Opera audio
Consonance Reference 2.0 SACD player
as reviewed by Gary L. Beard and Vade Forrester
ONE Ah, first impressions. With nearly every component I have listened
to in my home, I have been able to form an early opinion-not
necessarily one that stuck, but one that allowed me to
begin the process of evaluation. Not so with the Opera
Audio Consonance Reference 2.0 SACD player. After receiving
it, I hooked it up and let it warm itself, then ran it
through its paces. No problems, but when I sat down to
listen for the first time the next evening the sound was
so perplexing that I couldn't make heads or tails of what
I was hearing. I sent a rather cryptic email to Dave Clark
to inform him of my confused state. He was confused at
my confusion. So it began. I gave the player a few more
days to make itself at home in my system, and when it
finally did, the listening pleasure I derived from it
was high.
With its brushed aluminum faceplate and
cherry wood top, the Consonance Reference is visually
appealing. The rest of the chassis is black-painted sheet
steel. The player sits on four cushioned feet, which give
it a solid, "stay-put" feel. The rear panel has a pair
of RCA analog outputs, a pair of XLR analog outputs, and
two digital outputs, one coax and one toslink. The front
panel's blue display indicates the current track number
and playing time, if there is a disc present, and whether
that disc is a CD or an SACD (or, in some cases, an UNdisk).
It also indicates whether the unit is set on repeat mode,
and shows the volume level when the remote control is
used. Directly above the display is the disc tray, which
is of the flimsy plastic sort that is found on many players.
There are only two control knobs, one on
each side of the display, and each controls multiple functions
via a four-way joystick. You push up for one function,
down for another, and left and right for the other two.
The operations controlled by the first knob are Power,
Open/Close, Stop, CD or SACD (for hybrid discs). Play,
Pause, Previous, and Next are controlled by the other.
The knobs worked fairly well after I got the hang of them,
but I am willing to bet that many users will hate them.
The small metal remote is very nice, with jangly ball
bearing pushbuttons. All the functions on the front of
the player are duplicated on the remote except Power,
plus a digital volume control that offers thirty steps
with single pushes of the button and continuous operation
if you hold the button down. There are also buttons for
forward and reverse searching, curiously named Wind and
Rewind. The remote has a wide range, and works whether
or not you are aiming it at the player. It works well,
though not in the dark, as all the buttons are the same
size and are not backlit, but I learned the button placement
after awhile.
The player uses a Burr Brown DSD1702 chip
for D/A conversion, and the RCA analog outputs are buffered
by a single 6H30 tube. The other outputs are strictly
solid state. All of my listening was done through the
RCA outputs, so I have no opinion about the sound of the
XLR or digital outputs. I only encountered one significant
problem with the player. I had two CDs of recent vintage
that the Consonance would not recognize, and it only read
about 25% of my CD-Rs. A few that did play would occasionally
skip as well. Toward the end of my time with the Ref 2.0,
I determined that CD-Rs burned on my new computer played
without problems.
The Consonance Reference 2.0 SACD is an
SACD player first and foremost. I owned Sony's beastly
SCD-777ES for a couple of years, so SACD playback is not
new to me, but because the software had not matured at
the time I owned the 777, I have very few SACDs. I was
more interested to hear Redbook CD playback on a player
of new design, as I sold my Sony only because I felt its
CD performance could be improved. Any player I buy from
now on, no matter the format, has to be able to do an
excellent job with CDs.
Although I wasn't sure if I liked this player
at first, I have felt that way with almost every CD player
I have tried. Digital has an acclimation process that
may be subtle for some people, but for me it is more intense
than that of any other component. It turned out that I
really liked this player. It has a big, 3-D sound that
is captivating, yet it does not smooth over the music.
The Ref 2.0 has a wide, high soundstage. The images are
palpable and dense, with a depth that seems more real
than artificial. The fact that the noise floor is low
and the treble smooth allowed me to turn up the volume
to a higher level than I have been able to do with many
other players. This was both a blessing and a curse. I
loved the additional kick available from serious voltage,
yet I shouldn't have been listening at such loud levels.
