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My preview on the CEC TL0-X of the prior page was primarily based on matching it with the Zanden 5000s DAC via the Argento SMR EE Brenda and Acrolink DA6100 digital RCA cables. During the course of the past 3 months, I have also driven the Jadis JS1-MK3 and Orpheus One Special Edition DACs with the TL0-X to deepen my understanding of the transport's sonic traits. In order to create a more comprehensive and objective assessment, I have asked my fellow audio comrades Marvel and Kenneth to add their listening opinions so that readers may gather a better sense of the TL0-X's sonics from different perspectives. As I have pointed out in the preview, the TL0-X is undeniably a top-notch CD transport. Due to the high-mass nature of the design -- with a smaller footprint than most flagship transports -- bass rendition seems always tight and weighty to form a very solid foundation for soundstage development. Hence imaging is ultra stable. Midrange details remained well preserved with the three different DACs used during this review. The biggest differences occurred in the treble. My only preview reservation had been the relative lack of ambient details within live recordings. Regardless of which digital cable I used with my Zanden 5000s converter (MIT Oracle Digital 1.5M RCA, Argento SMR EE, Acrolink DA6100, Stealth Varidig Sextet), there remained a certain degree of coldness in the upper treble that deprived natural elasticity from strings and further treble extension to a certain extent - though some listeners may actually fancy this distinct treble presentation. Here was the tricky part. When I replaced the TL0X with the Zanden 2000p transport, the slight treble tightness disappeared. Correspondingly, the bass weight of the Zanden 2000p was now lighter and less impactful than that over the TL0-X. Naturally, it is unfair and inconclusive to make definitive statements based on one simple swap. After all, the Zanden 2000p/5000s combination is a heavenly pair designed for optimal synergy from the very beginning by its manufacturer. Also, the CEC's slight tightness in the treble may not bother some listeners. Consequently, I matched the CEC with two other DA converters. |
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Jadis JS1-MK 3: Bingo! Although the JS1 MK3 is 24/96 ready, the 16/44 output of the TL0-X restricted the full utilization of the French DAC's upsampling capability. Nonetheless, the rich tonality of the Jadis immediately fused very well with the unflagging solidity of the TL0-X. The whole musical picture was delivered with more color. The area that changed the most was the treble range. The hardness there was replaced for silkiness. That was especially apparent with massed strings. Those now were velvety without compromising individuality of violins too much. On solo recordings, the treble seemed to take a bit longer to decay and the midrange softened some while image size slightly inflated. Violin body suggested a stronger wooden component than before. I thought that change might be attributed to the superimposition of the Jadis' signature midrange. To verify, I listened to a few more vocal recordings. I started with mezzo-soprano albums first because too much emphasis on the midrange would mask a mezzo's emotional contrast. With recording such as Casta Diva by Angela Gheorghiu [tracks 8 and 9, EMI Classics] and Operatic Duets: Joan Sutherland/Luciano Pavarotti on Decca, I sensed the absence of the aforementioned problems. The midrange now was more rounded and free of edges. Articulation of lyrics during high passages was smoother, at the slight expense of lyrical details. Then, I played a few more cuts from the recording of the Vienna Boys Choirs. The purity of the boys' voices was well-preserved, with their angelic high echoes well rendered within the ambience of the performing venue. If the midrange becomes too energized, it is harder to distinguish whether the singer is really a young boy or slightly more advanced in age. Not here. I then spun the Belafonte Live at Carnegie Hall [RCA] on the TL0-X to test for the presence of granularity within his passionate voice. In this case, some subtle details inside his throat tended to be smoothed over but that in no way distorted the passionate nature of his singing nor of the performance at large (Zanden's 5000s converter seemed to reveal the coarseness in Belafonte's peaks more). His occasional transient bursts into the microphone translated well into temporal loudness. The enveloping spread of the soundstage in three dimensions provided a truly dimensional space filled with placement cues whereby I could easily follow Belafonte walking around the stage, chitchatting with his band and interacting with audiences in the Matilda track. I believe the hefty power supply of the JS1-MK3 with its own power regenerator for pure DC delivery to the main circuit contributed a lot to this soundstage magnificence. The Jadis JS1 MK3 matched very well with the TL0-X indeed. |
