Did I kill it?
Something went wrong when I tried to reconfigure the first VRDS-701. Yes, I had to report a problem, which it seems might have occurred when I tried to make too many connections and use the unit in an unusual fashion. There is irony in this, because recently I wrote my PS Audio Stellar Strata Mk2 review about using twin integrated amplifiers in an unusual horizontal bi-amp configuration. That too, I will discuss down below. I had never jimmied a component from hooking up cables and trying to use its functions, but it happened with the VRDS-701.
Likely, it was due to my attempting to use the Digital Input and Digital Output together as well as the RCA and XLR outputs. These are selectable with the unit, and it appears the owner can only use either RCA or XLR output, and either Digital Input or Digital Output. I was trying to use them all! I saw no warning in the Owner’s Manual about such configurations and I have successfully done so with other gear in the past. It was a shock to me when I attempted to play a CD, and the unit started to make unbecoming mechanical sounds like the transport was having a seizure! It was noisy from that moment on. Occasionally, it would fail to read a disc. In humiliation, I told Jaclyn that I broke the unit. It may have just acted up, but not likely. I reported in depth so that TEAC’s engineers can benefit in both discovery of what triggered the damage and in updating the Owner’s Manual to make clear what settings and functions must be avoided.
This kind of thing would likely not happen to you. My curiosity in the matter was to try using my streamer’s digital coaxial output, run it through the VRDS-701’s Digital Input, have the signal synchronized by the CG-10M-X’s clock, then spit it back out the 701’s Digital Output and on to the amplification. I busted it. Should the RCA and XLR cables have been removed and the outputs turned Off? Was it a sin to try using the Digital Input, oven clock, and Digital Output simultaneously? I’ll let the brainiacs at TEAC work that out. For now, my advice is, try not to be too smart for your own good! Use either the Digital Input or the Digital Output, then make your choice and hook up either XLR or RCA cables.
I have a bit of a gripe about the use of either XLR or RCA outputs. I can count on one finger the components which have called for killing one output while using the other, the VRDS-701. Everyone offers both RCA and XLR outputs hot, so what’s up with this design? I suspect TEAC considers it to achieve better sound. TEAC put options for everything else under the sun into the unit, so my guess is that shutting off one output benefits the operative output.
My gripe about it is that I make unusual system configurations which depend upon use of both sets of outputs simultaneously. I typically send RCA outputs to the Perlisten D212s Subwoofers and the XLR outputs to the amps driving the mains. What am I supposed to do when I can use only one type of output? That requires drastic action, which is not unusual for me. I pull out either my XLR Y-cables or my RCA Y-cables, depending upon which I require, and split the signal emanating from the VRDS-701! A guy’s gotta do what he’s gotta do! It works perfectly, as expected. I’ll make TEAC cringe worse. I send a 3m run to the subwoofers, and a 2m run to the amp(s). If I am using four channels, as with the Legacy Audio i.V4 Ultra, then I must use one more Y-cable at the amp to create the additional two channels of low-level signal for amplification! None of this futzing with the equipment caused any impairment.
Some purists will be howling that it’s horrid methodology and will kill the sound quality. Please keep it to yourself. If you have never done such things, you don’t know. Frankly, you don’t know what you’re missing! It’s a great way to amp up the performance, so to speak! If I had not developed the Y-cable method or the other components did not accept both RCA and XLR inputs, I would be stuck. It’s a good thing for TEAC that I can pull it off, otherwise I would gripe very hard about it. As it is, it’s an idiosyncrasy that can be overcome. It will probably be a non-issue for most users. But for those who must have both XLR and RCA outputs concurrently, unless you can pull off splitting the output. Note: That is a do-at-your-own-risk maneuver! If you have concerns, speak to your manufacturer first! I’m sure TEAC would not endorse it, and it may void the warranty. It’s not kiddie games when I manipulate $10K of gear, you will be looking elsewhere for a source. That is the biggest drawback of the VRDS-701.
