{"id":31717,"date":"2022-10-16T14:50:41","date_gmt":"2022-10-16T12:50:41","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=31717"},"modified":"2023-08-07T10:27:31","modified_gmt":"2023-08-07T08:27:31","slug":"jays-audio-cdt-2mk2-and-dac-2mk3","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/cd-player-reviews\/jays-audio-cdt-2mk2-and-dac-2mk3\/","title":{"rendered":"Jay’s Audio CDT3-Mk3 and DAC2-Mk3"},"content":{"rendered":"

Review samples provided by Vinshine Audio<\/a><\/h4>\n

Retail prices in the Netherlands\u00a0at the time of review, including 21% VAT:
\nCDT3-Mk3 \u2013 5498 Euro
\nDAC2-Mk3 \u2013 3398 Euro<\/h4>\n

CDT3-Mk3<\/h3>\n

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The CDT3-Mk3 is Jay’s Audio’s new Flagship CD transport. Although at first glance the transport looks very similar to the CDT-2 Mk2<\/a> that I reviewed in December 2019, at 450mm wide x 380mm deep x 150mm tall, <\/span>the CDT3-Mk3 is not only taller but also wider than the CDT-2 Mk2 and the DAC-2 Mk3.<\/p>\n

Equipped with a Philips CDPRO2 LF mechanism tuned by Jay’s Audio, a low-noise, low-phase noise, low-jitter, ultra-precision Oven-Controlled Crystal Oscillator, 10MHz master clock I\/O connectivity, and a strict division between the AC and various separate DC power sections, all encapsulated in individual cavities in a solid block of aluminum, and weighing 22KGs, the CDT3-Mk3 looks as beautifully-designed as it feels solid and heavy.<\/p>\n

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Instead of regular feet, Jay’s Audio has chosen the superior SoundCare SuperSpikes which have been fitted with removable felt pads underneath as standard. The transport provides all the output connectivity that one could desire: Coax RCA, Coax BNC, AES\/EBU, and I2S on RJ45 and HDMI.<\/p>\n

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Above is the digital output section, built onto a beautifully laid-out uncoated PCB. The board has twofold local DC regulation and applies an unusually large Mundorf Silver coupling capacitor followed by a Scientific Digital Audio transformer (to galvanically isolate the signal) for each of the three traditional electrical outputs. I confirmed that the Mundorf capacitors are indeed in the positive digital signal path following the differential line driver, so they are not used as HF bypass capacitors.<\/p>\n

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DAC-2 Mk3<\/h3>\n

The DAC-2 Mk3 can be seen as the successor of the DAC-2 Signature<\/a> that I reviewed in December 2019. But it’s not an evolution of the earlier model but rather a completely different design. Among others, it now features extensive Jay’s Audio-tuned AC EMI filtering, a Soekris dam1941-12 discrete R-2R D\/A module, digital volume control, and a fully balanced output stage comprised of four discrete output modules. At 430W x 380D x 120H, it has regular dimensions while its weight of 15KGs makes it feel comfortingly solid. The DAC has all the following inputs: TOSlink, Coax RCA, Coax BNC, AES\/EBU, USB, and I2S on HDMI. The USB input is capable of PCM384 \/ DSD128, the I2S input is capable of PCM384 \/ DSD256, and all other inputs are capable of PCM192kHz. The outputs are available in XLR and RCA.<\/p>\n

The DAC also offers a switchable digital filter and an Xfeed (crossfeed) option. The latter is normally found on head-fi products but the DAC-2 Mk3 does not have a headphone jack. For this review, I’ve not experimented with either of these functions.<\/p>\n

Both products feature beautifully-machined front panels with subtly-engraved (but not painted) text labels for the buttons. While this results in a nice clean look, the text can be hard to read in some lighting conditions. Especially with the CD transport, I found that I often could not intuitively find the play, pause, or next buttons.<\/p>\n

