October 2010
World Premiere!
Vincent CD-S8 Hybrid HDCD CD Player
The glory of tubes in a
state-of-the-art package.
Review By Anthony Nicosia
Vincent Audio originated in Germany
back in 1995 under the guidance of Uwe Bartel the company’s founder, an
electronics engineer who still remains very involved in the design of current
products. While their audio equipment is manufactured in China they are done
under strict company supervision with an eye towards keeping costs down but
quality high. Going to their
website you need only look under the tab labeled "Premium
Line" to find the newest edition to their CD player line-up, the CD-S8.
Although listed there it is not the company’s top-of-the-line unit which is
reserved for the highly acclaimed and more expensive C60. Knowing that the
company has a history of producing hybrid preamplifiers, power amplifiers, mono
block amplifiers, integrated amplifiers, CD players and stand alone headphone
amplifiers gave me a comfortable feeling when the opportunity arose for me to do
this review. Given their history of producing quality hybrid audio gear I
awaiting the CD-S8's arrival like a kid on his birthday.
Once the CD-S8 was delivered, and after a
recommended four day break-in period, out came the OPPPO Digital BDP-83 Special
Edition Universal player to be replaced by this new hybrid player from Vincent
Audio. The CD-S8 is touted as an HDCD player however most of my CD collection is
in red book only playback with a few SACD hybrid discs thrown in. Now it is not
my intention to debate HDCD versus SACD or DVD-Audio but rather to concentrate
on the player instead. Still a mention of HDCD technology is in order as owners
of this player will surely seek out HDCD encoded discs. HDCD stands for High
Definition Compatible Digital. Discs encoded with this technology can be played
on ordinary CD players although their playback will be at 16bits rather than the
enhanced expansion to 20bits. When used with a compatible player the resulting
effect on CD performance should be a larger dynamic swing found within that
extra 4bits of data. If you look carefully at your collection of CDs you might
just find you already have some HDCD discs without you even being aware of it.
Somewhere on the CD case, usually the back,
should be some letters simply stating HDCD. Shifting through my collection a
little over a dozen CD's were discovered to be HDCD encoded making this review a
tad easier to complete. Aside from the HDCD technology what made me take
particular notice of Vincents CD-S8, was the addition of tubes within the signal
path. For you see there is a nice large box of spare tubes, a tube amplifier,
tube preamplifier, integrated tube amplifier and tube tuner currently residing
within my house. Yes this audiophile loves tube gear and so having the chance to
review a tube CD player, even a hybrid one, certainly brought a smile to my
face. Besides having the flexibility of tube rolling the CD-S8 comes with
balanced outputs for those who care to use them. For me however my Placette
preamplifier does not have balanced input or outputs and so this review was done
using the CD-S8's RCA jacks. While my interconnects are all keep to one meter
lengths, helping to offset the need for XLR connections, my hunt is still on for
a tubed preamplifier equipped with both XLR and RCA input/outputs. Stay tuned on
that note.
On The Technical Side
Looking inside of the CD-S8 we see it is a symmetrically
constructed HDCD player with the highly rated Philips VAM1250 CD transport and
Texas Instrument's PM1792 24-bit digital-to-analog converter (DAC) with 192 kHz
sampling. The analog output stage is not hybrid but rather consists of a full
vacuum tube section made up of two Russian 6922 dual triode tubes (for RCA
or XLR output) as well as premium WIMA and Solon capacitors to provide a
smoother much richer sound. In an effort to achieve a purer signal by keeping
noise out of the signal chain this circuitry is put in a section inside the
chassis that is shielded and physically separate from both the digital and
high-voltage power supply circuits. As for digital and optical outputs they see
the use of one Chinese 12AX7 tube. The CD-S8 also comes complete with a
dedicated headphone stage sporting a separate volume control located on the left
side of the front panel so headphone lovers will find no need to buy an
additional headphone amplifier. This was something not found on my reference
player and while not really a headphone type of guy this can be seen as a big
plus in savings and convenience to those that prefer one.
This amplifier worked well and the headphone
volume adjustment on the CD-S8 came in handy as my Placette Passive unit also
has no headphone jack. Listening was done with its volume control set at around
eight to ten o'clock through some older Sennheiser HD497 headphones found lying
around my son’s room. While certainly not state of the art headphones they did
enable me to experience and to enjoy the CD-S8 through them. Both optical and
coaxial digital outputs can be found on the back panel allowing the CD-S8 to be
used with an AV processor- or a receiver-based system as well as two 12-VDC
trigger inputs to aide with system integration with other components. If you
like the CD-S8 can be operated by way of its aluminum remote control or its
front-panel controls. I found myself using both as when loading CD's it was just
as easy to hit play on the front panel before turning away to return to my
listening position. Once there the remote was obviously more convenient.
