{"id":23245,"date":"2021-12-01T14:10:52","date_gmt":"2021-12-01T12:10:52","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=23245"},"modified":"2022-11-02T12:27:24","modified_gmt":"2022-11-02T10:27:24","slug":"aqua-la-diva-m2","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/cd-player-reviews\/aqua-la-diva-m2\/","title":{"rendered":"Aqua La Diva M2"},"content":{"rendered":"

Review sample supplied by Hexagon Audio<\/a>
\nRetail price in the NL (incl. 21% VAT): 8.700 euro<\/h4>\n

For the longest time, I have resisted all the streaming possibilities because I had not encountered a single music server that could beat my then-favorite Wadia 861 CD player in terms of timbre, soundstaging, and pure involvement. After having tried various music servers and all sorts of DACs, years later, the Antipodes DX<\/a> server turned out to have a similar timbral presentation to the classic Wadia sound and this worked especially synergistically with the Apogee Diva<\/a> magnetostatic speakers. The DX was not quite as fluid nor quite as 3D as the CD player, but it was certainly robust, sonorous, and impactful and that is what I required at that time. What ensued was a gradual move away from CD players until I became fully invested in music servers. For a solid period, the Antipodes CX<\/a> marked the pinnacle of the period\u00a0running Roon via a direct Ethernet connection to the CH Precision C1<\/a> DAC. This served me well until the Antipodes K50<\/a> emerged, which marked a new benchmark in terms of organic sweetness and liquidity.<\/p>\n

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Above and below: the original La Diva with the familiar CD-Pro 2 mechanism<\/em><\/p>\n

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La Diva and LinQ<\/h3>\n

At this point during my music server adventures, I briefly encountered the Aqua La Diva CD transport and, frankly, it turned things upside down for me. No matter how much I had been enjoying the music server ride, the La Diva had an irresistible combination of aspects that I just could not find in any music server.<\/p>\n

And then, the Aqua LinQ<\/a> Network Interface came along, stirring the pot with its amazing solidity, neutrality, and dynamics, which sparked renewed interest and resulted in a series of raving reviews.<\/p>\n

Around this time last year, I was anticipating doing an extensive review of the La Diva, along with a comparison between the player and the then-brand-new LinQ. Alas, as time moved on and the LinQ development took an unexpected turn and Roon support was dropped in favor of HQPlayer NAA, I decided to focus on the LinQ, HQP NAA, NAA Core module<\/a>, and all the related facets, and assess the La Diva later.<\/p>\n

\"\"<\/p>\n

Once I completed my coverage of all the LinQ’s modules and their functionalities, it was time to return to the CD transport. Alas, it was not to be. By this time, Aqua’s stock of Philips CD-Pro 2 mechanisms (which were already a discontinued model) was all but depleted and Cristian of Aqua Hifi revealed that they were working on a successor for the La Diva. What the new model would be called was still up in the air, but it was soon confirmed that the CD-Pro 8 S mechanism would be used.<\/p>\n

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\"\"<\/p>\n

New La Diva M2 – Transport Mechanism<\/h3>\n

The new generation of La Diva is a machine that, while keeping the name, is completely new, both in terms of CD mechanics and all internal electronics, power supply, FPGA decoding, clock, display, and more. The Diva M2 features the new CD Pro-8S CD transport, modified and tweaked for maximum performance and mechanical silence. Contrary to the original model’s tiny-character display, the new display offers a really nice and big micro-LED display that is reminiscent of the Mark Levinson digital components from the nineties.<\/p>\n

\"\"<\/p>\n

Whereas the original Diva has smooth but tiny digits that I can’t read from the listening position even with glasses, I can actually read the new display content without glasses from 5 meters away!<\/em><\/p>\n

