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DIY CDPro2 Transport Tentlabs kit and AudioNote DAC kit full Black Gate and AudioNote Kaisei Caps.
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DIY CD transport | diyAudio
Hi folks, I’m in the process of building Audiophonics CD transport kit. AUDIOPHONICS DIY Kit CD Player GF8 Kit CD-DA / CD-R / CD-RW / HDCD …
Source: www.diyaudio.com
Date Published: 3/8/2022
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CD transport kit – DIY | Page 4 | VNAV
Em cũng đang loay hoay tìm một em CD transport để ghép với DAC HQ. nhìn mấy em này pro quá, các cụ có biết trong nước ở đâu bán không, …
Source: vnav.vn
Date Published: 7/14/2021
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Thread: DIY CD Transport Kits – The Art Of Sound
Does anyone know of any CD Transport kits (No CD Drawers), wanna have a bash at something that resembles the old Micromega ‘Duo’ transport.
Source: theartofsound.net
Date Published: 5/23/2022
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Results for cd transport kit – AliExpress
Beses good quality brands, you’ll also find plenty of discounts when you shop for cd transport kit during big sales. Don’t forget one crucial step – filter …
Source: www.aliexpress.com
Date Published: 3/9/2021
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DIY CD transport
About 7-8 years ago I had a bad cap problem in my computer supply that was burning up quite a lot of MB, processor etc. It was the same Lelou cap installed on the servo board and I decided to replace them ALL! I already had the caps with the same values, except I increased the 220uF oscon in the supply section to 330uF (my guess as no schematics were provided). now i’m peaceful If anyone decides to do this, I highly recommend putting a nice amount of fresh solder in when heating, especially the cap legs that are on the baseplate!
CD transport kit [English]
Armonia HiFi CD N.1 – CD transport kit
…instead of fumbling with every CD player within reach!
Product: Armonia HiFi CD N.1 – CD transport kit
Manufacturer: Albatron S.r.L. – Italy
Prices: Mechanism KIT: 775 euros; Power Transformers No. 4 C: 172 euros
Reviewer: Giorgio Pozzoli
Checked: April 2002
Armonia HiFi is an old friend of ours. We have already tested a DAC (DAC 3) and a preamp (Pre 2) from this source. In both cases, the products were of an extremely high level, with engineering skill and remarkable technological solutions, only made possible by the fact that Armonia HiFi is just a brand name of a company essentially dealing with industrial electronics. All of this was delivered despite (presumably) relatively low audio production volumes.
So, once again, we are faced with an achievement that rests on the passion of the owners, rather than a clearly defined business urge. It’s a situation that, unfortunately, I see more and more often in Italy. I say unfortunately, because it seems more and more clear to me that the performance possibilities in the audio area, even on the part of serious prospective buyers, are getting smaller and smaller.
The kit is built around the mechanism of the Philips CD-PRO 2 (VAU1254). This mechanism is rather rare due to its high source price compared to the classic CDM12 and the like. To be honest, it’s difficult to find it in systems that cost less than several thousand euros.
Philips policy reinforces this by mandating a highly selective and careful licensing protocol for the commercial use of this item in order to limit its use to component manufacturers able to take full advantage of its properties.
The process by which one obtains a license is neither easy nor quick nor economical. As far as I know, Albatron started developing in this direction more than two years ago.
In short, the use of this mechanism alone guarantees the manufacturer’s design competence and reliability.
description
First of all, it must be said that the kit does not include a case, only the mechanism itself and the electronic components needed to make it work, including the remote control.
So when you buy it you will only find:
a mechanical unit + controller pre-assembled and calibrated by Philips supplied with the kit. In other words, the difference between CD Pro and CD Pro 2, as far as I know, is that the calibration system is digital and auto-correctable.
a power supply, which, as usual, is very complex and bulky, taking into account all the requirements for the timing of supplies indicated by Philips itself
a control/display unit that allows full control of the mechanism from the remote control. Only a limited number of functions are provided to the user via the panel (start/stop/fast forward-backward/skip forward-backward)
a metal plate intended to support the mechanism, resting only on the suspension points (springs and rubber tips) intentionally provided
a remote control
various connecting wires, pre-assembled with the appropriate plugs
on request optionally four power transformers, depending on the request double-C or toroidal core
Note that both the power supply and the control board are designed entirely by Abatron. However, the remote appears to be the standard remote sold by Philips.
The circuit boards are positively covered with industrial grade components – an absolutely necessary choice to avoid excessive costs (and resulting prices). The regulators are cooled.
>From the point of view of flexibility, the factory board (fully populated, calibrated and tested by Philips SMD board) is commendably comprehensive. In fact, it is equipped with:
an S/PDIF output
an I2S output
a stereo audio output (there is a converter on board the controller) which is the most useful to ensure that everything works as it should on a mechanical level, but certainly not of the highest quality.