The digital volume control really came in handy. One or
two steps made an appreciable difference when I was trying
to find that magic volume level at which things just sound
right. The digital attenuation worked quite well, and
although I didn't like the sound when using it as much
as I did when the player was driving my amplifier directly,
it is a very nice feature.
According to Stephen Monte of NAT Distribution,
Consonance's U.S. importer, the Reference 2.0 upsamples
Redbook CDs to 24bit/192k. No matter how it is accomplished,
the sound of a well-recorded CD played through the Ref.
2.0 is on par with that of all but the very best SACDs
I own. The player gives music a warm glow, one that did
not seem indicative of heavy coloration, since it was
neutral enough to pull out the character of each recording.
I found the Ref 2.0 to be an amalgam of all the good things
associated with vacuum tubes, although I can't say whether
the single tube it employs is the reason for its captivating
sound.
Immediately after firing up a well recorded
CD like Meshell Ndegeocello's Peace Beyond Passion, I
found my senses bombarded with big, bold, dynamic sound,
a huge soundstage that was well beyond the boundaries
of my speakers, and an excellent, deep soundscape that
extended far into the room as well as behind the speakers.
The dense, 3D images were of the reach-out-and-touch variety,
and provided an effect of considerable realism. Frequency
extremes were good to excellent, although the treble seemed
a touch rolled off at the very top and the lowest bass,
while tuneful and deep, got a little out of control on
some recordings. Neither was a serious problem. I never
really thought the treble needed any help, and the bass
was visceral and compact enough to show off Ndegeocello's
fabulous bass playing. The midrange was terrific-present,
warm, airy, fleshed out, and a perfect complement to the
naturalness of the rest of my system.
For a different take, I connected the Ref
2.0 directly to my Berning ZH270 amp. While the sonic
flavor was the same, there were startling changes. The
soundstage became huge, with more width and height than
I had ever heard in my system. Images were bigger and
bolder, yet slightly more diffuse without the location
specificity of the First Sound preamp. In fact, while
the overall stage traveled well outside the bounds of
the speakers, some location cues-like Vanessa Carlton's
voice on The Counting Crows' remake of "Big Yellow Taxi"-were
now slightly inside the speaker instead of just outside.
This was not an isolated instance, as nearly every CD
or SACD I played was slightly different in image presentation.
There was a slight grain to the very highest treble, and
the player seemed to need the control of the preamp to
keep its musical powers under control.
I noted a few interesting things about the
Consonance. Its emphasis on the music was clearly different
than that of my current reference player, the Cary 303/200.
The Cary is more laid back, yet I found it to be more
neutral and slightly more resolving. The Cary doesn't
editorialize-it just plays music. The Consonance, on the
other hand, is a more exciting player that puts you in
the middle of the action. It may be slightly darker in
tone than my reference, but its harmonic richness sounded
wonderful in my system. It is quite capable in the realms
of rhythm, pace, and musical drive. Within the expansive
and seamless stage, I would occasionally hear very specific
musical passages, mostly individual voices or instruments,
radiating directly from a speaker. I know this is anything
but unusual, but these passages spoke to me with a high
degree of insistence. Was this due to a somewhat forward
presentation? I would say so, but not so much that the
music was "in your face."
The Ref. 2.0 is quite adept at reproducing
spatial cues and ambience, which furthers its ability
to give a realistic portrayal of recordings that contain
such information. This was particularly easy to discern
when playing SACDs. On my favorite, Stevie Ray Vaughan's
Couldn't Stand The Weather, it really felt like I was
in the studio with Stevie as he talked about his guitar
playing. Cuts like "Voodoo Chile (Slight Return)" and
"Couldn't Stand The Weather" were simply stunning, and
showed all of the potential of the SACD format. On the
wonderful Vanguard Classics hybrid featuring Louis Moreau
Gottschalk's A Night In The Tropics and Morton Gould's
Latin American Symphonette, the player showed its prowess
with big orchestral pieces. Big and bold, yet with a delicate
touch reserved for the quiet passages, the Consonance
passed this test with flying colors. The SACD layer seemed
to impart just a smidge more life and musicality than
the CD layer, but I felt they were very close. Two SACDs
that did not sound all that great on the Sony SCD-777ES
sounded much more alive and listenable on the Consonance.
