REFERENCE COMPONENTS-DIGITAL SOURCES

This is because of my very limited experiences with digital sources in general. I actually have much more experience with digital LPs than CDs. The digital components I am most familiar with have mainly been very modest in price. Fortunately for all of us, my associates have had some relevant and extensive experience with Digital Sources and they are quite generous in sharing that information.

CAVEAT: While I will be using the same class structure as with all the other components, do not be misled.

No digital source, including the two units now in Class A, can ultimately compare with the finest of analog sources. The best digital can do for now is compete with Class C phono front ends, but even that is far better than where they were just 10 years ago. From my own personal experience, all digital components made today still "simplify" music compared to good analog, even to the degree that it will begin to sound "mechanical" and "artificial".

On the other hand, it would be foolish to ignore Digital's superiority to analog in a number of sonic parameters: Precision, outer detail, speed stability, noise and overall purity.

Unfortunately, it also subtracts those aspects of the sound which are the vital essence of music; the conveyor of emotions. That is why Digital, at present, is more intellectually than emotionally satisfying. This is especially true for those audiophiles who are very familiar with good analog sound.

However I, an analog-oriented audiophile at present, still believe that at some point in the future, digital will be superior overall to analog, and even possibly in every single way, and I look forward to that day.

IMPORTANT ADVICE: Never* turn off any digital equipment. It usually takes around 2 days of playing for it to "break in" and sound optimum. Once turned off, you have to go through the entire cycle all over again. Accordingly, do not judge digital equipment unless it has been on and operating for at least 48 hours. This is true for even "budget" players.

*Digital components with tubes inside may have to ignore this rule. The rarity of some tubes and the high cost of replacements may offset any sonic benefits.

I don't recommend a large investment in any digital technology at this time. This is because of the unproven formats (SACD etc.) now becoming available. I would wait for "the dust to settle" before making a serious investment. It should always be remembered that...

Digital Sources change faster than any other type of component, so these (or any) References may be obsolete before any of us realize it, so, at present, virtually everyone is "behind the curve" with Digital Technology.

What about the audio magazines? Are they "up-to-date", and do they accurately and thoroughly report to their readers the real facts concerning digital components? Hardly.

This is what one reader wrote concerning the magazines' "testing" of CD Transports, which should be the easiest digital component to evaluate.

"It would be quite easy for any magazine to prepare a very high quality test disc with a known data pattern on it, and to read the S/PDIF output into an analyzer for comparison.

I was not surprised with the important information sent by this reader. It is consistent with the methodology and routines the audio magazines typically employ. In short...

Audio 'reviewers' will never utilize an objective tool to analyze and judge the performance of equipment or accessories. Why not?

This prerequisite would then compromise their present ability to praise and "hype" any piece of audio equipment, especially those models that were obviously mediocre, which is their only real power. This in turn would mean...

The 'reviewers' wouldn't be able to help their "buddies", and the magazines wouldn't be able to help their largest advertisers, which would make them (ultimately) useless to both. Of course, the utilization of objective tools would be very useful to their paying readers, but that is obviously very irrelevant to them, judging by their own actions.

The below essay/survey was written by an associate, who was, in turn, assisted by his own "associates". This essay/survey also supercedes every write-up about digital components previously posted on this website.

The following survey of CD and, in 4 cases, SACD/CD players, was undertaken over a span of two months using a state of the art audio system, whose resolution and lack of inherent colorations, made discerning the sonic quality of the individual units blatantly clear. The conclusions that ensue are based on at least 2 and, at times, 3 individuals' evaluations.

The sonic qualities of the players are delineated as objectively as possible. This is not a case of "complimentary system colorations" or "personal predilections" affecting the ranking. Each player's flaws and strengths are described as heard. Every player was adequately broken in and in top operating condition. The only variable that changed was the component under test.

1. State of the Art (1 player emerged).
2. Close to the above but with a couple of subtle flaws (1 unit fell into this realm).
3. Very good but noticeable failings compared to the higher categories (5 players resided here).
4. Acceptable performance for mid-fi but not in the class of 3. (5 players here).
5. Not acceptable at any price above $ 1,000. (This spot reserved for only one unit).

The players tested included:

1. Doge CD6
2. (Pacific Valve) MHZS CD 66- Modified
3. Reimyo CDT- 777 and DAP777
4. Ayre C-5xe
5. AMR 77
6. Oracle CD 2500 MK II
7. Accuphase SACD/CD DP77
8. ARC REF CD 7
9. APL Denon 3910
10. MHZS CD 66- Stock
11. MHZS CD 88- Stock
12. McCormack UDP-1
13. ElectroCompaniet UP SE

1. Those that are highly detailed, but at the same time somewhat harmonically lean and a bit edgy or

2. Those that are very smooth and easy to listen to, but unfortunately are lacking in detail, transparency and often dynamic excitement.

It is only the great player that combines detail, transparency and wide dynamics with smoothness, and full rendering of harmonics. This kind of digital player is, as we shall see, very rare.

Which player(s) can combine the best of the above qualities? The ability to be full bodied with weight and impact, harmonically complete with a refined upper midrange and highs yet reveal all the detail on a recording characterizes only one of the above tested units. All the others exhibit the above mentioned flaws to a greater or lesser degree. One other is very close but does not meet the standard of that one special player.

Of all the units tested, two were major disappointments based on the rave reviews they garnered by either the major audio magazines, and/or the buzz on the internet audio chat groups, and because they were downright outclassed by all the others (including a couple at much lower prices). For further clarification...

- All players were placed on a well isolated component stand using the feet supplied with each unit;
- All were auditioned in single ended mode only;
- Components capable of reproducing the sound of a whisper and the power of a full orchestra were preferred to those that could do neither;
- Digital reproduction was never confused with analogue, since the two media never sound alike and each are viewed in their own realm;
- The more flawed a component and the more colored an audio system, the greater the dependency and interaction between the two.

The players will now be grouped from worst to best. They fall into fairly distinct categories, which will become evident.

The worst performer of the group was the Ayre CX 5E. In spite of receiving Stereophile's Product of the Year award and countless positive comments, the Ayre combined the worst characteristics of both sonic categories. It was badly lacking in detail and transparency as well as being dynamically anemic. Instruments were threadbare and lifeless. Soundstage was truncated as if all the music emanated out of a cardboard tube. Three words describe the sonics of the Ayre- Bland, bland, bland. It really has no redeeming qualities for a player at this price point. The $680 MHZS CD 66 is far superior in virtually every aural parameter. This CX 5E was carefully evaluated by 3 serious and knowledgeable, listeners who came to the same conclusions independently.

