[HiWire]

Five Players Enter, One Player Leaves

This is an epilogue, of sorts, and in another way, it’s the beginning for me. As some of you may have noticed, I bought an Arcam FMJ CD36 last week. This is the tale of what went before… I listened to the $50,000 dCS Paganini system three weeks ago and returned to hear more CD players to inform my final purchasing decision. If I won the lottery today, I would certainly give serious consideration to the dCS Puccini player or perhaps the EMM Labs CDSA SE, but that is currently happening only in a parallel universe, with more goatees.

I would like to thank Michael, Leland, Angie, and Arnold at American Sound in Richmond Hill, Ontario for providing me with the opportunity to audition many pieces of quality audio equipment that are beyond the means of most audiophiles. Also, I would like to thank Ben at Kennedy Hi-Fi and Will at Great Metropolitan Sound for their assistance, patience, and goodwill in dealing with a very particular, cash-strapped, and possibly insubstantial (over the period of two years) customer.

The players were hooked up using a Primare PRE30 stereo preamplifier and a Primare A32 power amplifier using balanced interconnects and power cables from Transparent Cable. The reference speakers were Focal Electra 1027 Be.

Musical references:

Taking a Chance on Love – Jane Monheit
Honeysuckle Rose
Taking a Chance on Love
I Won’t Dance
Love Me or Leave Me

Girlfriend - Matthew Sweet
Girlfriend
I’ve Been Waiting

Elv1s – Elvis Presley
(You’re the) Devil in Disguise
Surrender
Return to Sender

Johannes Brahms – Julia Fischer, Daniel Müller-Schott, Netherlands Philharmonic Orchestra
Violin Concerto in D, Op. 77, Allegro non troppo


NAD M5, $2,500 (NAD Electronics :: M5 CD SACD Player)
This is a player that I really wanted to like. It’s priced solidly in my ballpark and has all the features that I’m looking for and more – HDCD decoding, SACD capability, solid build quality, and NAD’s reputation for value. The bonuses were balanced output, multi-channel output, and bass management. In terms of aesthetics, NAD isn’t quite there – it’s a reasonable-looking piece of equipment all right, but you expect a bit more at this price. “Understated elegance,” as another reviewer put it, might be stretching it.

This was the first player that I auditioned. Unfortunately, it was also the least impressive, in audiophile terms. In my notes, I wrote that it had punchy bass and a smooth sound, but almost immediately noticed a flat soundstage and only medium detail retrieval. The highs on the cymbals were pleasant, Matthew Sweet’s electric guitar flowed quite well, and the drums conveyed the rhythm well. Vocal harmonies were decent, but tended to mix together. In the orchestral recording, the blurry soundstage was apparent. Strings had a good leading attack, while brass wasn’t quite realistic. The cellos and basses in the orchestra were boomy and indistinct. Acoustics of the concert hall were only hinted at.

If you haven’t heard anything else at this price level, I would say that the M5 could make you very happy. Despite my nitpicking, the overall sound of the NAD is pleasantly neutral and its sins are generally those of omission. Also, please note that I have previously auditioned this player on the NAD M3 amplifier and PSB Platinum speakers. I would also audition Marantz players, the Rega Saturn, and the Cambridge Audio Azur 840C if I was looking in this price range.


Simaudio MOON SuperNova, $5,500 (Simaudio MOON SuperNova CD Player)

I didn’t think that I’d be able to afford this player, but when you get a chance to listen to a SuperNova, you take it. Since I’m Canadian, I give preference to Canadian manufacturers, and Simaudio has been getting plenty of good press for their equipment lately. The MOON SuperNova player is a very attractive player, but its appearance is marred slightly by the oversized red LED display on the faceplate. The build quality is impressive.

