Remember Yourself - Various - T.R.A.X.8000 (CDr)


Generally the sleeves had a circular cut-out exposing the record label to view. Records could be laid on a shelf horizontally or stood on an edge, but because of their fragility, breakage was common.

German record company Odeon pioneered the album in when it released the Nutcracker Suite by Tchaikovsky on 4 double-sided discs in a specially designed package. The practice of issuing albums was not adopted by other record companies for many years. By about[note 1] bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records the term "record album" was printed on some covers.

These albums came in both inch and inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them.

In the s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums, typically with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight tunes per album. When the inch vinyl LP era began ineach disc could hold a number of tunes similar to that of a typical album of 78s, so they were still referred to as an "album", as they are today.

For collectible or nostalgia purposes, or for the benefit of higher-quality audio playback provided by the 78 rpm speed with newer vinyl records and their lightweight stylus pickups, a small number of 78 rpm records have been released since the major labels ceased production. One attempt at this was inwhen inventor Ewing Dunbar Nunn founded the label Audiophile Recordswhich released a series of 78 rpm-mastered albums that were microgroove and pressed on vinyl as opposed to traditional 78s, with their shellac composition and wider 3-mil sized grooves.

This series came in heavy manilla envelopes and began with a jazz album AP-1 and was soon followed by other AP numbers up through about AP The Audiophile numbers can be found into the hundreds today but the most collectable ones are the early 78 rpm releases, especially the first, AP The 78 rpm speed was mainly to take advantage of the wider audio frequency response that faster speeds like 78 rpm can provide for vinyl microgroove records, hence the label's name obviously catering to the audiophiles of the s "hi-fi" era, when stereo gear could provide a much wider range of audio than before.

Also aroundBell Records released a series of budget-priced plastic 7-inch 78 rpm pop music singles. InReprise planned to release a series of 78 rpm singles from their artists on their label at the time, called the Reprise Speed Series.

Underground comic cartoonist and 78 rpm record collector Robert Crumb released three vinyl 78s by his Cheap Suit Serenaders in the s. In the s Rhino Records issued a series of boxed sets of 78 rpm reissues of early rock and roll hits, intended for owners of vintage jukeboxes. The records were made of vinyl, however, and some of the earlier vintage 78 rpm jukeboxes and record players the ones that were pre-war were designed with heavy tone arms to play the hard slate-impregnated shellac records of their time.

These vinyl Rhino 78's were softer and would be destroyed by old juke boxes and old record players, but play very well on newer capable turntables with modern lightweight tone arms and jewel needles. The vinyl records, however, are easier to scratch or gouge, and much more prone to warping compared to most 78 rpm records, which were made of shellac.

InRCA Victor launched the first commercially available vinyl long-playing record, marketed as program-transcription discs. RCA Victor's early introduction of a long-play disc was a commercial failure for several reasons including the lack of affordable, consumer playback equipment and consumer rejection during the Great Depression.

There were also a couple of longer-playing records issued on ARC for release on their Banner, Perfect, and Oriole labels and on the Crown label. All of these were phased out in mid Vinyl's lower surface noise level than shellac was not forgotten, nor was its durability.

In the late s, radio advertisements and pre-recorded radio programs being sent to disc jockeys started being pressed in vinyl, so they would not break in the mail.

In the mids, special DJ copies of records started being made of vinyl also, for the same reason. These were all 78 rpm. During and after World War IIwhen shellac supplies were extremely limited, some 78 rpm records were pressed in vinyl instead of shellac, particularly the six-minute inch 30 cm 78 rpm records produced by V-Disc for distribution to United States troops in World War II. Shorter transcriptions were often cut at 78 rpm.

Beginning inDr. Peter Goldmark and his staff at Columbia Records and at CBS Laboratories undertook efforts to address problems of recording and playing back narrow grooves and developing an inexpensive, reliable consumer playback system.

It took about eight years of study, except when it was suspended because of World War II. Unwilling to accept and license Columbia's system, in FebruaryRCA Victor released the first 45 rpm single, 7 inches in diameter with a large center hole. The 45 rpm player included a changing mechanism that allowed multiple disks to be stacked, much as a conventional changer handled 78s.

