Zandèn Audio Systems 2500S CD Player
Category: Aesthetics & Sound
Speakers -- Revel Ultima Salon2, Magico V2, PSB
Preamplifiers -- Blue Circle Audio BC3000
Mk.II, Benchmark Media DAC1 HDR, Anthem Statement D2v
Power amplifiers -- Blue Circle Audio BC204,
Axiom Audio A1400-8
Integrated amplifiers -- Classé Audio
CAP-2100, Zandèn Audio 600
Digital sources -- Simaudio Moon Evolution
SuperNova CD player, Benchmark Media DAC1 HDR DAC, Stello DA220 Mk.II DAC, Blue Circle Audio
Speaker cables -- Nirvana Audio S-L, DH Labs
Analog interconnects -- Nirvana Audio S-L,
Nordost Quattro Fil
Digital interconnects -- Nirvana Audio
Transmission Digital, i2Digital X-60
For many audiophiles, Zandèn Audio
Systems' 2500S CD player will seem a bizarre device. It uses 16-bit DACs, does no
oversampling or upsampling, plays only CDs, has one digital output, and none going in.
That sounds like a 25-year-old player, but heres the icing on the cake: It costs
$22,000. Kazutoshi Yamada, Zandèns owner and designer, has unique ideas about how
audio products should be engineered, look, and sound, and the 2500S is no exception --
its quite unlike any other player Ive reviewed. Its price means that only
well-heeled buyers can even consider buying one, but its technology made me scratch my
head: Just who the heck is this player designed for?
The 2500S is superbly built, and is the best-looking CD
player Ive ever seen. Kazutoshi Yamada knows how to finish a component from head to
toe to make it look elegant and distinctive -- even the rear panel looks nice. If more
companies put this sort of emphasis on appearance, youd see more high-end products
in extravagantly decorated homes.
The base of the 2500S is machined from a solid block of
aluminum and has a champagne finish. Attached to the base is a polished, stainless-steel
subchassis thats mostly concealed by a cover of frosted acrylic, which drops down
over and surrounds the base. The metal subchassis supports all the circuitry; the acrylic
cover holds the transport mechanism (a Philips CD-Pro2M), which is surrounded by an
all-metal, gold-tinted "dish." With many top-loading transports, you have to put
a little puck on the CD to hold it in place, then close the lid. The 2500S has a
beautifully machined, all-metal circular lid that matches the dish and has the little puck
attached to it -- you just place the CD on the spindle, close the lid, and youre
ready to play music. On the covers top front edge are the Standby, Play, Stop,
Pause, and Track Skip buttons.
Youd expect impeccable workmanship at this price, and
thats what you get, with lots of little details that complement the appearance. For
instance, a small, deliberate gap of about 1/4" between the acrylic top and the
aluminum base allows you to see the subchassis, and thus forms a stripe that runs around
the entire player. The acrylic is cut away in back to reveal the rear panel, on which are
the main power switch, one pair each of single-ended and balanced outputs, and an
RCA-based S/PDIF digital output. The various materials, colors, and textures work
fabulously together. Visually, the 2500S isnt just a CD player but a masterpiece of
industrial design -- something that cant be said about most audio components, even
the really expensive ones. Move over, Bang & Olufsen.
Little technical information about the 2500S was provided
(and there was no easy way to get inside that I could see), but Zandèn does say that the
2500S uses vintage Philips TDA-1541A "single-crown" 16-bit DAC chips, which they
feel are the best around; theyre legendary in hi-fi circles, though nothing
Ive read clearly states why theyre so good. Philips began producing
this chip in the late 1980s and stopped making them in the mid-90s. The
"single-crown" chip has a higher production tolerance than the regular
TDA-1541A, and the "double-crown," which Zandèn uses in their 5000-series D/A
converters (and of which Ive reviewed two models), has an even higher tolerance.
Theres no "double crown" version of the 2500S, though the Zandèn 2500 has
a "crownless" DAC and sells for $1000 less -- but I cant imagine anyone
willing to spend $21,000 for a CD player who wont also be willing to fork over a
mere $1000 more for something purported to be better.
Like Zandèns well-known 5000-series D/A converters,
the 2500S employs no oversampling or upsampling; instead, it uses what Zandèn describes
as a "patented analog filter with superior phase characteristics." The 2500S
also has a Sylvania 7308 tube in its output stage, and is claimed to include the same kind
of RF noise-absorption material -- which Zandèn calls Safety Wave -- as their DSC-1
digital signal conditioner, which I reviewed on SoundStage!
A/V in June 2008. (Overall, I found the DSC-1 to have a beneficial effect on
the sound with the components I used it with.)
Zandèn also supplies a remote control. It does the job,
but I think they can do better -- given the 2500Ss cost, a lightweight remote such
as this seems cheap, even if it is tinted gold to match the players accents.