In listening, I immediately noted that it had an apparently brighter overall tone and wider soundstage than the M5. Also, bass reached lower, more details were present in even the Elvis recording, and rock recordings had more drive. This was definitely a more exciting and higher-quality listening experience than with the NAD. However, I did note that Jane Monheit’s voice sounded slightly more sibilant on the mike, although her recording also had greater separation between the jazz players and a more open sound. Acoustics were far better in Julia Fischer’s Brahms performance – her violin was easier to follow, less harsh in tone, more musical, and more expressive. In general, highs were far better on the SuperNova: voices and guitars sounded more realistic, drums were cleaner sounding and the acoustics of the recording venue were appropriate.

Of the many players I’ve heard in the past few years, the SuperNova definitely grabbed my attention. I’d have to audition it on a long-term basis to know if I could adjust to its slightly more aggressive, brighter sound, but it definitely had some of the magic that I’m looking for in a great player. Out of the selected set, the SuperNova was a standout.


Accuphase DP-75, $6,500 used (Accuphase DP-75_English)

This was an interesting pick. Normally, I’d never be able to afford Accuphase gear, but I noticed this player along with an Accuphase DP-65 in the used equipment section. I was told that it originally sold for $20,000 new, but that it was marked down quite a lot. I’ll say. Since it was somewhat close to my theoretical maximum of $5,000, I put it on the audition group. Certainly, it would be interesting to hear some high-quality Japanese equipment. As Accuphase equipment goes, this player is a golden tank like the rest of them. Interestingly, I actually enjoy the look of the Accuphase equipment – they do a good job of blending delicacy and weight into their designs, although I’m not generally a fan of gold-anodized equipment.

At first, I thought that I had found my player. When I listened to the Elvis tracks, I just wanted to keep playing more tracks – it seemed like such smooth and flowing, golden-honey (like their faceplates) sound. Surely, that couldn’t be a bad thing? As I listened more carefully, I realized that I had been had. The DP-75 puts a euphonic sweetness or sheen on recordings that deviates from the actual performance. It’s not as bright as the SuperNova, and also seems a bit farther back in soundstage. On Monheit’s songs, the sound was seductive and had a wide soundstage, but also, it had a fuzzier bass reproduction than the on the SuperNova. Shockingly, the DP-75 fell down completely on rock recordings. Aggression, drive, rhythm, and speed were deficient, robbing Sweet’s performance of its defining, engaging traits. The Fischer disc was very quiet – I was finally forced to turn up the volume for a fair comparison against the previous players. Less acoustic information was forthcoming and I noticed Fischer’s violin had the same euphonic characteristics noted earlier.

Frankly, I was disappointed by this player. It had a strongly colored sound that rang warning bells in my head. For lotus eaters who prefer sweeter-toned players, Accuphase might offer the musical food of choice, but I sail away. I wouldn’t discount listening sessions with their newer players, but I hope that they emphasize accuracy over sweetness after the DP-75.


Audio Research Reference CD7, $9,000 (Reference CD7 CD Player, Audio Research)

After I finished my listening session, I chatted with another customer in the store. He was also looking for his “last” disc player and strongly recommended the CD7. There was a bit of a fuss when I mentioned that I disliked tube gear, since the CD7 uses a tube output. However, I was in the mood to hear one more player, regardless of its design. The CD7 uses a magnetic puck and a slider drawer on its transport, which seems a bit old-school to me. The player is solidly built, but looks clumsy or plain rather than attractive.

I only listened briefly to this player, on Audio Research HD220 amps with Sonus Faber Elipsa speakers and on the reference system used for the other players in this session. It was hard to get a handle on the exact characteristics of the player – most likely, listening fatigue was finally setting in. It seemed to do most of the audiophile things right – soundstage, realistic highs, and a neutral tone – but it sounded a bit indistinct. Bass wasn’t as impactful on the CD7 as on the SuperNova and I didn’t really want to try a lot of music on the player. It didn’t have the drive of the SuperNova or the sweetness of the Accuphase, which left it somewhere in between. To its credit, it sounded quite good for a tube player – I didn’t hear any distortion or harmonics.