Although it did not light up in the dark it still was both comfortable and easy
to use with a nice weighty feel to it. After quickly becoming accustomed to its
controls and the location of its operating buttons this was not an issue for me.
My
review sample came with the silver faceplate rather than the black and weighing
just under twenty-four pounds felt quite sturdy. When planning its insertion
into an audio rack be aware that at 17" wide, 5.3" high and 14.5"
deep it might command a little additional room compared to some other CD
players. The tray is located in the middle of the front panel above the power
on/off button with six displays/controls to its right and six controls to its
left. Since it was taller than my other CD players it was nice being a front
loading design in that it took up less space than one of a top loading variety.
On the top plate of the unit you will find some ventilation slots. These slots
can be important considering there are three tubes located inside and being that
air circulation helps extend tube life. If you run the factory tubes that might
not be so much of a concern as they are relatively inexpensive and easy to
replace. If you do decide to replace the 12AX7 and 6922 tubes with those of a
rarer older variety then these ventilation slots with improved air circulation
takes on an added appeal. Unfortunately the only way to see the tubes is by
looking at them through those slots as the chassis obstructed my view of any
glow coming from them. More importantly, though, was that when music played
their effect could actually be felt with the music which is really all that
should matter anyway. So now that some of the technical data is out of the way
it is time to talk about that very question what did it sound like?
Let
The Music Begin
Since there are HDCD recordings in my music
collection what better place to start then by using them for my initial
listening sessions. Many years ago my wife took me by the hand and walked me
down the path to discovering Country Western music and I thank her for it daily
(or at least I should). While having only one HDCD by the Dixie Chicks, Wide
Open Spaces [Monument NK 68195], it is quite an engrossing disc. When
playing the title song, “Wide Open Spaces” the CD-S8 lent clarity and an air
to the recording allowing for it to sound remarkably natural. The voice of
Natalie Maine actually came across as “Wide Open” with her voice filling the
space between and beyond my loudspeakers bringing great joy to my ears.
Accompanied by Emily Erwin on guitar and Martie Seidel on Fiddle, along with the
accompanying band, the talent of each of these three women stood out separately
within and together as a group. The spaces separating performers was distinct
and quiet giving a level of playback that drew one into the music. If you like
the Dixie Chicks as my wife and myself do you are sure to enjoy this HDCD
performance played through the CD-S8. Vocals and acoustical instruments alone
though are not the only area where this player shines as was discovered when
listening to “Loving Arms”. Here the presence of Greg Morrow on drums keep a
firm and steady beat throughout the song. This again was heard on “Give It Up
Or Let Me Go” as Greg Morrow lent solid support to the Dixie Chicks as they
played that Bonnie Raitt classic. The opening guitar chords were sharp and fast
never giving into any slow style tube playback. This is one fast paced song
starting from the opening notes to the scream at the end followed by a “You
all are awesome” comment from Natalie Maine. In between we are treated to
Martie Seidel playing fiddle as she moves from the background to the forefront
during the song. A fiddle can be a good test of a systems ability to reproduce
speed. If you can not get it right something is amiss somewhere. Not to fear
though as the CD-S8 did better than just fine in this department and if you find
yourself not caught up within the music please take a moment to check your
equipment or perhaps even your pulse.
Now onto something that for me has never sounded
better than it did today when heard through this newest CD player from Vincent
Audio, Neil Young's Greatest Hits
[Reprise 48935-2]. Within this album we have so many great songs from which to
choose but “After the Gold Rush” has always captured my attention. Here the
CD-S8 lets that classic Neil Young style of singing flourish with its open yet
delicate sound. There is nothing quite like his voice which is quite distinctly
heard on this HDCD recording. When referring to the word delicate it is not
meant that details were lost. More so that it had a flowing way about it, more
akin to the sound of a vinyl recording with less digital harshness. There was an
overall sense to performances that connected one with the music which to me is
more appealing than one having an overly analytical sound about it. In this same
vein Bill Peterson on flugelhorn takes you to a place where one is filled with
sadness to compliment the famous Neil Young line “Look at Mother Nature on the
run in the nineteen seventies”. This is an emotional song brought to life by
the capacity of the CD-S8 to connect one with the music. Suffice to say, both
music and CD player where that good.
You might ask, but can this player put out the
necessary energy when needed? Fair enough question to ask and one which brings
us to the song “Rockin' In The Free World”. Here we have a fast paced high
energy song recorded at Neil Young's famous “The Barn” studio. He is not one
to sit on the fence nor does he do so with this recording as he lets us have it
with both barrels musically and verse wise. The CD-S8 helped me feel close to
the music while still keeping dynamic energy high to give the proper rendition
of size and space within “The Barn”. You've just got to love this song.