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System Context<\/h3>\n

The core of the main system<\/a> consists of the CH Precision C1<\/a> DAC and L1<\/a> preamp, with the A1.5<\/a> power amp, Grimm MU1<\/a>,\u00a0Antipodes K50<\/a>, and Taiko Audio Extreme Music Servers, and Magico S1 MkII speakers. All interlinks are Driade Flow Link Reference 808<\/a>, both balanced and unbalanced. The speaker cables in this system are the Mad Scientist Black Magic<\/a>. For digital connections, I use Jorma AES\/EBU<\/a> and Coax cables.<\/p>\n

The Jay’s Audio components, as well as the source components to which they are directly compared, were all positioned on an Artesania KSH2 Krion shelf<\/a> that couples via Artesania Carbon Fiber Linear arms<\/a> to an Artesania Aire<\/a> Floor Platform. When comparing with the Aqua DAC, I placed the Jay’s DAC directly onto the Aire’s Carbon Fiber Arms to give it an identical foundation.<\/p>\n

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Listening – CDT3-Mk3<\/h3>\n

When speaking of Philips CD mechanisms, there are basically two types: linear tracking and radial tracking, the latter often called swing-arm mechanisms. Jay’s Audio has produced CD transports with both techniques: the CDT2-Mk2 that I reviewed earlier which uses a Philips CDM4<\/a> swing-arm mechanism, and the CDT3-Mk3 under review here which uses a CDPro 2<\/a> linear tracking mechanism.<\/p>\n

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Personal experience has shown that there are structural sonic differences between these two main types of optical mechanisms. Countless comparisons using old, new, refurbished, and heavily modified transports have illustrated this time and again. With few exceptions, linear mechanisms tend to be the liveliest and most direct and usually have great PRaT even if they can also sometimes sound dry or matter-of-fact. Swing-Arm mechanisms on the other hand tend to be most fluid, delicate, and free-flowing yet are often less incisive and can sound soft. Why? I can only guess, but I think a very large part of this has to do with the demodulator, decoder, and filter chipsets that are typically used by these respective mechanisms. Sometimes, however, these “rules” do not apply. But let me start at the beginning.<\/p>\n

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In listening to the new CDT3-Mk3, it’s clear from the start that the player offers a level of resolution and precision that the CDT-2 Mk2 could not achieve. But despite being more astute and revealing, the CDT3-Mk3 never crosses over into the over-analytical or the clinical. Rather, the flagship player strikes an interesting balance. On the one hand, it has the tighter, more resolute, and relatively drier nature that I often hear with CDPro2 drive-equipped transports. But on the other hand, it still maintains the full-blooded, voluptuous, and ballsy, yet smooth and relaxed nature that I first heard with the CDT2-Mk2. When I reviewed the CDT-2 Mk2, I felt it sounded rather sonorous and robust for a Swing-Arm-based player<\/em>. The CDT3-Mk3 sounds utterly robust, period!<\/em> It has a kind of dark-roast kind of presentation with a deep and strong flavor if you’ll forgive the coffee references.<\/p>\n

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The CDT3-Mk3 manages to flex its muscles without ever sounding brash. This player may look and feel like a tank, but it reminds me more of a modern luxurious Range Rover: big and powerful yet smooth and comfortably relaxed.<\/p>\n

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From memory, I believe the Ayon CD-T II<\/a> had a similarly full-bodied and darkish balance, but no other player that I heard, and none of the transports that I currently have on hand sound quite as voluptuous and full-blooded as the Jay’s Audio CDT3-Mk3. Not even the fully recapped Proceed PDT-2 or the Wadia WT3200. While it offers very good resolution and precision, I would not describe it as light-footed or airy. The CDT3-Mk3’s robust stature and profound bass also mean that the transport can sound a little dark or slightly over-saturated in certain system combinations. But as it happens, there are two tweaks that can be used to counteract this.<\/p>\n

Next: Upsampling, Tweaking, and Power Cables
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Upsampling<\/h3>\n

