.
In the low end, you can feel the NA20s’ greater punch, presence and power. Bass is cleaner and more defined. In the Athena there is a point of darkness in the bass performance, a sense of a fuzzy end to the decay of the bass notes. That creates a fuzzier and not so clean feeling when it comes to recreating the low end. The notes do not seem as clean or separated as in the NA20, which has a more technical profile, with higher dynamics, a darker bottom end and a more pronounced separation between notes, as well as more air. Certainly, the level of resolution and detail is higher in the NA20s, whose sound seems clearer as opposed to the comparatively more veiled sound of the Athena.
In the very low-frequency pure tone test, the NA20’s greater reach into the sub-bass is noticeable, the first note of which is felt physically and more obviously than the less noticeable presence produced by the Athena’s. After that, the behaviour when reproducing LFOs is very similar, but with the NA20’s quicker point in the LFOs generating more marked oscillation. After that, the behaviour when it comes to reproducing LFOs is very similar, but with that point of the NA20’s greater speed that generates a more marked oscillation. That speed and technical ability is demonstrated in the dirty, complex and unfiltered bass test, where the NA20s are able to draw the bass lines in a tighter, more precise and concise way. On the other hand, the Athena’s lines seem a little hazier, thicker and wider, slightly more diffuse and more exalted. The sense of control, contrast, separation of layers, lines, as well as drier bass drums, persist in the NA20’s. I have always thought that TFZ was a good reference when it comes to bass. But NF ACOUS is a technical and expressive improvement in this area. And that is clear in this comparison. If the Athena are canonical, the NA20 are superior.
The difference in the mids is again felt in the more diffuse and slightly duller feel of the Athena versus an impression of definition, transparency and clarity of the NA20. The Athena’s male vocals are thicker, somewhat darker and not as prominent in the mix, being less projected. The sense of dynamics, speed and liveliness is more pronounced in the NA20s. This is something that is noticeable in all the instruments and also in the male and female vocals. When I say that the Athena is a slower version of the NA20, it is clearly noticeable in the mids and also in the treble, especially in musical compositions that require very fast transients. However, it is clear that there is a strong resemblance in the midrange tuning of both IEMS, but with the clear technical and driver clarity improvement of the NA20.
There is no veil on them, the high notes stand out clearly, they feel sharper and crisper, defined, thinner, tighter, narrower, higher, more delicate and sharp. The high notes of the Athena are rounder, softer, wider and more muted. The result is a blunter, less crisp, less shiny and somewhat duller treble.
The Athena, in spite of everything, has a good level of micro detail, although the macro detail is more pronounced. The separation is not as pronounced, nor does it have as much layering capability as the NA20. The NF ACOUS are clearly more technical, their background is darker, the notes more separated and more technically defined. The sound is broader, more gaseous and volatile, generating a more splashy and vivid sound than the Athena. Better positioning and more obvious positioning of the elements in space for the NA20, while the Athena fails to pull back the physical and comparative veil of its sound compared to the NF ACOUS.

Conclusion

NF ACOUS persists in generating similar models that move between its product series. If the NM20 was a revision of the NM2 within its PRO series, the NA20 is the same revision of the NA2, but in the MUSIC series. They are similar products that have some differences in tuning to fit into those series. And these differences allow enthusiasts to choose between one model and the other. The NA20s are aesthetically the same as the NM20s, only the colour is different, with a nice brown/coffee/gold mix. The cable is the same colour, matching the capsules and moving away from the silver colour of the NA20. Their tuning continues to insist on a slightly warmer V, which has softened the upper mids and upper treble, while also gaining in depth and sub-bass. Its belonging to the MUSIC series is fully justified as its sound is more musical, melodious and pleasant, but it still maintains the technical ability of its driver. This is undoubtedly one of the strong points of the NF ACOUS NA20, its unquestionable technical quality, sense of clarity, transparency, definition, resolution and detail. The capsules of these models are really comfortable, small and very light, something that raises the sensation of comfort and ergonomics to a very high level.
In my opinion, the most negative point of this model is the V-tuning. I think that NF ACOUS should renew its tuning philosophy, which maintains an energetic upper midrange, varies relatively the power of the first treble and plays with the presence of the bass to a greater or lesser degree. The technical ability of the dynamic drivers it manufactures is excellent, as is the quality of its bass, canonical in my opinion. It only remains for them to make a more balanced and homogeneous tuning to distance themselves from their past. I would very much like to see it in the near future. In the meantime, we will continue to enjoy a technically very well executed model that has also gained in musicality.

Sources Used During the Analysis

• iFi GO bar Kensei.
• EPZ TP50.
• Burson Audio Playmate 2 + OpAmps Burson V6 Classic Single + OpAmps Burson V6 Vivid Dual.
• Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602 + ifi ZEN CAN 3.
• Tempotec MARCH V.
• Tempotec V3 Blaze.