Digital Drive: REVIEW: Ayre Acoustics CX-7 CD Player/Recorder by G man

Model:	CX-7
Category:	CD Player/Recorder
Suggested Retail Price:	$2950. (USD)
Description:	Multistage digital filter, zero feedback, oversamples to 1.4112 MHz @ 24 bits
Manufacturer URL:	Ayre Acoustics
Model Picture:	View

Review by G man ( A ) on June 16, 2004 at 07:34:00
IP Address: 69.160.80.66

Add Your Review
for the CX-7

I first saw and heard this player about 11 months ago when searching for a reasonably priced one-box player to replace and hopefully upgrade my Theta Data Basic Transport and Muse Model II D/A converter setup. I learned a few things:
1. Digital systems had not necessarily sonically progressed from the mid nineties, regardless of hype.
2. Prices were definitely out of control.
3. My Theta/Muse combo was still sonically competitive, especially when price was taken into account.
Well, I briefly heard some digital playback systems that seemed very good, but were just priced unbelievably high. Finally I heard the subject of this review, the Ayre CX-7. Could this be true? An affordable (comparably) Cd player that plays music? It was good enough in the store to eventually bring home, and home is where it will stay. It just had more of everything musical than the Theta/Muse system, without adding any negatives. This player has more of the dynamics, extension, resolution and ambience of real music, and is an altogether more involving listening experience. It is not a sonic filter, however, so it will not hide bad CD characteristics. It just seems pretty transparent but avoids adding any digital nasties of its own.
Some of the individual sonic characteristics:
The bass is strong, dynamic, and defined, but only when it is on the recording. It is not a contant sonic characteristic, but when present remains within the confines of the music...an actual part of the song so-to-speak. Some of the songs on Moby's 18, for example, include very low, strong frequencies and rhythms. Through the CX-7, these low frequencies can certainly be heard (and sometimes felt), but they seem to lay the foundation for the song, creating the actual climate or mood while the rhythms come in to get you moving. In the current room, my system is capable of strong bass extension into the 20s, so these comments are "based" (pun) on really hearing bass.
The mids are quite satisfying as well. On good recordings, you can certainly hear the blatty, burnished quality of brassed instruments, the resonance of sound in the body cavities of stringed acoustic instruments, and a good dose of the shreak and distortions (the emotional products) of hard rock and blues electric guitars. Also, the sound of air rushing through and out of Paul Desmond's clarinet can be heard, and actually becomes part of the instrument's sound, much like live music. You know, Aerosmith's Live Bootleg has been out, either as an LP (which I had) or CD for a long while, but I never realized that Joe Perry is repeating vocally through his guitar what Steven Tyler is singing on the Walk this Way cut. Peter Frampton used to do this also, but I do not know what it is actually called.
The treble sounds very good to me as well, though I have never really individualized characteristics of high frequency performance. In general, it either sounds right or it doesn't. Plus with digital, it all becomes a little more complicated because I do not know that the medium has ever gotten the trebles down exactly right. However, on the CX-7, the high frequencies sound about right (symbols sound like symbols, piano overtones sound like recorded overtones) and are likely about as good as 16/44 digital can get, at least at under 8 grand or so. I have not yet heard some highly praised tube based units, such as the Audio Aero Capitole, but it does cost substantially more and is out of my price range.
In the shop, I had the opportunity to directly compare the new Arcam FMJ CD-33 against the CX-7, and it wasn't even close. On the system comprised of a BAT VK-31SE preamp, Ayre V5x amp, Wilson Sophia speakers, and MIT Shotgun cables (do not remember the model), the CX-7 was much more dynamic, resolute, and musical. It was, in fact, in an altogether higher league (despite the glowing review of the Arcam in the latest Stereophile). The CX-7 does retail for $500 more than the Arcam. The Arcam was more comparable to my old Theta/Muse components. However, based on the comparison in the shop, and the subsequent comparison of the Ayre to my old stuff in my own system, I honestly think I prefer the Theta/Muse setup over the Arcam, despite the latest technologies. The Arcam FMJ CD33 would be better for playing bad sounding CDs, though. The Arcam is not a bad CD player, and at $2500 is probably very good for the price, but IMO, it is not anywhere near as good as the Ayre.

Product Weakness: It is not an SME Model 30 turntable.
Product Strengths: Performance and value.

Associated Equipment for this Review:
Amplifier:	Aragon 8008BB, dual mono 200wpc
Preamplifier (or None if Integrated):	Krell KRC 3
Sources (CDP/Turntable):	Ayre CX-7, Linn LP 12
Speakers:	Mirage M3si, sensitivity is 83db at 2.83V
Cables/Interconnects:	Shunyata Aries and Acoustic Zen Wow, MIT MH 750 Biwire.
Music Used (Genre/Selections):	Rock, hard rock, jazz and blues
Room Size (LxWxH):	23 x 14 x 8
Room Comments/Treatments:	Corner tunes, cushions, furnature, carpet
Time Period/Length of Audition:	10 Months
Other (Power Conditioner etc.):	AudioPrism ACFX and Power Foundation .5
Type of Audition/Review:	Product Owner

Product Weakness:	It is not an SME Model 30 turntable.
Product Strengths:	Performance and value.