Roger Water's In The Flesh live album had tons of live
hall ambience and sounded great. Train's Drops Of Jupiter,
which never did much for me, largely because of a poor
recording, sounded much better. Considering my limited
collection of SACDs, I am not going to stretch too far
here, but I will give the player a thumb's up for its
SACD playback.
The Consonance player is very dynamic, due
in large part, I believe, to its low noise floor. It has
excellent clarity at high volumes, and it was great to
turn up some of my fave rock 'n' roll without high-frequency
uneasiness. After much mental wrestling, I have come to
the conclusion that this player does not have quite as
much inner resolution on Redbook CD as my Cary. This gives
it an advantage in smoothness, while still sounding detailed
and energetic. Even though the Ref 2.0 may be less resolving
than my reference, I could never discern any quantifiable
difference, so this is merely a subjective conclusion
(as are my others).
I knew a few things for certain the first
time I looked at the Consonance player. One is that it
is a very attractive piece of gear, another was that I
was excited to play my SACDs again, and the third was
that it had to be able to play CDs better than I expected
if it were to find favor in my listening room. With the
end of my review time in sight, I revised those first
thoughts just a little-the 2.0 is not only attractive,
it is beautiful, my SACDs still sound great, and this
player can play the heck out of a CD.
I should caution readers that, despite my
enthusiasm, they should audition this player just as they
would any other. This player has its own voice, one that
may or may not be what you'd like to have in your system.
Once in a great while, the synergy created by a single
component transcends all the audiophile hyperbole and
just sounds really good. I found the Consonance Reference
2.0 to be that kind of component. Comparisons have proved
difficult or meaningless, and whether the Ref 2.0 is "better" is of no importance to me. If you are in the market for
a one-box solution to the CD/SACD dilemma, you owe it
to yourself to listen to the Reference 2.0, because it
makes beautiful music. Gary L.
Beard
TWO The Opera Audio Consonance 2.0 was my first experience with an SACD
player in my system, so I can't judge whether it's better
or worse than other SACD players. However, like most people,
I own a lot more CDs than SACDs, and spent lots of time
listening to the 2.0 playing regular CDs.
The very solid (35-pound), Chinese-built
2.0 has the unique, yet somehow nostalgic styling of other
Consonance equipment. The wooden top of the metal cabinet
is not made of a single piece of cherry, but parallel
planks that not only look handsome but provide resonance
control. Spaces between the planks give access to the
metal cabinet underneath, which allows for cooling. I
couldn't help remembering the massive wooden enclosures
within which we used to shroud our stereo equipment in
an attempt to make it more presentable. All the big-name
companies-Scott, Fisher, McIntosh, even Dynaco-offered
wood or wood-grain cabinets for their equipment. The 2.0's
top arches upward towards the center, making it difficult
to stack another component on top of it. Stacking components
is a bad idea anyway, as it usually scratches the lower
unit and transmits vibration between the components. The
2.0's soft rubber feet should be effective at absorbing
vibration, as well as preventing scuffs to the shelf on
which the player sits.
A single tube in the output stage distinguishes
the 2.0 from many other SACD players. It's not an ordinary
tube, but the formidable Sovtek 6H30, the same tube Audio
Research uses in its top-of-the-line Reference 2 Mk II
preamplifier and Balanced Audio Technology uses in its
top-of-the-line VK-51SE. Unfortunately this limits opportunities
for tube rolling, but perhaps that's just as well, since
the otherwise helpful instruction manual omits any instructions
for replacing the tube when it fails. (Come to think of
it, there are no instructions for replacing the batteries
in the remote either. I'm guessing you have to unscrew
the four Philips screws holding the bottom cover on the
remote to replace the batteries.)