The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA Victor claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential.

Early 45 rpm records were made from either vinyl or polystyrene. Another size and format was that of radio transcription discs beginning in the s. These records were usually vinyl, 33 rpm, and 16 inches in diameter. No home record player could accommodate such large records, and they were used mainly by radio stations. They were on average 15 minutes per side and contained several songs or radio program material.

These records became less common in the United States when tape recorders began being used for radio transcriptions around In the UK, analog discs continued to be the preferred medium for the licence of BBC transcriptions to overseas broadcasters until the use of CDs became a practical alternative.

On a few early phonograph systems and radio transcription discs, as well as some entire albums, the direction of the groove is reversed, beginning near the center of the disc and leading to the outside.

The earliest rotation speeds varied considerably, but from to most records were recorded at 74—82 revolutions per minute rpm. Edison Disc Records consistently ran at 80 rpm. At least one attempt to lengthen playing time was made in the early s. World Records produced records that played at a constant linear velocitycontrolled by Noel Pemberton Billing 's patented add-on speed governor. This behavior is similar to the modern compact disc and the CLV version of its predecessor, the analog encoded Philips LaserDiscbut is reversed from inside to outside.

In the s, At that speed, a strobe disc with 92 lines would "stand still" in 60 Hz light. In regions of the world that use 50 Hz current, the standard was Earlier they were just called recordsor when there was a need to distinguish them from cylindersdisc records.

The older 78 rpm format continued to be mass-produced alongside the newer formats using new materials in decreasing numbers until the summer of in the U. For example, Columbia Records ' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heartissued in November, In the United Kingdom, the 78 rpm single persisted somewhat longer than in the United States, where it was overtaken in popularity by the 45 rpm in the late s, as teenagers became increasingly affluent.

Some of Elvis Presley 's early singles on Sun Records may have sold more copies on 78 than on In the mids all record companies agreed to a common frequency response standard, called RIAA equalization. Before the establishment of the standard each company used its own preferred equalization, requiring discriminating listeners to use pre-amplifiers with selectable equalization curves.

Prestige Records released jazz records in this format in the late s; for example, two of their Miles Davis albums were paired together in this format. Each record held 40 minutes of music per side, recorded at grooves per inch. The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch mm 45 rpm disc, with a much larger center hole.

For a two-year period from torecord companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds" see also Format war. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February Bymillion 45s had been sold.

The 7-inch mm 45 rpm disc or "single" established a significant niche for shorter-duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the inch LP discs eventually provided up to one half-hour of recorded material per side.

The 45 rpm discs also came in a variety known as Remember Yourself - Various - T.R.A.X.8000 (CDr) play EPwhich achieved up to 10—15 minutes play at the expense of attenuating and possibly compressing the sound to reduce the width required by the groove. EP discs were cheaper to produce and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players.

The large center hole on 45s allows easier handling by jukebox mechanisms. EPs were generally discontinued by the late s in the U. In the late s and early s, rpm-only players that lacked speakers and plugged into a jack on the back of a radio were widely available. Eventually, they were replaced by the three-speed record player. From the mids through the s, in the U.

The adapter could be a small solid circle that fit onto the bottom of the spindle meaning only one 45 could be played at a time or a larger adapter that fit over the entire spindle, permitting a stack of 45s to be played. RCA Victor 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a " spider ". In countries outside the U. During the vinyl era, various developments were introduced.

Stereo finally lost its previous experimental status, and eventually became standard internationally. Quadraphonic sound effectively had to wait for digital formats before finding a permanent position in the market place. The term "high fidelity" was coined in the s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. After a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available ingave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players.

Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. EMI cut the first stereo test discs using the system in see Bell Labs Stereo Experiments of although the system was not exploited commercially until much later.

In this system, each of two stereo channels is carried independently by a separate groove wall, each wall face moving at 45 degrees to the plane of the record surface hence the system's name in correspondence with the signal level of that channel. By convention, the inner wall carries the left-hand channel and the outer wall carries the right-hand channel.

