Digital Drive: REVIEW: Audio Note CDT 2 CD Player/Recorder by s.hum

Model:	CDT 2
Category:	CD Player/Recorder
Suggested Retail Price:	$2950
Description:	Top Loading CD Transport
Manufacturer URL:	Audio Note
Manufacturer URL:	Audio Note

Review by s.hum on July 10, 2003 at 08:57:25
IP Address: 204.101.196.17

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for the CDT 2

-- Preamble --
Unlike many who upgrade their transports, my upgrade was not based on extensive evaluaton of a myriad number of vendor offerings. Quite the contrary: it was a pre-xmas impulse when an opportunity to pick up what was essentially a demo unit came available. I was neither disenchanted with my then current Vecteur L-4 nor looking for a trasnport upgrade.
But when the Audio Note CDT-Two became available, the possibility of mating up an Audio Note transport with my (modded) Audio Note DAC1.2 kit became too irresistable. I presumed that the execution of the transport would be in much the same vein as AN's DAC's: to provide the simplest and most faithful digital stream with as little manipulation and "correction" as possible. (Without knowing the technical details of the unit, I cannot say whether this is in fact the approach taken - but find myself congruent with the design approach of Peter Qvortrup and company.)
The unit made its way to me by freight over several days in sub zero storage. The unit had a guestimated 250 hours burn in on it over the course of about a year (from what I could tell on the original packing list from the UK). For all intensive purposes, with the cold storage and the notorious burn in and discharge characteristics of its exclusive Black Gate capacitor design, I approached the unit as new with the dreaded BG burn-in ahead of me.
And so, after 7 months of use and some 1200+ hours, my humble opinions...

-- Build --
In contrast to the Vecteur L-4 which has a more common form factor, the AN CDT-Two is narrow in dimension at approx. 9x4x14 inches width, height and depth - much like the DAC1.2 proportions. For some reason I had it in my mind that the unit would be the same form factor as their DAC's but it is significantly smaller all around.
The all aluminum case is ribbed. The back with the standard EIC power connector, SPDIF RCA connections and AES/EBU XLR connectors. The front brushed aluminum faceplate houses a flush window, within which a gorgeous flourescent LED display paints the various operating modes, track information, etc. It is quite a stunning design - and matches the silvery presentation of my Audiomat Prelude Reference wonderfully (a free bonus here)!
Weight wise, the unit is less massive than the Vecteur, the aluminum case weighing considerably less than the robust steel chassis of the Vecteur. Considering the aluminum case, it is still substantial, with all the more weight from the top loading lid. The narrow form factor of the unit also made positioning of the Rollerblock Series 2 under the unit look a bit odd at first - but nevertheless works.
It is a manual top loading machine. The matching silver lid is surprisingly heavy whilst being non-ferrous (non-magnetic). A magnetic puck clamps the CD - quite securely - on the spindle. Using the unit is almost akin to a turntable - something perhaps not lost to Peter Qvortrup!
A peek under the hood (with the rear base plate removed) reveals a massive toroidal transformer at the rear of the unit. The transport mechanism suspension can be seen partly - floating the mechanism on a spring loaded assembly attached to the top of the chassis. The enclosure is tightly filled with the drive assembly, electronics and power supply. My other AN product, the DAC1.2 kit looks cavernous by comparison!
The remote is a simple, easy to understand affair. The "open/close" button obvioiusly has no function with this manual top loader (most likely an Audio Note universal remote for their other CDP offerings). The "memory" key controls the display brightness which can be completely turned off - this is useful because there is no standby mode for the unit (and I keep it powered on continuously - don't want those BG's to discharge!). There are no controls on the transport itself, save for an off/on switch at the back of the unit, making the design of the remote all the more important..

