I have been looking for a backup CD player for several months. I became aware of the Melody CD M10 as a result of a conversation with Brian of Venus HiFi. I decided to spend more time than usual at the Melody exhibit at the CES. I auditioned the CD player in the context of an all tube-based Melody stereo system. Based upon my brief exposure, I decided to review this player. At 78 pounds, it may be the heaviest one-box CD player in current production. At a cost of $2500, the price per pound is $32, a good value compared to other players whose price exceeds $1000. For those who are technically inclined, the following may be of interest: 1) transport: Sony 2) Dac chip: Burr Brown PCM 1792, 24/192 3) caps: Mundorf metal film 4) power supply CD type with Z7 material as the core 5) clock: 16.9344 6) tube rectifier: 5AR4 7) buffer stage: 2 6SN7
Listening Sessions
Prior to evaluation, I left the player on and fed a signal from the analog outputs for a period of about 300 hours. There has been a running commentary on Audiogon concerning the subject of break-in. I have no personal opinion on this subject. Each time I receive a component for review, it receives about 250 hours of a signal, before I give it my serious attention. This is standard operating procedure for me. I auditioned the CD player with 3 preamps: The Nobis Proteus, the Mapletree and McIntosh. Unless otherwise stated, my comments imply the presence of the Nobis preamp in the stereo system. I will cite the effects of the other preamps in a brief general statement, later in the review.
My favorite instrument is the harpsichord. Scarlatti and JS Bach are my co-favorite composers from the baroque period. Thus, I began my review with music of Scarlatti, Sonata XVII, K119, performed by Sophie Yates, Chandos 0635. You can learn a lot about a stereo system when listening to a harpsichord. What did I hear? The sound was spectrally balanced, but slightly forward. The treble harmonics were not exaggerated. The attack and release of the keys were not blunted or softened.
If you have read several of my reviews, you will recognize this selection, Offenbach, “Gaite Pariesienne”, conducted by Arthur Fiedler, JVC XRCD 0224, track 1. One experiences the full force of an orchestra. I noticed no deficiency in dynamic range. The articulation of the strings was reduced, compared to what I usually experience. The sound was a bit rounded. The wood block and the triangle exhibited realistic separation, the triangle in the foreground and the wood block positioned in the background. The treble frequencies produced by the triangle were slightly attenuated. Lest one conclude that this player is soft sounding, I observed a different presentation using the other preamps. Using the Mapleshade, there was greater extension and clarity, with less emphasis on the lower midrange. Using the McIntosh, there was more resolution and extension than that of the Mapleshade.
The contrast in the effects of the different preamps continued when I listened to the CD DON'T SMOKE IN BED, the Holly Cole trio, track 1, Alert Z2 81020. When there was an acoustic bass solo, the bass notes were clear, but the balance favored the body of the instrument. Hence, there was a slight emphasis upon the lower midrange or upper bass. Sibilance and vocal presentation were softened, creating a pleasant coloration. When using the other preamps, resolution increased and the sibilance was more pronounced.
Steely Dan, AJA, “Deacon Blues”, MCAD 37214 presents a challenge to any stereo system. The tenor sax can sound like an alto if a stereo system is not spectrally balanced. Donald Fagen's voice was slightly veiled in its presentation and the treble harmonics produced by the cymbal were somewhat attenuated. The tenor sax possessed a very natural timbre-realistic even in the upper registers. Using the other preamps removed the veil, but the McIntosh presentation of the tenor was somewhat unbalanced, favoring the lower treble.
Two of a kind, especially a pair of aces is often a winning poker hand. The CD TWO OF A KIND, track 3, Musical Heritage Society, 5162443 is a valuable tool when evaluating stereo systems. The front cover displays an ace of clubs and an ace of hearts. Cymbals and acoustic guitar were the focus of my attention. There was a slight attenuation heard at the beginning of the track when a cymbal was struck. However, the density of the cymbal reminded me of the sound of brass, rather than the sound of steel which I have observed on other stereo systems. The strings of the guitar exhibited the characteristics of nylon-thick and textured. I heard the body of the guitar resonate as the strings were plucked. I brought this CD to the CES last Jauuary. On many of the stereo systems I visited I could barely hear the presence of the wood body.
Conclusion
This component embodies the attributes of the modern tube sound: An absence of the “classic tube” colorations, a highly detailed and relatively neutral spectral balance and, therefore, a tendency toward truth rather than beauty. The sound of the stereo system changed significantly as I introduced each of three preamps. Its qualities of resolution and speed were readily apparent when I used the McIntosh preamp. I believe the combination of the 24/192 dac chip and the Mundorf capacitors are responsible for the clean, quick and relatively neutral presentation. The fact that the sound of the stereo system transformed from a somewhat colored to a relatively uncolored window on the music as I changed preamps is a testament to the relatively transparent nature of this CD player. However, beware of recording quality. Since this player presents none of the buffers between the listener and the source which one may experience using older tube products, a stereo system which includes this player should be configured with care to ensure synergy.http://www.audiophilia.com/hardware/CD_Players/reviews/melodyCDM10.htm
