SKU: 94428026073

NAD Masters M10 V2 BluOS Streaming Amplifier

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Description

NAD Masters M10 V2 BluOS Streaming AmplifierM10 V2 NAD Masters M10 V2 BluOS Streaming Amplifier Combining a sophisticated music streamer and powerful 100 watt per channel amplifier in one super stylish component, the NAD M10 V2 BluOS Streaming Amplifier is made for the way people listen to music today. The M10 V2 is based on the acclaimed BluOS multi room music platform, which has integrated support for dozens of streaming services. You can queue up any music you want using the intuitive BluOS

M10 V2

NAD Masters M10 V2 BluOS Streaming Amplifier

Combining a sophisticated music streamer and powerful 100-watt-per-channel amplifier in one super-stylish component, the NAD M10 V2 BluOS Streaming Amplifier is made for the way people listen to music today. The M10 V2 is based on the acclaimed BluOS multi-room music platform, which has integrated support for dozens of streaming services. You can queue up any music you want using the intuitive BluOS app, and hear it in glorious high fidelity through your favourite loudspeakers. The M10 V2 improves on its award-winning predecessor by adding a remote control, updated gain algorithms, and an easy upgrade path to Dolby Digital surround sound.

NAD Masters M10 V2 BluOS Streaming Amplifier

Just Add (More) Speakers

Like the original M10, the M10 V2 exemplifies the “Just Add Speakers” revolution in hi-fi. But it takes that revolution a giant step further. Along with audiophile-grade speaker terminals, it has two independent subwoofer jacks, whose output settings are adjustable from the BluOS app. The M10 V2 adds Dolby Digital surround-sound decoding. Home-theatre fans can configure a pair of BluOS surround-enabled wireless speakers or amplifiers to play the surround channels, while the main speakers handle the front channels, so that the M10 V2 serves as the hub of a 4.1- or 4.2-channel Dolby Digital surround setup. The M10 V2 transmits the rear channels wirelessly, with very low latency, so you don’t have to run wires around your room to connect the surround speakers.

Complete Control

There are many ways to operate the M10 V2. Use the BluOS app on a smartphone, tablet, or computer to cue up music from your favourite streaming service, or music stored on USB and network drives. Choose some songs from the Spotify or Tidal app on your computer or smart device, then shift playback to the M10 V2. Stream music to the M10 V2 from an iPhone, iPad, or iTunes library via AirPlay 2. Select music by voice using the Amazon Alexa, Apple Siri, or Google Assistant voice protocol. The M10 V2 is Roon Ready, so you can stream music from a Roon Core server. The M10 V2 can be integrated into Apple, Control4, Crestron, Lutron, and other home-automation systems, so you can control music playback, along with other home systems like lighting, shades, HVAC, and security. Use the supplied remote control to adjust volume, skip tracks, and activate preset commands. Or choose tracks, select sources, and adjust volume and other settings from the M10 V2’s touchscreen. In addition, the M10 V2 can learn commands from your favourite IR remote control.

The Power and the Glory

Created by the award-winning design firm DF-ID, the M10 V2 features a solid brushed aluminum chassis, Gorilla Glass top and front panels, and a bright 7″ touchscreen, with purer colours and wider viewing angle than the screen on the original M10. Behind that gorgeous display lies a sonic powerhouse that delivers thrilling dynamics and exquisite detail. Based on the renowned nCore technology, the M10 V2’s Hybrid Digital amplifier is conservatively rated at 100 watts per channel. Its updated gain algorithms allow higher output levels with inefficient speakers. The subwoofer outputs also have higher gain, allowing for a wider range of subwoofer-main speaker combinations. The ESS Sabre DAC can accept streams up to 24-bit/192kHz. The M10 V2 can stream lossless and high-resolution audio from services such as Deezer, Qobuz, and Tidal; and has full MQA hardware decoding and rendering capability.

Room-Friendly

With its compact form factor and elegant minimalist design, the M10 V2 will blend beautifully into any living space—not just visually, but sonically as well. Like the original M10, the M10 V2 has built-in Dirac Live Room Correction. Using the supplied calibrated microphone and intuitive Dirac app, you can correct peaks and dips caused by your room’s acoustics, up to 500Hz (a full-bandwidth version is available through Dirac). That way, you hear movie soundtracks and music as they were meant to be heard, free of anomalies caused by the listening environment. The M10 V2 can store up to five Dirac profiles for different listening positions, surround setups, or room conditions—for example whether the drapes are open or closed.

Thoroughly Modern

The M10 V2 is the perfect amplifier for the Internet era. With the user-friendly BluOS app, you can play music from your favourite streaming service, as well as locally stored music. But the M10 V2 also plays nicely with external components. It has RCA analogue, optical and coaxial digital, HDMI eARC, and USB Type A inputs, for connecting disc players, game consoles, external drives, media adapters, flat-panel displays, and other components. It also features two-way apt-X HD Bluetooth. With the M10 V2, you can listen through wireless headphones, stereo loudspeakers, a surround-sound setup, or up to 63 BluOS-capable wireless speakers arrayed throughout your home. Hi-fi doesn’t get more modern than this.

