Briefly, there are only two reasons for buying a multi-format machine, keeping in mind that every player of silver discs has to play conventional CDs. The first is the cost/space issue. You simply may not have the money nor the shelf real-estate for two or more players. The other reason is that you want to be able to compare SACDs, CDs and DVD-As knowing that the only differences are the formats themselves, not the players. As the latter only really applies to anoraks and reviewers, and the former is strictly a personal issue differing from reader to reader, let me state right now: I prefer the dedicated player per format approach. Then again, my wife gave up on me years ago.
'The CD3 will not play back DVD video, DVD audio or SACD-only discs because it is our firm belief that the convenience of multi-format playback sacrifices sonic performance in the CD format. And, most customers and music lovers have extensive CD-based collections that continue to grow, so the priority on playback quality in this format, in our view, is eminently justified. While using the latest 24/192-capable Crystal DAC, the CD3 does not upsample, because our empirical research shows sonic compromise is unavoidable due to sample rate manipulation and approximating errors. The engineering focus of the CD3 is to maximize performance with the prevailing music format by keeping the overall player design simple, reliable and optimized for the one task it must accomplish.'
So welcoming the Mk II version of the Audio Research CD3 took little effort. I loved its Mk I version when I reviewed it over two years ago, aside from its top-loader layout, and I was pleased to note that its Mk II status involves extensive re-working to make it sonically a match for SACD. Like it or not, that is now the de facto standard for digital playback amongst audiophiles, and simply stating that CD-only players exist because of the presence of vast CD libraries isn't enough: plenty of you want to carry on with CD and have no intention of embracing SACD, two- or multi-channel.
At 19x14x6in (WDH) and 25lb, the CD3 Mk II impresses as a player with substance, like those from Wadia and Mark Levinson. Inside are massive regulated power supplies with two transformers and extensive regulation, and the company loves to sprinkle its units liberally with designer capacitors for both supply and bypass functions. All of the circuit boards are Audio Research-engineered with layouts optimised for lowest digital noise; the company still uses traditional hand-soldering methods.
Unsurprisingly, ARC stayed with the ever-dependable Phillips cast-metal, 3-beam Pro 2 laser mechanism transport, which they mount on a massive machined base for maximum rigidity and lowest jitter; the company also applies jitter-reducing technology in the circuitry. Alas, the Mk II still uses a manually operated sliding lid, which must be closed for the unit to operate, unlike YBA's and some others. The unit comes with a magnetic puck to hold the disc in place. And I'm not even gonna bother complaining about top-loading because I'm too old to give a damn. Let's just say that it's enough to keep me from coveting the player.
Read more about the CD3 CD player on Page 2.
As before, the CD3 Mk II is a standalone CD player with both BNC and XLR digital outputs, transformer-coupled and are driven by a high-current balanced line driver. But it does beg the question of why anyone would buy a player of this grade to use as a transport, when its raison d'etre is the DAC and output section. The line outputs are offered in both single-ended and balanced mode, and it was - as ever, I'm afraid - abundantly clear that balanced connection via XLR beats single-ended via phono every time. It is NOT subtle.
Audio Research also applies mechanical damping to the internal
mounting of key components, the transport and the chassis structures,
and the CD3 sits on tuned polymer feet to further minimise
vibration-induced noise. The CD3 Mk II's servos operate entirely in the
digital domain; the previous transport models were hybrid designs using
analogue servos that placed greater demands on power supply reserves.
As minimalist as the back panel, the front is pure Audio Research right down to the mix of brushed silver fascia, optional black handles and two symmetrical cut-outs for the display on the left and the controls on the right. Oh, how I wish the company would return to using the layout of the CD2, where what is now the display was the CD tray! Enough - I promised I wouldn't whine about the top-loading format. The display is basic, blue-lit and telling track, time mode and accessed functions, while the array of six buttons deals with only basic transport manoeuvres. Everything else is found on the supplied remote.
As with all ARC products, burn-in is essential, and I was dismayed to find that some putz shipped the review sample with the puck rattling around in the CD aperture. Yes, it destroyed the laser, so a new machine was dispatched, requiring burn-in from cold. So I had the thing left on 'repeat' for three weeks before I could settle down with it, and I'm convinced there's even more to be gleaned. Beyond that, the unit also takes a long time to warm up even after a few months' burn-in so, as before, it is recommended that you place the CD3 Mk II in stand-by mode when not in use, switching it on from the remote and not from the mains.