The S/PDIF interface is the one typically found as a digital electrical input or output in transporters or DACs. The in CD1 maintains correct standard S/PDIF levels (range between 0.5V and 1V) – not TTL compatible like some CD-ROM devices – and can therefore be used to connect directly to an external converter will. It appears to be without an isolation transformer (I seem to record that the standard requires one, although after a quick check I can’t find any evidence), anyway adding one is very easy: see for example http://www. epanorama.net/documents/audio/spdif.html for some instructions.
The I2S output, on the other hand, is a three-wire interface (plus ground) suitable for directly driving (for example) a DAC chip or digital oversampling filter. Originally designed by Philips, it is now in general use. for example, it is supported by the Crystal/Cirrus chips. Armonia is finalizing a D/A converter to be combined with this transport mechanism over this particular interface, which would result in a complete CD player. Another possibility is to create a zero-oversampling CD player that only uses the Convertus’ converter module: in fact, even the TDA1543 could use such an interface.
Finally, I have to report that some commercial D/A converters are also starting to provide this interface (which avoids the jitter problems typical of S/PDIF), but since there is no standard I’m not sure if this is the case is used levels are perfectly compatible.
Assembly
>Electrically, assembly is extremely easy. A detailed manual is included with full instructions on the connectors and how to use them, and the number of connections required is limited.
The mechanical assembly is also very simple in principle and essentially requires the attachment of the mechanism to the support plate provided for this purpose with springs and rubber points. The plate is then attached to the bottom (or in the worst case, the top) of the case with the appropriate spacers.
Note that the mechanism is quite delicate; Given the cost, try to handle it as little as possible.
First, it can be damaged by electrostatic discharge: when you work on it, make sure that all tools are always grounded and if possible also grounded. You could wear a metal finger ring with a wire connection to earth.
Second, the laser motor contains an extremely powerful magnet – strong enough to attract any ferrous particles that might be nearby. If a grain of iron gets into the motor air gap, you’re in for real trouble.
It is therefore important to keep the mechanics protected until use and only assemble them when the entire device is ready. Knowing the impatience of those interested in DIY, this advice seems pretty difficult to follow…
Another rather critical point is the case. The mechanism has no loading device (reader). There is a magnetic clamp which, for lack of anything better, has to be placed over the disc manually.
The mechanism is therefore used in top-loading machines or by those who dream up a draw themselves. However, scouring the web I’ve seen several top loading cases, but none with a tie. So the answer is a top-loading machine.
Well, the laser in the reader is still a laser, certainly reduced power and also invisible, but potentially VERY dangerous to your eyesight – as also clearly stated in the instructions. Although invisible, the risk of permanent damage is real and effective. Clear? For this reason, it is imperative for children or less conscious friends to have a protective mechanism.
In fact, the standards rightly provide for automatically turning off the laser before accessing the disc. Therefore, it is necessary to cover the disk itself with a lid, the lifting of which will also immediately extinguish the laser; There is a plug with a corresponding switch.
Finally, once one has decided on a top-loading assembly and the use of a cover, the problem remains of performing the operation of cutting the top plate of the case to gain access to the mechanism. The goal is to create a slot for the CD that is anchored to the case and not to the mechanism, which, as I said, is suspended on springs. This allows, on the one hand, the disc-carrying “plate” to protrude from the chute to support the disc being lifted by the chute itself, and, on the other hand, touching neither the chute nor the top plate with its own chassis. This means centering the base of the shaft between the mechanism’s suspended chassis and the disc, that is, a distance of a few (4 or 5) millimeters without touching one side or the other.
This is the more correct solution. The simpler solution is to allow direct access to the mechanism as is through the lid opening. In the limit, one could fit a strictly non-magnetic disk around and attach to the CD-carrying component of the mechanism. Make sure it doesn’t touch the lid.
However, simplicity comes at a price. Even if the aesthetic aspect may be perfect when the lid is closed, dust gets into the remaining gap between the top plate and the mechanics, and with clumsy maneuvers maybe even a few CDs …
Nonetheless, Armonia HiFi is considering producing a low-cost housing for the mechanism (and the I2S input DAC that will accompany it shortly).
You’re wondering what I made myself? Well, I received the mechanism already nicely assembled… I have to say it’s very, very, very practical, but not very attractive.
operation
The machine is very convenient to use. All the functions that interest me are present on the remote control. There is no scan or programming mode (which I have never used in my life), but all repeat modes are available.
There is one aspect that baffles me: once the disc is changed – or rather the lid closed – the controller is unable to record a command (usually play) until the TOC has been fully read; several seconds required.
This is an absolutely marginal problem: a bit annoying just because I’m not used to it, I have to say.
Note, however, that when changing discs without resetting the disc (or opening and closing the lid of the tray, respectively), the machine can usually start reading the new disc, but usually fails completely when certain commands are given. e.g. skip and the like. Yet all of this seems absolutely right and inevitable.
Positioning is a much more important issue:
As said, the mechanism is designed to be used in top loading machines. Unfortunately, if you are using a standard rack and own a turntable, the top level is probably already occupied… and the housing for the mechanism cannot be very low due to the dimensions of the circuit boards as well as the mechanism itself.