Based on the StreamUnlimited<\/a> Blue Tiger Optical Drive Platform, the CD-Pro 8 Series is the successor of the CD-Pro 2 and like its predecessor, it has its roots in Philips technology. At its core is the tried-and-trusted Sanyo SF-HD 850 optical unit. The mechanism features a solid Aluminium chassis, carbon fiber cover, and carbon fiber turntable. Coming from the CD Pro 2, the CD Pro 8 seems to me like an entirely natural next move because StreamUnlimited has extended the famous Philips heritage, and prior to that, has acquired solid experience developing OEM CD mechanisms and loaders for many industry-leading companies, including Wadia Digital.<\/p>\n

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The mechanism allows the manufacturer to choose an internal or external master clock for the lowest jitter and upon checking with Aqua, Cristian confirmed that the “Master Clock” is fed to the transport mechanism via a dedicated coaxial cable, and the AES\/EBU and S\/PDIF outputs are created in FPGA via proprietary code (as it is also done for the LinQ). The internal S\/PDIF of the CD Pro-8S is not used. Further, the Diva M2 contains proprietary circuitry to control the servo system.<\/p>\n

Instead of merely being mounted on the standard silicon dampers, inside the La Diva M2, the mechanism is hard-coupled to a custom stainless steel plate that in turn is suspended from a large and thick metal base panel via large rubber dampers. This assembly is then mounted to the component’s chassis via a second set of large rubber dampers.<\/p>\n

For those who wish to dive deeper into the StreamUnlimited background, the company has a dedicated optical storage daughter site<\/a> with lots of additional information. And for those who wish to dive even more deeply into CD reader mechanism history, there is a dedicated Philips CDM section<\/a> right here on HFA.<\/p>\n

Next: Servers, Streamers, and CD Players<\/p>\n

<\/p>\n

Servers and Streamers and CD players<\/h3>\n

While I was enjoying the K50 server, and the LinQ with the NAA Core module<\/a> had thoroughly stirred the pot by introducing a profound improvement to the sound when using it in conjunction with the K50, the Grimm MU1<\/a> server came along to further spice things up.<\/p>\n

\"\"<\/p>\n

While, up until that point, the Antipodes K50 + Aqua LinQ combo provided the very best sound that I could achieve with a server-based source, the K50 is admittedly overspecified to function merely as a server. And, frankly, this combo accumulates to a disproportionate cost. But now, there was the MU1 that in a one-on-one comparison outperformed the K50 in certain aspects.<\/p>\n

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Above: Grimm MU1; Below: Antipodes K50<\/em><\/p>\n

\"\"<\/p>\n

There are some differences in character between the MU1 and the LinQ (see the MU1 review<\/a> for the details) but ultimately, they both offer absolutely superb sound. I consider both to be the pinnacle of what can currently be achieved with server-based or streaming audio and that’s why they are both in my system. I should add that the MU1 costs 9800 euros without storage and is limited to Roon while the LinQ’s modular approach allows the user the freedom to choose from a multitude of formats including Roon via HQP NAA, at a cost ranging from 5.680 to 6.980 euro depending on the configuration.<\/p>\n

But how does all this server and streamer talk relate to the La Diva CD transport, I hear you ask? Well, let me tell you!<\/p>\n

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La Diva round one<\/h3>\n

As if the above result wasn’t interesting enough, here’s where it gets really<\/em> interesting! Although the original Diva (Mk1) transport surpassed my best server solutions up until that point in terms of tightness, articulation, and transient attack, it was also leaner, slightly narrow in soundstaging, and tonally less saturated. But regardless, in terms of flow, fluidity, and emotional intent, the CD transport came out all the way on top. It’s sometimes subliminal, almost, but I feel like the CD transport gets even more to the core of the performance. Its delivery somehow makes it easier for me to connect with the performance emotionally, to relax into the music, and let everything flow over me. By comparison, the server\/streamer solutions all sound great, but relatively a little bit more static. Indeed, even though the Aqua LinQ Network Interface occupies the first place in terms of neutrality, robustness, articulation, incisiveness, and expression, the Diva manages to provide a more organic, and more emotionally involving presentation.<\/p>\n

