2. digital
  3. 1099765036

Silly Question...does a transport have a "sound" ?

I'm thinking of upgrading to a dedicated transport (like an Accustic Arts Drive I, AM Mephesto II.X or even a ML 37) from the Sony DVP-9000es I'm using now. I'm locked in on my dac (Kora Heremes II), which I love.

My question is, do transports from different manufacturers have significantly audible "sonic signitures" that I should consider when deciding what to mate to the Kora? (e.g., hifi-ish/fast/cold/analytic vs. analog-like/polite/bloomy/warm).

To go even further down this slippery slope, are there discerable differences between, say, a Teac VRDS 3.2 mechanism and a Phillips CDM Pro2 or a C.E.C. belt drive?

I've read a lot of posts here and on AA that've provided some clues, but was wondering if anyone with significant experience with multiple brands of transports could share some of their experiences.

In other words, is the transport "sound/signiture" something worth paying a lot of attention too, or should I just worry about mechanical things like stability, isolation, etc. Thanks.
garyk
danlib1
819 posts
 
I've had numerous high-end transports, often side by side. Using the same digital cable, power cable, etc., the differences were often quite audible.

For instance, to my ears the Levinson #37 was a clear winner over the more expensive 31.5- surprising.

It's more than just "Ones and Zeros" (which actually should be stated as "On and Off") in my experience.

Having heard with my own ears the very audible differences between transports, I'll be interested in the responses you get!
rockvirgo
587 posts
 
Using a musicbank Nakamichi CD Player 2 was convenient but as a transport with a Theta Pro Prime IIa DAC cymbals sounded separate from the rest of the music program, as if there was a gap between them and the rest of the music. Substituting a Theta Data Basic II resolved the glitch and made the whole stream sound coherent. So yes, transports do impact the sound.

The biggest worry with transports is reliability. On that score, buying new is a big advantage. Considering a $2,000 unit will need repair within 10 years or less, and be all but worthless if it's not maintained, that's $200 per year to listen to CD's!

Nowadays the industry seems focused on DVD/CD hybrids, not only as a selling point, but doubtless because the makers of CD-only mechanisms no longer support them. How many manufacturers still offer a CD-only dedicated transport at the $2,500 or less price point?
aroc
760 posts
 
Yes. now try to explain why "power cords" on tranports can have a "sound." Shouldn't make a difference based on common sense, but there is a difference, even if it's only subtle. But then again, so are any improvements in this hobby once you get past a certain equipment performance threshold (read: diminishing returns). But tha't what high-end is all about.
audioengr
3,282 posts
 
Absolutely, no question. I've modded a lot of transports and even stock, they vary significantly. It certainly has to do with the signal edge-rates and the output impedance accuracy, but even when these are "fixed", the sound is still different. I believe it has to do with the read lasers. Many of the older "CD-only" lasers seem to be much better sounding, such as the Sony DVP-S7700, which has dual-lasers. However the laser in the Pioneer DV-47A is also excellent.
drobbins
20 posts
 
Yes, transports have a "sound." They have a unique jitter signature that will affect your music. A jitter signature can have an impact on a particular frequency range. Besides the jitter signature (which is a BIG, IMPORTANT thing, try using the digital out from any $99 DVD player,) the transport should have no other way of influencing the "sound" of your system.
More to discover