Significantly superior to the Ayre (which is not saying much) are the APL Denon 3910, McCormick UDP 1, MHZS CD 66 -stock and modified) and CD 88. The second major disappointment in this survey is the APL Denon 3910. With all the internet hype about how wonderful this player is, it turns out that it is smooth and non offensive transforming bright, lean source material into something more listenable. Detail is glossed over and dynamics are constricted. This is a player for those who want some easy listening with no sonic nasties. At $6,000, way overpriced and not competitive with much less costly players.

The McCormack UDP 1, another highly touted player (Stereophile Class A) barely makes it into this category, narrowly escaping the realm solely occupied by the Ayre. The McCormack is essentially an amusical player that is bright, edgy and very lean with most of the natural harmonics shaved off. The bass is weak and lacking in body. This unit is what gives digital reproduction its poor image. It typifies all the negatives associated with bits and bytes. Its SACD reproduction is marginally superior to its redbook, being not as fatiguing. This player sounds like it should sell for $500.

The MHZS units are more detailed and transparent with wider dynamic gradations but they can sound a tad aggressive when pushed, especially stock. The sound is quite vivid and lucid but not as refined as the more expensive, better players. Modifying the CD 66 with NOS tubes, Teflon caps etc. certainly improves the performance and makes the MHZS a best buy. It also moves the performance to somewhere between category 4 and 3. The CD 88 is identical to the 66 except that it uses tube rectification. It consequently sounds a touch smoother with a more realistic tone. On the downside, bass is not quite as punchy. But do not be fooled into believing they will provide the sonics of the higher categories of units costing thousands more. For those not that serious about digital reproduction and desiring a well built, great value player, the CD 66 (especially modified) is the ticket. It conveys the music.

The Reimyo separates, AMR CD 77, Accuphase DP77, Electrocompaniet and the Doge CD 6 (with NOS tubes being necessary) all fall within this category with differing strengths and weaknesses but their overall sonic performance is fairly equal. The Doge is by far the best value (available direct for $1,400- add $200 for upgraded tubes) and is the most refined sounding of the group. As a matter of fact, from the lower midrange on up, its reproduction competes with the best. It is very detailed, transparent and pure yet harmonically complete. Its achilles heel is its bass, and midbass which is lacking in requisite weight and impact. Dynamically it compresses the music at the ffff range. This player lacks balls. It is beautifully constructed especially at its price.

The AMR has generated tremendous excitement over the internet as well as being the recipient of a rave review in 6 moons.com. Favorable comparisons have been made to the state of the art Zanden separates. Build quality is magnificent. Sonically, however, it did not live up to its advance billing. The AMR falls into the smooth, polite sound camp with sacrifices to detail, dynamics, bass extension, midbass punch and ultimate dynamics. It is a very nice sounding player that will not irritate nor annoy, but neither will it excite nor viscerally impress. Listened to on its own without access to the top two players in this survey, the AMR shortcomings are subtle and may go unnoticed by many. However, the best units here will expose the AMR's errors of omission.

The Accuphase DP77 is sonically a dead ringer for the AMR. They sound so much alike they could be identical twins. Everything said about the AMR applies to the DP77. The Accuphase does offer the advantage of SACD reproduction.

The Reimyo DAC/Transport is the most expensive player in the survey at $13,850. Its performance is not commensurate with that lofty price tag. It does have a midrange to die for. Big, spacious and immediate. Its reproduction in this range is obviously superior to every other unit in this test except for one player that comes within a hair of equalling it. Its main flaws are a lack on control in the low bass, which is accompanied by some wooliness in the midbass and a lean, bright edge in the upper midrange especially evident on complex music being played loud. Consequently, while the Reimyo possesses areas of greatness, it is ultimately precluded from entering the upper categories due to its frequency selectivity and lack of complete balance. Its DAC is superior to its transport which no longer uses the JVC mechanism that the single box Reimyo did. This became evident when the transport was substituted with the MHZS CD 66 CD player. Used as a transport only, the $680 Chinese player essentially equaled the performance of the Reimyo. The Reimyo DAC and CD 66 transport is sonically superior to all the other units in this test with the exception of the top two. At the cost of about $5,800, it represents good value.

The Electrocompaniet UP SE is a big. bold gutsy sounding player that is exceptionally easy to live with since its errors are only ones of omission and its strengths considerable. It is the most dynamic of the group with bass and midbass reproduction that also stands alone. Tremendous weight and impact in the lower registers. This unit is exceptionally smooth and harmonically complete. The highs are not the least bit bright or edgy, instead erring on the side of being a tad rolled off and overly smooth. The main failings of the Electro are that it slightly blunts initial transients, softening them and reducing their intensity and low level detail is not fully conveyed. Overall, the UPSE sounds somewhat on the dark side. Systems that are overly lean (those using Thiel, Wilson, B & W coupled with Krell, or DCS electronics for example) will find the Electro a welcome relief.

The Audio Research REF 7 is significantly superior to all the other players discussed above. It does everything superbly, which is its major strength. It is beautifully balanced from top to bottom. Its frequency response is exceptionally linear, its dynamics explosive, and its detail portrayal is revelatory. It passes along all the information with pristine clarity and full harmonics. In two areas it proved unique- transient purity and impact and soundstaging. The initial transient, heard through the ARC takes on an intensity and visceral impact that will get the heart a pounding. It is sheer excitement. Up to this point, no player came close to replicating this phenomenon. Furthermore, the sound field the ARC generates knows no bounds.It is huge when the source material is so recorded. Sounds way beyond the speakers are plainly experienced yet within that massive sound scape there is focus and precision of instrumental localization.

Does the ARC have any flaws. Yes, there are two. They are subtle and not obtrusive but they do exist. The first is a lack of midbass power, weight and body. Drums do not have the impact they could nor does double bass and cello possess the growl they should. The other is a slight leaning out of the harmonics in the upper midrange accompanied by a slight tendency towards stridency in this range. The flaws are there to be sure, but the ARC is so special that they do not really detract from the pleasure derived from listening to music through it. If the category 1 unit did not exist, the ARC would be the player to have. It brings life and excitement to the musical experience and makes one forget the hardware and focus instead on what this hobby should be really about- the music.

