CD Player/Transport Reviews

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Corey Greenberg Posted: Feb 16, 2016 Published: Feb 01, 1992 4 comments
The $800 JVC XL-Z1050TN 1050 is the Bitstream successor to JVC's popular 18-bit XL-Z1010, which got an enthusiastic thumbs-up from Robert Harley in April 1990 (Vol.13 No.4). Its styling is, in my opinion, much improved over the older player's, with the distinctive brushed-bronze finish of the rest of JVC's XL-Z line. The rear panel sports fixed and variable outputs (footnote 1), as well as Toslink optical and coaxial digital outputs. As with the 1010, the JVC features their proprietary K2 Interface, a circuit that reduces jitter by resampling the pulses with a short-duration gate just ahead of the single-bit JVC JCE-4501 DAC chip.
Robert Harley Posted: Jan 28, 1995 Published: Jan 28, 1992 0 comments
When the Compact Disc was first introduced nearly ten years ago, many were critical of the sound quality from this medium that promised "Perfect Sound Forever." To many sensitive listeners digital playback was a travesty that paled by comparison to even modestly priced turntable/arm/cartridge combinations. Ironically, those listeners who first praised CD sound have been forced to recant when confronted by the huge improvements in digital to analog conversion (and A/D conversion) seen in the past few years.
Robert Harley Posted: Apr 17, 2015 Published: Nov 01, 1991 3 comments
"In the fields of observation, chance favors only the mind that is prepared."

When Louis Pasteur uttered these words more than a hundred years ago, he must have speculated that they would apply equally well to future circumstances as to the events of his day. What he couldn't anticipate, however, was the technology to which his insight now seems so appropriate.

John Atkinson Posted: Aug 24, 2011 Published: Jun 01, 1991 0 comments
"I don't like Mondays!" sang Bob Geldof some years back, and I'm beginning to hate Mondays too. No, not for the obvious reason. You see, Monday is "hate-mail" day. Every day I get letters from Stereophile's readers. But for some reason known only to the mavens (or should that be Clavens?) of the US Postal Service, the ones pointing out my stupidity, dishonesty, and sheer incompetence as a human being arrive on Mondays.

For example: "Bits are bits, and it is therefore dishonest for Stereophile's writers to continue to insist that they can hear any differences between CD players or digital processors!" recently wrote an angry reader, canceling his subscription. (They always tell me they're going to cancel their subscription.) "Yeah, right!" thought I, having just sat through a comparative audition of, would you believe, digital data interconnects in Robert Harley's listening room. Some of the differences I heard were not trivial. They might even be audible in a blind listening test.

Thomas J. Norton Posted: Dec 07, 2009 Published: Jan 07, 1991 0 comments
The face was different, but the look was familiar. It should have been. The $2395 Aria Mk.III is a close cousin to the Aria II that I'd hung around with for about two years. Same sense of style, same heart of tubes. CAL Audio apparently made it what it is today, from the ground up. They even designed its transport and transport-drive circuitry in-house (footnote 1). In a high-end world which has gone increasingly to separate digital processors, CAL has been, up till now, a conspicuous holdout. They've only recently introduced their first outboard converter, and have in the past argued in favor of the all-in-one player. Something about reduced jitter from all the timing circuits being under one roof.
Robert Harley Posted: Jun 08, 2009 Published: Dec 08, 1990 0 comments
The whole idea that different CD transports have different sonic characteristics when driving the same digital-to-analog converter is a vexing problem. It is easy to prove that even the cheapest CD players recover the data stored on most CDs with bit-for-bit accuracy, thus disproving the widespread and erroneous belief that errors in the digital code are commonplace and affect presentation aspects such as imaging, soundstage depth, textural liquidity, etc (footnote 1). If the datastream driving the digital converter is comprised of the same sequence of ones and zeros, regardless of the transport, what other factors could account for the sonic differences between CD drives reported by many listeners?
John Atkinson Posted: Jul 04, 2004 Published: Dec 01, 1990 0 comments
"Desperation is the Mother of Invention." Isn't that how the proverb goes? Certainly it applied ten years ago in the case of the Philips engineers working on the development of the Compact Disc system. Given a specification that had included a 14-bit data word length, they had duly developed a 14-bit DAC chip, the TDA1540, only then to be informed that the CD standard decided upon after Sony joined forces with the Dutch company would involve 16-bit data words. (Thank goodness!)
Robert Harley Posted: Oct 04, 2011 Published: Feb 01, 1990 1 comments
666proceedcd12.jpgThe Proceed CD player is the first digital product from Madrigal Audio Laboratories, a company known for their Mark Levinson preamplifiers and power amplifiers, including the very highly regarded No.20.5 power amplifiers. Given Madrigal's track record of producing ultra–high-end (and expensive) components, I was surprised and encouraged that the Proceed CD player is so affordably priced.

