This is the Rega Naia’s first review (Oct 31, 2023).

Of course, the hype was (is) strong. Vaunted Rega Research, English purveyors of one of the most famous lines of turntables, from budget to professional, was releasing a turntable based on its no-holds-barred, sky-high budget Naiad Turntable. The Naiad was a “test bed” turntable where Rega threw the kitchen sink at the design and employed costly materials. They manufactured 40 Naiads to celebrate the company’s 40th Anniversary. If you could get one, it retailed for £29,999.

Always moving forward, the designers at Rega have managed to shoehorn much of the Naiad’s advanced design and build it into a chewable chunk—the brand new £12,000 Naia Turntable. The MSRP includes a factory-fitted Rega Aphelion 2 MC Phono Cartridge (review forthcoming). More about the cart later, but I’d say it is a positive part of Naia’s design and success.

Lately, as gatekeeping has become a very unpleasant factor in trying to acquire equipment even for scrupulously honest reviews (there are enough charlatans in this business that I understand this attitude), in conjunction with limited supply and FOMO, I figured getting a Naia in for review would be next to impossible. Then a phone call from our Advisory Council—one had arrived in Canada and I would be able to spend some time with it before it was shipped to the happy buyer (who purchased it unheard). The stage was set.

A big thank you to Arthur Cuth of Rega (The Sound Organization Canada) and Austin Mayo of Atlas Audio Video for organizing the Naia for review.

A quick intro video was filmed, followed by the review period with some serious listening and evaluating. I wish I had more time with it and that it could have been evaluated with my reference system (we’ll be doing a follow-up in that setting). Still, after many years of evaluating professional players live, I can figure out the sound of an audio component fairly quickly, especially with the right repertoire.

With the review held off-site, it could not be helped that a couple of elements for the review were not up to the standard of some of my reference components—loudspeakers and cables, primarily (but certainly quality HiFi gear—first world problems). My speakers are Børresen Acoustics and the cables are Ansuz Acoustics. However, we did use the new Rega Aura Moving Coil Phono Stage ($6695) (review forthcoming)—it would be a good match for my Phasemation EA-350 Phono Amplifier ($6100) and they retail for about the same price. The Naim NAC 332 Pure Analogue Preamplifier ($10,999) paired with the Naim NAP 350 Monoblocks ($8499/each) were superb and a good 10K above my reference MBL N51 Integrated Amplifier ($17,600). I would give the nod to the Naim separates. This left only the Naia in an aural head-to-head with my similarly priced turntable and arm combo, the Pure Fidelity Harmony Mk2 Turntable ($10,000) with the Origin Live Enterprise MK4 Tonearm ($6999). The well-treated room we used for the review was an upgrade over mine. And while I enjoyed the Aphelion 2 cart ($5545), and a big overachiever, I’m not sure it could better my long-time reference Phasemation PP-2000 ($8000).

So, a fair listen and ultimately a fair fight.

[On a side note, in a phone call the day after our final listening session, my host said that after we had finished the sessions, he took a little more time to dial in the ‘table and squeeze even more out of it before delivery to the customer. What I heard was remarkably good, so if there’s more, wow! I’ll be able to judge his dialling-in accuracy when I do a follow-up in my room. I’ll report my findings to you.]

My Use

The Aphelion 2 Cartridge had about 10 hours of playtime. On my first British pressing OGs of The Dark Side of the Moon and Columbia SAX 5258 (Elizabeth Schwarzkopf singing Strauss’ Four Last Songs), it emphasized slight groove noise from the VG+ vinyl. I know, having used Rega premium carts extensively, it will quiet down after the stylus has been polished a little with wear.

Features and Specifications

Rather than producing a laundry list of amazing materials and design, why not have a leisurely read of the spec page at Rega? It’s pretty special. Just like the Naiad got the kitchen sink, the progenitor Naia got all the trickle-down goodies. Rega suggests the sound of the Naia is very similar to that of the almost three-times-the-price, experimental Naiad.

“The Naia takes our pioneering low mass high rigidity plinth technology to the next level. This ultra-rigid structure is then strengthened further using two ceramic aluminum oxide braces, the same material used to create the redesigned, resonance controlled ceramic platter with improved flywheel effect and complex profile.”