In addition, the lid requires a further increase in the height of the CD transport, which in the case of a hinged lid (simplest solution) is impossible to insert into a standard-height shelf.
So either ditch the turntable or buy a rack with plenty of space between tiers…or get yourself a TNT Flexy.
How does it sound?
Well, so far we’ve basically reported on a number of implementation issues and technical data. But we haven’t touched on the most important thing yet; how does it sound
Before we get to that, let’s look at the testing procedure. The test compares the CD1 to the Linn mimic and a PDS505 (the famous original stable-platter mechanism with lots of metal components) modified with a high-quality clock and transformer-coupled digital electrical output, both of which are used solely as a means of transport. The converters were the Convertus with digital decimation (yes it’s here now!!!) and a TDA1541 based DAC in a very late stage of testing.
To allow for a fair comparison between the three mechanisms, I only used the S/PDIF output.
I would have liked to verify the performance achievable with the I2S interface, which as I said is free from the jitter problems typical of S/PDIF. Unfortunately, the cable I had available was too short to reach the inside of my DACs and it’s not good to use long cables without proper buffering. So rather than produce a meaningless test, I chose to skip it altogether.
So now we come to the sound.
What is most striking is the lightness, naturalness and immediacy of the passages.
Fluidity reigns supreme. rules of authority. There is not the slightest trace of trembling, wow & fluttering, of insecurity that so often characterizes many economical digital playback devices, of an angular sound and the associated fatigue of the listener is not felt. Despite the update of the watch, this is the main limitation of the PDS-505: a certain residual lack of fluidity, which is evident when facing a machine like this or the mimic.
The tonal balance is just perfect to my taste. But it may be that for other tastes it is slightly shifted in the direction of heights: the sound is extremely transparent, open, clear. The bass gets its prominence when it’s due, but it’s always perfectly coordinated and controlled. The facial expressions have more of it, but often appear artificially swollen.
The higher frequencies are pure, simple and absolutely not artificial. Details are remarkable. Precision and realism are really exemplary – if the accessories allow it.
The sound never becomes unnaturally shrill, even with the shrillest of voices. The extreme highs are resolved with absolute sweetness, moreover, without blurring or roll-off. However, the facial expressions tend to be a bit less precise, a tiny fraction blurred.
The speed of tempo and rhythm is just right: neither faster nor slower than expected. In other words, you can’t really say that it’s sluggish, on the contrary, it’s going extremely quickly without showing any signs of hectic. Certainly faster than facial expressions, but the slowness of facial expressions is well known.
Transients are also agile. That is precisely why the dynamics are somewhat superior to facial expressions. Actually, the lighter bass should have reduced the dynamic impact, but obviously the greater speed with interest makes up for what has been lost in the bass.
The harmonic quality of the signal is remarkable. The sound is rich, not sketchy or skeletal, but complete and realistic.
Imaging is rock solid, detailed and precise. The performers stand out against the blackest of backgrounds. The soundstage is huge. Even in the narrowest passages, you don’t lose sight of the details, although the ensemble is perfectly perceived: a truly natural situation.
In comparison to facial expressions, the different handling of ambience signals is also noticeable. The mimic treats them on an equal footing with the other signals, sometimes mixing them up, sometimes swallowing them up. With its detailing, the CD1 always keeps the direct and reflected sound components separate. The CD1 in particular enables a more realistic spatial representation and a better characterization of the recording location by correctly treating the quietest perceived sound trace, for example a muted piano and the echo in the environment.
As a result, the soundstage expands in all directions; it is decidedly wide as well as deep. The sense of spatial localization of the different sources is phenomenal, all sound levels are perceived clearly.
However, a very strange effect is noticeable in the facial expressions (especially in the piano solo). It’s as if the soundtrack is brutally and unnaturally shortened by an over-absorbing environment. The sound stage is only hinted at, never quite real.
Conclusion
The sonic performance is indeed at a very high level. That even justifies the price, which is far from cheap considering it’s a kit.
The assembly is really very simple and within the ability of everyone. Certainly, if you want to achieve an aesthetically perfect result, a certain amount of effort during assembly is inevitable. However, it is also possible to start with a less ambitious implementation and improve it over time, making it more complex and aesthetically pleasing.
There is also the prospect that a DAC with a dedicated I2S interface and a specially designed housing will soon be available, making this kit even more enticing.
In summary, a compilation that, depending on the approach chosen, can be more or less demanding and more or less complex, but in its simplest form it is really elementary. In combination with a DAC of sufficient quality, it guarantees a thoroughly high-end sound.
© Copyright 2002 Giorgio Pozzoli https://www.tnt-audio.com
Translation: Peter Janssen, May 2002.
PHILIPS VAU1254/31 CD-PRO2LF DIY High-End professional complete CD-Player kit, and individual components.
WEEE reg. no. UK 85504828
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Devices that make the difference: The kits are developed and built as if they were intended for us. New: CD player upgrades: 3 different clocks, CD clamp with mat, gold fuses….
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