The Proceed was a long time in development, reflecting Madrigal's care and thoroughness before releasing a new product. Many technical innovations have been incorporated into the Proceed, and the machine's unusual appearance exemplifies the "start from scratch" attitude behind its development. With its nearly square proportions, grey cabinet, and sparse front-panel controls, the Proceed may set a new trend in audio component styling.

John Atkinson Thomas J. Norton Posted: Aug 07, 2005 Published: Jan 07, 1990 0 comments
A strange disguise; still, write it down,
it might be read. Nothing's better left unsaid.
—Keith Reid
Robert Harley Posted: Aug 26, 2011 Published: Oct 01, 1989 0 comments
The Arcam Delta 170 is one of the first examples of an entirely new product category: CD transports. The concept of different CD transports having different sonic qualities is vexing. It is a simple matter to prove that the bit stream contains identical data from virtually any CD transport (see "Industry Update," Vol.12 No.8). According to Arcam, development of the Delta 170 was spurred by audible differences among transports heard by dealers, customers, and Arcam staff. The possibility that CD transports have their own sonic signatures is intriguing.
John Atkinson Posted: Jan 02, 2011 Published: Jun 02, 1989 3 comments
Externally, the LHH1000 came as a bit of a surprise to these jaded eyes, over-familiar with plain black or brushed-aluminum boxes. Each enclosure is finished in an almost white, anodized finish, with greenish-gray endcaps (made from zinc alloy, I believe) painted with a nubbly, crackle finish—an attractively utilitarian styling with shades of military-surplus radio equipment, nicely set off by subdued blue fluorescent readouts. Internally, the units are constructed to audiophile standards. The transport uses Philips's top CDM-1 mechanism, which is fabricated from diecast aluminum, compared with the plastic CDM-4 mechanism which appears in less expensive and less well-specified players. The loading tray, too, which is made from metal, has a reassuringly solid feel to it.
John Atkinson Posted: Jul 18, 2014 Published: Mar 01, 1989 1 comments
389accu.promo.jpg$13,000! You could buy two Hyundai Excels for that kind of money. Or one 5-liter Ford Mustang. Or two-thirds of a Saab 900 Turbo. How could the purchase of this Accuphase two-box CD player be justified on any rational grounds? What if it did offer state-of-the-art sound quality? Would it really be 50 times better than a humble Magnavox? Would it even be 4.3 times better than the California Audio Labs Tempest II CD player? And would it approach the sound quality routinely offered from LP by the similarly priced Versa Dynamics 2.0 turntable?
Sam Tellig Peter W. Mitchell Posted: Jun 13, 2014 Published: Mar 01, 1989 0 comments
I once told Larry Archibald it might be worth, say, a 10% loss in sound quality with CD not to have to jump up and turn over the damned record. Sometimes a CD saves you from popping up twice—Mahler's Fifth or Bruckner's Seventh on a single disc instead of three LP sides—or three times—Mozart's Magic Flute on three CDs instead of 6 LP sides. That might be worth a 15% sacrifice.
Thomas J. Norton Posted: Jul 26, 2010 Published: Nov 26, 1988 0 comments
In a way, you could say that Meridian started the now epidemic practice of modifying stock CD players (usually of the Philips-Magnavox species). The original Meridian player, the MCD, was a reworking of the first-generation Philips and was praised by J. Gordon Holt in these pages in his 1985 review (Vol.8 No.2). The Meridian Pro (Vol.8 No.6) won similar plaudits, and is still to be seen lurking in JA's system. And the original 207 was well-received by MC in Vol.10 No.3.
Thomas J. Norton Posted: Jul 26, 2010 Published: Oct 26, 1988 0 comments
Snickering was heard from the major consumer electronics purveyors when California Audio Labs came out with the original Tempest, their first CD player using tube output stages. But not from the audiophile community. It was, all things considered, an inevitable product; I'm certainly not the only one who wondered—before the emergence of California Audio Labs—who would be the first to build such a unit. The obvious candidates were Audio Research or Conrad-Johnson. But those companies apparently read the audio tea-leaves and, perhaps perceiving the early high-end hostility toward the new format, apparently decided to bide their time. (With regards to tube players, they're still biding it, though C-J has had a prototype player up and running for some time.)

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