Review: Sony SCD-1 Audiocom-UK upgrade

Check out the Audio Asylum, SACD section. Jim Treanor has
posted his review of the Audiocom mod I did for him.

Richard Kern
Audiomod

Jadem/Richard,
Excellent review overall, in particular your explanation for doing a relatively expensive upgrade on a highly engineered product. It doesn't sound as if the timbre and tone quality have quite met your expectations. In particular it seems that you find there is too much presence (to use an old term)- also did the bass ever really return to its desired style? Would you kindly tell us about the other components in your system. You appear to prefer a sound quality that is on the polite side.-Thanks

Hi Mechans,

Thank you for your question. Looking back at this particular review I find it a bit overwhelming and somewhat confusing. Let me explain.

My original intent was to help explain the entire process of what to expect from this modification, particularly during the very long break in process. What the review fails to do is conclude my impressions properly, and thus I feel you became confused with my impressions. I apologize for the confusion and will attempt to clarify.

Over the past few years I’ve made some significant and some minor alterations to my system, but through the entire time I’ve continued to feel my Sony SCD-1 modified player is the best component in my system. This is true for SACD and redbook playback. As I’ve continued improving other aspects of my system the true strength of the SCD-1 has come to light.

In answer to your specific question, I believe the timber and tone are literally perfect in respect to a natural and neutral sound quality. In my mind the SCD-1 simply has it right, with no electronic feel to its tone. The “presence” if you will, has improved with the alterations I’ve made over time. At this point my system creates a three dimensional image of a solo singer for example that is clearly defined on the sound stage, to the degree that it feels as if I can walk right up to the singer and place my arms around her torso. It is amazing how real and accurate the image is.

Another example is on Bob Dylan’s “Blood on the Tracks” which was recorded in Minneapolis. I went to an acoustics seminar that was held in the studio space that album was recorded in. The layout of the studio was “L” shaped, with one leg having a much higher ceiling than the other narrower leg. Listening to the SACD of “Blood on the Tracks” I am able to sense the space as I know it to be. This is not necessarily a good thing, but I use it to demonstrate the ability of my system to resolve very finite detail that remains on the master tapes.

Lastly I’ll address the issues of bass. Again, much of the improvement in the bass was with cabling, isolation and room treatment. Today the bass is very tight, extremely focused and never muddy or thick. Again the three dimensional effects are so natural and life like. The pluck of the strings of a stand up base, are not only easily “seen” but the resonance of the body of the base is defined and again natural.

As far as my system, the SCD-1 is fed through a Great Northern Sound “Passive Audio Signal Isolator” to an Aesthetix Calypso pre-amp using NOS Mullard 10M gold pin 12AX7 tubes and NOS Russian Type 3, 6922 tubes. I then have two Plinius SA-102 amplifiers bi-amped vertically. Meaning one amp drives the bass and the second amp the mid-range and tweeters. Both amps are played in class A. The speakers remain Dunlavy IV-A. All of the interconnects and speaker wires are Nordost Valhalla. Power cables include Nordost Valhalla, David Elrod and NBS Statement. I use two dedicated circuits, one for the amps and one to a Shunyata Research Hydra power conditioner with an Anaconda power cord. Both Circuits use Wattgate 381 outlets. My system sits on a 4” sandstone slab that rests on Aurios Pro isolators. The Mana (SCD-1) and Apollo racks are spiked to the slab. Each unit sits on a shelf “sandwich” comprised of 3/8” Aluminum shelves resting on upturned spikes from the rack. I then use a sheet of anti-static bubble wrap with a Neuance shelf supported by the bubble rap. The Hydra uses EAR feet that support it on the Neuance shelf. The SCD-1 and both anps are supported by three Orchard Bay titanium cones (no longer available) and Aurios Pro isolators. The Pre-amp sit of a “string” suspension product (name unknown) that in turn sits on a Neuance shelf “sandwich” The Dunlavy IVa speakers sit on #3 black Diamond racing pucks and cones that then sit on Aurios Pros. Both the base and midrange/tweeter binding posts use Walker Audio High Definition Links II.

I use AudioPrism Quite-line system on the refrigerator, computer and T.V. outlets to cancel line noise at the source. I have home made acoustic panels in the vertical corners with triangle panels at the ceiling corners. I have one round home made acoustic column between me and an untreated window. All glass surfaces are treated with wool curtains and the wood floors have thick wool rugs. I use an assortment of Walker Audio brass and lead pucks on much of the equipment and on two wood furniture pieces in the room.

As for my next move, I plan to send my SCD-1 back to Kern for the latest modifications, both from Audiocom and his own. My understanding this again will bring my SCD-1 to equal any player on the market today. Am I crazy? Yes, but the SCD-1 is so well built I feel it worthy of another $2000 invested.

Great to see you posting again, JD. Don't be a stranger!

Thank-you Drubin. It felt good to be back with something constructive to add. This site is so well run, and has so many amazing members I have not felt I had much more to offer. I still look in alot, but my health has kept me from posting much. Just now I have some real energy and so I'm working on a review of my newest addition to my system. The Aesthetix Calypso pre-amp. I'll be posting it soon God willing.