Audiolab 8200CDQ CD-player
Audiolab's 'fundamental' CD player, the 8200CD does a lot a lot more than simply play CDs, equipped as it's using some digital input signals including USB, optical and electric. In addition, it has lots of electronic equipment that is internal, with more-than-ample supply being an important attribute.
The difference meant by the Q is this version also functions. To the digital input signals three line level analogue input signals are added by it, and there's also, obviously, a volume control. This is practical, honestly, and really lots of folks who possess a variable-output DAC are living with no preamp in any way that is routine. Three analogue input signals might not seem like much, but the five ones that are digital make this seem a good deal more like an apparatus that is very flexible. The ratio appears well chosen with a great number of sources having a digital output signal.
There is always some sort of a turn using a John Westlake-designed merchandise, and the one here I believe is quite awesome. With digital sources, you've got a range of analogue preamplifier way or digital. The purpose about that is the unit contains the essential gubbins to change gain in the digital domain (that is assembled in the DAC processor anyhow) as well as the analogue, the latter clearly essential for processing analogue input signals, which are not converted to digital within the unit. It likely was not very much work to implement this pick but it is an imaginative bit and only one more thing with in the procedure.
There is plenty more room for experiment. Lots of this is given by the multiple digital filters supplied.
The distortion is ultrasonic so you (likely) can not hear it but it could play merry hell with loudspeakers and amplifiers .
Arguments have raged over whether that ring has any perceptible effects and, instead of prejudging the problem, designers have reacted by offering various filter alternatives which don't have any pre-ringing, or almost no ring whatsoever, the latter always having a frequency response that departs in the standard ideal. The 8200CDQ takes matters to an entirely new amount with seven selections that cover all the fundamentals and much more besides.
That is all obtained through the set up menu, which likewise contains alternatives to set sensitivity for individual input signals, to establish individual input signals to 'Home theatre mode' with given gain, also to switch preamp functions off completely for use with the external preamp. There is also a fairly arcane substitute for fix 'DPLL Bandwidth', which will be essentially a method of working with digital input signals that are dodgy.
In keeping with all this unit's high end aspirations, it has been equipped by Audiolab with balanced (XLR) outputs alongside the typical ones that were unbalanced. Like quite several recent DACs, it makes usage of asynchronous mode on USB to remove in a stroke the primary way to obtain jitter because easy but somewhat catchy interface, and its own bidirectional information capacity means it is possible to control appropriate media players in your computer or Mac in the 8200CDQ's distant handset. It is not streaming skill that is exactly complete, but it is midway there.
Building will be to a high standard, with increased electricity supplies than you are able to shake a stick at, all high quality analogue components, - ample heatsinking and linear power supply. There is a Type-A headphone amplifier. I have only two, really small gripes; the CD transportation is somewhat wheezy as well as the display is somewhat prosaic. Both do what they are paid to do, however, and in the cost it will be mean to complain unduly.
Sound quality
There is only so much to enjoy about precious little, and the 8200CDQ that I was able to picture disappointing even the most fussy listener.
Most of all, utilizing the unit in just about any way, there is nearly tactile plausibility, firmness and an absolutely delightful solidity to the sound. This is something I found again and again, with records including solo piano to ballads that are straightforward.
Homogenising muzzling or keeping so many discreetly individual sound sources without them is certainly quite an accomplishment, as well as the CDQ was managed by It consistently via analogue and digital inputs, also.
Instrument and every voice was definitely identified and exactly found within the total sound picture, while in the exact same time I used to be made attentive to the scale of the event's broad dynamic variation and it. In another extreme, a record I'd simply made a day or two previously, of an extremely gifted young jazz pianist, revealed just why I'd so loved the recording sessions, with dynamics, tone and lifelike attack bringing the instrument vividly. Additionally, I occurred to have several copies of a number of rock CDs, thus had some enjoyment comparing the internal transportation with S/PDIF digital inputs of the CDQ and analogue input signals (fed).
For sure, the differences were outweighed by the similarities, with some bass expansion that was moreish and, yet again, excellent imaging and solidity. It is that close.
Filter shifts may have rather a noticeable effect, though it will be based on the music. It is that the sound appears more in-depth, in the long term more entailing, via' spectrum that is ideal'.
As for digital and analogue ways I agree with the opinion of Audiolab the former can look somewhat warmer - but there is actually very, very little inside. What is for sure is this is exceptional worth, one very competent piece of gear and, for its abilities.