Interestingly, the addition of the LinQ (as an endpoint) has made the Antipodes server (as a server) sound much closer to the La Diva than the K50 does when connected directly to the Aqua Formula xHD DAC or CH Precision C1 DAC via any of the available connection methods. This is interesting because, on its own, the K50 normally sounds lush, rich, and relaxed, with a decidedly full tonality, no matter how it is connected. The only deviation from this was when it was used in combination with the Denafrips Terminator’s USB input, which says a lot about the quality of the C1’s USB input, the Terminator’s input, and the large variance in quality when using USB in general.<\/p>\n

I mention this to provide a solid backdrop for how the two Diva CD transports are positioned. But before I derail to the streaming side again, let’s quickly get back to the main purpose of this review: the brand-new La Diva M2.<\/p>\n

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La Diva M2<\/h3>\n

Ever since I was aware that a new model was coming, I had been awaiting its arrival with immense anticipation. Fortunately, the M2 delivers on its promise. It is not only a successor with a different CD mechanism but indeed a wholly different player. And along with its mechanical and electrical changes, the La Diva M2 also brings a couple of changes in the sonic presentation.<\/p>\n

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Having extra copies of CDs made for comfortable direct comparisons<\/em><\/p>\n

To my relief, the new player has not become one of those CD players that has succumbed to technical advances at the expense of the natural organic presentation of which the format is capable. Rather, the La Diva M2 retains all the aspects for which I feel that the format still has the edge. These include the unequaled free-breathing sense of flow, the organic imaging, and a superb level of refinement and air.<\/p>\n

Along with this, the M2 brings a newfound level of richness and tonal saturation and considerably wider and deeper soundstaging, compared to the original La Diva. If the original was lean, a little dry, and perhaps slightly analytical, the new M2 is smooth, harmonically rich, and slightly euphoric. In this regard, the M2 is a little bit closer to the La Scala than the Formula xHD. Amazingly, however, the M2 brings this new level of organic richness along with an even higher level of refinement and low-level resolution that, in turn, brings it closer to the Formula than the La Scala.<\/p>\n

These changes and improvements make that there is now a wider and deeper aural landscape all around the speakers with freer, more varied, and richer-sounding instruments within the stage, along with a razor-sharp central image.<\/p>\n

\"\"<\/p>\n

Having tried the La Diva M2 transport with the Aqua Formula xHD DAC as well as the CH C1 DAC, and via AES\/EBU as well as AQLink, I can confirm that the La Diva M2’s outputs sound quite uniformly, but with subtle changes depending on the cable that is used.<\/p>\n

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In comparing the Jorma AES\/EBU<\/a> cable to the\u00a0Aqua AQLink using the Formula DAC, in spite of slightly shallower soundstaging and a relatively drier delivery, I must give the edge to the more expensive Jorma cable for its superlative incisiveness, articulation, and expression. But these are mostly matters of preference and if tonal saturation, soundstage depth, and flow matter more, then the AQLink provides relatively better performance. Between the Jorma RCA-RCA and Jorma BNC-BNC variants, I could not reliably detect a difference, while both were also very close in sound to the AES\/EBU cable, just very slightly fuller in the bass and ever so slightly rounder on the transients in general. Of all these connections, the AQlink remained the richest and tonally most saturated.<\/p>\n

Let’s return to the Server\/Streamer versus CD player matter just one more time. As every reader of this site by now probably knows, I place a big emphasis on bass tightness and articulation. However, I also deeply value the emotional content of the music which is strongly tied in with the flow and breathing aspects of the reproduction, and it’s not often that these aspects are found in equal measure. But the La Diva M2 provides a balance that comes nearer to this ideal than many.<\/p>\n

