Product Review -
Parasound C/BD 2000 CD Transport and Parasound HCA-2003 Amplifier - January 1997
By John Sunier
Click to see larger photo |
Parasound C/BD-2000 Belt Drive CD
Transport; Top loading with 3/4 lb. disc clamp, Belt
drive, fully programmable and remote control; coax and AES/EBU
balanced output with optional AT&T fiber optic; External
remote control connector; Tiffany-style RCA jacks; Size 3
¾"H x 19"W x 15 ¼"D; weight 23 lb.; Black metal
chassis, clear acrylic sliding cover on CD well; Grounded AC;
$1550; Parasound Products Inc., 950 Battery Street, San
Francisco, CA 94111; 800-822-8802.
Though their numbers are dwindling, there is a phalanx of audio
skeptics who have questioned, from their introduction, the need
for separate CD transports and D/A Converters (let alone all the
other little black boxes that have come on the scene). Having had
numerous such separates pass through my system, I continue to use
and enjoy a single-box player (though a very high end one) which
I find still sounds better than the separates on many piano CDs.
One must consider proper matching of separates, the added
degradation of the additional cables and which type of cable
format to use. Having started just using the digital out on a
single-box player to a DAC, to my present Audio Alchemy pair -
the DTI v.2.0 jitter filter and the HDCD-providing DDE v.3.0 DAC
- with many others plus many different cable approaches and
add-on chachkas, I would observe that (at least at the
mid-high-end area in which I deal) the current focus of
audiophile high anxiety on this whole CD reproduction area may
not fully be worth the time and cost for the ever-so-subtle
improvements or differences involved.
Differences between processors seem more pronounced than those
between transports. In fact, before obtaining the 2000 for review
I briefly used the old Radio Shack Optimus CD3400 portable as my
CD transport and it sounded terrific. Yet each of the three
different CD transports I have lived with over the space of a
couple of years have yielded a subtle but noticeable increase in
transparency, soundstaging, and "air" over the previous
component. They included one model (CAL Delta) that was made to
order for tweaking with resonance-control materials and various
feet/plates, making audible improvements apparent.
The Parasound, which I plan to keep, replaces the Audio Alchemy
DDS Pro transport which had a number of frustrating problems due
to poor QC as well as lack of planning in design (IMHO). The
top-loading feature of the 2000 may seem to some users a retro
step, and it meant I could no longer stack one CD player atop the
other since access is required to the top of the transport. The
belt drive design is the compact, trickle-down economy version of
the outrageously expensive but highest-rated CEC belt drive CD
transports. This idea grows out of the Linn turntable design
which started the whole audiophile turntable business years ago;
the vibrations of the drive motor are isolated from the spindle
of the CD platter by the belt.
The entire unit has a very high mass and is heavily damped, and
the massive separate disc clamp helps achieve a solidity of
CD-spinning that could not be matched by any drawer-type CD
transport. With a heavy-duty phosphor bronze main bearing, there
is no worry that the weight load of the clamp might destroy the
motor bearing, as with some CD tweaks. It is also easier to add
tweaks such as AudioPrism's BlackLight disc without fear of
destroying the mechanism when the drawer closes. And one doesn't
need to remember each time to turn the CD upside down as required
by the Pioneer-type "stable platter" design. One does
need to remember to put on the disc clamp and slide shut the
plastic cover or the transport will not operate. And
butter-fingers prone to dropping the clamp on their stockinged
feet will doubtless have a strong comment or two about the top
loading arrangement as well. The extremely solid construction of
the Parasound transport doesn't prevent further mechanical
tweaking. I found placement on a thick MSB isolation plate with a
Bright Star Little Foot pressing down on the right side of the
chassis (allowing just enough room to slide the CD well cover
back) to upgrade even further the already superb contributions of
this transport to the sonic experience. I sampled several
different digital coaxial interconnects between the transport and
the DTI filter. Although with the DDS Pro some differences among
them had been heard, with the C/BD-2000 no discernable
differences were audible. I settled on a one meter Sound &
Video 75 Ohm digital cable.