Rega calls its Naia “The Ultimate Turntable”. Some of the high-spec materials include a Graphene impregnated Carbon Fibre skeletal plinth with Tancast 8 foam core—the same skeletal, low-mass plinth concept used in the Planar 8 and 10 and seemingly swimming against the “mass and weight” plinth tide. A Zirconium-toughened alumina (ceramic) central bearing (Zirconium is very expensive and difficult to work with) and an RB titanium tonearm; one piece titanium vertical bearing and titanium vertical spindle assembly. I think the fabulous arm is one of the main reasons the Naia is such an improvement over the Planar 10.

“The entire tonearm structure is designed to have the minimum of mechanical joints whilst using the stiffest materials in all critical areas. The RB-Titanium achieves near frictionless movement horizontally and vertically whilst having no measurable free play in the bearing assemblies.”

Additional features include:

Reference advanced fully adjustable power supply (several speed checks ensured it remained spot on at 33.3 RPM—no 45 RPM records were played).

Resonance-controlled ceramic platter with improved flywheel effect and complex profile

Low-mass skeletal aluminum feet

Triple Reference drive belts for improved stability and drive characteristics.

Rega Aphelion 2 MC factory fitted (optional)
Lifetime warranty against manufacture defects
£9,999 without the Aphelion 2 cartridge

*“The Naia uses a custom aluminum sub-platter with a spindle and central bearing manufactured from ZTA (zirconium toughened alumina).”*

Sound

I never heard the Naiad, but I’d posit the Rega Naia is the finest turntable Rega has produced in its 40-year history. It’s certainly the best Rega I’ve heard and by a long way. I’ve owned the Planar One, Three, P25 and Planar 10.

I lived with the Rega Planar RP10 as my reference for several years, enjoying its sound and very musical and detailed presentation. But nothing prepared me for the first sounds from the Naia. Pow! Right between the eyes! “Floogeh” a dynamite track from the latest Blue Note Tone Poet reissue, Demon’s Dance, featuring Jackie McLean on alto and Woody Shaw on trumpet with a killer rhythm section, exploded out of the speakers. These were macro dynamics from a Rega turntable and Rega premium cartridge I had not heard before. Even better, the volume and energy were not diminished in any way by coarseness, distortion or a turntable trying too hard. Timbres were not affected by the volume and the soundstage did not implode (thx Aphelion and Aura). In the past couple of shows and at a few stores, I’ve heard very expensive, famous turntables from 20K up to 60K that had too many affectations and were trying too hard. Ultimately, failures, especially at those prices. The Naia is completely different. Here, the Rega was in sync with its cart, phono stage and those fabulous Naim pieces. “Floogeh” was remarkable. This was controlled virtuosity in sound.

As review time was limited (Audiophilia policy is three months with gear, but special dispensation was made for the circumstances), I chose each record very carefully to test specific attributes of the ‘table. One of my favourites is the 1972 Decca Varèse LP by Zubin Mehta and the Los Angeles Philharmonic (Edgard Varèse; France, 1883 – 1965). Superb in any guise, including the London and Speakers Corner pressings, the Decca is spectacular in soundstage depth and tests the ability of the analogue front end to replicate the myriad of subtle percussive timbres and image placement (Varèse is very specific about the placement of instruments, especially the large percussion array front and centre).

Varèse adds a very specific positioning chart in the score; a definite aid in judging the accuracy of Mehta’s placement, the Decca playback and the Naia’s ability to image.

There are three early 20th-century masterpieces on the record; I chose Intégrales (1923) as it masterfully combines winds and percussion.

The Naia produced all the sounds brilliantly—from the opening Eb (piccolo) clarinet, declarative in style and distinctive in timbre and much different in sound from the standard Bb or A clarinet, then introducing the superb sounding (and spaced) percussion. The imaging was remarkable and the tone of the three smaller drums (snare, tenor and string) was completely different. Even better was the sound of the gong, and because of construction and in a different pitch universe than the same sized tam-tam (no discernible pitch on a tam-tam), a great contrast only heard because of the Naia’s virtuoso performance. And because of the super precise imaging, the percussion players’ side-to-side and front-to-back spacing was perfection. Oh yes, there are wind instruments, too. But we’re here for the crazy percussion!