In addition to having bass that’s almost as tight as the Grimm MU1 in non-oversampling mode, the La Diva M2 adds a considerably more spacious and free-flowing feel. In this mode, the MU1 is most articulate, but it also sounds more contained between the speakers both sideways and in the depth plane. The server can actually deliver a kind of delivery that is more akin to the spaciousness and freedom of CD by switching it to four times oversampling but then it loses a significant portion of its bass tightness as well as its razor-sharp imaging focus. Meanwhile, the La Diva M2 is both articulate and sharply focused, in addition to sounding lavishly spacious and free-flowing!<\/p>\n

The LinQ, finally, manages even more incisive and solid bass that’s of the proverbial chiseled from granite kind, in addition to an even more expressive and percussive midrange. These are all aspects that I value, especially when playing music that relies heavily on pulsating rhythm and sharp transient attack but especially when playing soulful music or anything with a natural recorded acoustic, the La Diva M2 provides a more organic, more free-flowing, more forgiving, and ultimately more emotionally involving performance.<\/p>\n

Next: Placements and Conclusion<\/p>\n

<\/p>\n

Diva Placement Experiments<\/h3>\n

Interestingly yet also annoyingly, the Diva sounds great when sitting atop the CH Precision C1 DAC when that component is itself coupled via Artesania Carbon arms to the Artesania Exoteryc rack’s top level. This bugs me because I don’t find the two components make a great visual match, and also because the big CH A1.5 power amp prevents me from comfortably operating the CD transport when in this position.<\/p>\n

\"\"<\/p>\n

The C1 DAC is built from massive aluminum panels and has an extra-thick stainless steel bottom plate, and as a whole, its construction is massively inert, and apparently, that works well for the La Diva as well as the La Diva M2.<\/p>\n

In search of finding a neater position for the Diva, I tried it on top of the Formula xHD DAC, supported in exactly the same manner as the C1. However, as I learned the hard way during my first experiences with the brand, you really shouldn’t use an Aqua component on top of another as this will create permanent stains in the bottom component’s Nextel finish. So, what we need is an intermediate piece of material.<\/p>\n

On top of another Aqua component<\/h3>\n

For over a year, I have used the LinQ on top of the Formula, with Artesania Neoprene discs in between. With the incredibly robust and expressive sounding LinQ, that works marvelously well. In general, these Neoprene pads remove some of the music’s urgency, making bass stabs lose a degree of power and incisiveness. But otherwise, they have very little influence on the signal, and importantly, they allow the music to flow entirely freely.<\/p>\n

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Above and below: Artesania Neoprene pads underneath the Aqua component feet<\/em><\/p>\n

\"\"<\/p>\n

Experiments carried out with the original Diva on top of the Formula xHD DAC using Neoprene and small and large beechwood discs, stainless steel discs, and special bell-brass discs have brought interesting results.<\/p>\n

Among the benefits was tighter bass with more incisiveness when going from Neoprene to the small beechwood discs, but this came along with a kind of pinched midbass and slightly nasal lower midrange that is not entirely natural or at least not as uncolored as placement on top of the C1.<\/p>\n

Moving to the larger and thicker beechwood discs pretty much restored the balance but still sounded more “forced” than the direct C1 placement. The stainless steel discs provided an interesting alternative, producing a more linear and neutral sound than the beechwood discs, but this sounded a little forced and mechanical.<\/p>\n

Finally, moving to the special bell-brass discs made by Ron Ploeger of Callas Audio, provided a very interesting alternative with similar neutrality and linearity as the stainless steel discs but with a touch of a golden glow in the midrange and just a tiny bit fuller bass, which was my preferred solution for the original Diva, when hard couplers had to be used.<\/p>\n

Ultimately, though, I felt that you could always subtly hear the tiniest edge that was added by any of the hard underlay materials. In general, if the component must be placed on top of another Aqua component and so long as bass incisiveness is not the most important parameter, then the best couplers are still the Neoprene pads. That is, for the LinQ and the original La Diva. Do read on!<\/p>\n