The Parasound/Audio Alchemy trio of components creates a
synergistic result that would require two or three times their
total cost to surpass, and then only in the most subtle fashion
and only on certain program material. Both the Audio Alchemy
transport and the Parasound have extremely low jitter; therefore
the DTI or any other jitter filter has only a very subtle
enhancement effect on the resultant sonics. For the listener on a
tight budget I would suggest holding off on the jitter filter and
just pairing the 2000 with either the DDE v.3.0 or Parasound's
own excellent DA - Model 1100.
Click to see large photo |
Parasound HCA-2003 Three Channel High Current Amplifier;
THX approved. 200 watts rms per channel into 8 Ohms, all channels
driven; 300 watts rms per channel at 4 Ohms, all channels driven;
Direct-coupled; 60 amps peak current per channel; DC servo
circuitry; twenty four 15 amp 60 mHz bipolar output devices
(eight per channel); 1.5 kVA power transformer w/ separate
windings for each channel; 90,000 uF power supply; Full-power
bandwidth: 12 Hz-80kHz; THD: +-1%; dynamic headroom: 1.5 dB;
Size: 7 ½"H x 19"W x 19"D with rack-mount ears;
weight 60 lbs.; black metal chassis with handles front &
rear; grounded AC; $1650; Parasound Products Inc., 950 Battery
Street, San Francisco, CA 94111; 800-822-8802.
The 2003 follows on the heels of the well-reviewed HCA-1206
six-channel power amplifier. The three-channel version benefits
from some subtle upgrades to the circuitry. It would be perfect
for the home theater fan who already owns a good stereo basic amp
of this or lesser wattage, which could then power the surround
channels - the 2003 handling the three front speakers. With just
a surround processor (such as Parasound's P/SP-1000) one is in
business with a high performance surround system.
Even for audio-only systems (such as my own where the 2003
currently resides) the L-C-R three-front-speaker setup is coming
back into vogue, bringing memories of the Klipsch Heresy center
channel speaker setups of yore. Blumlein's original stereo
patents of the early 1930s never seriously proposed only two
speakers anyway; he found three speakers (with the center being
fed a L + R mix) to be the absolute minimum for effective stereo.
The enhancement provided by the center speaker is especially
welcome on concertos of all sorts and most jazz and pop music,
where the soloist is normally recorded with a dead-center
positioning anyway. The featured performer stands out more
clearly from the backup musicians, and the artifacts of
30-foot-wide pianos or "Mr. 5-by-5" vocalists are
minimized. Identical speakers are even more of a requirement in
this usage than with most home theater.
Construction quality of the amp is tops, and with its size and
weight the handles on the rear were most welcome. In my CWD
cabinet the front of the amp was forced to stick out about two
inches not including the front handles in order to allow fitting
the thick cables at the rear plus access to the handy
rear-mounted level controls - one for each channel. There are
very large heat sinks on both sides of the chassis. Five-way
binding posts grace the rear panel along with a single screw-out
15 amp fuse. The front panel sports a normal/standby light along
with the power switch and also adds overload indicator lights for
all three channels which have yet to flash on me.
John Curl designed the 2003's circuitry, which uses high-bias
Class A/AB operation. This is said to cause the amp to run
somewhat hotter than normal, but I found it only slightly warmer
to the touch than my previous Aragon 4004s, and they were only
two channel amps. Of greater interest to me was the absence of
any acoustic hum or buzz originating in this oversize, fanless
component; this had been a problem with the Aragons.
Feeding a wide variety of technically demanding CDs, DATs, LPs
and laserdiscs through the 2003 resulted in superb, uncommonly
neutral and open wide-range sonics without any identifiable
negative artifacts. In bass and overall transparency there was an
improvement over the Aragon 4004s. Three different surround
processors were sampled to direct the signals to the three
channels: the passive PhaseAround, the Fosgate Model Four and the
new Circle Surround 5.2.5 decoder. Soundstaging - whether in two
or three-channel mode - was excellent with the 2003. It was only
slightly degraded when plugged directly into the AC instead of
via the TAD Power Purifier I normally use; The Aragons were
greatly degraded without the Power Purifier, indicating perhaps
superior circuitry at the point where the AC comes into the 2003.
If you need 200 watts a channel times three for your audio or
home theater system I doubt if you could find a better value for
your dollar than the 2003. The comparable 3-channel Aragon 8008x3
has also received reviewer acclaim but it is $950 more.
John Sunier
© Copyright 1995, 1996, 1997 Secrets of Home
Theater & High Fidelity
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