CG-10M-X
Extreme integrated system configurations
Now TEAC can learn why I chose this equipment for review. It was not because of nostalgia, nor having heard it at a show or dealer. It was to explore another facet of my discovery of an unusual system configuration, that being use of two stereo integrated amplifiers having a topology of DAC/preamp (tube or SS)/Class D output. The pair of integrated amps is set up in a horizontal bi-amp configuration. I have demonstrated superior performance with two sets of such integrated amps, the Heaven 11 Billie Amp Mk2 (tube preamp stage) and the PS Audio Stellar Strata Mk2 (solid state preamp stage). These both have outperformed all the traditionally configured sets of separates from $50-70K over 17 years of reviewing!
Does the TEAC gear stand a chance against this formidable topology and configuration? I wanted to try reversing the system configuration while retaining use of an integrated DAC and a class D amplifier. The VRDS-701 with the AP-701 fits the template of a highly integrated component at the front end versus the back end. What would happen if the topology was source (outboard streamer)/CD/DAC/preamp – the VRDS-701 has selectable Variable Volume output – in association with a simple back end, Class D power amplifier(s). It turns out that this, too, is a smashing success!
I have used the VRDS-701 with the Legacy i.V4 Ultra as well as the AP-701B, so the system topology, particularly the VRDS-701, works very well with other amps, too. The TEAC setup also outperformed all previous systems with separates from $50-70K over 17 years of reviewing. The larger outcome is that the combination of highly integrated component which includes a DAC and preamplification, and which relies upon class D amplification is exceptionally efficacious!
The TEAC system, in this case used with the Bricasti M5 or PS Audio AirLens, is an astoundingly capable set that shows front end loaded integrated components can be formidable. I conjectured in the PS Audio Stellar Strata review that to achieve the notable results required both a particular topology of component and an unusual system configuration featuring a highly integrated component. The unusual system configuration with the integrated amps is doubling them and wiring the speakers in a horizontal bi-amp mode. The unusual configuration for the TEAC gear is opting for two of the AP-701B and running them Bi-Amp (Mono).
The level of sound quality attained by both systems is arrestingly high-level. They are performing far beyond equipment two to three times their cost, and that is not exaggeration but demonstration. It seems the tide has turned regarding integrated components. Whereas for the past several decades, it was typical that separates always provided a superior experience, now with the likes of the VRDS-701 or the dual integrated amplifier systems, it is possible to assemble a system with a highly integrated component that outperforms many sets of costlier separate components.
During the formalities of setting up the review, Jaclyn had mentioned the favorable response the VRDS-701 was garnishing. She was correct; it is proving to be a formidable front-end component. Let’s proceed to discuss the benefits and performance of the TEAC system.
AP-701
Advantage: integrated source, DAC, preamp
The audiophile who wishes to obtain an unusually high-end result no longer has to rely upon several streams of trickle-down technology. TEAC discusses the technologies employed in the VRDS-701, and to the experienced audiophile, it is evident that advancements in transports, DACS, and preamplification (analog and digital attenuation) have been taking place over the years. I shared in the PS Audio Stellar Strata Mk2 review how three important technological advancements were pulled together in that integrated amplifier. Both TEAC and PS Audio advanced their DAC and attenuation, with the CD transport being the unique feature benefitting from TEAC’s work.
Anyone who has a CD collection and has been using an old transport and DAC needs to strongly consider upgrading to the VRDS-701. It is a breath of fresh air for my CD collection! Along with the CG-10M-X, my older music is presenting a terrific amount of detail and nuance that had escaped previous CD sources. It is difficult to attribute the benefit only to the transport because the DAC is integrated. What I can say with certainty, is that my use of an older high end CD player such as the Ayon Audio CD-5 or DACs such as the Benchmark Audio DAC3 and AHB2 Amplifiers did not reach this level of refinement. In the case of the Ayon, it is now pushing 15 years old, and the Benchmark components rely more upon the standard system building configuration. In the intervening years, highly integrated components have leapfrogged them. As advancements in DACS, attenuation, and class D amps have come, the older paradigm is weakening. CD playback with the VRDS-701 follows suit with the typical advancements in sources, with layers or veils being pulled back to reveal a clearer picture.