Id like to see not only a more robust remote, but one that looks as spectacular as
the player itself.
Nowadays, the sonic differences among good CD players,
whether they cost $1000 or $10,000, are slight. Mostly, it comes down to resolution and
refinement; the basic character is always the same. But the Zandèn 2500S breaks that rule
-- it sounds as unique as it looks.
The first thing I noticed was that the level of signal the
2500S puts out is lower than the norm -- perhaps by 3dB or so. This will be a concern only
if the 2500S is being directly compared with another player. Louder, even by 1dB, will
usually sound better. If you compare the 2500S with all-in-one players or other
transport/DACs, make sure the levels are matched. You can do this with a few upward clicks
of the volume control, or an increase in the gain setting for that input (if your preamp
has that feature).
But even when its level was matched to that of my Simaudio
Moon Evolution SuperNova ($6500), the 2500S had a character of its own. Its bass was deep,
full, and rich, though not as visceral or as rock-hard with impact as Im used to
from the Simaudio, which I reviewed on SoundStage!
A/V some time back and keep on hand as a reference for its exceptional
performance. The 2500S produced a touch more bloom, emphasizing fullness and heft over
impact and all-out depth -- not unlike the Blue Circle Audio BC501 DAC, which I reviewed last month. Likewise, the
Zandèns highs, while extended and superbly refined, were slightly reticent, not
only in comparison with the SuperNova, but against every other digital source I have.
There didnt appear to be a loss of resolution up top; it was just down a notch, so
that cymbals, while sounding exceedingly clean, also sounded a touch subdued.
Where the 2500S knocked my socks off was in the midrange,
where it sounded smooth and rich, with a vibrant tone that made voices smack-dab gorgeous.
As I listened from start to finish to Willie Nelsons Stardust (CD,
Columbia/Legacy CK 65946), I realized that Id never heard his voice sound so good.
The 2500S had striking presence, a hint of richness that never went overboard into bloat,
and an overall sense of ease to the sound that was entirely intoxicating. Like many CDs, Stardust
can sound a touch steely up top; the 2500Ss softened high frequencies tended to take
the hard edge off this recording and make it sound, overall, better.
Mark Knopflers new album, Get Lucky (CD,
Universal 2708671), is a great-sounding recording with tremendous vocal presence that,
through the 2500S, had the same kind of richness, texture, and overall ease that made this
player exceedingly easy to listen to. There was never anything thin or lifeless about the
2500Ss sound; instead, there was a touch of majesty that made music come alive.
The Zandèns resolution was excellent -- just a hair
short of the ultra-resolution of the Moon Evolution SuperNova, which extracts from a disc
every bit of information. The 2500S didnt quite do that. In the soundstaging
department, though, I had nary a complaint: The sense of space the 2500S created with Get
Lucky was excellent, and I particularly liked the way it handled soundstage depth --
not only did the recorded space seem to extend past the front wall of my room, but the
instruments and cues occupying those faraway spaces were easy to pinpoint. Often a player
will render depth well, extending the performance beyond the front wall, but what happens
way back there can sound confused and indistinct. The 2500S had an uncanny way of keeping
things precise and focused, even into the farthest reaches of the soundstage.
That easy-to-listen-to character had a lot to do with the
character of the bass and the highs that I described, and gave the 2500Ss sound a
uniqueness with which some will fall in love. Others, however, wont be so keen. In
fact, the 2500S was something of a conversation piece, polarizing visitors to my listening
room. No one denied that the Zandèn is beautiful to behold, but everyone noticed that its
top end was slightly subdued. Those who like sparkle and incisiveness at the top
consistently found the 2500S too tame, preferring some of the less expensive players I had
on hand -- such as the Simaudio SuperNova, which has a more typically "forward"
CD sound yet is still very refined. Some listeners even preferred the sound of the
2500Ss transport driving the Benchmark DAC1 HDR ($1895), because the Benchmark, too,
has a livelier top end and punchier bass. If you want that sparkle and excitement up top,
along with the resounding slam down low that CD can deliver, the Simaudio and
Benchmark are better picks than the Zandèn 2500S; the sound of the latter is simply more
subtle and gentle.
But everyone also noticed one other thing: Whereas the
SuperNova, and particularly the DAC1 HDR, can sound hard and brittle enough with CDs that
have an overemphasized top end that either can, over time, be irritating enough that you
want to hit Stop, the 2500S rarely did. For example, one day we played John Mayers
Where the Light Is: Live in Los Angeles (CD, Columbia 8869722665) and found that,
through the Benchmark, the audiences applause could sound like frying bacon, and the
top end of the guitar was objectionably steely. Similarly, when I listen to Bruce
Cockburns "Grim Travellers," from his Humans: Deluxe Edition (CD,
Virgin 90567-2), the DAC1 HDR rendered the cymbals with splash and what I call
"fuzz," which sounded quite artificial -- to the point that I thought the
speakers tweeters might be fried. This track even sounded that way through the
SuperNova. Through the 2500S, such recordings were more palatable -- not perfect, but
there wasnt the same temptation to hit Stop. People can argue for hours -- days
-- about which sound is truer to the recording, but in terms of what sounded better,
at least with these discs, the Zandèns politeness won out.
