QUAD 99 CD Manual do Utilizador descarregar pdf (Página 3)

cD,

TUNER, PRE/POWER

AMPS

ABovE: Mono

po/ver

amp

houses large toroidaltranstormertor

pows

supply,

and

large mother board; binding

posts

(lolver I

corner) accept bare wire or bananas

Quad's

Elite CDS is thevery modelofa modern CD

player

offering consistently low levels of distodion

across the audio

range

0ust

0.O006-0.0007% from 20Hz-20kHz at 0dBfs)from

a modest I l5ohm output impedance source.The

maximum

output i5 2.36V and

the fullA-wtd S/N ratio amounts to I 10dB

very much more than's nequired for a I 6-bit source like CD.

litter is as low as can be measured with a 16'bit data

pattem

1zopsec. So how doe5 the Elite CDS

comparc with its

gg-seri€s

forebear? lnterestingly. the two

players

are very similar even

thouqh the older unit offered a spectacularly low 0.0002-

0.0003% distortion, 109dBA-wtd S/N ratio

and 1zopsec

iitter

htemodulation

distortion was

<0.00005%

(0.00015%

the new model). ofgreater import is the smoothertrend of

distortion overthe top

2odB of the Elite CDS'S dynamic range,

avoiding the smallrisethat occured at-5dBFs in the'99.

The Elite FlVl tuner is very sensitive indeed, delve

a useable S/N ratio and low

1%THD atjust 20dBUV

{10!V

RFlwhile

achieving its maximum 66.0d8 A-wtd S/N ratio at

just

60dBpV{lmV RF). The spedralanalysis has a distindly

'analogue appearance and the

stereo fM rcsponse is

powerfully

extended

-3dB/l8kHz,just

priorto

+4.5d8

peak

at 1gkHz which reflects its meagre

pilot

supprcssion.

still,

unless

you

are recording the

tune.'s output on leqacy analogue

carsette

tape or own speak€rswith an unfortunate metaldome

resonance around lgkHz,this willnot

be a

problem.

ReadeE

mayview comprehensive

Suite test reports forthe

Quad

Elite CDS

playerandTuner

by navigating to ur,lrry.hifinews.co.uk

and clicking on the red 'download' buttoo.

connections oveashadowed the

actual LPs, most of which

had one or

more of the Fab Four contributing,

e9 Paul with Badfinger and Ceorge

with lackie Lomax. Sound

quality?

Who knew?

My own Beatlelust

is not speaking

here: these CDs sound truly amazing.

Silky-smooth, wide-as-a-David-Lean-

shot stereo, sibilance-free treble,

liquid bass. oK, so l'm

partial

to the

material, having all-but-forgotten

that Hopkin was a subtle

interpreter

of standards, while her own

'Those

Were The Days' is a sonic feast.

And

worship

of Badfinger?

With three of the definitive

line-up

now dead-and"buried, we have

just

their musical legacy to remind us of

the

poor

treatment these

geniuses

received. Their music is nothing less

than transcendent.

And

you

will be

embarrassed by the familiarity.

That said, the

Quad

Elite system

honoured these

glorious

reissues,

mastered with as much love as The

Beatles boxes before

them. Even

over a car radio,

Hopkin's

voice

has a crystalline

quality

to rival any

current C&W warbler, let alone the

legend that is Ronstadt. lt

possessed

an innocence that often conflicted

with the lyrics. She was around 20,

and most 2o-year-old females in

1970 were nothing

like the

jaded,

pickled,

urban slatterns that

people

our streets today. To hear such an

angelic voice dealing with the song

'Someone To Watch Over lvle' is

to experience a

romance that has

place

in a world of muffin-tops,

Botox and WACS.

SHIFTING GEARS

Such delicate signals

deserve,

rather than demand, subtlety

and

grace.

The

Quads,

especially

through the Sonus fabers,

preserved

nuance, sailed to

the vocal heights,

shimmered with the often-baroque

instrumentation. One CD later,

was

lackie Lomax, the astonishing

acidic

heaviness of'The Eagle Laughs

AtYou' and'Sour

MilkSea' 180

degrees removed

from Hopkin. From

folk-based balladry to balls-out

hard

rock with but one opening ofthe

tray. The

Quads

paid

no mind to any

changes. The Elite

system merely

shifted

gears.

Bass dropped an octave. Treble

soared, fuelled by Claptonian

guitarwork

with edge and bite.

Above the

instruments hovered

Lomax's distinctive, almost

nasal

vocals. Everything about the

album

contrasted with Hopkin's

CDs, bar

the

glorious

dimensions,

lDc

r.asins

)

Disit lsisnar lcver

ABOVE: CD distortion vs. digital

level over a 120d8

dynamic

range at l kHz

(black)

and 20kHz

(blue)

1.ooE

AEOVE: FM tuner response

(black trace) & distortion

versus frequency

(blue)

at 60dBFV

(1mV RF at 75%

modulaUon).

Note lgkHz

pilot

peak

in response

QUAD

ELITE CDSftVNER

(

r I o o

160 o)

wlvw.hifinews.co.uk

TANUARY 2011

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