While the stylus only moves horizontally when reproducing a monophonic disk recording, on stereo records the stylus moves vertically as well as horizontally. During playback, the movement of a single stylus tracking the groove is sensed independently, e. The combined stylus motion can be represented in terms of the vector sum and difference of the two stereo channels. In the first commercial stereo two-channel records were issued first by Audio Fidelity followed by a translucent blue vinyl on Bel Canto Recordsthe first of which was a multi-colored-vinyl sampler featuring A Stereo Tour of Los Angeles narrated by Jack Wagner on one side, and a collection of tracks from various Bel Canto albums on the back.

However, it was not until the mid-to-late s that the sales of stereophonic LPs overtook those of their monophonic equivalents, and became the dominant record type. The development of quadraphonic records was announced in These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels.

They proved commercially unsuccessful, but were an important precursor to later surround sound systems, as seen in SACD and home cinema today. This system encoded the front-rear difference information on an ultrasonic carrier. CD-4 was less successful than matrix formats. A further problem was that no cutting heads were available that could handle the high frequency information. This was remedied by cutting at half the speed.

Later, the special half-speed cutting heads and equalization techniques were employed to get wider frequency response in stereo with reduced distortion and greater headroom. The mids saw the introduction of dbx -encoded records labelled " dbx disc " for the audiophile niche market.

Encoded disks were recorded with the dynamic range compressed by a factor of two: quiet sounds were meant to be played back at low gain and loud sounds were meant to be played back at high gain, via automatic gain control in the playback equipment; this reduced the effect of surface noise on quiet passages. A decoder was commercially available [61] but only one demo record [62] is known to have been produced in this format.

Since the system was designed with playback compatibility of records on equipment without a CX decoder in mind, the maximum achievable noise reduction was limited to about 20 dB A. A total of about CX-encoded disks were produced internationally. Availibility of encoded disks in any of these formats stopped in the mids.

In fact, the system was undocumentedly introduced into the market by several East-German record labels since The German reunification put an end to the further introduction of the system in Under the direction Remember Yourself - Various - T.R.A.X.8000 (CDr) recording engineer C.

Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibitionconducted by Rafael Kubelikwas described as "being in the living presence of the orchestra" by The New York Times music critic.

The series of records was then named Mercury Living Presence. InMercury began three-channel stereo recordings, still based on the principle of the single microphone. The center single microphone was of paramount importance, with the two side mics adding depth and space.

Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response.

The Mercury Living Presence recordings were remastered to CD in the s by the original producer, Wilma Cozart Fine, using the same method of three-to-two mix directly to the master recorder. Through the s, s, and s, various methods to improve the dynamic range of mass-produced records involved highly advanced disc cutting equipment. RCA Victor introduced another system to reduce dynamic range and achieve a groove with less surface noise under the commercial name of Dynagroove. Two main elements were combined: another disk material with less surface noise in the groove and dynamic compression for masking background noise.

Sometimes this was called "diaphragming" the source material and not favoured by some music lovers for its unnatural side effects. Both elements were reflected in the brandname of Dynagroove, described elsewhere in more detail. It also used the earlier advanced method of forward-looking control on groove spacing with respect to volume of sound and position on the disk.

Lower recorded volume used closer spacing; higher recorded volume used wider spacing, especially with lower frequencies. Also, the higher track density at lower volumes enabled disk recordings to end farther away from the disk center than usual, helping to reduce endtrack distortion even further. Also in the late s, " direct-to-disc " records were produced, aimed at an audiophile niche market. These completely bypassed the use of magnetic tape in favor of a "purist" transcription directly to the master lacquer disc.

Also during this period, half-speed mastered and "original master" records were released, using expensive state-of-the-art technology. A further Remember Yourself - Various - T.R.A.X.8000 (CDr) s development was the Disco Eye-Cued system used mainly on Motown inch singles released between and The introduction, drum-breaks, or choruses of a track were indicated by widely separated grooves, giving a visual cue to DJs mixing the records.

The appearance of these records is similar to an LP, but they only contain one track each side. ELPJa Japanese-based company, sells a laser turntable that uses a laser to read vinyl discs optically, without physical contact.

The laser turntable eliminates record wear and the possibility of accidental scratches, which degrade the sound, but its expense limits use primarily to digital archiving of analog records, and the laser does not play back colored vinyl or picture discs.