The transport normally outputs the CD data in its native 44.1kHz format. But it also has an upsampling mode that can be enabled via a toggle switch on the rear. When enabled, the transport outputs 176.4kHz. I am normally not a fan of upsampling and generally prefer native sampling for its superlative robustness and tightness. But the CDT3-Mk3 is so well-endowed in these areas that it is not only not a problem that the sound becomes ever so slightly more light-footed, it’s arguably a more neutral balance. Moreover, the upsampling provides more air and refinement in the high frequencies, further adding to the player’s overall performance. In this case, I definitely prefer the upsampled output.<\/span><\/p>\n

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The CDT3-Mk3 offers a large sound bubble with precise center focus, good scale, and nice depth. The soundstage is large in all dimensions but it does not portray individual instruments’ positions quite as distinctly as my best digital sources. In comparison, it sounds somewhat compacted. In other words, the layering<\/em> within the soundstage is less distinct. In terms of smoothness and flow, however, I have to commend the CDT3-Mk3 for offering a very big chunk of what the CDT2-Mk2 could do naturally with its CDM4 mechanism. While that may sound like faint praise I should repeat that swing-arm mechanisms are naturally at an advantage in these areas but at the expense of some solidity and incisiveness.<\/p>\n

Although the CDT3-Mk3 with upsampling sounds really satisfying, I still found it to be on the overly relaxed side. It’s a rich, smooth, and decidedly non-aggressive sound that will surely appeal to many searching for “analog” or “non-digital” sound, but it’s not super expressive, not what I would call edge-of-seat exciting. And as other CD players, transports, and servers have shown, it’s possible to obtain a higher level of expression without sounding digital.<\/p>\n

The Grimm MU1 music server, for instance, may sound a little lean or perhaps cool to some ears and in some systems, but it is crisper, faster, airier, and more expressive than the CDT3-Mk3.<\/p>\n

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A comparison with the Aqua Diva M2<\/a> CD transport further confirms the CDT3-Mk3’s solid and bold nature. The Aqua presents the music quite differently: nimbler, more articulate, airier, and more refined, albeit leaner and indeed considerably less robust. In terms of flow, there is not much between the two transports, but the Aqua’s soundstage is more vividly layered with instruments more clearly inhabiting their individual spaces, both dimensionally, as well as in terms of expression.\u00a0 Overall, the Aqua does not have the tank-like body and drive of the Jay’s but it is more delicate and elegant for it.<\/p>\n

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Tweaking<\/h3>\n

In the introduction, I mentioned the felt tips on the bottom of the SoundCare SuperSpikes. Personal experience shows that it’s counter-productive to use spikes and then damp them with soft rubber or felt materials. So, I decided to try the CDT3-Mk3 on a set of 3 Stillpoints<\/a> Ultra SS V2, bypassing the SoundCare feet and felt pads altogether. I expected to hear some improvement but the difference was rather larger than anticipated. Whereas the player had been overly relaxed and somewhat reticent in its expression, with the StillPoints, it was now beautifully crisp, communicative, and rather lively.<\/p>\n

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Moreover, with the StillPoints, I felt that the CDT3-Mk3 actually sounded nicer than the MU1. Whilst still not quite as nimble, the CD transport was more realistic in terms of flow, and importantly, in the naturalness of timbre. On the whole, I now felt that the CDT3-Mk3 was more appealing.<\/p>\n

The improvement was so profound that I would almost consider the StillPoints mandatory if one contemplates getting the CDT3-Mk3. The thing is, at 1080 euros for the three, these feet are arguably a little too costly for a player in this price bracket. Perhaps the less expensive StillPoints Minis could be an interesting alternative?<\/p>\n

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Soundcare SuperSpiles with felt pads<\/em><\/p>\n

But, I wondered, what would happen if I removed the felt pads from the CDT3-Mk3’s SoundCare SuperSpikes? Before proceeding, I checked with Alvin Chee, the distributor of Jay’s Audio if this was ok and he was happy for me to remove them. The self-adhesive layer is quite strong but the pads can be removed relatively easily and, if needed, a swipe with a towel and some thinner removes any remaining glue.<\/p>\n

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SoundCare Spike Au Naturel<\/em><\/p>\n