The ethereal moment came with the insertion of the Colibri C2 High Performance Compact Loudspeaker into the system. I cannot express enough how pleased I am at discovery of this horn hybrid speaker! It is everything I thought I did not want; it’s shorter, has limited low end response, and is a horn speaker. However, as a budget offering of Avantgarde Acoustics, a world leader in horn speaker systems, it has exceptional build and sound quality, blends terrifically well with my Perlisten D212s Subwoofers, and is holistically superior to the larger floor standing speakers I own. The VRDS-701 and CG-10M-X, in conjunction with the novel twin Stellar Strata Mk2 configuration, are bringing copious amounts of refinement to this exquisite little horn hybrid.
Another wild aspect of this system is that I have daisy-chained DACs! For both the CD playback and the streaming from the Bricasti M5, I am sending the VRDS-701’s clock-enhanced output to the Digital Input of the integrated amps. The first moments I heard it, I was stunned at the sweeping improvement in resolution, depth of the sound field, and fullness and solidity of images. I had not previously done much comparison of linked DACs – I recall I had tried it with the Exogal Comet and other DACs, but never with this profound a result. I plan on exploring that result and comparing it repeatedly with either the TEAC or the PS Audio’s DACs to assess whether it is a method worth adopting. At this time, the combo of these affordable components sounds ridiculously upscale.
The importance of cabling
As I recently had a get-together of some local audiophiles at my home, I was explaining the system configuration with the VRDS-701 and the CG-10M-X Master Clock. I commented that the big advantage of AudioQuest sending typical digital coaxial (SPDIF) cables which required BNC adapters is that it allowed for swapping the cables for comparison, a build-your-own digital cable option. Immediately, one of the most technically knowledgeable men in our group began to interrupt and argue with me about it. He insisted that since the data is digital, the cable for the clock would have no impact on the sound. He is a big fan of double- blind testing, which I consider an impediment to building better systems.
What can I say? He’s wrong. Swapping out the digital coax cables in an efficient manner, i.e. two to three minutes, easily passes my Law of Efficacy in terms of clear, easily distinguishable and repeatable changes. The changes are not unlike that provided by changing a component. I discovered that AudioQuest’s DBS (Dielectric Bias System) incorporated into the higher end models of their cables was associated with better sound quality. Whether it was the DBS battery pack or the upgraded build of the cable, I do not know, but the upper end digital cables in association with the TEAC gear transmitted significantly more informational and tonal richness from the components.
No one knows whether any given analog interconnect might outperform a dedicated digital cable. I have compared the Iconoclast RCA Generation 2 RCA and XLR Interconnects to several dedicated digital links over the years, and typically, the Iconoclast interconnect has outperformed them! I no longer hold slavish adherence to the notion that one must use only a cable with the proper nomenclature to get the best results. In this instance, a single Silent Source The Music Reference Interconnect (2m) acting as the digital link between the VRDS-701 and the CG-10M-X was clearly more upscale than any other digital link in that location. Similarly, the AudioQuest Firebird DBS was best (the AudioQuest Cinnamon Digital Cable was runner up) when placed between the Bricasti M5’s coaxial digital output and the VRDS-701’s Digital Input. When I switched these around, the music relatively fell apart. Do not overlook the necessity of trying all possible iterations of cable placement, even for digital links!
Like rolling discrete opamps
Several years ago, I entered a period of exploration of rolling discrete opamps into components. The components which benefitted from that activity were various DACs produced by Eastern Electric and the Kinki Studio EX-M1 (and the newer model EX-M1+) Integrated Amplifier. Starting with mass-produced chip opamps, I worked my way up to some of the finest discrete opamps. Between brands and models of single and dual opamps I had so many that I created a chart to track the combinations. I tried dozens of iterations of them in the electronics, and each combination yielded a distinct sonic signature. The experimentation allowed me to customize the sound to such a degree that when I was done, I had no desire to change the components but considered them ideal for my system building purposes. It was tedious in some respects, but working through the permutations of opamps made those components quite valuable to me.