Various other laser-based turntables were tried during the s, but while a laser reads the groove very accurately, since it does not touch the record, the dust that vinyl attracts due to static electric charge is not mechanically pushed out of the groove, worsening sound quality in casual use compared to conventional stylus playback. In some ways similar to the laser turntable is the IRENE scanning machine for disc records, which images with microphotography, invented by a team of physicists at Lawrence Berkeley Laboratories.

In order to convert to a digital sound file, this is then played by a version of the same 'virtual stylus' program developed by the research team in real-time, converted to digital and, if desired, processed through sound-restoration programs. Terms such as "long-play" LP and "extended-play" EP describe multi-track records that play much longer than the single-item-per-side records, which typically do not go much past four minutes per side.

An LP can play for up to 30 minutes per side, though most played for about 22 minutes per side, bringing the total playing time of a typical LP recording to about forty-five minutes. Many pre LPs, however, played for about 15 minutes per side. The 7-inch 45 rpm format normally contains one item per side but a 7-inch EP could achieve recording times of 10 to 15 minutes at the expense of attenuating and compressing the sound to reduce the width required by the groove.

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Related Stories. Related Story. This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. Will you be reviewing the n and have you listened to the a. I have had Cyrus amps for about 30 years and currently have the Cyrus 8 qxr with a psx r2 power supply.

Do you think that the dual mono design of the audiolab a would better it? Thanks for your report David — appreciate it. I have heard good reports from colleagues, though. Hello, I also recently got this CD Transport und im really enjoying it. I think it could be the cable itself. Cause i Heard accounts about specific drop outs when using the light Switch or the heater turning on. Please correct me If im wrong. I will try to use a Sheath current filter to see if it fixes anything.

Thank you for the review! Cheers Midnight. Note that there are major differences in optical cables as well. Thanks for your review. Regards Jeffo. Now, I am trying to extract the maximum information possible from this extraordinary machine and therefore I am looking for the best, yet affordable, digital coaxial cable to connect it to my DAC. More specifically, I am looking for a cable that would represent great value for the money just like this transport does.

I am a classical music listener looking for timbre, transparency and dynamics. So far I have tried the Monolith from Monoprice and I was very disappointed.

That cable sounds bland on the Audiolab. It is very natural sounding and lifelike, but has a bit of grain and lacks air. For the price though it performs very well on classical music. So have you settled on the Brilliance then or are you still looking? The Brillance appears to be still burning in, but I am not sure. It is indeed a terrific cable, not to say an extraordinary cable, especially for the price it is sold at.

It is supposedly a professional studio cable but it does not sound that way in my system. I wish it did though, because I like when music reproduction is so transparent that you have the feeling of being there, wherever it was recorded. At least I am hearing the truth. When I read your review, after watching the video that goes with it, which lead me to acquire the Audiolab, I had never heard a digital audio cable and I only had on hand a 20 year old Monster Cable video cable MV.

In the interim I had acquired an SKW optical cable to see which type was better sounding. No contest, the coaxial MV was more like the real thing. However the latter was distorting in the high frequencies. Perhaps because they were different versions, or maybe for other reasons, I had a totally different experience with these two cables than Jay had.

However, I have since ordered a Requisite cable identical to the one he also reviewed, except for the connectors. In the meantime I would like to know if there is another inexpensive cable out there that would be available as an alternative to satisfy my quest for the Graal. I absolutely need a 2 meter length, so the QED Performance being available in 1m or 3m lengths does not fit the bill for me.

Since you know the potential of the Audiolab Paul, I thought you might have some recommendations for me. As you now undoubtedly understand I am on a low budget. By the way I live in Canada and our dollar is losing ground at the moment. The Requisite is the maximum I can go. If 88 USD for a 6 foot cable may not sound like much we have to keep in mind that once converted it amounts to CAD.

Especially since I know how good a cable can be for 35 CAD on Amazon, including taxes and free shipping.

That is what the BJC Brillance cost me in total, and is still improving a bit every day. Enough so that if the Requisite turns out to be not as good in my system as I expect it to be I would be very happy with the Brillance. That being said, I am still interested to find inexpensive alternatives that I can compare to each other until I can lock on one particular cable.

