CD-DAC mbl C31
The CD31 can just as reasonably be considered a DAC with transport. It’s a slot drive loader but has inputs for USB, Toslink and SPDIF with both RCA and XLR outputs. The DAC supports sampling rates up to 24-bit/96kHz resolution, and no higher but MBL’s designer Jürgen Reis responds by citing the superior jitter performance of his DAC design, and the psycho-acoustically optimized filtering and the measured timing accuracy that is the equivalent to a 192kHz sampling rate. The output of the USB signal has a very low jitter in part due to MBL’s Master Clock Mode which is similar to asynchronous USB. Internally, the digital inputs and outputs employ galvanic isolation between each other and ground to prevent high frequency eddy currents. High precision buffer data reading is provided by the combination of digital frequency synthesizer and nested analogue phase lock loop (PLL). Noteworthy is the innovation whereby only a single crystal oscillator is ever running at a given moment. If the CD drive is operating, both oscillators of the USB input are switched off and similarly, if the SPDIF input is active, the CD drive goes into sleep mode after a ten second delay. Functionally it’s also a gorgeous piece of electronic architecture and operationally a dream with a full function remote, and intuitive soft button control above the display.
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What impresses me most about the player, is a subtle yet consistent thread of analog-like warmth and fluidity that removes the cold edge from digital reproduction and all the while physicalizing images more strongly and fleshing out the dimensional soundstage. Even the USB reveals this refinement–a less aggressive characteristic. When I listen to solo piano, I expect to hear the fabric of the felt hammer striking the string, and the bloom and resonance and decay that follows. The CD31 does this. It doesn't scrimp on transients or micro dynamics, yet it also doesn’t lean on these too heavily to the exclusion of timbre. During Tom Waits’ “Georgia Lee” the close-miked vocal dynamics of Waits’ iconic baritone grows ever more expansive, instrumental and ambient detailing assumes a more discrete character. On a track like Holly Cole’s “I Can See Clearly” it’s DAC was unveiled and more open and slightly less sibilant then every other DAC I’ve had in for review (save a couple weeks spent with a dCS Puccini last year). In these ways–micro dynamic gradients, dimensionality and bloom–the mbl suggests to me attributes I normally associate with SACD playback.
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The back of the C31 contains USB, Toslink, and coaxial digital inputs; a coaxial digital output, and both XLR and RCA analog outputs. There are also connections for a power cable and for MBL’s SmartLink, which allows various MBL devices to talk to one another.
The unit’s digital outputs have an output impedance of 75 Ohm; analog outputs have an output impedance of 100 Ohm for RCA, and 200 Ohm for XLR. Total harmonic distortion is <0.001% @ 0 dBFS, signal to noise ratio is >110 dB (A-weighted) @ 0 dBFS, and channel separation is >100 dB @ 1 kHz.
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>>Nguồn: http://huylananhaudio.vn/mbl-c31-cd-dac-hi-end.html
