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CD-777 | Stello CDA-500: Trite but true, similarly priced digital machines will generally show far less differences than amplifiers. And those will show rather less than most speakers. For overall context, how many differences would show between the British deck—set to Master II as the default preference of its designers—and the $3.000 Korean challenger (which allows user-selectable upsampling to 96kHz and 192kHz but ran at zero as my personal preference)? The context was my familiar system of Esoteric C-03 preamp, FirstWatt J2 stereo amp and ASI Tango R speakers all leashed up with ASI LiveLine solid-core wires.


Despite the lead-in, the difference between these machines was not subtle. The Korean had an extra gear in the bass and delivered obviously more slam, punch and amplitude in the low end. That parlayed as more rocking drive which propels certain tunes forward and adds gravitas to soundstage depth. It also had the higher contrast and sharper edges to sound more forward and energetic even though the subjective stage distance didn't alter. The AMR was more relaxed, less rhythmically tensioned and created a softer—though not soft—focus. Heavy cymbal work with multiple layers of brass shimmering and tapping had more buzz with the Stello, more gossamer decays with the CD-777.


Speaking in generalities, the Stello had the more upfront modern perspective closer to stage, the AMR the more traditional audiophile farfield take in how it shifted preponderance of transient bluster into higher blend mode. Saying the same thing differently, the Stello was more front-heavy on the attack of notes, the AMR more mid-centric on their bloom portion. Still on generalities, modern music listeners keyed into grittiness, spunk and slam beats would likely favor the Korean whilst concert goers of classical music would find the Brit closer to their experiential perspective. AMR's old-school chip married to old-school tubes definitely pursued a softer tact and went gentler on angular stuff. While I didn't relate to its top end as missing any data, I did consider its bass stepped back in power and mass. Where the Stello was fresh, impulsive and direct, the AMR was more polite and somewhat distanced. Punky youngster versus genteel elder? Overdrawn for effect, a semblance thereof seems à propos.


CD-777 | Yamamoto YDA-01: The Yamamoto converter fed from AMR's digital output nestled very close to the Stello in character. It matched it in low-end prowess and overall drive but then diverged by not being quite as honed on the leading edge. The Japanese converter ratcheted down the Stello's grippiness and injected just a touch more nonchalance. To overdraw again to make a point, if on a Thai menu the Stello was four stars spicy, the Yamamoto was three and the AMR was mild.


CD-777 | Raysonic CD228: The fully balanced and tubed $4.200 Raysonic joined the other two in opposition to the CD-777. This confirmed AMR's innately laid-back, less PRaTty attitude and suggested that it might be less due to its valve outputs and more to its choice of silicon. The two-boxer also confirmed the CD-777's relative lightness in the bass but vis-à-vis the Stello and Yamamoto lacked in grip. The Raysonic dished out comparable amplitude down low but lacked a few degrees of control and articulation. A bit more fat, somewhat less muscle tone. In terms of inner tension or energy however, it grouped with the other two as distinct from the AMR.


Three out of four machines thus lived on one side of the fence—to follow the rule of close similarity between competitively priced digital—and only one huddled down on the other. With the general character of the triple seven pinned in Master II mode—relaxed, somewhat limpid, overall slightly softened and a bit lightweight in the bass—it was easy to play to its strengths. I shifted the Esoteric C-03 preamp into 12dB gain mode and swapped in April Music's overachieving Stello Ai500 integrated in bypass/amp mode. This instantly injected more power into the low end and a bit more feistiness overall. Whenever a system is dialed for specific components as should be the norm for any cared for high-performance hifi, it's important to accord new arrivals some flexibility. Change things around if necessary to optimize interactions of the newcomer with your 'establishment'.

With the customary balance of my system restored, I left the Yamamoto in the loop for just the occasional reminder. For PC etiquette, I ran my MacBook Pro on battery power with an ALO Audio USB link, comparing uncompressed files against their CD originals (recognition of and handshake with the Mac were blissfully instant).

AMR's USB implementation proved very close to spinning CDs the old-fashioned way. I ultimately thought that the latter had a tad more definition or articulation while streaming audio was a mite bloomier or looser. I'd seriously doubt most listeners would call one better or worse. To my ears, it came down to preference - and over a very small difference at that. In DAC mode, the CD-777 powers down its transport section. Switching back entails recapturing TOC.

For all intents and purposes, the CD-777 places streaming and spinning data on equal footing to combine instant access of substantial audio media libraries with AMR-style sonics. This is good news and reconfirms earlier reports here and elsewhere - done right, USB is now an audiophile-approved interface.

For a run down of the AMR CD-777's sonics, here it goes. Like a pure cotton sweater that's tight when new but looser and thus somewhat less form hugging when worn a bit, the Master II gestalt includes some of that wear comfort. With edge definition and tautness as our hifi equivalents of a tight weave, AMR's more vintage sound recipe loosens that up a bit. Image lock and placement specificity mellow out and upfront energetics do as well. This shifts transient spiciness into a more mid-hall milieu. The general trend is for some overall softening. Except for bass impact and ultimate weight which are scaled back, this isn't a frequency contour effect however. It rather operates on the initial incisiveness of the leading edge.


Though too far back in time for anything but a faint homage, I still remember why I replaced my pre SuperClock Zanden separates. Their replacements all moved away from its mellowness and deeper into grittiness. The original CD-77 struck me as a more get-down equivalent of the Zanden sound which remedied its rolled-off treble and added more boisterous dynamics and low-end fortitude.


Based on the above triangulations with three machines currently in residence, I assume that against its costlier elder, the CD-777 takes some backwards steps in apparent drive and impact. If so, the triple seven would in fact be closer to my old Zanden memories than the double seven was. For €3.500, that'd be one helluva achievement.

Time of course stops for no man and certainly no hifi machine. The general audio trend continues to pursue more apparent detail. Movies and advertising too go after flashier shock values to romance shortened attention spans and desensitized senses. Against such a zeitgeist, the CD-777 embodies a bit of nostalgia for slower times. Progressive upsampling can turn it edgier if desired but this nearly defeats the entire project brief. This machine wasn't intended to sound like all the others. While I've over-emphasized its differences to articulate them, they did stay put against three other machines which as a group were far more alike.


As a fancier of lower-power amps, I'm of course aware that more standard muscle amps automatically build out the bass foundation. It's the first thing my ModWright KWA-150 contributes. I've compensated with sources that are arguably extra muscular in how they handle the low frequencies. In systems with standard 100 to 150wpc amplifiers, the CD-777's minor reticence in the nether regions will be nicely offset to most likely not even come up for discussion. Then it'll be all about whether its more genteel approach will seem too polite versus the standard rock sound; or refreshingly sophisticated and blessedly non-relentless particularly on much studio production flash.


Superlatively built with good fit 'n' finish and a full set of features, the Abbingdon Music Research CD-777 is a distinctive choice amongst today's sub $5.000 digital decks. If at half the price it does 80% of the famous CD-77 stable mate, it's very nicely positioned on the still steeper end of the price/performance curve. I think that especially lovers of classical and opera—where leading ladies routinely challenge tweeters and nerves—will cotton to the CD-777 in a big way.
Quality of packing: Very good.
Reusability of packing: A few times.
Ease of unpacking/repacking: Unlike the extremely heavy CD-77, the CD-777 is normal on weight to present no issues.
Condition of component received: Flawless.
Human interactions: Company's UK-based contact is very responsive and helpful.
Pricing: Good value for money.
Final comments & suggestions: With USB and S/PDIF digital i/o ports, this machine is as future-proofed as the present state of digital affairs allows.
AMR website