That is what I did in the past with analogue cables. But for digital cables I am just starting on this new odyssey. And I already find the experience as fascinating as it was with analogue. A collection of CDs is awaiting your suggestion s. Thanks Paul! By the way, I just received the billing not the cable though for the Requisite and Remember Yourself - Various - T.R.A.X.8000 (CDr) amounts to CAD in total, when it actually had started at a benign 88 USD.

I was considering the CDQ as an upgrade. This transport seems a bargain and an upgrade safe one at that as DAC technology changes. If so, any thoughts as to options? Hi Sid — options really depend on your budget but — for CD and digital play — Remember Yourself - Various - T.R.A.X.8000 (CDr) would go with a separate transport and DAC for the reasons stated in the review.

Sold many when I went to streaming, but a substantial chunk of CDs still love here, so read your review and got seriously curious. Best you get short of mid Tier DCS. So …on paper… a good cd spinning setup?

I use the Oppo primarily as my Roon endpoint and movie machine, but spin the occasional CD as well. Your review got me really curious about CD again!

Lots of variables at play, and will need time for transport and cable to bed in, just going to enjoy the journey and not make a call for a few weeks. Thanks again for steering me in this direction, sold a shedload of CDs, but still have a couple of hundred to dip into.

Fun times ahead! Hi Paul, Thank you for the great reviews. I just ordered the a and cdt. I was just wondering: what type of cable would you recommend to connect them, digital coaxial or optical?

Hi Paul, I have a question somewhat tough. The weird thing is the following: when I use the bluetooth to stream music from my smartphone YouTubethe sound is open, the soundstage is large and mids and trebles are very well present. Basically, while it is streamed, it really sounds like a hi fi system. But when I play a CD, the sound is bit muffled. Bass are here but mids and trebles are in the back, not pushed forward compared to streamed music, and the soundstage is very narrow, not open.

Actually, I can hardly make a difference between the three filters. Could it be related to the cable between the amp and CD transport? A problem with the amp itself and the filters? Should I try an external DAC? I would very much appreciate your insight on this.

Thank you! Dear Paul, did you listen to the CDT via its own power cord, and if so how does it perform compared to others, providing you did any comparison? I am currently using a PS Audio Prelude on my Audiolab and never dared to listen to the power cord that came with this transport. Also, I would like to know if there is a cheap and easy way to improve the sound of any integrated amp that would come with a non-detachable power cord; in other words, is there something on the market that could easily be wrapped around a standard power cord to make it sound cleaner?

Hi Normand — yes I used the original power cable for the review but a power cable upgrade will improve matters. You might want to consider isolating the amplifier on low cost sorbothane feet. There are more expensive options too which perform better. I understand the benefit of having separates, but I was wondering whether the two are sonically comparable as DACs and whether the CD is sonically comparable to the CDT as a transport.

Any insight would be greatly appreciated. Cheers, Dan. If an integrated is your preferred form factor. As I say, that takes nothing away from the CD as a basic design. Really appreciate the quick reply. And as someone relatively new to the audiophile world, I really appreciate your site and your clear and articulate writing. I own the cdt and I would like to program a universal remote control.

Any ody are aware of how to get the HEX codes from the remote? Hi Paul, Thank you for very detailed but not overtly complicated reviews. I am looking to replace my existing 30 year old Philips CD player and I like the reviews of the cdt. However, I am only just reinstating my system after it has been in storage for 10 years and I am unsure of compatibility with my other components and particularly when it comes to selecting a DAC. Are there any that you would recommend that would be compatible with my existing components?

Hi Paul Thank you for your great reviews. I just bought an Audiolab a, a couple of Fyne f loudspeakers and intent to use them with a turntable and just stream everything else via the Bluetooth option in the amp.

Why not just use the build-in streamin option? You can stream from any source on your wireless network, including smartphones, tablets or PCs as well as a NAS Drive. Also, internal DACs tend to be sized to fit so the component quality might not be as good as an external model with a larger chassis and a larger build budget. Hi Paul, I would like to thank you for recommending to me to put my CD transport on an isolating platform. I did so recently and although I expected some improvement I never though it would have such an impact on the quality of the sound.