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On a platform<\/h3>\n

The top surface of an Artesania Modular Floor platform<\/a> (or the Modular Rack<\/a>) is super-hard but nevertheless still susceptible to stains. As such, I always use intermediate materials when placing Aqua components or other devices with potentially oily substance-releasing feet on the platforms. Just as with placement on top of another Aqua component, the method with which this is done can also be used to carefully tweak the sound.<\/p>\n

Since these Artesania platforms provide an inherently fuller and more sonorous sound, out of all the options, the bell-brass discs worked sublimely well for the original Diva as well as the Formula DAC, while I obtained the best balance in terms of neutrality and articulation for the slightly more romantic sounding M2 when using the stainless steel discs. Incidentally, the Finite Elemente Ceraballs (shown above left) reduced the fluidity and flow and thus were not a good match with either of the two Aqua CD transports.<\/p>\n

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Directly on an Artesania Rack<\/h3>\n

In my experiments, most of the audio components that I owned or reviewed sounded best when placed with their bottom panel directly on the Artesania Exoteryc<\/a> rack’s feet, bypassing the component’s own feet. And in these cases, the superlative solution is always to use the optionally available\u00a0Carbon Arms with beechwood discs<\/a>.<\/p>\n

However, there are exceptions where components sound better when using their own integral feet. Recently, this concerned the Lejonklou K\u00e4lla<\/a> streamer, and the same is true for some of the Aqua components.<\/p>\n

\"\"<\/p>\n

The Formula xHD DAC sounds more fluid and free-flowing on its own super-flexible cone-shaped viscous feet but more articulate and incisive on the Carbon arms. Ultimately, it sounds great either way, making it more a matter of personal preference. The LinQ, however, most definitely sounds best when using its own feet. When bypassing its feet with a hard coupling, even one on the Artesania Carbon Arms, it starts to sound overly controlled and restrained, and that’s why I can get away with using it on top of the Formula DAC.<\/p>\n

The original Diva behaves similarly to the LinQ and is also best used with its own feet. It would be easy to assume that the Diva M2 would behave the same way, but as I found, it actually behaves more like the LinQ. By this, I mean that it can be used with its own feet (op top of a solid surface), as well as be placed directly on the Artesania rack’s feet, and sound great either way.<\/p>\n

\"\"<\/p>\n

Conclusion<\/h2>\n

Ever since I was aware that a new model was coming, I had been awaiting its arrival with immense anticipation. Fortunately, the M2 delivers on its promise. It is not only a successor with a different CD mechanism but indeed a wholly different player. And along with its mechanical and electrical changes, the La Diva M2 also brings a couple of changes in the sonic presentation.<\/p>\n

The La Diva M2 retains all the aspects for which I feel that the CD format still has the edge. These include the unequaled free-breathing sense of flow, the more organic imaging, and a superb level of refinement and air. Along with this, the M2 brings a newfound level of richness and tonal saturation and considerably wider and deeper soundstaging, compared to the original La Diva. If the original was lean, a little dry, and perhaps slightly analytical, the new M2 is smooth, harmonically rich, and slightly euphoric. And amazingly, the M2 brings this new level of organic richness along with an even higher level of refinement and low-level resolution.<\/p>\n

\"\"<\/p>\n

Associated Equipment<\/a><\/p>\n

More experiences with La Diva M2<\/h3>\n

La Diva M2 – Part 2<\/a><\/p>\n

External Links<\/h3>\n

Distributor for the NL\/Belgium: Hexagon Audio<\/a>
\nManufacturer’s website: aquahifi.com<\/a><\/p>\n

Read Also<\/h3>\n

Aqua Formula xHD DAC<\/a>
\nAqua Formula xHD v2 Output Board upgrade<\/a>
\nAqua La Scala mkII DAC<\/a>
\nAqua LinQ Network Interface<\/a><\/p>\n

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