This player was a bit of surprise at the end of my planned session. Perhaps I might listen to it again if presented with the opportunity, but the high price tag is a turn-off – I certainly didn’t feel like I was listening to a $9,000 piece of equipment.


Arcam FMJ CD36, $2,000 (Arcam - FMJ CD36 CD player)

After my prolonged session with some very expensive and difficult-to-find audio gear, I decided to check my previous reference. I have posted my previous impressions of the CD36, so I’ll only post notes from the most recent audition here. From an aesthetic point of view, the CD36 succeeds in looking like high-end equipment. It has a minimalist look, with nothing heavy or flashy in its faceplate or body. The silver is a muted satin finish, which I preferred over the dull-looking black option (shades of NAD or Naim, particularly with the green display light).

I listened to all the same reference recordings as on the previously-reviewed players. The setup this time was an Arcam A32 integrated amp into Mirage OMD-28 speakers. Overall, I was reminded of why I came back. The Arcam does everything I like properly, which is, of course, entirely subjective. It has a holographic soundstage, similar to the SuperNova or Paganini, with great acoustics on good recordings. Highs are pleasurable, extended, and less aggressive than on the SuperNova – more like those on the dCS player. Bass goes as deep as the amplifier and speakers can extend, while the mids are full-bodied and musical. On rock music, all the drive, urgency, and even harshness are properly conveyed, while the CD36 sounds incredibly lyrical, smooth, and realistic on acoustic performances (e.g. jazz and classical).

It’s probably obvious that I fell in love with the CD36 a long time ago, but I wanted to hear more sources before taking the plunge. This is actually my first purchase of any home audio gear at all, so it’s a huge step. Also, it’s the most expensive audio item that I’ve ever bought, so I’m really hoping that I made the right choice. Price aside, the musical characteristics of the CD36 were the most attractive of all the players that I have heard, not including the dCS player. I’m looking forward to listening to all of my music on the player once my headphone amp has been repaired, and you can expect a detailed review once I’ve burned it in.

 

[4N6]

Terrific impressions and congratulations on getting the Arcam!

 

[HiWire]

Thanks! I was pretty surprised at the dramatic differences between the players - anybody who says CD players all sound the same is dead wrong. Also, I learned not to believe marketing copy. I'll believe my ears first, as fallible as they are.

 

[4N6]

Quote:

Originally Posted by HiWire /img/forum/go_quote.gif Thanks! I was pretty surprised at the dramatic differences between the players - anybody who says CD players all sound the same is dead wrong. Also, I learned not to believe marketing copy. I'll believe my ears first, as fallible as they are.

Wise words to live by.

 

[greggf]

I have the Arcam CD33, and despite my best efforts to replace it

it has beaten back all challengers, much against my will.

And, indeed, CD players sound different from one another. In important ways, too.

Recent comments in Stereophile (the current issue's Onkyo review) and, even worse, in The Absolute Sound's recent CDP issue, imply the differences are minor. They carefully hedge their bets, but go on to make the point that the differences aren't all that important or audible or worth the money.

Arrrrrgh. I think, as the dedicated obsessive twits that they are, that these writers are souring on the CD format, and want to move on to the next (great, misbegotten) thing - hi-res downloading? a Blu-Ray-based disc??

 

[HiWire]

Yes, I've also criticized the Absolute Sound for their recent CD player reviews. How can they all sound fantastic and all of them be the best in their price category? I knew that they were very wrong in that issue, and in their other recent reviews. In general, I think reviewers are exhausted from comparing this kind of equipment. Also, few of them have had the opportunity to hear the breadth of equipment that I have heard in a few sittings. Audio memory is very poor - I had difficulty writing this review weeks after the fact but thankfully, I took copious notes in my listening session and the CD players had strongly contrasting sounds. Most reviewers only have their own reference systems to compare against a new piece of equipment.

greggf, I'm not at all surprised that the Arcam has done so well for you. I think most audiophiles would have trouble believing that such a humble-looking player (simple, plain, or cheap, in other words) could sound so good... also, people are generally looking either higher or lower on the price scale, so Arcam gets overlooked. As you can tell from my review, I tried to listen to representative CD players, from the $1,000 to $5,000 range that I declared in the store (and way, way up). I wanted to buy a CD player that compared well to all other CD players, not just the competition in its own price range.