The Consonance's front panel controls are
unusual, consisting only of two knobs flanking the disc
drawer and display panel. Actually, since they don't turn,
it would be more accurate to call them joysticks than
knobs, as they move only horizontally and vertically.
The left control turns the unit on and off, opens the
drawer, switches between SACD and CD, and stops the unit.
The right control has the traditional play, pause, back-one-track,
and forward-one-track functions. I never really grew to
like these controls, though I suppose I could get used
to them. They did feel heavy duty, however.
The hefty metal remote worked well, even
far off-axis. The deck-of-cards-sized unit provides pushbutton
controls for all the front panel controls (except power),
and adds several useful functions, including wind and
rewind controls, which supposedly operate like those on
a tape deck, moving the playback point forward or back
on the disc. This feature would be very useful, but I
had difficulty using it. Also accessible only through
the remote are the repeat functions, which let you repeat
a single track, the entire disc, or cancel the repeat
settings. The repeat features were very handy for burning
in the player. The remote also has a volume control, which
(lacking any information in the manual) I assume is digital.
It worked just fine, but not wanting to throw away bits,
I set the volume to the maximum on the remote and used
the preamp volume control. There were no buttons for directly
accessing tracks by numbers, a feature I miss-a lot.
A quick glance at the 2.0's back panel reveals
that this is designed as a two-channel player only. Since
I'm a two-channel guy, not having to find a way to evaluate
the player in multi-channel mode was a relief! You have
a choice of balanced or unbalanced output jacks, so the
2.0 will work with almost any system. The RCA jacks were
very solid, gold-plated items, which should permit WBT-style
locking interconnects to be tightened down without fear
of damage. There is also an IEC connector, which makes
it easy to experiment with power cords. Coaxial and Toslink
connectors provide connection possibilities for an external
DAC. Not having a DAC, I didn't try this option, but you
probably want to know how the 2.0's internal DAC sounds,
not an external one.
I installed the 2.0 in my antique equipment
cabinet, next to my venerable Meridian 508.24 CD player
(a former Stereophile Digital Component of the Year!),
and connected it to my Audio Note M2 Signature preamp
via an interconnect made from DNM wire terminated with
Eichmann bullet plugs. So far, this flimsy-looking $125
interconnect cable has beaten all comers, including a
$1600 big-name interconnect that had been cryogenically
treated. Although the 2.0 had been broken in by previous
reviewers, I let it play continuously for a couple of
days before doing any critical listening. I've found that
many components, even well-used ones, need some playing
time after being shipped in order to sound their best.
Of course, I couldn't help sneaking in a few casual listening
moments. After all, I had to be sure the unit was working,
didn't I?
I used hybrid SACDs almost exclusively.
My methodology consisted of first playing a tune on my
Meridian, then playing the same tune on the 2.0 in CD
mode. Switching to CD mode took a little time, since the
2.0 first scans the disc to see if there's an SACD layer.
CD playback requires a downward nudge on the left control.
The unit then scans the CD layer, and you're finally ready
to play. Given the problems the 2.0 showed playing the
CD layer of a couple of hybrid SACDs, I fed the player
several standard CDs, and even challenged it with a CD-R
compilation of tracks I use at hi-fi shows. The latter
is recorded on a black CD-R disc, but the 2.0 played it
and the standard CDs easily.
First up was one of my favorite discs, Jennifer
Warnes' The Well (Cisco Music SCD 2034). On the Meridian,
the disc exhibited its familiar open, smooth sound, with
Ms. Warnes' vocals and overdubs coming through with pristine
clarity. I settled on the third track, "Prairie Melancholy," primarily because I enjoy listening to it. On the 2.0
in CD mode, the sound was very suave and open sounding.
