CD Player/Transport Reviews

I have always been a dyed-in-the-wool vinyl fan, committed to the superiority of analog over current 44kHz/16-bit CD technology. Nevertheless, I have been surprised at how greatly the sound of CD has improved over the past 10 years. By 1994, digital had gotten much closer to analog than I had ever expected, which was a good thing, as 1994 also saw the disappearance of the LP as a medium for obtaining new releases of mainstream recordings. But over the last two years, I've noticed some interesting phenomena: More turntables, tonearms, and cartridges started to become available, at least in the high-end arena. Audiophiles and, to a lesser extent, segments of the general music-loving public, began clamoring for new vinyl releases. Specialty labels, such as Classic Records and Acoustic Sounds, started to reissue premium vinyl releases of classical, jazz, and pop classics at reasonable prices. And major labels again began to offer vinyl versions of major pop releases.

Perhaps I shouldn't have been surprised when I first spied the prototypes for Sonic Frontiers' luscious new digital combo, the Transport 3 CD transport and Processor 3 D/A processor, at HI-FI '97 in San Francisco. After all, this is the company whose meteoric rise from an electronic parts-supply outfit run out of president Chris Johnson's basement, to a large factory pumping out an impressive array of entry-level to crème de la crème tube electronic components, has elevated Sonic Frontiers to front-line status among high-end manufacturers.

Simaudio has been doing well in the middle of the high-end market, providing products such as their Moon i-5 integrated amplifier (reviewed by Chip Stern in July 2002), which offers a glimpse of high-quality sound at an affordable price. That's not to say that the Canadian manufacturer neglects the cost-no-object market: the two-box, $5700, Simaudio Moon Eclipse CD player impressed the heck out of Brian Damkroger when he reviewed it for Stereophile in April 2001 (with a Follow-Up in April 2003). So when Simaudio's Lionel Goodfield offered me their Moon Equinox player ($2000) for inclusion in my irregular series of CD-player reviews (footnote 1), I didn't need to be asked twice.

After two decades of motorcycling, I recently achieved a long-held goal by buying a bike built by Bimota, a tiny Italian manufacturer. Although Bimota engages in a wide range of activities, from two-stroke engine design to racing, they're best known for their exotic, hand-built street bikes. They always include the very best components and feature cutting-edge engineering and performance, but what they're truly revered for is their style. Bimotas unfailingly combine shapes, textures, and finishes into motorcycles that are most often referred to as "works of art."

"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!)

The CD-303/200 is a stout, handsome unit with a thick front panel of black-anodized aluminum (silver is also available) and a beefy, epoxy-coated aluminum chassis. Even the remote control—a heavy aluminum unit with multi-function, backlit buttons—screams "Quality!" Curiously, however, the remote is clad in chrome plate, rather than brushed aluminum or anodized black to match the player. The coup de grace is the CD-303/200's transport mechanism, a Philips CDM12, which is good enough as is; Cary addition of a thick, machined drawer warmed this metallurgist's heart.

Audiophiles once took it as given that LPs sounded better than CDs—end of discussion. Things are no longer so cut-and-dried. In my seven years as a contributing editor to Stereophile, I've seen an enormous improvement in the quality of digital software and playback-delivery systems. The early-1980s recording and remastering anomalies that made listening to early digital recordings so fatiguing are largely things of the past, though advocates of massive compression, jacked-up gain, and compensatory EQ ("Sounds-better-on-cheap-radios," they dully chant) continue to sully the waters of natural resolution.