The player that has it all and proved the most satisfying is the Oracle CD 2500 MK II. The Oracle sounds as stunning as it looks. For once, beauty and substance combined in one package. The 2500 has no obvious flaws which is what sets it apart from the rest. It is the best or close to that in all areas and ultimately that is what makes it unique. While other players may exceed its performance in certain respects (i.e Reimyo's glorious midrange or ARC's unbridled soundstage), no other player conveys the musical message with so little of its own personality. It really gets out of the way and allows the music to flow without coloration, distortion or omission. There is no point ruminating about its wide dynamic gradations or thunderous bass or its pristine clarity or its harmonic completeness etc, etc. Suffice it to say that its excellences are so overwhelming, that the listener becomes disarmed and flounders to conjure up any salient criticisms. The ARC is close in overall performance but the Oracle takes it to a subtle but tangible higher level.

Personal Notes- I did not participate in this "shoot-out". I have only heard the Pacific Valve 66 (modified) and the Oracle (in Toronto). The actual writer and the other participants will remain anonymous, as they have requested. I will simply ignore any requests for their identity. I will vouch for both their objectivity and competence, along with the above description of the audio system(s) used in the auditions. These results have been since independently confirmed by another (4th) "associate", in an entirely different location and with an entirely different system.

I will post differing opinions, if they appear both sincere and credible, but I won't engage in any fruitless debates about the merits, or lack of them, of players I haven't even heard myself.

Finally, for sake of continuity, and to avoid any confusion, here is how these players are now positioned in Reference Digital Sources:

As it sadly turned out, a number of "audiophiles" became incensed with the above shoot-out. These were mainly two of the audio manufacturers that didn't do well in the above survey, along with their more insecure followers and some others who felt that the directness and sincerity of our observations and opinions reflected badly on the state of the now sad and pandering mainstream audio press (Stereophile and TAS). You can read their "imaginative" though totally reckless and hysterical charges at Audio Asylum (Digital Drive). In the end, not a shred of real evidence to support their "claims" was offered by any of them. That's not surprising, since no one involved in the above shootout had a financial and/or personal interest in CD players.

Of course, we responded with the actual facts, which people of this type predictably ignored, so we then decided to gently ridicule them as well. I rarely take this line of reply, but the posted charges were so fraudulent, ridiculous and even disgusting at times, that the perpertrators truly deserved it. Here is the link to THE 2007 SHOOTOUT SPOOF of the above shootout. We hope you enjoy it as much as it was enjoyable for us to write it.

Whatever you do though, do not mistake the spoof for "reality". Reality is what is above, the spoof is for fun only.

PACIFIC VALVE MHZS CD 66 & 88 CD PLAYERS- These are, by far, the finest CD players that I or any of my associates have heard at anywhere near their selling price ($699/$799 plus shipping). In fact, we don't know of even one CD player for less than $ 3,000 that even equals (let alone surpasses) their performance after modifications (outside of the Doge CD 6 mentioned above). They are among (if not) the greatest value(s) in audio at this time, and not only for the sonics.

The Pacific Valves overall build quality (32 lbs.), the (top-loading) transport and even the remote control are all outstanding, and they (using tubes) can be even further improved by a simple modification* (Solen Teflon coupling capacitors) plus some routine tube rolling (two 12AX7).

To improve on these two players' sonics, especially after the above mentioned modification/tube optimization, you will have to spend "big money", and even then, you must spend it wisely, because even truly expensive players will not equal the performance of the Pacific Valves unless they are among the best within their price category.

I haven't yet heard the 88, but an associate compared it directly to the 66, and felt that the 88's tube rectification provided it with slightly improved harmonic completeness and natural body, though at the sonic expense of slightly less tight and detailed bass. Overall then- a small advantage to the 88.

Solen Teflons-Film and Foil-450 Volts- one .47uF per channel and one .1uF in the cathode power supply, which can be metallized. That's 3 Teflon caps in total.

There are also two other modifications which I haven't yet performed on my player, but have worked well for my associates:

1. Replacing the entire (3"/4") output wire harness, going to the RCA Females, with high quality wire.
2. Adding film .1uf/600 volt caps to the existing electrolytic power supply capacitors (this will be tricky due to the small space - Be Careful!)

To perform these last two modifications, you must entirely remove the circuit board from the chassis, removing screws from the back fist and then undoing the wiring harnesses. It's somewhat time consuming, but it only has to be done once.

As is mentioned above, the MHZS CD 66 & 88 are superb transports, if nothing else. Accordingly, an audiophile can purchase them initially as a stand-alone CD player, then use them later as a transport if a top notch DAC becomes desirable in the future.

Below are the details of a 2003 "shoot-out" of some top-notch digital sources that took place in Toronto, Canada. This was done with a group of experienced listeners, who were also the owners of the participating components in the matchup. I was not involved in any manner with this comparison, but I am confident of the participants' competence, honesty and lack of any conflict of interest. The results described below were unanimous.

The "adversaries" were the:
Wadia 861,
Audio Aero Capitole 24/192 (latest model),
Gamut CD-1,
Audio Aero Capitole (early version),
and the Alchemist Forsetti Transport and DAC.

1. Wadia 861 (all the listeners felt the Wadia was noticeably superior to the others)
2. Audio Aero Capitole 24/192 (latest model), which had a slight advantage over the ...
3. Alchemist Forsetti Transport and DAC, which had slightly larger advantage over the...
4. Audio Aero Capitole (early version), which had a large advantage over the
5. Gamut CD-1 (which all the listeners, including the owner, felt was the worst of the bunch, by far)

Additionally, the Audio Aero models appeared to be way overpriced considering their build quality. One important quote: "The Gamut sounded like it had a 'filter' in the signal path." They all felt both frequency extremes were rolled-off in this model. 7/03

Further Information on "The Toronto 2003 Digital Shootout"- One member of the listening panel that was involved in the "digital shootout" described above, sent further information to me. He has had extensive experience listening to some of the finest components within the last few years, and he has no business or personal conflicts. He is also a former customer of mine. I felt his (edited) observations and judgements should be shared:

"There are many digital sources you have not heard and merit consideration as recommendations. There are several solutions (albeit, they are two-box transport/dac combos) that I have heard or currently own that surpass your recommendations.

1. The Gamut CD-1 is extremely over-rated. Your associate and I confirmed this, as I brought it to him and we evaluated it. Clean clear highs, however lack of a full-bodied nature and absence of any impactful bass. I am glad to see this was reported correctly.

2. The Sim Audio Eclipse (which I owned for two years- outboard p/s; uses Phillips best pro transport) has outstanding build quality and can easily run with the Wadia 861. They are two of the best one-box redbook players. HOWEVER, they are eclipsed (pun intended) by the best two-box solutions, of which the combination below I would now term as 'world class' at it's price point.