Features & Details

  • BluOS Streaming Amplifier
  • Wireless 4.0, 4.1 and 4.2 channel surround options by adding BluOS Enabled players like the PULSE FLEX and PULSE SUB by Bluesound
  • Hybrid Digital nCore Amplifier with updated gain algorithms
  • Continuous Power: 100W into 8/4 Ohms
  • Dynamic Power: 160W into 8 Ohms 300W into 4 Ohms
  • 32-bit/384kHz ESS Sabre DAC
  • Dirac Live Room Correction
  • 7″ IPS colour LCD touchscreen
  • BluOS multi-room compatible
  • AirPlay 2 integration, with support for Siri Voice Assistant
  • Amazon Alexa & Google Assistant voice control skills
  • Roon Ready
  • Spotify Connect and Tidal Connect
  • Gigabit Ethernet
  • Two-way Qualcomm aptX HD Bluetooth
  • NFC Bluetooth pairing for compatible smart devices
  • HDMI eARC,USB Type A inputs
  • Stereo line analogue and coaxial/optical digital inputs
  • Preamp output, two independent subwoofer outputs with updated gain algorithms
  • IR Input, 12V Trigger Out
  • Apps for iOS, Android, macOS, Windows, Crestron, Control4, RTI, URC, Elan, Lutron, iPort
  • Wide variety of premium music services supported in BluOS app, including Amazon, Spotify, Tidal, TuneIn, Napster, Deezer, Qobuz and many others
  • Support for all major lossless and lossy formats, including WAV, FLAC, AIFF, ALAC, AAC, MP3, Ogg Vorbis, and others
  • MQA decoding and rendering
  • Infrared remote control handset included

*The M10 V2 includes a license for Dirac Live with the option for advanced users to upgrade to a Dirac Live Full Frequency version.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
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Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
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SKU: 94428026073

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4.3 ★★★★★
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mojo_navigator
Lowell, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 26, 2014
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KEITH
Battle Creek, US
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025
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Parker
Whiting, US
★★★★★ 3
Dated, but....
Compared to the novel on which it is based, this movie is a complete letdown, so fans of the Parker series of novels who are drawn to this book may want to think twice about watching the film if they are looking for a faithful adaptation of the first Parker novel. That being said, it was not the intention of the director John Boorman to adapt Richard Stark's excellent novel, "the Hunter" to film, but rather to create an entirely new piece of fiction from the skeleton of the original story, so one most try to judge the movie on its own merits, which is difficult to do. As in other reviews, I must commend the directing. The style of the film is way ahead of it's time, with stark visuals, stylized fight scenes, and prolonged moments of silence. I love the long Walk lee Marvin takes thru the a multi-colored corridor where his footsteps drown out all other sound. Marvin's performance is also very strong, and he shows himself to have been an actor who took chances with his image and, in this case, used his clout to make a movie which otherwise would not have been so memorable. In the end, one must ask the question "Why?" Why not faithfully adapt "The Hunter" into film? It certainly would not have stifled the film's creativity, and nothing in the movie's script was any better than what was in the book. There is also the annoying occurrence of changing the protagonists' name from Parker to something else; in this case, Walker. This trend continued in another six film adaptations of the Parker novels, the last of which was 1999's Payback, starring Mel Gibson as Porter.
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Reviewed in the United States on July 1, 2011
C
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Clare Quilty
Bozeman, US
★★★★★ 5
A stark, brutish "Petulia" with a pistol in its pocket
It's about time this movie got released on DVD. It's odd that a film could spawn a remake ("Payback"), a glib nod ("Grosse Pointe Blank") and countless homages ("The Limey," among others) and still be as underseen as "Point Blank." The lack of a disc certainly didn't help its low profile, but of course this is a challenging, idiosyncratic movie, even three decades later. The plot is simple -- a crook is betrayed by his wife and partner and spends the rest of the movie trying to get what he's owed -- but the editing and narrative structure is unusual. What in the world did audiences possibly make of this back when it was first released? It's a remarkable film, as startling and innovative as Richard Lester's "Petulia," although admittedly it's thematically much less complex. This edition is excellent, too. Great sound, great picture and a fantastic commentary by director John Boorman and big-time "Point" fan Steven Soderbergh, who laughingly admits to Boorman that he's ripped this movie off more than a few times. Their chat is more technical than gossipy and deals heavily with the editing, the production (the script was only 70 pages long), the studio's concerns about the picture, the actors, violence, surrealism (is it all a dream?) and Boorman's elaborate use of color (the tones of clothing and sets intensify over the course of the film). I've gotten a lot of good DVD's this year but in terms of content, presentation and extas, this is one of the best.
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Reviewed in the United States on August 1, 2005
J
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Joe Movie
Natrona Heights, US
★★★★★ 4
One of Marvins better offerings
Like the Killers before marvin was almost destined to play the part of Walker in this fast moving gut wrenching but always realistic thriller brilliantly collaborated by Marvin and Boorman who had no peer in this type of film.For those unenlightened souls who downplay Marvins career this was the one that to my mind surpassed most of his prior efforts with the exception of the Killers which was above par in all respects.Marvin was ahead of the pack in the 60s playing this type of hard nosed no nonsense gangster type, no other actor came close and type casted him to some extent in this type of role which unlike may actors became a positive in his career. Just to show his brilliance as an actor he gave us later comedy roles which produced more acting accolades than that material for which he was better known namely what we see in Point Blank.He carries the whole movie as did all the great actors of that era and many since which in itself is the hallmark of greatness. Marvin was a man who so perfectly personified the parts he was playing that often other actors looked wooden in comparison.He was one of the rare individuals who could take a small co starring role and end up being the star of the movie, no mean feat when you were up against the best in the business at that time and there were plenty in the 60 and 70s.To my mind Point Blank will always be a MARVIN film and this is not to downplay other good workmanlike performances in the film but it will always rank highly in Marvins body of work which is a cut above his contemporaries in the roles for which he was known and appreciated.As for the film it played out in fairly predictable fashion until the final scenes under the golden gate brige which gave a nice twist and left the viewer unsure whether Walker did in fact take his money or simply leave the scene of the set up empty handed. The obvious answer is that he waited till the coast was clear and took his money. It is hard to accept that he did otherwise.In retrospect a movie that stands up 40 odd years later and is just as watchable as it was in 67. No mean feat.
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Reviewed in the United States on May 20, 2010

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