The VRDS-701’s extensive menu system strikes me as similar to the cache of discrete opamps. The permutations of settings are nearly as vast as the combinations of discrete opamps, but they are more convenient. It’s a lot easier to punch a button than pull and replace opamps and if one is misplaced or oriented incorrectly, the component will be damaged. One of the primary reasons I like the VRDS-701 is that once the period of exploration of all the settings is done and an optimized performance found, it tends to be the optimal combination for my ears. When I put a new component into the system and commence revisiting the settings of the VRDS-701, I usually revert to the combination I have been using. Eventually, I concluded that I have found the best combination of settings for me and unless something seems lacking, I leave the settings alone.
As I was looking for a better CD transport, the VRDS system from the Esoteric line found in this more affordable component prompted me to arrange for this review. I am pleased that I did, because I have been introduced to a very nuanced level of CD playback. I also discovered that TEAC’s integrated DAC and preamp treats streaming very well, and found in the VRDS-701 an integrated source that will allow me to build a considerable number of systems with alternative configurations. The high degree of functionality and flexibility of the VRDS-701 and the pleasing way the CG-10M-X cooks the signal make these two a considerable source, regardless of price. I was stunned by the unexpectedly upscale result I obtained when I daisy-chained DACS, and I want to keep exploring that option. For these reasons, I am making them my new digital source for CD, file playback, and streaming.
On the AP-701, it is a charming amplifier, and I recommend it to leverage the capacity of the VRDS-701 and CG-10M-X. Putting myself into the shoes of the earnest but fiscally limited listener, in terms of capacity to lift a pair of speaker’s performance, the TEAC components are compelling. I do not often applaud the performance of a one brand system, but TEAC deserves recognition for the level of sound quality offered for affordable separates.
Revisiting TEAC components after all these years has been delightful! I was pleasantly surprised by the sound quality being obtained at their price point. At $14K for the setup used in the review, which provides the owner with an entire system of electronics sans streamer and speakers, it is a serious setup that does not skimp on sound quality. Audiophiles with limited funds and an insatiable appetite for good sound would be treated well with this system.
Associated Components:
Digital Sources: Bricasti M5 Network Player, PS Audio AirLens, TEAC VRDS-701 Dual Monaural USB/DAC CD Player/Pre-Amp/Headphone Amplifier and TEAC CG-10M-X Master Clock Generator
Streaming Music Service: Tidal premium; Qobuz
Interface: ROON; Audrivana
DAC: (Placeholder) Eastern Electric Minimax with discrete opamps rolled in
Preamp: (Placeholder) Cambrige Audio Azur 840E
Amps: Legacy Audio i.V4 Ultra
Integrated: Heaven 11 Billie Amp Mk2 (two units used in horizontal bi-amp configuration); PS Audio Stellar Strata Mk2 (two units used in horizontal bi-amp configuration)
Speakers: Legacy Audio DSW Clarity Edition; Kings Audio King III electrostatic speakers; Pure Audio Project Trio15 10” Coaxial version; Kings Audio King Tower omnidirectional; Aspen Acoustics Grand Aspen; Wharfedale Opus 2-M2 Monitors
Subwoofers: Perlisten D212s Subwoofers
IC’s: Iconoclast RCA and XLR Generation 2 with Ultra-Pure Ohno Continuous Cast Copper conductors
Speaker Cables: Iconoclast Series 2 TPC Speaker Cable; Iconoclast Series 2 SPTPC Speaker Cable
Digital Cables: AudioQuest Digital Coaxial Carbon 1.5m; AudioQuest Digital Coaxial Coffee 1.5m; Iconoclast RCA or XLR 2m Interconnect used as digital link; Audioquest
USB: AudioQuest Cinnamon USB 1.5m; Audioquest Coffee USB 1.5m; Clarity Cable Supernatural 1m
Power Cables: Iconoclast BAV Power Cord; Clarity Cable Vortex; Snake River Audio Signature Series
Power Conditioning: Wireworld Matrix Power Cord Extender; Tice Audio Solo
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