3. My current combo will blow away anything on your 'list': Spectral SDR 3000SL transport (uses the best version of the Teac VRDS clamping system, of which a LESSER model is used in your 'favorite' Wadia 861 by the way...) combined with an Audio Note 3.1x 'Balanced' (transformer-coupled output; 1-bit; no brickwall filtering; all silver-wired; etc., etc.) Dac. The Spectral retails for $9,000 and the Audio Note for $6,000. I ... have received indescribable pleasure from this setup...

Accessories/setup include the Kharma Grand Reference 75-ohm digital IC; a GW Labs jitter reducer/signal amplifier b/w trans and dac (yes, I was skeptical as well putting anything else in the signal path, but it IS a noticeable improvement, and confirmed by a couple of friends in the U.S. who have the exact digital combo I am describing). Also- Ensemble Isolink isolation transformers (2) feed cleaner power to the trans and dac (lowered sound floor and superior coherency and soundstaging are immediately evident with the addition of these isolated transformers- i.e.- in your analog world, an analogy might be that VPI SDS?).

I don't have time today to describe sonically the benefits of the above setup, but suffice to say it handily trounces any one-box setup I have heard or owned (yes, the Capitole MK I was mine, AND we demo'd the MK II as well...). The detail retrieval from the transport is second to none, and the natural realism; harmonic completeness and top-to-bottom frequency response from the dac is superb.

And by the way, this is through an Audion Premier Anniversary edition preamp; ASL 1009 monoblocks (modified); and Coincident Total Victory speakers." (8/03)

Another Reader on Digital Front-Ends- A reader, who also knows the participating reader above, sent me a letter that offers a further perspective on the same digital components.

"I went on an odyssey of digital front ends in the last four years, and I have ended up with the same front end as your reader with the Spectral/Audio Note. It is one of the best digital front-ends I have heard, with the exception possibly of the new Meitner. It has a naturalness and ease unknown to me previously by digital. It manages this without over-smoothing the sound. The midrange is very open and clear, without digital artifacts. The highs are very good for digital, and the bass is perfectly natural and extended. It gives my Well Tempered Reference/ Symphonic Line RG-8, ASR Mini Basis Phono combo a run for the money, but the analog is superior. Analog still sounds bigger, less mechanical, and more vivid.

I recommended to your reader to try a few tweaks to the Spectral (a Shakti Stone inside the transport over the digital section), and to roll some NOS tubes for the Audio Note. The Audio Note is much improved by a Bendix 5852 Rectifier tube, and some special 6992s - Seimens CCa or Amperex Oranges are my preference. I also had the Audio Aero Prima 192K DAC with the Spectral transport previously, and I agree with your* assessment there too."

*Note- Despite this observation, I must point out that none of the "assessments" concerning any of these digital components are mine (Arthur Salvatore). (8/03)

MANLEY LABS REFERENCE DAC- This DAC was very expensive ($10K+), but it was also the finest DAC ever made at one time. It is now discontinued. There is no 96/24, but it does have a volume control, HDCD capability and a polarity switch as well. The output stage is tube of course. This unit is still one of the closest avenues to analog ever made. According to one of my associates, this model even outperforms the Manley replacement, though it doesn't have all the (preamplifier) flexibility of the new model.

It is available used, now and then, at a big discount over the original cost (Audiogon). At its used price, normally around $ 5,000 or even less, it is a really good value, especially considering both its sonics and superb build quality.

SAKURA "FLAT FISH" CD PLAYER- This unit is deceptively small, like all their other components, but it sounds huge and is one of the finest "all in one" CD players available right now. My sources even prefer it to the ultra expensive LINN player.

This player requires a volume pot and it is expensive for its size and shape, but it is fairly priced for its relative performance. It is superior to the Alchemist Forsetti just below.

ALCHEMIST FORSETTI TRANSPORT & DAC- A superb combination with balanced outputs controlled by its own analogue volume control. This is for those who want a minimalist digital-only system. Very well built and with unique cosmetics.

Recent News- These two components are now discontinued, and must be found used. That makes them an even better value as far as I am concerned. I heard them most recently in August 2005, and I still consider them superb performers.

Note- The first three players below were once in Class C. They have all been obsoleted by the Pacific Valve MHZS CD 66. Their current descriptions do not yet reflect the existance of the Pacific Valve.

MSB LINK- This is a breakthrough component and it is, by far, the best DAC for the money. You have to go the Alchemist Forsetti to beat it out and it has 96/24 conversion as a bonus. The Link requires the Pioneer Elite DVD Player 05 (for its coaxial output) and the WireWorld Gold Starlight III coaxial cable for best performance. There are also a number of "factory upgrades" available as well that will further improve its performance. They should be approached with caution since their accumulated cost might be greater than a (now or future) superior Class B model.

ALCHEMIST NEXUS- This unit has excellent sound, the best at its price for an all in one player, and it’s well built. This component is for those who don’t want separates. It is superior to the (Entry-Level) Parasound, NADS and Rotels. In short: True Class C performance.

AH! TJOEB'99- This CD player is actually a modified Marantz. It uses (6922) tubes in the analog output stage. It is available only direct from the modifier, Upscale Audio. There are a few different alternatives and I haven't heard them all. The prices are in the $ 500 to $ 700 price range.

The Marantz chassis and transport they use are cheaply made and the play button regularly requires more than one pressing to become engaged, a minor irritation. However, the sound quality is excellent at this price point, though I must stress that it is not as good as much of the hype (audioreview.com) would suggest.

Its main strength is its overall naturalness, which is a rare quality at this price. Other audio parameters are also good, with its weakest area being "the bass". For acoustical music, this is the best player we know for under $ 1,000 (new).

This model can be further improved with modifications (better coupling capacitors) and superior tubes. This URL (http://www.hifi-notes.com/ahtjoeb99home-en.htm) may have some relevant information for an owner or prospective purchaser. Finally, the word "tjoeb" means "tube" in Dutch.

Further- The above description was written more than three years ago (August 2000). This fact must be taken into serious consideration when comparing this unit to the most recent models. It is safe to assume that something is now better for the money in today's market, though there is no guarantee of that.

NOVA PHYSICS "MEMORY" CD PLAYER- I haven't seen or heard this player, which isn't surprisng, since I've never been on digital hardware's "front-line", but the theory behind this component appears very logical, imaginative and relevant to me. In fact, based on the detailed description of its versatile capabilities, and the all-out manner of its execution, see below, I would say it's the single most desirable CD player ever made.

