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Esoteric DV-50: Any cdp's Significantly better?

Is there are anyone out there who has compared the Esoteric DV-50 to a number of dedicated red book only players (or other universal's) and found one that is SIGNIFICANTLY better?

I stress significantly because in my humble opinion the redbook playback (if comparison unit is just a cd cd player only )must be significantly better to justify losing DVD-A, SACD and DVD-Video capability.

I keep hearing there are better one box solutions and being a die hard 2 channel fan I would sell my DV-50 if I found a player in the same price range that sounds significantly better. But every time I do an AB comparision to other well respected units the DV-50 has slayed each and every one.

So far, it has eaten the lunch of the Classe CDP-10, Ayre CX-7, Linn Ikemi, Cairn Fog Vers. 2, Cary 306/300, Arcam DV 27A and CD 33T, Myryad CD 600, etc. It even betters a Sony SCD 777ES/MF Tri-Vista 21 transport/dac combo that I previously owned. I'm only comparing the DV-50 to single box cd or universal players, but I just wanted to mention the Sony/MF combo. I'm sure there are some dac/transport combo's that will handily beat the DV 50.

Some may say that the DV 50 should beat all the above because the of price point ($5,500 vs. average price of $3,000 for the above players). But I disagree since conventional wisdom says that stand alone players (especially with the pedigree of those mentioned above) should produce better redbook than a universal player trying to be a jack of all trades. Only the DV 27A does video plus audio. By the way, I was very impressed with the 27A as just a cd player. Of all the above I would say the Ayre was the best.

Next on my list is the Electrocompaniet EMC 1UP and the Resolution Audio Opus 21. However, I must tell you I am really impressed with the DV 50 and all the great reviews are absolutely true. I've noticed that many people who are using it or comparing to other players are using the RCA analog outs instead of the balanced outs. There is a significant improvement in sound if you use the balanced outs and I'm only interested in hearing comments from people who have compared it against other players using the balanced outs on the DV-50.

My system components are as follows:

B&W N803's speakers & HTM-1 center
Cary Cinema 5 (5 x 200) amp
Anthem D1 Statement pre/pro
Esoteric DV 50
Acoustic Zen Satori Shotgun speaker wire
Nirvana SX balanced interconnects from DV-50 to Anthem
Acoustic Zen Matrix reference II interconnects from D1 to Cary
No after market power cords or isolation equipment

My system sounds great! Those who comment please make sure to specify what specific improvements you heard over the DV 50 and what cdp were you comparing it against.

AVGURU
avguru
essentialaudio
1,147 posts
 
Sheesh! When can everyone make it? Puh-leeze email me or call me, folks, with the dates you have open - weekends are much preferred, but please keep in mind some flexibility is needed for customer auditions... I realize not everyone may be able to make it, but we need to set a date and stick with it...
Brian
847-382-8433
tvad
9,467 posts
 
Let me ask you Chicago Shoot-out guys a question. If and when this ever occurs, what is it going to tell you about what any given machine is going to sound like in your personal systems? Isn't it conceivable that the machine that is crowned the King of the 2005 Winter/Spring Chicago Digital Shoot-out may not be the best in every system? I mean, as it is I'm willing to bet the differences are going to be minimal, and one's preference is going to come down to a matter of personal taste.

That's why I'm following this thread with a big grain of salt.

I've been priviledged to be involved in a couple of listening session during the past four months which compared only two SOTA source machines per session. Each session lasted four hours (not be design), and I think the participants would agree that the results, while fascinating, were certainly not conclusive during such a "short" audition. You guys and gals are in for a serious marathon of critical listening, and I'm dubious that anyone's attention span will be able to sustain the barrage.

It's fun. But it's also a tad gruelling. I can't begin to imagine what a session involving four to six machines is going to be like.

It seems to me that at least some of you could've auditioned a couple, if not several, of these machines in your own systems by now, and trusted your own ears to tell you what you liked.

IMHO...
avguru OP
116 posts
 
TVAD,

I believe if the system we're listening to is transparent enough we will definitely be able to hear general and sonic characteris/differences between each unit and what one unit does better (or worse) than another.

From my personal experience I would say that over the years I've agreed with about 90% of what John Atkinson of Stereophile has said about the pariticular sonic characteristics of individual gear (of course after listening to it in my own system). And ususally John listens to a piece of gear in three or more different systems before making a final assessment.

Now your point as to whether or not these particular sonic characteristics are desirable or make "improvements" to a particular system are valid. That will be up to the individual to decide. As you've always stressed through out your posts, no one should buy anything before they've had a chance to audition it themselves. This shootout is only a guide.

However, I will say this (and your opinion may differ). If I am fortunate enough to get a really great piece of gear that's a reference piece and is known to have set a sonic standard in its class (i.e Halcro 58 amp, etc), even if it did not sound good in my system I'd probably abandon that system and re-tool it around that piece.

I believe in working around the strength of one's system and tailoring it around the component (or components) that bring the most to the table. Any system can be properly synergized to reach its maximum potential. Its just a matter of finding the proper fit of components, cables, etc.

Just my opinion!

AVGURU
tvad
9,467 posts
 
Avguru,
I believe if the system we're listening to is transparent enough we will definitely be able to hear general and sonic characteris/differences between each unit and what one unit does better (or worse) than another.

Agreed.

I will say this (and your opinion may differ). If I am fortunate enough to get a really great piece of gear that's a reference piece and is known to have set a sonic standard in its class (i.e Halcro 58 amp, etc), even if it did not sound good in my system I'd probably abandon that system and re-tool it around that piece.

I disagree, only insofar as this has the enormous potential to lead to a never-ending cycle of re-purchasing and non-fulfillment. When do you decide that enough is enough? After you've obtained the Halcro (whatever) and purchased pieces to compliment it, and when the next "statement" piece comes along do you start all over? When does it end? Knowing how meticulous you are in your quest (no criticism intended here), you will spend years re-tooling a system that will never be satisfactory. Are you suggesting you're going to build a system around your digital source? This is, after all, what this thread is about. If that is your method, then I believe you are on the road to disaster. Digital changes too rapidly, and in six months what is state of the art now will be outdated. It's your path if you so choose. But, I'll take the other fork in that road.
essentialaudio
1,147 posts
 
Avguru, 711smilin just called to say he plans to make it, so perhaps you were thinking of someone else...anyway, we are ON for Saturday... Mark, hope you can make it over sometime for a listen...give me a call sometime, as would love to chat. I'll be contacting the person with the EMMlabs CDSD and DAC6e to try to make arrangements for Saturday.

Brian
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