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Okay, I've established that the CD-1 is tops at recreating bass notes of terror-inducing proportions. The sound was equally relaxed, smooth and transparent but its power and extension were superior to my vinyl rig. But in some ways this was better than vinyl.
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Within a rich soundstage, the CD-1 drenched my senses in full color music, a fullness that is usually only heard with vinyl. Still coming to grips with the CD-1's fantastic low end grasp, I marveled at Truth and Beauty one more time, how the Ayon relayed the tremendous oiliness and growl of the Leslie-amplified Hammond while also extracting the top-end air and space of Brian Blade's cymbals. The CD-1 never faltered or sounded closed in when relaying complex dynamic passages and it simmered like soup on ballads, gentle solos and sensitive pianissimo instrumental efforts. The CD-1 also has the lowest noise floor, producing astounding clarity coupled to its already generous and big-hearted grasp on the music. The best word I can use to describe its character is palpability, if that is really a proper word. The CD-1 excelled in that regard as perhaps no other machine I have heard, laying out clean, very tight, tonally correct notes that let my brain swim in its luxuriousness.
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Hammond B3 organ is the be all and end all for low-end verification and the CD-1 did it proper justice.īass. A hot-wired organ trio of drums, Hammond B3 and tenor sax, the CD-1 served up Truth and Beauty's energetic stick flurries (Brian Blade), blasting tenor beauty (Joshua Redman) and deep-boweled organ growls (Yahel) with exquisite humanity.
Playing organist Sam Yahel Trio's Truth and Beauty was like a trip to the recording studio if that studio was a Blues-drenched Philly soul bar circa 1975. And like my latest amplification addition, the Shindo Haut Brion power amp, the CD-1 follows a musical line with the kind of understanding and musicality that it almost seems to have a flesh and blood heart beating in its high-tech core. The CD-1 presents a grand view into and out of the music, its palpable music plane extending deep and wide in every direction. It out-powers my Kuzma/Denon vinyl rig but also out-soundstages it. I hate to say the CD-1 sounds like analog because it doesn't. Blood flows through the CD-1 like water gushing down an amusement park chute. From acoustic jazz trios to chamber string quartets, from vocals to acoustic bass, from electronica to post bop, the CD-1 presented all the texture, note ambience and decay, the reverberation and absolute power of the recorded event. The CD-1 has the best handle on absolute extension of notes I've heard. It also maximizes attributes like extension, ambience, spatial reality, back of the hall/room ambient cues and coherence, all adding up to one really sweet CD player. Yet what it does lack is anything resembling digital glare.
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The CD-1 puts my ears at ease like no CD player I can remember. The first words that come to mind when listening even casually to the CD-1 are calm, correct and concise. This review page is supported in part by the sponsors whose ads are displayed below
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