I think the new wave in sound will come from multi-channel recordings. In general, stereo recordings are very high quality if you know what to look for... but the multi-channel story is only beginning. Producers, engineers and manufacturers are still learning the tricks of the trade and I expect that the digital amp manufacturers will become more popular as audiophiles start building 5+ channel reference systems. I'll probably pick up a modded Oppo player later to get in on the SACD/multi-channel ride from the ground up.

 

[infinitesymphony]

You mentioned that this was your first purchase of home audio gear; what were you buying before?

Congrats on the Arcam. It's so difficult to find a player that does everything right.

 

[HiWire]

Thanks, infinitesymphony. It may not be the perfect player, but it does everything right enough for me. I can't wait to hear my music all over again - that's part of the fun of getting new equipment. Also, I plan to find out whether there actually is any kind of burn-in change in sound.

I don't have any other home audio gear - just portable CD players, headphones, and my computer speakers.

 

[neilvg]

In my quest for CD-Players, I noticed that price tag (and especially marketing hype) doesn't mean much, especially when you get above the $2K level. Some machines clearly offer higher performance than others which are higher priced. But you have to stay focused and not let the price tag cloud you.

Even after hearing the EMM Stack, going from a DV50, I didn't immediately think the EMM ws better in all categories. Yeah it was better, but it had tradeoffs as well. It wasn't until I got to a point where I spent a ludicrous sum (which I can never recommend anyone do), and waited a year for it to be completed, that I got to a point where I believe there is currently nothing better, not even vinyl.

Neil

 

[guzziguy]

Quote:

Originally Posted by neilvg /img/forum/go_quote.gif It wasn't until I got to a point where I spent a ludicrous sum (which I can never recommend anyone do), and waited a year for it to be completed, that I got to a point where I believe there is currently nothing better, not even vinyl. Neil

You still spent a lot less than if you bought the dCS Paganini stack that the OP talked about in his first post. And while I haven't heard the Paganini, I'd be surprised if it came up to your player much less exceed it. If I didn't want to stay married, I'd get on the waiting list for one myself.

 

[neilvg]

Quote:

Originally Posted by HiWire This is an epilogue, of sorts, and in another way, it’s the beginning for me. As some of you may have noticed, I bought an Arcam FMJ CD36 last week. This is the tale of what went before… I listened to the $50,000 dCS Paganini system three weeks ago and returned to hear more CD players to inform my final purchasing decision. If I won the lottery today, I would certainly give serious consideration to the dCS Puccini player or perhaps the EMM Labs CDSA SE, but that is currently happening only in a parallel universe, with more goatees.

HiWire - What did you think about the DCS Paganini?

Guzziguy - yes $50K is a lot of money and it seems the best can be had for less (NWO)... and its customizable so why go any other route... says me.

Neil

 

[HiWire]

I posted my impressions of the dCS Paganini here: http://www.head-fi.org/forums/f7/i-h...j-cd36-271004/

In the end, money aside, I thought that my headphone system probably wasn't capable of getting the full benefit of that level of source. Building a system to maximize the Paganini's potential might take a quarter million dollars...

 

[neilvg]

I see. That may be true, however headphones can discern extremely high end sources. At least some of them can. My ES2->HE90 clearly benefits from the NWO over the EMM labs. Both are excellent, but the NWO is much better. But it really depends about other system components at that point. I personally think the source is one of the most important parts of the system, and I'd rather put a good amount of time/money into finding the right source and then getting the rest of the system in check.

Neil

 

[wower]

Thanks for the round up. The title is perfect.