Switching to SACD playback revealed more detail and spaciousness
and better bass definition, although this recording does
not have strong bass. The soundstaging was somewhat better
than in CD mode, with the performers' positions well defined
in space. Then, just because I could, I cued up the LP
of The Well. Wow! It was even smoother, with less grain,
than any of the digital performances, and had stronger
mid-bass. Even though the somewhat bright-sounding EI
Gold Elite 12AX7 tubes I was using in the phono section
of my preamp made the surfaces sound a little gritty,
the noise did not intrude during the music. The sense
of spaciousness with the LP was much greater than on any
of the digital versions. I'm not an LP bigot, but in this
case, the LP had some sonic advantages.
Next up was a new SACD, the Bartok Concerto
for Orchestra (Hungaraton Classic HSACD 32187). On the
Meridian player, I thought the sound was spectacular-very
dynamic, with great instrumental placement and realistic
sounding instruments. Although the recording spotlights
the solos of the Hungarian National Philharmonic Orchestra's
first-desk players, which creates a "hole-in-the-middle" effect, it was hard to get too concerned when they sounded
so good! The CD layer sounded equally good on the Consonance
player. Though it was slightly less dynamic, it was smooth
and harmonically realistic.
The SACD version of one of my favorite test
tracks by Rodrigo Martinez, from La Folia (AliaVox AVSA
9805), with Jordi Savall leading an original-instrument
early music group. In issue 8, Bob Neill found that the
SACD version of this recording (made from PCM recordings,
not DSD-encoded masters), sounded more spacious, yet failed
to provide other improvements over the CD. I was eager
to see if my experience matched his, since I value the
sense of musicians performing in real space. I also wanted
to see if the SACD would help decipher the extremely dense
flow of musical detail on this recording. The result was
a little surprising. The SACD had somewhat better detail,
the spaciousness Bob cited, and slightly better bass definition,
but seemed to lack some of the liveliness and forward
momentum that I have enjoyed so much on other players,
including my Meridian.
The CD layer seemed especially laid back
on the 2.0, and I became bored listening to it, something
that has never happened with this selection. On both SACD
and CD layers, there was a slight limiting of dynamics,
along with some dulling of the leading edges of transients.
These effects were very slight, but perceptible. The 2.0
handled the decay of notes very realistically, which probably
contributed to the spaciousness.
My friend Carl, an experienced listener
and a member of the Boston Audio Society, observed that
the 2.0 lacked a "bouncy" quality, though he commented
very favorably on its imaging precision, which localized
the source of sounds very well. To get a different perspective,
I toted the 2.0 to the sound room of Roger Tiller's Blue
Marble Audio establishment, where we tried it in a system
that included the very dynamic Naim NAIT 5i amp driving
Meadowlark Nighthawk speakers. Naturally, we used his
Blue Lightning power cord, along with some prototype interconnects.
Roger felt that the 2.0 was very detailed and smooth,
but lacked a little punch. It is interesting how different
listeners, with different sonic priorities, can reach
similar conclusions.
Hoping to improve the dynamics, I replace
the 2.0's stock power cord with the Blue Marble Audio
cord There was indeed an improvement, especially in the
bass, but not to the extent I had hoped. Leading edge
transients were still a little dull. I also tried some
different interconnects, and found that some very inexpensive
Linn interconnects were a good match for the player. They
are somewhat midrange-y, and seemed to produce a little
more detail in SACD playback, although the bass was weaker
and had less definition. Overall, I preferred the better-balanced
DNM interconnects.
In summary, the Consonance 2.0 is a fine
player for both SACDs and CDs. It never failed to produce
a smooth, beautiful sound, with low distortion and great
purity. On the other hand, it was a little laid back,
and sometimes made me wish for more vitality and "oomph," especially in CD playback. Its build quality appeared
excellent, and I thought the wood trim/resonance control
strips contributed to its gorgeous appearance. Though
the sonic issues that concerned me were very minor, I
feel obligated to share them. Even so, I thoroughly enjoyed
the 2.0 during the time it spent in my system. Vade
Forrester
Consonance Reference 2.0 SACD player
Retail: $2500
NAT
web address: http://www.natdistribution.com
Opera Audio
web address: http://www.operaudio.com
|