I used the player with the McIntosh C2200/MC2102 and the Marantz SC-7S1/MA-9S1 pre/power amp combinations in balanced mode throughout, through Wilson WATT Puppy System 7 and some prototype LS3/5As. My reference was the Marantz CD12/DA12 CD player and DAC combo, also in balanced mode, and all wiring was Transparent Reference.
Here's where things get a bit sticky, because three audio gurus visited while I was assessing the CD3 Mk II. And I couldn't help but overhear their musings, including those of one who chuckled and posited, 'How clever! They've rounded off the frequency extremes to make it sound more analogue and valve-like!' At which I sighed with deep relief, because it reminded me of what I wrote about the Mk I, and confirmed that this was, indeed, a player 'voiced' for the vinyl-lovin', two-channel-uber-alles brigade.
Given that I'd spent the month prior to the ARC's arrival listening almost exclusively to vinyl, it was a relief to learn that CD in 2004 continues to narrow the gap and to improve...despite the presence of SACD. Like ARC's stereotypical client and most of you, I own a CD library that I have no intention of replacing in SACD, DVD-A, Blu-Ray or anything else that might come along. Enough is enough, and I just ain't gonna buy the complete Led Zeppelin canon again. (Not that I'll live long enough to see, say, SACD or DVD-A reissues of the Sopwith Camel's eponymous debut, or The Best of Mickey Katz.)
What the CD3 MK II does is make it all smooth and silky and non-aggressive. It has width and depth and incredible bloom, and the performance improved in nearly every area on a daily basis. What I did was leave the unit on 24/7 with a mix of real music and burn-in CDs, playing the same disc each morning after 12-14 hours away from the player. It would be nice if ARC could put a few hundred hours on each machine at the factory but they don't, so consider life with the CD3 Mk II like buying a brand new car. It just gets better and better before a plateau months in the future.
Given that the machine may still have some burn-in ahead of it, I can state that, relative to the CD12 package in particular, it is a first-rank machine that will be of more appeal to those who prefer rosy euphony over clinical, obsessive detail retrieval. In this area, it was warmer, more lush and probably less accurate than the Marantz. Voices, including the Judds' take of 'Don't Be Cruel' and Robert Plant's gorgeous 'Darkness Darkness', had less tendency toward sibilance or harshness, but brass had less punch and 'bite'. The lower registers favoured acoustic bass - I dug out my stalwart Kodo drummers for that - while synthetic music was slightly softened. But these traits are minuscule in degree, and the arbiter has to be system-related.
One can only imagine how fat (as in 'sluggish' and 'obese', not hip-hop talk) this would sound through, say, a 300B-based system. At the same time, it would add some soul to an all solid-state package. That it was so close to the never-bettered, Ken Ishiwata-hot-rodded Marantz CD12/DA12 was nothing short of revelatory. The gains over its predecessor? Judging by memory, and my notes from '02, I'd say it's more precise, the soundstage scale is even larger and more open, and the midband even more lifelike.
At 5190, it has its work cut out for it. But provided the demo you hear involves a burned-in player, I can see it joining a very tiny short-list of 'final CD-only players' to consider before the OEM supplies of CD transports vanish in the wake of universal offerings. This machine is pure Audio Research: high-end, thoroughbred and utterly musical. If only it had a drawer at the front....
Absolute Sounds, 58 Durham Road, London SW20 0DE. Tel 0208 971 3909
SIDEBAR: The Change In Status From MK I to MK II
Sorry to disappoint you here, but ARC is playing its cards close to its chest, and much of what I wrote about the first CD3 remains the same. Like the Mk I, the Mk II uses the latest 24/192-capable Delta-Sigma Crystal DAC, and does not upsample because ARC's 'empirical research shows sonic compromise is unavoidable due to sample rate manipulation and approximating errors. The engineering focus of the CD3 is to maximise performance with the prevailing music format by keeping the overall player design simple, reliable and optimised for the one task it must accomplish.' The DAC was 'chosen for its resolution and musicality when matched with our fully differential, Class A J-FET analogue output stage.' But regarding the MK II edition, Audio Research states that there are in total 45 parts changes and additions, '...made through the careful application of proprietary electrical, Mechanical and optical modifications and treatments.'