 

[parablue]

Kudos to HiWire for a thoughtful and well articulated review. However, it should be noted that the author was admittedly predisposed to the ARCAM FMJ CD36 which may well have affected his objectivity during ABA testing. Additionally it bares noting that the NAD M5 retails for $1,799 not $2,500 as quoted in the article. (and can be purchased from an authorized NAD dealer for as little as $1,575). Also, the CD36 lists for 1,400 pounds sterling which converts to $2,763 U.S., substantially more than the stated $2,000. Though an Authorized ARCAM dealer should offer it for less than the MSRP.

After carful listening it can be said that either of these decks offer a fine value at this price point. The question comes down to the individual listeners preference. The slightly more laid back sound of the NAD will offer hours of fatigue free listening and would probably attract those who prefer acoustic music, Jazz, classical guitar, orchestral etc. The ARCAM, being voiced more like a NAIM deck, with its forward presentation, will likely be preferred by those who primarily listen to rock, pop, hiphop etc.

I am a great fan of ARCAM and have lived happily with an Alpha 8 as my primary digital source component for several years. So, it was with some surprise that I found myself leaning ever so slightly towards the M5 after two lengthy sessions of ABA testing. Having reviewed my listening notes I found that what the CD36 did to great satisfaction, the M5 extricated with superior transparency. Transience and harmonics, (overtones) were delivered in greater detail and subtlety as they decayed into the depths of the performance venue. In most every other value from dynamics to timbre I was equally pleased. However, those subtle distinctions in detail were, for me, what made the M5 the more musical and thus the more emotive of the two decks.

Other decks to consider would be the Marantz SA8001 CD/SACD deck $900, the Rega Saturn & the Bryston CD-1. Though the Saturn and the CD-1 are both CD only decks and as they are priced at $2,595 & $2,500 respectively, I do not consider them to be budget components and would probably not be in serious contention for those shopping at the Manratz, ARCAM, NAD price point.

I will refrain from making a final decision as I have yet to audition the recently released ARCAM FMJ CD37 CD/SACD player. I believe that an ABA test between it and the NAD M5 would be a more apples to apples comparison worthy of the two manufacturers premier decks. Until then.

Quote:

Originally Posted by HiWire /img/forum/go_quote.gif Five Players Enter, One Player Leaves This is an epilogue, of sorts, and in another way, it’s the beginning for me. As some of you may have noticed, I bought an Arcam FMJ CD36 last week. This is the tale of what went before… I listened to the $50,000 dCS Paganini system three weeks ago and returned to hear more CD players to inform my final purchasing decision. If I won the lottery today, I would certainly give serious consideration to the dCS Puccini player or perhaps the EMM Labs CDSA SE, but that is currently happening only in a parallel universe, with more goatees. I would like to thank Michael, Leland, Angie, and Arnold at American Sound in Richmond Hill, Ontario for providing me with the opportunity to audition many pieces of quality audio equipment that are beyond the means of most audiophiles. Also, I would like to thank Ben at Kennedy Hi-Fi and Will at Great Metropolitan Sound for their assistance, patience, and goodwill in dealing with a very particular, cash-strapped, and possibly insubstantial (over the period of two years) customer. The players were hooked up using a Primare PRE30 stereo preamplifier and a Primare A32 power amplifier using balanced interconnects and power cables from Transparent Cable. The reference speakers were Focal Electra 1027 Be. Musical references: Taking a Chance on Love – Jane Monheit Honeysuckle Rose Taking a Chance on Love I Won’t Dance Love Me or Leave Me Girlfriend - Matthew Sweet Girlfriend I’ve Been Waiting Elv1s – Elvis Presley (You’re the) Devil in Disguise Surrender Return to Sender Johannes Brahms – Julia Fischer, Daniel Müller-Schott, Netherlands Philharmonic Orchestra Violin Concerto in D, Op. 77, Allegro non troppo NAD M5, $2,500 (NAD Electronics :: M5 CD SACD Player) This is a player that I really wanted to like. It’s priced solidly in my ballpark and has all the features that I’m looking for and more – HDCD decoding, SACD capability, solid build quality, and NAD’s reputation for value. The bonuses were balanced output, multi-channel output, and bass management. In terms of aesthetics, NAD isn’t quite there – it’s a reasonable-looking piece of equipment all right, but you expect a bit more at this price. “Understated elegance,” as another reviewer put it, might be stretching it. This was the first player that I auditioned. Unfortunately, it was also the least impressive, in audiophile terms. In my notes, I wrote that it had punchy bass and a smooth sound, but almost immediately noticed a flat soundstage and only medium detail retrieval. The highs on the cymbals were pleasant, Matthew Sweet’s electric guitar flowed quite well, and the drums conveyed the rhythm well. Vocal harmonies were decent, but tended to mix together. In the orchestral recording, the blurry soundstage was apparent. Strings had a good leading attack, while brass wasn’t quite realistic. The cellos and basses in the orchestra were boomy and indistinct. Acoustics of the concert hall were only hinted at. If you haven’t heard anything else at this price level, I would say that the M5 could make you very happy. Despite my nitpicking, the overall sound of the NAD is pleasantly neutral and its sins are generally those of omission. Also, please note that I have previously auditioned this player on the NAD M3 amplifier and PSB Platinum speakers. I would also audition Marantz players, the Rega Saturn, and the Cambridge Audio Azur 840C if I was looking in this price range. Simaudio MOON SuperNova, $5,500 (Simaudio MOON SuperNova CD Player) I didn’t think that I’d be able to afford this player, but when you get a chance to listen to a SuperNova, you take it. Since I’m Canadian, I give preference to Canadian manufacturers, and Simaudio has been getting plenty of good press for their equipment lately. The MOON SuperNova player is a very attractive player, but its appearance is marred slightly by the oversized red LED display on the faceplate. The build quality is impressive. In listening, I immediately noted that it had an apparently brighter overall tone and wider soundstage than the M5. Also, bass reached lower, more details were present in even the Elvis recording, and rock recordings had more drive. This was definitely a more exciting and higher-quality listening experience than with the NAD. However, I did note that Jane Monheit’s voice sounded slightly more sibilant on the mike, although her recording also had greater separation between the jazz players and a more open sound. Acoustics were far better in Julia Fischer’s Brahms performance – her violin was easier to follow, less harsh in tone, more musical, and more expressive. In general, highs were far better on the SuperNova: voices and guitars sounded more realistic, drums were cleaner sounding and the acoustics of the recording venue were appropriate. Of the many players I’ve heard in the past few years, the SuperNova definitely grabbed my attention. I’d have to audition it on a long-term basis to know if I could adjust to its slightly more aggressive, brighter sound, but it definitely had some of the magic that I’m looking for in a great player. Out of the selected set, the SuperNova was a standout. Accuphase DP-75, $6,500 used (Accuphase DP-75_English) This was an interesting pick. Normally, I’d never be able to afford Accuphase gear, but I noticed this player along with an Accuphase DP-65 in the used equipment section. I was told that it originally sold for $20,000 new, but that it was marked down quite a lot. I’ll say. Since it was somewhat close to my