A veteran audio writer and reviewer, from Positive Feedback, Clark Johnsen, has already posted a good write-up about it. I recommend this essay to any reader who is serious about digital reproduction. Purchasing one of them is a different matter. You're on your own at that point, because the price is $ 10,000 according to another reader. (If you do purchase one though, I would like to hear about the results.) There's even more good news for vinyl fans. Here is a highly relevant note from the other reader:

"This (Nova) player is evidently a super-duper CD writer to boot, but the very most exiting thing for vinyl enthusiasts is that this deck is available with an option to make CDs from analog sources. Most of us vinyl folks would love to be able to have a high quality system for making CDs from our records, and almost everything I've seen out there requires one hell of a computer, special software, and it helps to have a Master's degree to learn to use it."

CAVEAT-Please be advised that the readers’ letters posted on this site are solely the opinion of that reader and may not necessarily represent or reflect the opinions of Arthur Salvatore or High-End Audio. These letters furthermore, are not to be taken as being endorsed by Arthur Salvatore or High-End Audio. They are posted because they may be edifying, thought provoking or entertaining.

Here's the latest information (6/06) I have received from a reader about this innovative CD player. There's only a little editing (my bold):

"This morning, I had a lengthy conversation with George Bischoff from Nova Physics, one of the co-designers of the Memory CD Player. He was president of Melos. He told me that some of the information on the www.memoryplay.info web site is not entirely accurate (or let’s just say outdated, because there was obviously no attempt to mislead). He (Bischoff) gave me permission to relay this to you:

The Memory CD, sold as a stand-alone transport, sells for $9,950. It includes the capability to store between 65 and 80 CDs in memory (depending upon the length of the CDs). There is, however, a version that allows the player to connect directly to an amplifier (given your preference for this type of connection, I know this will spark your interest). It contains a 32-bit DAC and has a vacuum tube output (based on the 6DJ8/6922/EC88, etc.) and volume control. Sorry, but I forgot to ask how many tubes are utilized. This latter version sells for $14,400.

Two of the options on the earlier web site are NOT available: (1) the plan for streaming audio has been discarded, as Mr. Bischoff has concerns about internet viruses infecting the player & (2) the home theater option.

Digital recording is available from analogue sources to digital as a $1,000 option. The music library maximum is currently now at 400 CDs, and that add-on is a modest increase of $400 to the purchase price. He is not comfortable at the present time with more storage than that because he said that if the memory were compromised, due to something like a power surge or lightning strike, the work to reconstruct the CD library would be more time-consuming than most people would want to deal with.

One option, not mentioned before, is a unique form of remote control. For $ 650, Nova Physics will furnish a Dell Inspiron 1300 laptop with a connectivity program (this represents a $ 100 markup over the purchase price of the computer direct from Dell). He told me the program will work on other laptops, so I would assume the price for the connectivity program would be approximately $ 100."

Personal Notes- I'm not usually excited about "digital" anything, including both hardware and software, but I admit that this component has me intrigued. I think it is because of its imaginative, fundamental and highly desirable innovations; which may well mean a possible sonic breakthrough and for also the improved ergonomics and flexibilty of use. It's a dream player, in many way, for both digital and analog-oriented audiophiles. We can only hope now that the final results matches the inspiration, and, in the longer run, this type of player becomes available at a much lower price. This brings us to...

The other side of this important story. So here's a letter from a another reader, with a different angle about the Nova Memory player, and any other future player using the same, or similar, technology. Here it is, with no editing:

"I have been talking to a number of people about the Memory player and I have learned that some of their unique marketing claims may not be all that special.

They claim that the player avoids the ECC error correction used in CD players, and repositions the laser with many reads until it gets an accurate read using their Read Until Right technology. This type of technology already exists in almost all modern computers. Most computer CD/DVD drives do not use ECC correction when they rip music to a hard drive. Modern computers also in conjunction with quality ripping software, read and re-read each bit many times until they determine the data is accurate. The CD/DVD drive adjusts the position/angle of the laser etc, to accomplish this.

Nova claims claim that they read the data into memory and then send it to a Dac, and that this is unique. All computers send data to memory before it is sent to the DAC. Music never is played directly off a hard disk, or off a disc when using modern playback software like iTunes, Windows Media Player etc.

The case that the player uses is a common PC ATX computer case sold for custom built Home Theater PCs. This type of case can only be used for a Windows type computer system (or Linux), no other components would fit in it, and it wouldn’t make any sense to use a case like this or modify it for custom components, because the cost and time would far outweigh any benefit. So the player is obviously built from the ready-made computer parts that most Windows computers are made of. http://www.silverstonetek.com/products-lc18.htm

So is the Memory Player unique, or is it a repackaging of the many computer-based music playback systems that people are building for themselves these days? If so, why the high price? Is this another case of obfuscating a common process that others have developed and selling it as unique that has been all too common in the history of High End Audio? Many serious audiophiles have been reporting that contrary to expectations that computer audio sounds better than their traditional CD systems. I think that many traditional audiophiles have avoided these systems because of the complexity and general unease with computers. Perhaps it is time to listen to some of these and hear what all the fuss is about?"

Personal Notes- One of my closest friends, who is also an "associate", recently built a dedicated computer, from scratch, to be his digital audio source. So what is written above, is not just the reader's "theory". Since computer technology gets better (and cheaper!) as predictably as the day follows the night, it appears reasonably certain that DIY computer/digital/audio kits, or fully assembled models, will eventually become available. If that wasn't enough to look forward to, don't forget that when using common computer parts, the retail prices will have to be "normal", in stark contrast to "audio prices".

In short- We may be at the beginning of a digital audio revolution. It will start with the true "pioneers"; DIY hobbyists who will attempt to build a new generation of digital components for the love and challenge of it. It will grow from there, though without any help from the "mainstream" audio press, who are much too close to the current digital audio manufacturers to report on this potentially breakthrough development. Eventually, even the "big boys" will have to acknowledge what's happening, which means "audiophile" versions will become available. Whether they will be any more than just aesthetic and ergonomic enhancements, for a premium price, remains to be seen.

Here's an interesting and broad-ranging letter from a reader with a lot of valuable information and observations about optimizing the Manley Reference DAC*, along with some other high performance components. I like the way this audiophile relentlessly and systematically seeks out improvements. I recommend this method, even if the full scope can't be copied due to time and monetary restraints. Here's his letter, with very minor editing and my bold:

"I have followed your writings for several years and finally wanted to share my experience with the Manley DAC. I have owned this for almost 4 years now.