Upon listening to the player with its own SoundCare SuperSpike feet (but without the felt pads), a surprising amount of expression that the StillPoints added remained, as did a good amount of the faster pacing. Conform earlier experiences, the SoundCare SuperSpikes provide better control, articulation, and clarity than normal feet while retaining tonal saturation and harmonic richness, without adding glare or hardness. The result remains fluid and gently smooth, and always musical in that never pulls the overall sound toward the clinical side.<\/p>\n

But still, if you want to extract the maximum that this beautiful transport is capable of, a set of StillPoints comes highly recommended and the player is certainly worth the extra expense. What they add is further enhanced tightness and pacing, better articulation, and faster transient behavior, as well as further increased resolution and clearer, and more impressive, soundstage layering.<\/p>\n

Power Cables<\/h3>\n

Some people don’t believe that power cables have any influence on the sound at all, or in any case not with pure digital components such as a CD transport. Other people believe that freebie cables that come with the product should be thrown away or even burned ritually and use something nobler instead. In any case, my personal experience shows that power cables always matter and this CD transport is no exception. However, the good news is that the standard cable makes a great match with the transport, yielding all the sonic attributes that I have described so far. So, don’t worry if there is no more budget left after purchasing the CDT3-Mk3 as the stock cable really is fine!<\/p>\n

However, one can always do better:-)<\/p>\n

My default step-up power cable is the Belden 19364 with Bals schuko and Oyaide C-004 IEC. In this case, though, this was more of a sidestep rather than an upgrade, providing a fuller tonal balance but with less clarity and definition.<\/p>\n

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Next up was the GigaWatt<\/a> PowerSync ULTRA, one of my new favorite cables at its price point. It’s neutral and dynamic yet beautifully refined, tonally rich, and gently smooth. With the CDT3-Mk3, however, this heavy-litze-copper cable made the balance tilt a little bit too much toward the smooth side, which is not what this player needs.<\/p>\n

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Conversely, the lower-specced solid-core GigaWatt LC-2 EVO made for a superb pairing, further elevating the player in terms of speed, articulation, clarity, and overall communicative skills.<\/p>\n

Next: Listening to the DAC-2 Mk3 and Conclusion<\/p>\n

<\/p>\n

Equal Treatment<\/h3>\n

Now that we know how much the CDT3-Mk3 improved by using StillPoints I guess it’s only fair to see what benefits these feet can bring to the components to which the CDT3-Mk3 is compared. Given identical circumstances, the MU1 and the CDT3-Mk3 don’t really move closer to one another but actually keep their individual sonic signatures. When both are positioned on StillPoints, the CD transport is similarly articulate as the server and almost as highly resolving but more free-flowing, if slightly more diffuse in terms of soundstage depth and precision. While the feet work marvels for the CDT3-Mk3, I did not feel that they worked as well with the MU1. Ultimately, it’s a matter of applying what the component needs. Incidentally, the MU1 has small neoprene pads as feet but these seem to work well enough and provide a balanced result. I did notice an impressive improvement a while ago when using special edition Callas Audio<\/a> Tigerwood feet under the MU1, but that’s for another story.<\/p>\n

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After placing the Aqua Diva M2 on StillPoints, however, I was stunned at the magnitude of improvement, adding further weight to my suspicion that this player’s ultra-compliant tall rubber feet are just not ideal. At close to 9K, the Aqua is considerably more costly than the Jay’s, but it has to be said that it also delivers even better overall sound with enhanced precision, refinement, and delicacy. When used with its own feet, however, the Aqua is still well-detailed and highly refined but rather more relaxed than the Jay’s.<\/p>\n

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Meanwhile, the MU1 costs more than either CD transport, meaning that it is not only a matter of sound quality but also one of convenience, and budget.<\/p>\n

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Listening – DAC-2 Mk3<\/h3>\n

The DAC-2 Mk3 offers very different technology compared to its predecessor, and as can be expected, this has an effect on the sound. However, the Jay’s House Sound is still abundantly present. By that, I mean that it has the decidedly robust, well-grounded, big and full-blooded sound that I have heard in all the Jay’s Audio components so far. Like the DAC-2 Mk2, the Mk3 sounds solid, dynamic, crisp, highly communicative, and upbeat. Especially the remarkable robustness in the bass and the dynamic slam are still highly reminiscent of the previous model.<\/p>\n

