Ayon Audio CD-2 CD Player Review

Here’s how the Macro-system would look like, starting with the Ayon CD-2:

1. The CD-2 has volume control. With the Pathos integrateds set to bridged mode, the volume on the player will remain at “max” setting and listening level controlled via the integrated amps. Conversely, with any other power amp, tubed or SS, the CD-2 will maintain at the listening level.

2. There is no dedicated preamp used anywhere in this system; the Pathos will be one destination direct from the player and can accommodate other inputs, while the amp(s) of my choice will be the other destination. It is quite likely I would utilize solid-state amps for the second option, as the Pathos have a tube preamp stage. Since the CD-2 has both RCA and XLR outs, each can be directed to each amplifier destination. Note, again, that in both cases the preamp is eschewed. This is a critical point, as the presence of an additional set of cables and a preamp is highly obscuring to the ultimate performance of the system. I chose those words carefully, as I know how important a preamp is to many rigs, but the vast improvement of the system by honing the signal transmission from player to amp is unassailable (Of course, the player must be up to the task!).

3. The interconnect becomes critically important, as it is the umbilical to the sound being birthed. Any fault or weakness is immediately evident. I often utilize an extremely high quality XLR interconnect.

4. The amp(s): The necessity would be to switch speaker cables when switching amps. The destination amp is determined by the XLR/RCA switch on the back of the CD-2. There is the one possibility of major damage to power amps fed directly from the CD-2. If the level remains at “Max” when reconnected to power amps, damage could occur. The volume of the Pathos integrateds are always muted at start-up, but your integrated may not be.The CD-2’s level must be reduced at the time of the switch to different amps! One mistake could be very costly, so consider this approach carefully.

5. One would need a highly appealing brand and model of speaker cable which would be enjoyed with either amp; it is not advised that one keeps two sets of speaker cables attached to the amps simultaneously. Care must be taken to assure that the leads will reach posts located further apart – amps which are bridged often use widely spaced binding posts. Also, the speaker cables must reach to both sets of amps if they are left in a permanent installation. Further, consideration of terminations is necessary, as some amps accommodate only one set of spades (i.e. the Pathos Classic One), while others accommodate only spades (i.e. Jeff Rowland amps using the Cardas “wheel” post). Consequently, I have three sets of speaker cables available, two sets with all spades, and one set with all BFA banana terminations,so that I can work with any configuration of binding posts.

Just as a Macro-molecule is larger/longer than a “simple” molecule, but (amazingly!) folds up automatically into its three-dimensional form to carry out its functions efficiently, so also the Macro-System is larger than normal, but operates more efficiently than most traditional rigs. It is authentically a full-fledged component “separates” system which is also streamlined and yields a very high level of performance in two parallel rigs!

There are profound advantages to this setup, among them:

1. An extremely streamlined signal path in a system with two distinct amplification schemes.

2. Nearly complete flexibility and availability instantly. No “retooling” the rig.

3. Nothing sacrificed in terms of audio excellence. One amp can be SS while the other tubed (both integrated, both power amps, etc), and both can be repurposed if desired. One having no secondary sources while the other accommodated the panoply of HT and internet sources.

4. Direct high-end DAC treatment of the streaming audio (via the CD-2).

5. If at least one integrated is used, no need to swap cables and reconfigure the system to switch sources.

6. High cost-to-performance efficiency; elimination of a set of cables and preamp aids purchase of second amp(s).

It may be argued that one might make more progress toward their ultimate sound of their system by merely using one power amplifier with the CD-2. I would not advocate abandonment of one’s sonic ideals, but extension of them. Running two parallel amplification schemes allows for comparison between amps as well as additional inputs via an integrated. There are likely more issues and advantages, but let these suffice to introduce the idea.

Upsampling Intrigue

The CD-2 is an upsampling player, and frankly is the first of its kind to convince me that upsampling is a necessity for the audiophile. I was not overwhelmed by the upsampling feature of the very respectable Cambridge Audio Azur 840C player, a unit which is good enough to be considered a budget reference player. On numerous comparisons between standard 16/44 processing and upsampled music, there was a questionable trade-off between the smoothness of the upsampling and the indistinctness it added. For quite a while using the Ayon CD-2, I had concluded the same; one had to choose between the tightness of the standard Redbook playback and the smoother, but less distinct upsampling.

Then it happened, a result of a combination of cables and processing I’m still trying to understand. I have made it a habit to try with every rig a pair of Wireworld Gold Starlight Digital cables as interconnects. Why? It sounds fairly fantastic! There is a supple tonal richness imparted with the digital cables, tuned to 75 Ohm versus the traditional interconnect at 110 Ohm, which I have not been able to hear using any manufacturer’s RCA or XLR 110 Ohm interconnects (Recently I discovered at least one manufacturer who includes among their interconnects a set of digital cables as interconnects! “My idea” is being surreptitiously utilized by cable makers!). David Salz of Wireworld is a bit frustrated by this, as he has told me that the digital cables are less clean than the proper interconnects. I have politely held my ground, saying that what miniscule loss of detail may exist is more than compensated subjectively by the decadent increase in fullness and ever so elusive element of “live” sound.