To give you an idea as to the rest of the system before I discuss details of the Manley. This will give you an idea as to what I seek in a system.

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Clearaudio Ref TT with two arms: Graham 2.2 and Zeta.
I use a combination of Clearaudio Accurate, Koetsu RWS, Audioquest 7000 (recently rebuilt) and an old old Supex 9000 (also recently rebuilt) which sounds outstanding for this price bracket. Rework was done by a small company called the Soundsmith. He has several options for different cantilever and stylus materials at very realistic prices.

Phono stage: Aesthetix Io - Heavily modified by GNSC, but still looking to replace remaining 0.22 uf caps with SonicCap Platinums. Will take the Io PS to GNSC for replacement of some diodes, regulators and possibly wiring.

Line stage: Aesthetix Callisto Sig - I know you are not a fan of line stages, but this brings on life to all systems I have heard it with vs. CD players straight into amps.

I have put a ton of effort to find tubes for the Aesthetix pieces.
Quite a mixture of Telefunken 12ax7, Sylvania 5751, Valvo and Miniwatt Pinched Waist 6922, Siemens 6DJ8 A-getter, Tungsol and RCA Redbase 6SN7, Mullard UK EL34, etc.
These tubes took the units far far beyond what nearly everyone has heard with the stock Sovtek tubes. But even with stock Sovtek tubes, these units handily outperform so many many preamps out there in the context of layering space, piano textures and strings.

Rives PARC Parametric EQ - With many ASC columns on the front wall, and ASC treatments on back wall, there is still much bass energy that is out of control. It really masks the midrange and treble clarity. I was concerned this device would destroy the incredible decays and ambience of the system but this miraculously was not the case.....only a reduction in dynamic contrasts occured. This problem was later greatly resolved when changing from Purist Dominus PC to the Stealth Dream PC on the PARC. The PARC, at least for now, is critical to achieve the tonal coherency in the system for this 13x19 room.

Amps - CAT JL-3 Signature. Like the Aesthetix pieces, I have gone through much effort to find phenomenol small signal tubes for these. Again the 6922 pinched waist, Sylvania 5751 and various 5693 tubes for the 12au7 socket. I currently run with 2 matched sets of 16 6550 Winged-C tubes.

Cabling is a mixture of Stealth Dream and M5000 PCs, Indra IC with a 10m Purist Dominus from Callisto to JL-3s, Purist Opis spkr cable.

Speakers - 10 year-old pair of SoundLab A1, updated backplate electronics but not the latest high-efficiency panels.

CDP - An old Pioneer PD65 which has been a great workhorse as a transport. It has an SPDIF RCA digital output which drives a Genesis TimeLens and then into the Manley via Marigo 5.7 cable. The Genesis helps significantly to bring on greater dimensionality to voice and piano....this is not subtle.
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Strengths: Portrays piano like no other digital piece I have heard. It can sometimes be a little too much of a good thing, but it truly conveys the placement of a paino before you. Massed strings, saxaphone, voice, lower-frequency percussion: decays like no other piece I have heard.

Weaknesses: Lacking authority and extension in bottom octave. Never boomy, does not artificially extend upper bass to compensate for lack of ultimate coverage, but other players, e.g., Wadia 861, render bass control significantly beyond the Manley. Top-most trebles also lack coverage and extension. Fundamentals of notes are strong, but the follow-through of the harmonics for elements like the top-most saxaphone notes, cymbals, etc., lack the detail and reach that is heard from others.....again, the Wadia 861.

After hearing many other digital systems, and I often took the Manley DAC with me to friends' homes, I was acutely aware of its character and how it exceled over its rivals...but also what attention it might need if ever mod'd.

I contacted Steve Huntley at GNSC about the possibility to improve this unit without affecting its magic in the middle 6-7 octaves. We agreed up to two passes to try and achieve this effort.

The first was to work to open up the top-end. With a couple of cap changes on the audio stage, some Bybee filters on output, and a few undisclosed minor changes elsewhere, he did indeed bring on life on top that the unit never had at all. The pair of caps just in front of the 7044 tubes were the ones that were replaced and made a HUGE improvement to open up the top end. Absolutely amazing transformation. The fundamentals were as strong and full and rich as ever, but now the harmonics could breath and extend far back from the speakers.

A direct comparison to the Wadia 27, fully decked out by Steve: I must say it was now darn close as to which unit rendered the top end with more clarity and extension. The Wadia got the edge, but not by much. But the Wadia was so far behind the Manley when it came to the layering and structure of voice and guitar....not even close. The Wadia for me anyway was too clinical. But the Wadia still had an incredible rendition of the bottom octave.

Second change was to replace all the caps on the D/A board to Black Gate. This was 18 2200uf/35v caps. The Black Gates are a bit larger in diameter than the stock caps, but the board is high enough to mount some on the bottom of the board so as to fit them all. He added some chassis dampening materials to the side panels as well. I did not get to hear this as we ended up losing one of the DACC013 modules in the process (see below).

It took us 9 months to locate another product which used this chip. Once this chip was harvested and put into the Manley, just this last week, I can finally hear this unit like I never could have imagined. The unit's fundamental strengths are unchanged and with the last updates, there is now much more control in the lowest frequencies.

Power cable is critical to this unit. I tried many and only a few allow the Manley to bring on its 3-D capability. The Purist Dominus was absolutely magical here, but it tends to roll off the highs. I tried a Virtual Dynamics Revelation and it brought on far greater extension at the frequency extremes, but it also robbed the 3-D magic. The Kubala- Sosna cables are wonderful to convey more detail at the extremes, but they too can be a bit flat in the portrayal of dimensionality. The cables to beat here are the Stealths: M5000 is an excellent performer, but it was the Dream which for the first time allowed me to hear the twang of piano strings with CD playback. The cable is insanely priced, but without it, you are not hearing the Manley's ability.

As for replacing the D/A chips, this would be an interesting thing to consider, but I suspect it too would change the character of the unit to a point of regret. I also have a Classe DAC-1, which uses the UA chips, but a different model, and this has similarities of the Manley in how it portrays dimensionality, decays, ambience. So few digital systems get this fundamental character right. No matter how good a piece does everything else, it if fails here, I reject it. So I wonder if trying a different chip might mess this up this magical sonic quality.

And please be careful when you work in the unit. It's an issue of the risk of damage or destruction of a chip during the mods, as explained above. The D/A chips are fragile. So all care must be taken when working in this as the consequences can be high if one of the UA chips is destroyed. These chips are no longer available, and I do not know if anything out there today that is a pin-for-pin replacement."