It might have something to do with the subjective impression I have that the sound pressure has been increased. This means that the digital coaxial interconnect I am using was not the culprit for the occasional distorsion I was hearing on some recordings. I now know that it was a mechanically induced resonance. It is important to understand that in my entire sound system, other than the speaker cables, I am using a single wire to connect the Audiolab to my Denon PMANE amplifier.

For some reason the sound differences between various interconnects is much more pronounced with digital than analogue. I knew upon hearing the very first note of music coming through the BJ that it would be the best possible digital link for my setup.

In fact I had the distinct impression that the Belden engineers had used the very same mathematics to design the specs for the BJ cable as the Audiolab engineers had used to design their transport. I believe that whenever applicable it is preferable to choose the shortest path possible between the recording and the listener or between the performers and the sound engineers for that matter.

That is the reason why before I acquired the Denon last summer, and the Audiolab ten days later, I had been using a Krell integrated amplifier with a Krell CD player. Believe or not but the new combo is far superior to anything I have heard since when I acquired my first sound system, part of which was a Linn Sondek LP12 with the following serial number: Yes, I am that old.

Many thanks for your thoughts, Normand. Like they used to do in old Western TV shows like Gunsmoke? Canada being West of Britain. In fact your reviews have helped me a lot over the years. Technics gr with Funk Firm mods — Achromat and Houdini, Audiolab cdt when my cdq died, Russ Andrews x block and power cords etc. Would you still go for the Teleroum Q coax, or a chord epic? That would seem to match my system, but is approx same price as the CDP itself!

Should I eventually look at a chord quetest or similar, or stick with the integrated DAC, given your previous comments… Many thanks in advance for your time and keep up the good work.

Thanks for your support Simon, appreciate it. Tellurium Q offers a great performance from their coax designs. QED offer good value if cash is tight, though. Also look at the coax from Titan. If you can and if you feel a need to upgrade, go for the separate DAC which will help combat high-frequency noise.

Hi Paul, very clear review, many thanks. This amp has 2 digital inputs, coax and optical and therefore an internal DAC, is that right? Thanks for your kind words. And external one would be a useful upgrade later, when funds are available. This transport replaced a classic California Audio Labs Delta, and the sound is superb. My biggest complaint is the finish. While my black unit has a beautiful look and color, the case and face cannot be wiped with any cloth without fibers sticking to it.

I Paul. Regards agt. Hi Paul, First please excuse my poor English I am french. In fact, I pushed that same logic to the extreme with my current hifi setup. Sure it does not help current manufacturers to make a living but it is not a perfect world either. Last but not least, thank you for your tests and the common sense enclosed into them. I always read them with pleasure. Kind regards Patrick. Thanks for your note, Patrick and sure, vintage is a valid and attractive route.

I include vintage in my hifi. My main reference speakers were made infor example. I run three cassette decks made many decades ago and so on. Hi Paul — Thank you for your comprehensive and well written review.

I have a Resolution Audio Opus 21 cd player which also has a digital input coax to allow a DVD player or other external source to be played through its internal dac. Thanks in advance for your thoughts on this…. Hi Brad — there are plenty of excellent integrated CD players out there and I need to stress that I am not damning that genre of CD player. Many of them perform wonderfully. Plus, the Toshiba weighs in at almost three times that of comparable CD players and offers better chassis damping and some audio parts upgrades.

In addition it will also reward with a truly excellent picture when used as a DVD-Video player. Top that off with DVD-Audio, which may, or may not, become our next audio upgraded standard, and the Toshiba may actually be an excellent bargain also.

Pay attention to the following numbers. However, a large local discount store has been offering them for half that amount! It would be tough to go very far wrong for that price. There's been very little activity the past couple of years with moderately priced CD players.

Very little in the way of design or sales. Sub-bass 10 Hz - 60 Hz. Mid-bass 80 Hz - Hz. Midrange Hz - 3, Hz. High-frequencies 3, Hz on up. Soundscape width front. Soundscape width rear. Soundscape depth behind speakers. Soundscape extension into the room. Value for the Money. Toshiba America Consumer Products, Inc.

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