Which brings me to the Zandèn 2500Ss main strengths
of smoothness, liquidity, richness, and an overriding sense of ease -- qualities often
summed up as analog-like. Part of the 2500Ss analog-like ease had to do with
its polite top end, but just as much can be attributed to how smooth and present it
sounded through the upper bass and mids. Even Simaudios Moon Evolution SuperNova,
which is richer than most players through the midrange, doesnt handle voices in
quite the same way as the 2500S, with quite the same ease. The 2500S wasnt the most
impactful and visceral CD player Ive heard -- thats where the SuperNova wins,
hands down -- but it was the smoothest and most relaxed-sounding.
The 2500S also possessed a quality that it shared with
Zandèns other digital products -- a quality difficult to describe but, once heard,
impossible to forget -- it had to do with a combination of transparency, immediacy, and
purity that made me feel as if I were one step closer to the musicians. This wasnt
so much about resolution, which has mostly to do with extracting every bit of information
from a disc and preserving it throughout the signal chain, but rather about presenting the
performance with no sense of "veiling" whatsoever. It wasnt like wiping a
window clean, but like having no window at all. It was about sounding not only clean, but
very present at the same time -- like having real performers in my room. These qualities
dont always go hand in hand, which is why I think some CD sources, while sounding
exceptionally clean, can still sound mechanical and cold, and therefore less real. The
Zandèn digital products Ive heard dont get everything right to
everyones taste -- some listeners will take issue with the tame top end and the lack
of slam and overall weight -- but they brought me into the music in a way few components
The September 2009 issue of Mens Journal had
an article about the Mantide "supercar" from the Italian company Stile Bertone.
Stile Bertone took the Corvette ZR1 ($107,000) and gave it a massive facelift that
radically alters the cars appearance and is said to also improve its performance.
(Im sure they did other things to it, too, but thats what you mainly see and
what the article focused on.) Only five Mantides will be made, and each will cost $2
million. Obviously, for many, this is an outlandish thing -- can anyone justify spending
that much money on what is basically a tricked-out Corvette? But as outrageous as the
Mantide sounds to most people, many would dream of owning one, or at least having the
means to. I do.
When I read about the Mantide, I couldnt help but
think about the Zandèn 2500S on my shelf. Stile Bertone is creating their vision of the
definitive Corvette; Zandèn Audio Systems is creating what they feel is the ultimate CD
player. These products arent about mass-market acceptance or sales; theyre the
opposite of all that. Nor are they about sane pricing -- you can buy a Corvette ZR1 for
about one-nineteenth the Mantides price, and you can buy a great CD player for a
fraction of what the Zandèn 2500S costs. Whoever buys either product wont care
about saving money. Tell them they can buy a car or a CD player that costs a whole lot
less and theyre likely to say, Who cares? Theyre buying something
distinctive and unique -- something few other people will have.
But the Zandèn 2500S is something more than an overpriced
oddity. After a while, I grew to not only like but love it, realizing that, for a certain
kind of CD-loving audiophile, its not so outlandish after all. Rather, its
unlike anything else on the market -- in many ways, a spectacular component that, while
scoffed at by those who cant afford it, will be cherished for its many virtues by
the few who can.
The Zandèn 2500S is a highly specialized product intended
for those who value gorgeous styling and impeccable build quality, arent concerned
with bang-for-buck value, and want that unmistakable Zandèn sound -- that analog-like
sound -- from their CDs. Like the Stile Bertone Mantide, the Zandèn Audio Systems 2500S
is something only that small group can afford, and even within that group, its
something that only a certain number -- those who know and can hear what it does -- will
appreciate enough to actually buy. I could never afford this player, but I wish I could,
and I envy those who can. The 2500S is a high-end-audio CD dream machine.
. . . Doug Schneider
|Zandèn Audio Systems 2500S CD Player
Price: $22,000 USD.
Warranty: Two years parts and labor.
Audio Systems Ltd.
6-6-2-101 Shinmori Asahiku
Osaka-City Osaka, Japan
Phone: +81 6-6185-0404
Fax: +81 6-6185-0405
North American distributor:
Zandèn Audio North America
26883 West River Rd.
Perrysburg, OH 43551
Phone/Fax: +81 6-6953-6511