Jolida JD100A CD-player

Based in the state of Maryland in the USA, Jolida was initially incorporated in 1983 as a manufacturer of valves as well as other electronic components (make really taking place in China). In 1995 their first amplifier was established at the CES in Las Vegas. Recently the business has expanded it's products to contain a phonostage along with the CD player under review here.

It is a nicely presented unit that's housed in an incredibly solid (10kg) aluminum case which quantifies 425 x 300 x 87mm, and is for sale in the most common alternatives of black or silver. The brushed finish facia takes a headphone socket and volume control alongside the energy switch to the left, using the function buttons and lightly lit green display. Other functions, including track choice, are catered for by the remote control that was truly weighty.

Despite the weight of it's, it appeared to have a relatively wide angle of process, and sits rather well in the hand.

The back is unusual in having two sets of analogue output signals, both RCA phono sockets. I found an acknowledgement of this in the guide, but could discover no explanation for this fitment. Otherwise the layout is conventional having a coax digital out and a mains IEC socket.

With shielding breaking up the case, the interior is nicely laid out. Another transformer along with the Phillips CDM 12.1 transportation itself, and eventually the valve powered output stage which consists of two 12AX7 double triodes (see box out). Their sign comes from a Burr Brown 24/96 device.

I started off with Ivo Janssen playing Bach. This Dutch pianist started the Void label in 1998 to release his recordings of the entire Bach piano works, a project that began in 1994. The opening piece, a Vivaldi concerto, was quite nicely interpreted, although I felt that the higher notes on the piano, along with the harmonics encircling, them weren't entirely exact. There appeared to be a little bit of a sheen to the sound. It wasn't intrusive, but added a little brightness to the instrument which in some systems might be somewhat clear. Besides that I was impressed with the demonstration. The character of the instrument, and the detailing of the performance were handled well, and that I found it easy to relax and become involved in the music.

Later on musical supplies changed somewhat and played a budget compilation of tracks by 1940 s great Louis Jordan. The JD100 made it clear that this CD was not of the highest quality concerning the transfers of the music from original 78s, but it did not make too much of a fuss about it and settled down to some swinging tunes, starting with 'Five Guys Named Mo'. The bass romped along with a bit of a wiggle in the hips of it's, along with the rasp of the saxophone and the clarinet and trumpet contrasted nicely.

Again, I felt the top edges of the instruments were well lit, and again, it didn't detract from my enjoyment of the music, and in a way, with these elderly recordings, it was sometimes a blessing, adding a little more shape and definition to the sound in places which are frequently deficient in older material.

Obviously these tracks were in mono, although there didn't seem to be much depth to the soundstage, but the sound appeared to take most of the space between the loudspeakers. I felt the Njoe Tjoeb had the edge here, using a stage area that had a noticeable rearward extention, although nothing like as deep as I get playing with the exact same tracks from '50s compilations on LP.

As of this stage an old buddy and a rough combination of his latest records visited armed.

I had been impressed.

If I was being hyper critical I would say that there is a minor tubbiness in the lower registers of his voice that wasn't representative, but this was the only point throughout my listening that I discovered this. Strangely enough, the higher frequencies seemed to be better represented in this instance, although we both concurred the guitar had a sound that was slightly livelier than either of us expected, with the decay of notes being clearly displayed.

Before writing this my last disc was a compilation of laid back electronica, skillfully mixed with beats and Middle Eastern instruments. Again the soundstage was broad, rather than deep, but broad enough that every sound had room to be defined in relation to the neighbour of it's, but still staying a cohesive element of the whole performance. Were lutes, vocals, sitar and flute, in addition to a guitar. Each was well placed although I felt that there was less attention paid than the rhythm and energy of the music to stereo vision.

Overall, I felt that there clearly was a good performance from this CD player. It carried a melody well, and caused it to be involving to listen to and nice.

I've found CD players appear to fall into two camps. There are those that give a lot of detail, but look to truly have a fairly stilted approach to rhythms, being a little metronomic in their own presentation, and those, such as Naim machines, that have an incorrigible 'boogie' factor to them.

The Jolida appeared to edge towards the latter camp. Fed with anything having a danceable beat also it got on with the occupation having a smile on it's face, appearing to pump out beats with a bit more joie de vivre than a large amount of versions that are similarly priced. My Njoe Tjoeb 4000 has stronger and more precise imaging, but with slightly more focus on detailing of the model of sounds. I also felt that it absolutely was a little more even within the frequency range, but seemed to be a bit more lethargic, whilst still diving into the beat.

If you're in the market for a built player that appears to catch the energy of music and display it in a friendly manner then give this an audition. The small criticisms may well ameliorate that I have of certain areas of the tonal balance, but in truth, all these are pretty minor. It's proved to become an enjoyable machine that I am not displeased to have got to know.

Jolida JD100A CD-player photo