*Personal Note- My Manley Reference DAC is "for sale". I'm only asking $ 3,500 for it, and it's in excellent shape. I would keep it, but the investment is not worth my pitiful CD collection. Someone will appreciate it a lot more than me.

RESOLUTION AUDIO OPUS 21 CDP- A reader sent me a letter with some observations on this component. I felt they should be shared. There's some small editing;

"I just bought a Resolution Audio Opus 21 CDP, which in my opinion is great for the money. It retails for $ 3,500, but you can usually find it used for $ 2,500. While its not state of the art, it is excellent value for money. I had a well known manufacturer/dealer tell me that he uses it at shows over the $30k DAC he sells, because he has not come across a partnering transport he feels betters the Opus 21 overall (however he is very much into musicality)." (12/07)

Personal Notes- I'm not familiar with this component. It's probably worth checking out, but digital dedicated computers may be the real future for audiophiles. (I'm on my best behavior today. I'm making no comment on the reader's "musicality" reference.)

This reader, a former customer of mine from "the old days" in Toronto, sent me some useful information about his tube rolling experiments with CD-88E CD player. Minor editing and my bold:

"I have the MHZS CD-88E and found out that the regulator tube, OB2, has quite a profound effect on the bass response. I went with a Sylvania Gold Brand OB2WA and I love the bass, as it became 'real', faster and cleaner. My finishing touch was a pair of Tung Sol ECC803S, which really took the player to the next level." (1/08)

Due to the harsh, yet fair, rational, informed and intelligent criticism of the above essay, posted on Digital Drive, my (Fired!*) associate, deep in the depression he now realizes he has so justly deserved, received an Audio Epiphany, and has felt compelled to re-edit his complete original comments. You can read his re-edit of his "Shameful Shootout" below.

However, his original essay will remain exactly as posted, as a constant "reminder" to him of his sinful and wayward past. (And to also remind me not to be his fool and dupe ever again!)

*As soon as he gets back from his all-expenses-paid annual visits to Italy and Australia. Now I'll have to find someone to replace him, which will be mighty difficult, considering the enormous amount of time and effort he makes to eat, drink, sight-see and socialize with audio manufacturers in their strange foreign lands.

Inspired by John Atkinson, Robert Harley, Jonathan Valin, Mike Kuller, Marc Mikelson, Doug Schneider, Sam Tellig, Tom Miiller, Wes Phillips and all the other great audio panderers of our time, my guilt ridden associate has decided to completely re-edit his so-called, and utterly shameful, FALL 2007 DIGITAL "SHOOTOUT". He only hopes and prays that this act of sincere humility and repentance will begin his long journey to achieve the same degree of admiration and popularity that the aforementioned writers possess. Caught myself in the audio vapors, I dared not edit this revelation and masterpiece of audio journalism.

The current state of digital reproduction has never been at such an exalted level. From entry level players to state of the art, the quality exhibited by ALL the players in the following survey is exemplary. Who could have imagined such huge sonic progress in the digital realm. Not only has performance jumped by leaps and bounds, but the value offered by all the players is absolutely staggering. While all of them are extremely special, a couple of them are even more special than others! Those who believe digital cannot equal analog may even be forced to rethink all their preconceived notions.

Class A+ - The Very Best
Class A - The Best
Class B - Would be in Class A if they cost more and did not pose a threat to the established companies in Class A.

Since it is that time of the year, we are also presenting our Digital Product of the Year!!!

The Results!- It is a tie between the 2 players in Class A+.

Runner Up - All of the units in Class A.

Honorable Mention - All of the Players in Class B.

The Ayre C-5xe is what makes this hobby so enjoyable. Superb sonics and excellent build quality simply abounds here. The Ayre is very easy to listen to. None of those explosive dynamics or hearing every little detail on a recording to upset that late night relaxing listening session. Tired of deep, impactful bass and midbass, that may bother family members in another room? Worry not! The Ayre is nicely rolled off in both frequency extremes so any digital nasties on those poor recordings will never be revealed. Better yet, there's so much more to love!

The soundstage is nice and concise. Tidy is a good way to describe it. While other players may present an image that extends way beyond the boundaries of the speakers, the Ayre is infinitely more precise! It actually locates all the sounds right on the speaker drivers, so all the musicians are easily found. All in all, the Ayre is what high end audio is all about. Is it perfect? Sadly no, its display is a little dim and the size of the display a tad small for those of advanced years, like most of our readers. At $6000, it's a virtual bargain if it played only redbook, but add the fact that the C-5xe is a multi format player, and we are talking a literal "give away". Most Highly recommended!!

The Audio Research CD7 is what can be expected from a company with such a long and revered tradition of component excellence. My factory visit to their headquarters in Minnesota confirmed the dedication and committed approach all ARC employees exhibit in their jobs. My 7 day visit was far too short. Always well built, reliably designed and representing great value, the ARC CD7 is no exception. This player is very neutral, exhibiting wonderful detail and clarity. The bass, midrange and highs are in perfect balance. The soundstage is massive, almost making 2 channel CDs appear like surround sound. The ARC was so good that even my wife (who can barely tolerate my audio passion) remarked how much she enjoyed listening to music through the Audio Research. While it may not be perfect (it is a little conservative in appearance) CD sound does not get any better than this. My hats off to Bill Johnson and his entire design team for producing another winner in their long line of distinguished components.

The McCormack UDP 1 is a top notch performer. Designed by Steve McCormack, one of audio's originals and an all around great guy, the UDP 1 is a universal player that performs equally superbly in all formats. This player is nicely constructed and offers all the performance one can hope for. This is the perfect player for those not overly fussy or demanding, and whose association with live music is non existent. An easy top recommendation.

The AMR CD 77 is beautifully constructed and weighs in at a back breaking 92 lbs. The chassis alone weighs more than 70 lbs. The unit is shipped in an aluminum flight case to prevent against any prospect of freight damage. We applaud all the efforts expended in getting this unit safely to its prospective owners. Functionally the CD 77 was enjoyable to use. Loved the remote. It is light movement sensitive and proved simple to operate especially in the dark. Impressive was how well balanced and easy on the ears the AMR is. CD sound proved very analogue like and anyone who claims only LPs can sound warm and non edgy will be shown the error of their ways. Sonically this unit was beyond reproach. There is one caution though: the player's hefty size and weight. A sturdy stand with at least 14" height clearance is a necessity. The AMR may be a newcomer to the audio scene, but this auspicious start augers well for a very promising future. Highly recommended!