Before departing from this album what better track to leave off on but
“Harvest Moon” with its appropriately placement as the last song on this CD.
Here Neil Young winds us down with a slower paced uplifting tune to ease our
minds and make peaceful our hearts. My first thought when hearing this was how
nice the background harmony sounded and how well it integrated within the song
only to discover it was Linda Ronstadt performing. She is no stranger to Neil
Young as she and James Taylor performed as background vocalists on the original
Harvest Moon CD (Reprise Records 25899). The line “Come a little bit closer
hear what I have to say” (from the song “Harvest Moon”) is a phrase you
could use to capture the CD-S8's ability of drawing one into the music as it
spins its magic to the delight of all. My problem with writing this review was
getting lost inside performances rather than critically listening as I became
lost within the joy of music the CD-S8 would put out. Fortunately this is a
problem only reviewers need worry about as the end purchasers of this product
from Vincent Audio get to relax and “Enjoy the Music”.
Now
to slip into something a little different as we stroll over to Garth Brooks Double
Live [Capitol 7243-4-97424-2-0] HDCD recording. This was a show held
in Dublin Ireland at the Croke Park stadium back on May 18th 1997. The stadium
holds 60,000 people although for this concert a four hundred eighty foot wide
stage with a six story high backdrop was built taking up about a 20,000 person
capacity. Still though satisfying the remaining 40,000 screaming fans was not an
easy undertaking. At first Garth Brooks pondered how to make it a memorable and
intimate experience for such a large gathering, but after listening to the
audience on this CD he apparently pulled it off nicely. The job of the CD-S8,
along with the rest of my system, is to give us a glimpse of those live moments
as we recapture that intimate feeling while never losing sight of it happening
in an open arena before 40,000 people. All this of course had to be occur within
the relatively small listening environment of my home.
On “Tear It Up (And Burnin' It Down)” Jim
Mattingly on fiddle gave the concert a down to earth close knit feel as the
audience with countless layering of rows upon rows of people lined up between
and behind my loudspeakers. As for concert hall realism it sounded as if you
were sitting maybe ten rows or so back. Nothing of the in your face up front
first or second row order but the more preferable seating where one can better
take in the entire sound scape with its sense of depth. Although slightly less
wide and tall than the very best this was about to change as factory tubes were
substituted for some of a much older and rarer variety to be found within
my personal collection. Before that though it is important that you know it was
not just with HDCD discs where the CD-S8 shined but also with the many rebook
CD's played as well. On a favorite album of mine, Yo-Yo-Ma & Friends Songs
of Joy & Peace [Sony Classical 88697-24414-2] there was an extra
level of enjoyment uncovered when played back through the CD-S8. On “Here
Comes The Sun” a beautiful layering of guitar, cello and vocals emerged with a
vibrant cello showcased before us in true life size. Turning to “Happy Xmas
(War is Over)”, a John Lennon & Yoko Ono tune, both cello and ukulele come
across as distinct in both size and timbre. The ukulele sounding like a playful
small stringed instrument with a comfortable decaying of notes as the cello
released a deep full body resonance in accordance to its size. My loudspeakers
seemed to melt away giving rise to instruments unveiling their musical splendor
within the confines of my listening room.
Those of you who cherish the flute might want to
visit, Flute Mystery (2L58) by the
Norwegian composer Fred Jonny Berg. This album features Emily Beynon on flute
and Catherine Beynon on Harp with the support of the Philharmonia Orchestra
conducted by Vladimir Ashkenazy. Starting with the opening notes in “Flute
Mystery Op.66b” flute and harp come together to be later intertwined with the
full orchestra. The Philharmonia takes on an open spaciousness with good depth
and body to it while keeping that feeling of individual distance between
instruments. Lastly on “Warning Zero Op.54b” we hear a spectacular musical
display. The brass section can only be described as “brassy” and one feels
as if sitting at close quarters to the orchestra pit. Woodwind instruments open
up sounding light and delicate with a good degree of air on the very top. Here
the CD-S8 exposed some very powerful dynamic passages that had me riveted to my
seat as some very ominous sounding music rolled over me. Here the CD-S8 brought
out the intended emotional content of this piece with full flare.
The
Fun Of Tube Rolling
How can one just sit by when there are
additional tubes ready for insertion into this beautifully designed CD player?