Also on the disc is Arcana, Varèse’s greatest work. For full orchestra, this mesmerizing and fiendishly difficult work was written in 1925. The bass drum, timpani, tubas and bassoons are prominent in the opening and the sound is hyperkinetic and hypnotic. The Naia’s titanium RB arm handled everything thrown at it. My discussion with a few turntable manufacturers suggested that the material and tolerances on the arm were probably at the top of the list for the Naia’s glorious playback. Arcana, because of the massive dynamic swings, can cause problems with cheaper ‘tables and arms. The Naia ate it up. Another incredible performance.

Sure, the Naia did dig way down into the percussive weeds, but it can rock out, too. Two Against Nature (released in 2000), Steely Dan’s penultimate kick at the studio can, was engineered by longtime collaborator Roger Nichols (with other engineers) and mastered by Scott Hull. It was recorded to analog tape, but mixed to 24/96. Digital provenance or not, it sounded superb on the Naia. Refined and very dynamic. I lost touch with Steely Dan in their off-years but will be buying the Analogue Productions 45 RPM pressing. But even a standard 33 RPM version sounded immersive on the Naia. Will Lee’s bass was particularly striking.

And the opening guitars on the wonderful Stan Ricker MoFi cut (1980) of Tea for the Tillerman also highlighted the materials and technology in the Naia. Rarely have I heard a pop record recut manage crescendos like this superb MoFi. But those guitars sounded so real, so full of life and rhythm. And again, the macro dynamics were very immersive and when things get more introspective, the Naia is a master at quiet dynamics, too. And Cat’s gravelly voice? Splendid. And imaged perfectly.

That’s enough bouquets, what about brickbats?

The Naia puts to bed the common misconceptions, perceptions and plain old wives’ tales about Rega turntables. And maybe some truth.

The phono cables are attached. I’m assuming they are top-class Rega cables, but many folks enjoy changing (and upgrading) cables. The Naia is a “closed-shop”. Rega provides an XLR cable to connect the Naia to its PSU.

As soon as I published the intro to the review video (linked above), the trolls were ready. “Rega hum”, Rega speed control”, etc. The usual boors. Hey, disagreement is half the fun, but the trolls on YouTube are a constant. But, then, so is the delete function. No hum (in fact, I’ve never heard any hum from any of my Rega ‘tables) and speed was spot on at 33.3. They also attacked Rega’s skeletal visuals. Form and function. I love the look of the Rega Naia as I did the Rega 10. My wife, not so much. But she did understand the design principles behind it and loved the sound.

The Rega “Bias Adjustment Slider” always seemed a little bit of an afterthought on my previous ‘tables, not so much its function, but its materials. This slider looks and feels much more solid in the fingers than previous (magnet-loaded) sliders.

Many dislike the felt mat Rega provides and designer Roy Gandy’s eschewing of clamps of any type. I’ve always liked the felt mat and I do love a clamp, but for the knockout sound the Naia produces, I’d go without.

Summary

Rega now has a turntable that can compete with the very best. At £12,000, sure it’s expensive, but as I wrote, I’ve heard turntables at twice the price sound half as good. I’d consider the Naia a home run at 12K. You can get it for £10,000 without the Aphelion 2 cart, but be sure to hear it with the Rega cart before you buy. I think you’ll find it a superb match. Why break them up? And while you're at it, see if your dealer has an Aura phono stage to audition it with. The synergy between these three products is wonderful.

So, would I trade my USD $15,000 ‘table/arm for a Rega Naia? Similarly price, they both do amazing things with a stereo image and all the tenets I’m personally listening for in a great analog front end. In my view, it would fall under the Peter principle, specifically the “lateral arabesque”. Like for like. As such, both are superb. I’m happy with my setup, and I’d be equally overjoyed with a Naia.

The FOMO is huge as is the hype. Nothing wrong with that if you can get one. But I’m betting these will sell out. Try to hear the Naia in a proper setting and I’m guessing the most discerning audiophiles will want one. Very highly recommended.