Review
And here are more Audiolabs dissected by SUJESH PAVITHRAN in his quest for the perfectly 'unbroken' system ....
HERE'S a question one often feels compelled to ask manufacturers of hi-fi equipment: If something ain't broken, why fix it? However, if you were to pose this query to the top brass at Cambridge Systems Technology -- more popularly known to us as Audiolab -- I have a sneaking suspicion you'd be told that the defining parameters of what constitutes ''broken'' are continually shifting.
Audiolab, of course, has a solid reputation for uncompromising sound and engineering reliability, its products possessing longer shelf-lives than much of the competition. The Audiolab amps, the company's flagship hi-fi gear, don't change in sonic character overnight; rather, they evolve into more refined performers.
When the 8000CDM transport was introduced in 1993, a couple of years after the original 8000DAC converter came out, it marked a zenith in Audiolab's digital explorations. Indeed, the CDM/DAC combination (the latter evolving into the Mark II version at around the time the former was born), was hailed as a world-class CD combi.
Both Anthony and I concur that the CDM/DAC represents one of the best CD-playing systems at the price. During the course of my experiments, the Audiolabs have been pitted against a variety of machines from Britain, Japan, Europe and the United States -- only once or twice were they bested, and that too by exemplary products well beyond the Audiolabs' price levels.
Change, however gradual, is inevitable and both the transport and converter were due for a revamp -- the converter, especially, was beginning to get a tad long in the tooth. Here then, are the upgraded versions, presented to you before anywhere else in the world. Yep, it's another AudioFile exclusive! We think ....
Features
The question that first popped into my mind was -- what revamps, exactly? A study of the information kit I received threw some light on the matter.
First, the 8000CDM transport, which looks pretty much the same. You'll notice the black drawer (the old one was grey), with a thicker front and beryllium spring earth contact. The transport mechanism itself is now a Philips CDM 12.4 (the 9 Pro has been discontinued), which you'll find used for CD-ROM applications as well. The radial tracking arm of the original has been replaced with a new three-beam laser.
Other changes have been made to the servo control for the drive, the digital decoding module and master clock. Even the control system is slightly different, offering thoughtful improvements over the earlier model. The new 8000CDM's drawer will close by itself if left opened for three minutes; the play function has also been rationalised, so you don't have to close the drawer first, then press play. Track programming is now available and you can store a sequence of up to 60 songs.
More obvious are the external changes made to the 8000DAC -- on the control area on the fascia, dominated by a cluster of green, red and orange LEDs to denote various sampling and input modes.
The conversion system is 1-bit, the digital filter 20-bit, incorporating digital de-emphasis in two configurations. Filter one is tuned for optimum technical performance and comes as a standard setting; filter two has better group delay characteristics, but less attenuation of spurious signals and roll-off of high frequency. You've to switch off the DAC, press a couple of buttons and power on again to alternate between filters. The master clock has been reworked as well, so has the output DC servo circuit.
The features on the 8000DAC remain extensive, from the seven digital inputs (three coaxial, one balanced and three optical) to the digital and analogue outputs. Audiolab recommends use of the 75-Ohm BNC output/input between the CDM and DAC. It appears that the 110-Ohm balanced option, which sounded marginally better in the older models, has been superseded in performance.
Sound
Going along for the ride were the Audiolab 8000Q/Chord SPM 800 pre-power amplifiers, hooked to Monitor Audio Studio 15 loudspeakers; stringing them up were Ensemble Digiflux 75-Ohm cable, van den Hul The First and Audio Note interconnects and vdH The Wind cables.
The Krell KAV-300i integrated amp and Boland BTX160 speakers were also pressed into service; various other interconnect and cable combinations from Straightwire and Silver Sonic went into the equation as well.
As I've reiterated on occasions before, the original CDM/DAC combination was in a class of its own . . . still, having heard newer transports and converters from Stateside made me aware that the 8000DAC was inching past its use-by date. The 8000CDM transport has looked less vulnerable, pairing off well with more esoteric converters.
The sonic changes in the new versions are somewhat more than subtle. Various improvements in the areas of tonal balance, low frequency control, soundstage, detail and focus can be singled out ... usually via the Filter 1 option.
Bass, already impressive, has been tightened and imbued with more ease of articulation -- in the new versions, it's more tuneful, detailed and authoritative, without overwhelming the overall balance.
There's a faint suggestion of sweetness in the midrange, lending an attractive texture to various instruments, without hindering ambience and detail retrieval. Also, the treble doesn't intrude ... so you'll never need to worry about using this combi with inherently forward-sounding ancillaries, just switch to Filter 2.
More marked are the airy, open sound and the depth of detail available -- instrument placement and focus are more precise, staging is more three-dimensional. This allows the music wider breathing space, making you aware of minuscular details and textures in the recordings.
The general presentation is smooth and fluid, unfazed by any sort of musical programmes. This combi captures the essence of the music and allows the listener profound insights into the nature of the recording.
Conclusion
The price for the new 8000CDM/8000DAC remains unchanged -- Audiolab products have remained remarkably competitive in a market influenced by exchange rates and rising costs of living.
Sure, Audiolab's CD playing system is no beer-budget proponent; it gets closer to hi-fi esoterica than most of its British peers. Yet, it offers an economically attractive entry into the high end here, where five-figure price tags are the norm rather than exception.
If you've lived comfortably with the Audiolab sound in recent years, the 8000CDM/8000DAC will have you reaching for the cheque book. However, if you've yet to tune in to the sound and are looking for a top flight CD transport/DAC, here's the obvious place to take a pit stop.
Note: A new Audiolab product will make its world premiere at AV Fest '96, which takes off tomorrow (Aug 2) at the Crown Princess Hotel in Kuala Lumpur. What is it? Be there to find out; we've arranged this specially for you, folks!
Model: Audiolab 8000CDM/8000DAC CD transport/DA converter
Price: RM4,900/RM2,890
8000CDM
Digital outputs: coaxial (1, SPDIF/BNC), AES/EBU (1, XLR), optical (1, Toslink)
8000DAC
D/A converter: 1-bit
Digital inputs: coaxial (3, SPDIF/BNC), AES/EBU (1, XLR), optical (3, Toslink)
Digital outputs: coaxial (1, SPDIF/BNC)
Analogue outputs: 2 pairs (RCA)
Review sample courtesy of QUINTESSENCE AUDIO VIDEO SDN BHD (tel: 03-718-7231), 21 Jalan SS22/19, Damansara Jaya, 47400 Petaling Jaya.
Verdict
For: Improved general presentation; more cohesive low frequencies; never gets in the way.
Against: Nothing really ... at least, not until this version is upgraded!
Rating
Sound: * * * * *
Value: * * * * *