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Orpheus One Special Edition DAC with the TL0-X - A fresh experience The Orpheus One Special Edition DAC is the brainchild of digital guru Thierry Heeb of Anagram Technology, aided and abetted by his golden-ear'd friend Mr. Montavon. Before I tested the O1SE, I was told how the analog components are all hand-selected top-grade types from such firms as Vishay (resistors), Leclanché (capacitors) and Analog Devices (the OP285 op-amps piggybacking on their famous ATF24/196MK2 DSP chip with the addition of the latest upsampling module called Quantum SHARC V3). All these parts are hard-wired onto gold-plated red PCBs. Frankly, I usually don't care much about raw specs and wasn't expecting too much after the almost perfect marriage between the JS1 MK3 and TL0-X. Besides, this unit is only 45mm high though it does weigh in at 10kg. For context, the power supply of the JS1 MK3 alone weights around 20kg. The world, however, remains full of surprises. The flow of music instantly became more stress-free and natural when the O1SE replaced the Jadis in the system chain. The entry of instruments and their attacks of notes were very clean, allowing me to more clearly "see" the movement of the performers. The aforementioned treble tightness too was absent. While not as silky as the Jadis' presentation, the Swiss rendition wasn't coarse. In fact, string texture became more pronounced, separation between different musical instruments more distinct yet integration and communication amongst them remained supremely coherent especially during chamber music where 3 or 4 instruments are seemingly talking to each with very keen individuality [for example, Schubert's Piano Quintet Op. 114 'Trout', Brendel/Members of the Cleveland Quarter, Philips Classics]. By comparison, the presentation of the Jadis blended the musicians more to homogenize a bit their individual traits. The remarkable vocal artistry of Frederick Von Stade to shade and color the voice imbues her singing with constant variety. This now fully unveiled [Frederica Von Stade: Arias from Various Operas, Philips Classics]. Her voice and tone remained lustrous throughout its range, pitches and phrasing eloquently conveyed. The O1SE managed to deliver an almost conversational quality to her songs. The JS1-MK3 offered very pleasing songs with a grandiose soundstage but somewhat lacked this conversational subtext. |
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On violin recordings such as Mozart's Concertos performed by Henryk Szeryng, the lightweight means of expression seemed just about right to my ears as I know Henryk had a relaxed way with Mozart's work most of the time. His unfailingly beautiful tone with its birdlike treble extension was faithfully and pristinely reproduced. With the Jadis, the treble is relatively suave by comparison. Timbre becomes slightly sweeter than over the O1SE. Younger cellists nowadays seems to favor a tonal balance that combines a refined upper range with strong and well focused middle and lower register rather than the expansively rich and redolent lower registers favored by the older generations of cellists. When the recording of Rostropovich was played through the TL0-X/O1SE [Rostropovich/Richter: Beethoven's Cello/Piano Sonata, Philips Classics, 24/96 Japan remastered version], the resonance of the lower octave wasn't as expansive and tonally rich as over the JS1 MK3 but the articulation of the master's bow movement was more acute. Bass tones grew more tuneful and vigorous to add a degree of vividness to the presentation. I personally feel that the TL0-X/O1SE combo is more suitable for capturing the spirit of younger cellists whereas the Jadis seems to be better at portraying older cello recordings. Last but not least, I replayed the Vienna Boy's Choir CD. There is one track with a solo performed by a very young boy. I am not sure about his age as I cannot see him but with the TL0-X/O1SE, the fragility and delicacy of his voice make me believe that he may be less than 5 years old. If memory serves me right, the boy's voice over the TL0-X/JS1-M3 sounded just slightly older. |
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Given the short duration of my encounter with the O1SE, I felt it more objective to have the perspective from a longer-term user who has partnered the O1SE over 4 months with another flagship transport, the Kalista by Metronome Technologies. I wanted to know whether his view on the O1SE was similar to mine. |
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Manufacturer's website
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