But whereas the older DAC model traded an amount of precision and refinement for the extra drive, and impact, the Mk3 offers significantly increased resolution, along with a cleaner and more transparent presentation.<\/p>\n

AES\/EBU and Coaxial S\/PDIF (both using Jorma cables) produce a similarly neutral and high-quality sound while still being able to discern the expected usual small format-induced differences.<\/p>\n

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Using the same setup, Belden power cables, and Driade Flow Link Reference 808 interlinks, having compensated on the CH L1 preamp for the 3dB difference in output level, and using a Jorma AES\/EBU cable with either the Grimm MU1 or the Jay’s Audio CDT3-Mk3 as a source, I compared the Jay’s Audio DAC2-Mk3 to the Aqua Formula xHD<\/a>. The latter also uses a discrete resistor ladder technology, albeit a proprietary implementation.<\/p>\n

The Jay’s DAC2-Mk3 crisp and explicit presentation makes it sound very nearly as detailed as the Aqua and on the whole, the two DACs are actually quite similarly balanced. Both sound clean, neutral, and linear, but there are differences. While the DAC2-Mk3 is rather explicit in terms of macro-dynamics, its low-level resolution seems a little lower than that of the Aqua. In terms of slam and impact, the Formula xHD is arguably a little bit more polite, or the Jay’s bolder and more forward, depending on your stance. If you ask me, utter and strict neutrality probably lies smack in the middle.<\/p>\n

While the Aqua DAC is comparatively a little less impactful than the Jay’s, it does offer an airier and more fluid delivery and slightly better transparency. Ultimately, the Italian DAC is more revealing of the source, not so much because of higher resolution but because has less of a sonic signature that is overlaid on the music. Don’t get me wrong – I definitely do not consider the DAC2-Mk3 to be colored, it actually has a very natural timbre, but there is just a hint of “solid-state-ness”. Of course, the upside of this is that it’s such a stand-out in terms of solidity and impact. Conversely, this also makes the DAC2-Mk3 verge to the direct and dry side whereas the Aqua is more liquid and leans more to the free-flowing and organic side.<\/p>\n

With all that said and having switched back and forth repeatedly, I feel that the Aqua ultimately performs on a higher audiophile level, but it also costs almost four times as much, so that’s to be expected. However, I also feel that the Jay’s Audio DAC2-Mk3 has many strong qualities and is a worthy contender in its price range. When thinking of competitors, really only Denafrips springs to mind. With a consistently high level of resolution and refinement, I have a soft spot for DACs such as the Pontus, Venus, and especially the Terminator, but I will add that the brand in general has a very different sonic balance than Jay’s Audio. Being light-footed, airy, ultra-refined, and ultra-precise to the point of becoming analytical, and with Jay’s Audio pretty much flipping this around by being super-robust, impactful, and tonally deeply saturated, it really becomes a matter of personal preference.<\/p>\n

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Of course, the DAC2-Mk3’s volume control is a very welcome bonus. It’s in the digital domain but as these controls go, sonically speaking, the implementation is done very well. By bypassing a traditional analog preamp, (unless it regards a particularly high-end specimen) one can often yield gains in the fields of tightness, articulation, clarity, and expression, as well as saving a good amount of money that can be spent on software or accessories. However, as can be expected, the DAC2-Mk3’s volume section does not change the DAC’s inherent sonic signature, and as such, it is no alternative for the liquidity and flow of, say, a good tube preamp. But as really good tube preamps go, these are not normally priced anywhere in the vicinity of the DAC’s retail price…<\/p>\n