theoretical maximum of $5,000, I put it on the audition group. Certainly, it would be interesting to hear some high-quality Japanese equipment. As Accuphase equipment goes, this player is a golden tank like the rest of them. Interestingly, I actually enjoy the look of the Accuphase equipment – they do a good job of blending delicacy and weight into their designs, although I’m not generally a fan of gold-anodized equipment. At first, I thought that I had found my player. When I listened to the Elvis tracks, I just wanted to keep playing more tracks – it seemed like such smooth and flowing, golden-honey (like their faceplates) sound. Surely, that couldn’t be a bad thing? As I listened more carefully, I realized that I had been had. The DP-75 puts a euphonic sweetness or sheen on recordings that deviates from the actual performance. It’s not as bright as the SuperNova, and also seems a bit farther back in soundstage. On Monheit’s songs, the sound was seductive and had a wide soundstage, but also, it had a fuzzier bass reproduction than the on the SuperNova. Shockingly, the DP-75 fell down completely on rock recordings. Aggression, drive, rhythm, and speed were deficient, robbing Sweet’s performance of its defining, engaging traits. The Fischer disc was very quiet – I was finally forced to turn up the volume for a fair comparison against the previous players. Less acoustic information was forthcoming and I noticed Fischer’s violin had the same euphonic characteristics noted earlier. Frankly, I was disappointed by this player. It had a strongly colored sound that rang warning bells in my head. For lotus eaters who prefer sweeter-toned players, Accuphase might offer the musical food of choice, but I sail away. I wouldn’t discount listening sessions with their newer players, but I hope that they emphasize accuracy over sweetness after the DP-75. Audio Research Reference CD7, $9,000 (Reference CD7 CD Player, Audio Research) After I finished my listening session, I chatted with another customer in the store. He was also looking for his “last” disc player and strongly recommended the CD7. There was a bit of a fuss when I mentioned that I disliked tube gear, since the CD7 uses a tube output. However, I was in the mood to hear one more player, regardless of its design. The CD7 uses a magnetic puck and a slider drawer on its transport, which seems a bit old-school to me. The player is solidly built, but looks clumsy or plain rather than attractive. I only listened briefly to this player, on Audio Research HD220 amps with Sonus Faber Elipsa speakers and on the reference system used for the other players in this session. It was hard to get a handle on the exact characteristics of the player – most likely, listening fatigue was finally setting in. It seemed to do most of the audiophile things right – soundstage, realistic highs, and a neutral tone – but it sounded a bit indistinct. Bass wasn’t as impactful on the CD7 as on the SuperNova and I didn’t really want to try a lot of music on the player. It didn’t have the drive of the SuperNova or the sweetness of the Accuphase, which left it somewhere in between. To its credit, it sounded quite good for a tube player – I didn’t hear any distortion or harmonics. This player was a bit of surprise at the end of my planned session. Perhaps I might listen to it again if presented with the opportunity, but the high price tag is a turn-off – I certainly didn’t feel like I was listening to a $9,000 piece of equipment. Arcam FMJ CD36, $2,000 (Arcam - FMJ CD36 CD player) After my prolonged session with some very expensive and difficult-to-find audio gear, I decided to check my previous reference. I have posted my previous impressions of the CD36, so I’ll only post notes from the most recent audition here. From an aesthetic point of view, the CD36 succeeds in looking like high-end equipment. It has a minimalist look, with nothing heavy or flashy in its faceplate or body. The silver is a muted satin finish, which I preferred over the dull-looking black option (shades of NAD or Naim, particularly with the green display light). I listened to all the same reference recordings as on the previously-reviewed players. The setup this time was an Arcam A32 integrated amp into Mirage OMD-28 speakers. Overall, I was reminded of why I came back. The Arcam does everything I like properly, which is, of course, entirely subjective. It has a holographic soundstage, similar to the SuperNova or Paganini, with great acoustics on good recordings. Highs are pleasurable, extended, and less aggressive than on the SuperNova – more like those on the dCS player. Bass goes as deep as the amplifier and speakers can extend, while the mids are full-bodied and musical. On rock music, all the drive, urgency, and even harshness are properly conveyed, while the CD36 sounds incredibly lyrical, smooth, and realistic on acoustic performances (e.g. jazz and classical). It’s probably obvious that I fell in love with the CD36 a long time ago, but I wanted to hear more sources before taking the plunge. This is actually my first purchase of any home audio gear at all, so it’s a huge step. Also, it’s the most expensive audio item that I’ve ever bought, so I’m really hoping that I made the right choice. Price aside, the musical characteristics of the CD36 were the most attractive of all the players that I have heard, not including the dCS player. I’m looking forward to listening to all of my music on the player once my headphone amp has been repaired, and you can expect a detailed review once I’ve burned it in.