-- Burn In --
Black Gate capacitors are used throughout the unit. My AN DAC1.2 in which I similarly used BG's throughout, took an agonizing 800 hours to burn in! So I was pretty much prepared for a long haul in this regard.
Cold, out of the box and wired into my system, as to be expected, nothing note worthy. Over the next few days, it didn't do anything exemplary and only hinted to its potential - primarily by the contrast of its low noise floor. Other than that, pedestrian performance. Patience!
After 100+ hours over the xmas period of some lengthy play, the top end started to reveal its extension. Cymbals shimmer rather than the common brittle hash. There is still an edge to the highs, and the lows... well, the lows were still wanting. There is the hint of a lower extension but the Vecteur easily had more weight and presence in the lower register. Enough of this - with the xmas break over I decided to run the unit 7x24.
250 hours. Mid and upper band resolution are noticeably better. Soundstage layering more distinct. Things are looking up - though the bottom end is still light and overall presentation a shade on the bright side. The low noise floor of the unit is very apparent with an exhilarating increase in macro and micro dynamics. Transients are clean - notes start and stop.
500 hours. Bass extension is clearly more apparent with more weight, timbre and tonal correctness. There is a liquidity in the presentation - with no hint of the previous aforementioned brightness - with more balance, coherency and rhythm.
600 hours plus. It is apparent that everything up to the first 500 hours was simply the initial burn-in of the unit. The unit - or more likely the BG caps and transformers - appears to have passed through some invisible barrier and it's abilities now seem unleashed. The transformation is startling. The nuance and expression of the unit defies my understanding of how there can be so much variance between digital sources! All this with still (in Peter Qvortrup's mind, a minimum) 400 hours of burn-in to go! The journey towards the millenium mark will be a much easier distance now!

-- The Sound --
The CDT-Two beyond 800 hours of burn in, if anything, could be characterized as disappearing. Yes, it did all the things one would expect of a transport upgrade: better frequency extension, resolution, coherency, layering, dynamics. These are refined, yet very audible improvements. The transport no longer seems to be a limiting factor.
The low noise floor of the unit is perhaps the most apparent aspect of its design. The resultant clarity of transients, timbral details, and space between the notes solidify the presentation. Inner musical lines in the source material are more accessible.
Highes are extended, bass has more timbral correctness, mids are liquid - but throughout the spectrum, this is a balanced and coherent presentation without any sign of strain. Above all, as is the character of the AN DAC, the resultant sound is just plain musical and engaging without any distractions. It conveys emotion with no hint of digital artifacts.
Whatever the approach, it appears as if the digital stream is as unadulterated as is possible, allowing the DAC to do its job with greater ease. The leap in performance from the respected Vecteur L-4 (which I still quite like) to the CDT-Two is not surprising given that this is a dedicated transport at greater cost.
Where does the CDT-Two stand against other dedicated transports? I cannot answer that - nor do I think there is an absolute answer when one considers all the system synergies that must come into play in the reproduction of music from source to transducer. Certainly, it was not surprising that the CDT-Two should mate so well with an AN DAC. I suspect this transport would mate well with many DAC's - especially the non-oversampling designs (as are AN's own, not to say that it would not bring out the best in other DAC designs).
While we all may be seeking the audio holy grail, each of us bring our own subjectiveness to the pursuit. I think that when you find a component you like a lot - and I like this unit a lot - you are in effect finding congruence with the designer's "ear". If you are familiar with Audio Note's "sound" as it were - the musical direction that Peter Qvortrup and co. pursue - then you will find the CDT-Two easily worthy of audition.
S

Product Weakness: Subjective preferences: top loader vs tray, no controls on the unit (remote only), form factor.
Product Strengths: Musical presentation: timbre, tonality, effortless inner detail and clarity. Build.

Associated Equipment for this Review:
Amplifier:	Audiomat Prelude Reference
Preamplifier (or None if Integrated):	None
Sources (CDP/Turntable):	CDT-Two, Audio Note DAC1.2 (modded)
Speakers:	Magnepan MG1.6 (modded)
Cables/Interconnects:	Luminous Audio Technology (Signature, Synchestra, Renaissance)
Music Used (Genre/Selections):	(Predominately) Classical, Jazz
Room Size (LxWxH):	13 x 21 x 8.5
Room Comments/Treatments:	Room lens diffusers behind MG1.6's
Time Period/Length of Audition:	7 months
Other (Power Conditioner etc.):	ESP Pro Power (Cords, Distributor), Blue Circle Noise Hound
Type of Audition/Review:	Product Owner

Product Weakness:	Subjective preferences: top loader vs tray, no controls on the unit (remote only), form factor.
Product Strengths:	Musical presentation: timbre, tonality, effortless inner detail and clarity. Build.