CEC TL 2N CD TRANSPORT

What they say ...

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"Analog-digital"

"Thank god, companies such as CEC exist ... who always come up with cutting-edge and brilliant R&D-driven innovations ... consistently leading to the most authentic CD playback sound experience.

 

To come straight to the point : The new CEC TL 2N drive is the admission ticket to the upper sphere of High End CD playback – and all this at a moderate price. If this isn’t a convincing statement, what is ?"

 

H. Obst - HIFI STARS | 2017

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What was it that Antoine de Saint-Exupéry worded so beautiful in his cult book “The Little Prince”: “It is only with the heart that one can see rightly; what is essential is invisible to the eye”. This can be modified to apply it to some HiFi devices that at a first may not look very spectacular but their inner qualities make them radiate. Although it cannot be seen, it can be heard all the better.  This is how I felt at the High End in Munich standing in front of this year’s newest CD drives by the Japanese premium manufacturer CEC.

 

By looking at just the design and comparing it with the other relatively new drive, the TL 5 by the same manufacturer, there are barely any differences.

For over a year, this drive has given a very strong performance in my listening room. This is a common feature of both CD belt-drives developed by CEC, and we have spoken about their advantages in HiFi Stars so many times, that I will let it be this time – sorry!

 

However, according to the manufacturer, the latest CD drive by CEC - the TL 2N transforms musical performance into a significantly higher sphere ... on a level playing field with the CEC TL 1N that has been available on the market for many years, and which is ranked immediately after the legendary flagship CEC TL 0 3.0 in the CEC product range. This is a relatively high goal that the new TL 2N belt drive wants to satisfy. 

 

 

A new CD Double belt drive system raised to another level !

It goes without saying that the manufacturer was carefully prepared to satisfy this demanding objective in technical terms. The result is a new patented double belt drive system that was raised to a new audiophile level.

 

The developers installed numerous novel solutions and the entire mechanism was meticulously centered, and the aluminum chassis was enlarged. Even the technology of changing the belts was simplified.

 

The drive mechanism used in the TL 2N uses the flywheel effect to achieve a greater level of smooth running. At the same time, the large (12 cm diameter) and heavy (380 grams) CD stabilizer improves the accuracy while reading the music signals. While conventional digital connections – such as XLR according to the AES/EBU standard, coax or the optical Toslink - need to code and decode the music data and the synchronization signals of the sampled CD, this step is omitted in the CEC Superlink. Here, four BNC-75 ohm cables transport “thoroughbred” signals so-to-speak and thus, enable optimal synchronisation with the converter.

 

Upsampling as an additional option

The CEC developers equipped the TL 2N drive with another new option. It makes it possible to upsample the digital output signals from the CD from 44.1 kHz to 88.2 kHz or even 176.4 kHz. In this way, it is possible to achieve a higher-resolution and more detailed playback. Furthermore, from an audiophile point of view the in-house hearing tests showed that an upsampling to 88.2 kHz or 176.4 kHz is superior to the predominantly 96/192 kHz present in computers.

 

On the left side of the front panel is the power button, to the right the push-button for the next track, previous track, then the button for upsampling, followed by the stop button and finally, the start/pause button. The display window with the usual information on the track number, time elapsed or how much time is left, forward and reverse etc. Furthermore, it will also display an activated Superlink connection and the selected upsampling speed.

CEC Superlink connection included

As is usually case for CEC - neat and clearly arranged - the rear side of the device: From left to right you have a connection for a separate word clock, followed by the digital outputs XLR-AES, Coax, and Toslink. This is followed by the Superlink section with the 4x BNC connectors, and finally at the very right is the power supply IEC inlet.  The unit obviously includes a remote control, which also controls the upsampling in addition to the standard functions.

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Transparency, quietness, ease and stability

We start with the Big Band Sound : Quincy Jones “Bossa Nova” spins in the CD tray and I immediately notice the transparency in the sound pattern of both of these technically well mastered recordings from 1962 - Phil Ramone is responsible for this. In cut no. 5, the song “Se E Tarde Me Pardoa (Forgive Me If I‘m Late)”, I have a clearly differentiated perception of the imaginary stage with the drum kit positioned to the right than what I remember from the playback with other equipment. Furthermore, an impressive quietness and stability is felt from the recording, where everything appears to be tidy and organized in a more tangible manner.

 

Next, a CD with recordings of the unforgettable jazz vocalist Sarah Vaughan. This is often an example for the playback of tightly woven structures of sound. The track “Romance” on the recording, mastered by Bernie Grundman in 1987, generally shifts the the acoustic image of the smooth sound tapestry of the strings just a little to the trumpets and drums. I apologize for the slightly old comparison in advance, but while listening to this track, it really feels as if a veil is being lifted. The musicians keep a clearer distance to one another, and there is simply more air between the instruments.

 

I have waited a long time for my favourite recording of the 9th Symphony by Antonin Dvořák “From the New World” with Karel Ančerl and the Czech philharmonic orchestra to be released in audiophile form. This was made up for by JVC with a XRCD. Although the recording created on 6 December 1961 in Prague is lacking in a little opulence ... when compared to the contemporary, technically excellent recordings ... the CEC nonetheless gives the large symphony orchestra its very own width and depth and does not suppress the many details of the solo instruments.

 

Would this be a good time try out the upsampling option of the CEC TL 2N?

 

 

What is the point of the upsampling option ?

Please note that the upsampling option of the TL 2N does not work via the Superlink connection. I used a digital AES XLR connection to the DAC. 

 

A first listening test ... without upsampling ..i.e. with the usual 44.1 kHz data rate results in a 1:0 score for the CEC Superlink connection. In my opinion, the Superlink introduces more sovereignty and certainty to the music scene.

 

Lets go a step further: In the upsampling 88.2 kHz position, I feel as though the fundamental range gained more depth. Moving up to the 176.4 kHz setting. This position results is am even greater fundamental range, and somehow everything appears to be rounder and softer, and even slightly more harmonious.

In my opinion, while listening to the CD “Bossa Nova” by Quincy Jones, the setting 88.2 kHz does not appear to yield any noticeable improvements, whereas this Big Band recording with upsampling set to 176.4 kHz seems to be smoother and rounder overall. 

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VERDICT

Thank god, companies such as CEC exist ... who always come up with cutting-edge and brilliant R&D-driven innovations ... consistently leading to the most authentic CD playback sound experience. ​The new CEC TL 2N Double Belt CD transport is undoubtedly one of them.

 

To come straight to the point : The new CEC TL 2N drive is the admission ticket to the upper sphere of High End CD playback – and all this at a moderate price. If this isn’t a convincing statement, what is ?

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