Power Cables<\/h3>\n

The DAC2-Mk3’s neutral yet lively character means that it works well with a wide range of power cables. While the stock cable works surprisingly well, it does pull the DAC over to the lean side and I felt that the Belden 19364 worked considerably better. But as it turned out, the DAC worked just as well with either of the two GigaWatt power cables. The PowerSync ULTRA injected the DAC with an appealing amount of liquidity and refinement while retaining its bouncy character, while the LC-2 EVO emphasized the DAC’s inherently expressive character and further enhanced the transient attack.<\/p>\n

In terms of operation, I was less enamored with the DAC2-Mk3’s volume control, because its dual-speed response behaves unpredictably, and this often led to my inadvertently raising or lowering the volume much more than intended.<\/p>\n

While on the subject of operation, I’d also like to address the DAC’s input selection. Rather than individual input buttons, there’s a toggle switch that only allows running through the inputs in one direction. While that’s not unusual, the order in which the inputs are selected is a bit weird. Starting at the first input, all inputs are selected linearly but after the last input, the DAC jumps to the third input (AES) instead of the first input which is I2S. When resuming the input toggling from the AES input, the DAC goes back to the first input (I2S), and then the rest of the inputs are selected linearly. When the AES input is not connected, the DAC does go through all the inputs linearly, without the intermediate jump to AES. Very strange. Not unworkable, but it does trigger my OCD.<\/p>\n

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I2S<\/h3>\n

AES\/EBU is my default preferred format for most sources, but when I2S is at hand, there is always the potential for even better sound. This is because the format keeps the clock and audio signals entirely separate, rather than muxing them into a single stream which later has to be untangled. In many cases, I2S does indeed lead to better sound, but just like USB, the result is highly dependent on the implementation of the interfaces on both ends. Sometimes, I2S is just slightly better than AES, sometimes it’s on par, and sometimes, it’s significantly better. With these two Jay’s Audio products, it’s a clear case of the latter.<\/p>\n

With the CDT3-Mk3 and DAC2-Mk3, there was absolutely no question whether I2S was superior or not. Irrespective of the Jorma cables’ usual advantages over more mundane cables, even a simple OEM HDMI cable provided very noticeably tighter bass, cleaner mids, and an overall crisper, more direct, and more communicative delivery. And as a cherry on top, the I2S connection yields more upbeat pacing.<\/p>\n

The soundstage is very similar in size, although it is slightly less focused with AES. All in all, I feel that I2S very neatly compensates for the transport’s inherent slightly smooth and relaxed character. But if the smoother and richer balance is preferred, one can always use AES\/EBU or Coaxial which, depending on the cable, can sound even fuller.<\/p>\n

Alas, my CH C1 DAC has no compatible I2S input, but going from what I heard when combining the CDT3-Mk3 with the DAC2-Mk3 when comparing AES\/EBU to I2S, the transport’s I2S output is an important feature well worth investigating if you have a compatible DAC.<\/p>\n

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Conclusion<\/h2>\n

The DAC2-Mk3 offers remarkably solid, dynamic, and expressive sound with increased resolution and refinement compared to its forebear. Its I2S connection makes it an ideal partner for the CDT3-Mk3. Now featuring Soekris discrete R-2R DA conversion and volume control, the DAC2-Mk3 is a worthy contender in its price range.<\/p>\n

The CDT3-Mk3 may appear relatively pricey given the normally lower prices that we’ve come to expect from Jay’s Audio products but it has to be noted that NOS CD Pro mechanisms alone retail for 900 euros these days. Further, the transport is built in a true high-end fashion, in its basis machined from a solid block of aluminum and with dedicated enclosed compartments for all the individual sections. Having seen its beautiful inside layout, it’s almost a pity that its cover is not transparent!<\/p>\n

When used with AES\/EBU, the CD transport offers a blend of the company’s signature robust and full-blooded sound, balanced with a good dose of smoothness and relaxation. Of special note is the use of StillPoints Ultra SS V2 to further elevate the CDT3-Mk3’s performance to a level that is close to the best that I have heard from a CD transport.<\/p>\n

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

External Links<\/h3>\n

Manufacturer: Jay’s Audio<\/a>
\nDistributor: Vinshine Audio<\/a>
\nAvailable from Boelsz Audio<\/a><\/p>\n

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