Meanwhile, in discussion with Gerhard he described the Upsample mode as, “Most clients prefer the upsampling; the soundstage is more 3D and holographic – I personally prefer it.” Regarding the non-upsampled mode, “…it is a bit more focused and compact, but again it depends also on the rest of your components, room acoustic and taste.” For me, cables were the key which unlocked the upsampling magic of the CD-2.

Consistently in trial after trial, in rig after rig, individually the Gold Starlight digital cables and the Ayon’s Upsample mode were each a touch less sharp than their counterparts. But using them together released a power of acoustic clarity and depth akin to splitting the atom(How’s that for reviewer hyperbole?)!I have put together dozens of digital sources and cables in my systems over 20 years and have never experienced anything approaching that scale of performance change in a digital product. It was literally as if a chain reaction had occurred, unleashing a far more powerful acoustic energy that was waiting to explode from the disc.

I had the King Sound the King speakers running at the time, and they shattered an invisible barrier of restraint which previously stood between the system and myself.

A much more subdued facet of performance was the tip given by Gerhard to not leave both pair of RCA and XLR interconnects connected to the unit at the same time. The new signal path is extremely short and efficient, such that, “If you connect the RCA and XLR together…it has an immediately negative side effect to all electrical circuit parameters and decreases the sound quality significantly.” In my listening I found that the difference was marginal, and it did not pass the Law of Efficacy. I left both sets of interconnects connected. The change effected by the use of the digital cables as interconnects was perceptually on an order of magnitudes larger.

“You get the CD player thrown in!”

If I were to recommend a terrific, high-end stand alone DAC, based on my listening sessions, I might recommend the CD-2 and observe that you get a CD player with the deal. I have been enjoying Sonos, the modest whole house internet and NAS source with surprising quality. Over the months I have worked to ramp up its performance to match that of Redbook. With the Digital Input capabilities of the CD-2, I have fairly reached that point. For this review I used the SPDIF output of the Sonos directly to the CD-2. The digital cable is of critical importance, and Wireworld’s hot new design, the Gold Starlight 6 was critical to the elevation of this internet source to Redbook level. In this case the single Gold Starlight 6 linked the Sonos and CD-2.

One of the groups ready to be queued at any time on Sonos is the Little River Band (I know, syrupy nostalgia!). I played their music incessantly as a teen, and I have a few of their discs to compare head-to-head with a streaming source. One of my frustrations with internet-sourced music to this point has been its lack of depth, character and richness. Even on very good systems it seems flat and relatively uninviting, which is why I always end up back to the Redbook source.

This review was a new experience for me in that I used internet-based music to assess quality of sound every bit as much as physical media (NAS based music is a distant third place at the moment). The quality of the experience hearing LRB was so good that I at times forgot I was hearing streaming audio – sent wirelessly from the opposite end of the house! The CD-2 showed itself to have an immensely forgiving nature, taking the humble Sonos’ signal and crafting it into satisfying music.

What’s all the more impressive about this feat is that I was using a most exquisitely articulate full-range ESL speaker, King Sound’s the King. If a DAC can’t cut it, the King will make mincemeat of it. Any lack of fluidity, any digititis will not escape unnoticed. The CD-2 was fully up to the challenge, and had a fluidity which I normally associate with analogue. When the opening line of “It’s a Long Way There” was sung in the expanse of the auditorium, “Hey everybody, yeah, don’t you feel that there’s something,” yeah, I felt it! It was not a long way to the stage, and it most definitely was not a long way to mentally place myself in the audience.

These are older recordings, so one might not expect superb resolution and dynamics, but it was right there, parallel in quality to the Redbook playback. If I walked into the room and did not know the source, I would not be able to name it by listening – it was that close! The more affordable and pleasing Monarchy M24 DAC/Pre could not keep up with the depth of sound field, precision and fullness of the CD-2. One could purchase very respectable separate player and DAC, but with the level of quality of the CD-2 it’s not necessary; you get extremely high performance from both functions of the player. The quality of the CD-2’s digital treatment was such that it could not be pushed “beyond the edge” to sound harsh. With rising levels, the music was not jagged or edgy. Even more poorly recorded classic rock such as Boston or Kansas on full-range ESL speakers was incapable of being irritating to the ears! That’s a real world test showing the mettle of an ultra-smooth player.

There will be yet another

Very soon on the horizon a new player will appear from Ayon, it’s named the CD-5. At some point it will take up temporary residence in my room, extending my experience to the full line of Ayon players. As has become the norm, the expectation is that Gerhard will once again top his last effort. That would take some doing, but from the experiences with three of his players I wouldn’t want to bet against the man.

Where does the CD-2 stack up? Consider that for most serious audiophiles who want outstanding Redbook performance, the CD-2 easily earns the right to be their reference player. That in addition you would get an outstanding DAC for alternative digital sources is a marvelous design gift from Ayon. I would keep the CD-2 for my reference if not for one thing – I know the CD-5 is coming.