The Reimyo DAP 77 and CDT 77 are constructed to the highest standard and are beautiful in their elegant simplicity. We would have reviewed their single box CDP 77, but it was recently discontinued in favor of the current DAC and transport configuration. While the Reimyos are the costliest units in this survey, who can put a price tag on Rolls Royce type quality. We can only tell you that it offers unparalleled beauty of construction and sound that will satisfy any one who cherishes a beautiful midrange and, after all, the midrange is where 80% of the music is. The bass is full bodied and warm unlike other players that can sound cold and thin. Give me warm and full any day. The sound is so lustrous at lower volumes, there is no need to play it at loud levels and we caution against it. We do have one complaint though: The remote is made of rather inexpensive plastic. At this price, it should be fashioned from brushed aluminum. Highest recommendation!

The APL Denon 3910 is a multi format player that starts life as a mass market $1500 unit (available discounted for $1200), but then gets extensively modified by Alex Peychev, originally from Russia, I mean Europe, but now living and working in the US. His modification costs about $4000, or you can buy a complete player from him for $6000. While that may sound like a lot to pay for a modified Denon, that cosmetically continues to look exactly like a Denon, it is hard to quarrel with the sonic results. Peychev takes a nice sounding consumer machine and turns it into an even nicer sounding one! This player is smooth. Very smooth. Nothing played through the APL will irritate or annoy. Poorly recorded material will be transformed. Digititis need not apply here. Pour a nice glass of cognac, sit back in your lazy boy and luxuriate in the soothing sounds emanating from your speakers. If you happen to even doze off, do not be surprised, so relaxing is this player. While we wish it had an owner's manual that was legible, that is merely a quibble for a player that sounds even superior to a stock Denon. Recommended highly!

The ElectroCompaniet UPSE is a very well built player that is a solid all round performer. Does everything at a top level. After months of living with it, it is exceedingly difficult not to like everything about it. Right up there. Nuff said. Highly recommended!

The Doge 6 is a Chinese sourced player available direct from Pacific Valves for a reasonable $1400. Construction quality is good, but not in the same league as the above mentioned units. It is nice looking and a solid performer. Not much to criticize. It represents reasonably good value, but its long term reliability cannot be determined at this time. Highly Recommended!

The Oracle CD 2500 MK II is a stunning looking machine that more resembles a space ship than a CD player. It looks a lot like the company's turntable. Care must be taken in wiping off the inevitable finger prints that will be visible on the polished aluminum and acrylic finish. The player is supplied with a soft cloth and cleaner which is a nice touch. The packing the player comes in is equally impressive. There is an outer cardboard box and the player itself is housed in a wooden one. Very nice packing job. The remote is large and quite heavy and matches the lacquered aluminum finish of the player itself. It felt very tactile to the touch. I especially enjoyed holding the remote. When my non audiophile wife came into the room and first spotted the Oracle, she actually had no idea what it was. When I told her it was a CD player, she thought I was being condescending and making fun of her. She did not speak to me for 3 days! If one is contemplating the purchase of the Oracle, do not duplicate my experience with your wife, or significant other. Consider yourself warned!

Still, the Oracle is a very competent performer that held its own in this esteemed group. It sounded like the music being played through it. It was very difficult to find fault with it. It did not seem to conceal any musical information nor pervert it. Musical details on familiar recordings were presented anew. I was hearing things I never heard before with an energy and dynamism that was thrilling. The bass was explosive, the mids very open and pure and highs were pristine. The soundstage was expansive yet highly focused. Instruments had weight and body. While my wife was still not speaking to me, she kept returning to my audio room to listen to music. This was the definitive sign indicative of the quality of reproduction. However, I must add a caution. Many audiophiles who read this magazine are not partial to the sonic portrayal as described above. My advise is to listen for yourself. Ask your local dealer to loan you this delicate $10,000 player to determine if this is your aural cup of tea. The Oracle may simply be just too much of a good thing. But for those few who do value total accuracy, transparency, uniform frequency response, unbridled dynamics and full rendering of harmonics, this might be the player for you. Highly recommended, but you are warned.

The MHZS (now that is a mouthful- who came up with that name) CD 66 and 88 are also offered direct by Pacific Valves. These are superbly built (especially for the price) and offer performance way beyond their meager asking price. They let the music flow without too much in the way of interference. I could say they sound superior to other more costly players, but that would would upset a lot of industry manufacturers and insiders and why do that for a Chinese player that is directly sold and means nothing to us. Instead, allow me to state that if your budget is limited to under $1000, I would check out these players. Highly Recommended.

Conclusion- While 2 players were selected into Class A +, that does not mean that all the Class A players are not worthy of consideration. After all, they are "the best", just not quite "the very best", such as Class A+. They are all remarkable performers with differing strengths and weaknesses. As we are acutely aware, everything is system dependant, and personal taste will determine which player will work for you. Never forget; Audio is exactly like wine tasting; whatever satisfies your palette is good. There are no absolutes. Everything is relative and completely subjective. As always, I urge you to borrow all these players for an in home audition prior to purchase. Use this survey only as a starting point. Do not ever take the opinion of any reviewer seriously enough to base a purchase upon it. Nothing is perfect and one man's meat is another man's poison. I may think Pamela Anderson is hot, you may feel the same way about Kirstie Ally.

As for methodology used for these evaluations, I used blind testing, double blind testing, sighted testing, (the blind fold was getting itchy) my wife coming into the room when suitably impressed testing. I listened to the players in phase and with polarity inverted and sometimes both at the same time. I used 12 different power cords, plugged directly into the wall and through 6 power conditioners. The players were evaluated using 4 different pairs of speakers, 6 amplifiers and 8 preamps including active and passive models. I changed interconnects 9 different times and used each pair on each player. I must admit to using only 2 speaker cables, but I was exhausted at this point and I was auditioning the Chinese players, so I felt it really didn't matter. Further, level matching between each player was within .0001db, since it is well known that unless there is absolute level matching, it is impossible to distinguish between the components. As a matter of fact, the poorer performers might even sound sonically superior if level matching is not exact.

Also, 4 different systems were set up ranging from the most neutral and transparent, to lower and lower resolution. It is edifying to discover that some players (i.e the Ayre, APL and McCormack) sounded best on the lowest resolution systems, while the Oracle and ARC performed at their best on the most transparent set ups. This once again only proves how system dependant audio components can be. And as always, your mileage may vary.

I (Arthur Salvatore) have a minority input in this component category.