The answer to that is of course, you can not, or at least so it was for me. Out
came the factory 6922 tubes and in went two Amperex Gold Pin made in the USA
6922's. Being there are countless combinations of tube replacement scenarios
that can take place and that the main thrust of this review is to determine how
the factory component worked there will only be a brief mention of my
experimentation with tube substitution. You of course might choose other tubes
and that is what is so much fun about tube equipment. The possibilities to tweak
are endless with difference makes, and sometimes even types as well that can
work as substitutes (please see the manufacturer or your dealer before trying
tube substitutions especially if of a different type). My replacement tubes,
since they were already used, needed no additional break-in time. It is
recommended though to give tubes at lease twenty minutes of warm up time before
critically evaluating, which is of course what I did.
Turning to Joni Mitchell's Blue
[Reprise 2038-2] a remastered HDCD encoded disc it was quite apparent my tube
changes had working for the better. On "River" Joni Mitchell's voice
was more pronounced with details readily apparent. Her singing took on a more
holographic nature, closer to a live rendition as the piano generated a longer
decay of notes giving a greater sense of truth to timbre. Moving over to the
Grateful Deads American Beauty [WB
Rhino R2 74397] remastered HDCD album the drums on “Operator” had a little
fuller presentation as background and lead vocals came across clearer with some
extra air on top. Overall songs drew me in close as a heightened sense of
awareness to details and space surrounding instruments became more evident. The
new tubes brought with it a wider sound stage and an improved holographic sense
of realism. If this were my purchase then replacing the Russian 6922 tubes with
others that can be had for around $100 each would not be an issue. The
improvement in playback was well worth the extra money and after spending $3295
for the player this extra outlay of funds seems like a good return on ones
investment. Still if you prefer going with the stock tubes they actually
surprised me with their ability to sound good considering their quite modest
price.
Conclusion
Well here we are at the end of the review and
sadly the CD-S8 is soon to be returned leaving a hole in my system that will
unfortunately be hard to replace. In today’s world with manufacturers
producing CD players costing ten thousand US dollars or more it was a good to
see Vincent Audio coming in at only $3295 retail. Still this is a very difficult
price point as there are players costing much less than the CD-S8. You might ask
yourself is it worth the extra expenditure of funds to move up to this quality
of a CD player, well for me the answer was an unequivocal yes as it greatly
impressed me on so many levels. The HDCD encoded discs sounded excellent, the
joy of tube rolling was a delight as was the addition of a headphone amplifier
(with headphone output jack and volume control) as well as the fact that
playback even with my red book CD's was vastly improved upon. This CD-S8 CD
player had all of the above plus, digital, optical and even XLR outputs housed
within a substantially built 23.8 pound enclosure. If this is too much for your
budget fear not as there might be a Vincent Audio product for you yet, for their
CD-S1.1 and CD-S6 Hybrid CD players are priced considerable less. For those who
would like to up the ante a bit more you might want to also consider their other
Hybrid CD player the C60. Priced at around $4695 and featuring a top-loading
system with a puck-style CD stabilizer the C60 looks to be another interesting
venture into the world of CD playback from Vincent Audio. For now though you
must excuse me as the CD-S8 is calling and while it is here I intend to savor
every minute of the musical bliss it has to offer.
The
Listening Environment
The review room is eighteen feet eight inches
long by thirteen feet wide with loudspeakers and equipment kept on the short
wall. The cathedral ceiling starts at eight feet and sloops up-wards to thirteen
feet at its peak in the middle spanning across the short length of the room for
the full thirteen feet width. The hardwood floor has a nine by six foot oriental
rug lying down the long ways facing toward the system placed dead center in
between, yet not under, the listener and the review equipment The room has no
doors but there are two openings. One opening is in front of the right
loudspeaker giving access to the hallway while the other is behind the listening
position which opens into a formal dining area. The room is treated with three
floor standing acoustical panels whose placement varies depending on which
loudspeakers are used and their position within the room. All the audio
equipment is located in a Cherry Synergy Twin S30 Salamander audio rack placed
about a foot away from and in the middle of the short wall opposite the
listening position.
Review
Equipment
Monarchy Audio SM-70 PRO mono block amplifiers
Placette Passive Preamplifier
Legacy Focus 20/20 Loudspeakers
Audience aR2p-T0 power conditioner
PS Audio UPC 200 Power Conditioner
PS Audio Power Port Receptacle
Two Blue Circle Audio Mk III Power Line Conditioners
Loudspeaker Cables: Cardas Golden Presence (2 pairs running bi-wired)
Interconnects: Cardas Musician's Reference (2 pairs)
Power Cords: Cardas Cross (1)
My
Ratings
Please take into consideration that the
equipment under review is being measured in my room, with my equipment and heard
through my ears. As always you should be the final judge as to what works for
you in your environment and measured against what traits you value most. The
following was how I rated the equipment based on a rating system that does not
take in to consideration the cost of the product, until the very last question,
“Value For The Money”. Before that all products are rated against others in
its category, regardless of financial considerations with a highest rating of 5.