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Sound Improvement Disc (SID)

Jean-Marie Reynaud Magic CD


 
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Sound Improvement Disc (SID)    Germany

In listening tests we conducted, this product helps tame  the typical shouty digital character of CD and SACD, leading to a much more natural presentation, a more relaxed feeling reminiscent of analog.  Customers have also reported improved resolution of soundstage and air.  Some have used them too in their discmans and reported a significant decrease in listening fatigue.

 

Click Me! for a very interesting opinion on the SID posted in a public forum.  Don't forget to read the follow-ups/replies, for and and a lot of against :-).  The SID may not work for all, admittedly, but for those who can hear or "feel" the improvements, congratulations!  In light of this, we offer a 10 day money-back guarantee for this product ! 

Below is more information on the products:

"We've seen many accessory discs and foils, to be placed in the loading tray on top of the CD, some intended to mechanically damp the disc.  Most, to put it charitably, have been problematic in use and have given mixed or dubious results.

But Peter Boffin, a British engineer living in Germany, has come up with a precision-made, extremely flat and thin CD overlay disc that works.  He explains what SID does: 'All CDs are see-through no matter if they are coloured or not.  One only needs to take a small torch and hold it against the silver side of a CD to see that the light is visible through the disc.  It is also possible to move the CD up to 1.3mm away from the laser.  Being as the CD is only 1.2m thick, it shows that it is possible for the laser to actually see through the CD.  With this in mind, the correction system reacts to the varying reflections it sees from the label thus giving the system more work to do than is necessary.  The result is sound that is much smoother as it has hardly any interruptions induced by faulty information from the correction system.'

 

 As the error correction system has to work less, he goes on, 'the music will sound smoother.  The vocals will appear as though a veil has been lifted from in front of them.  Instruments sound more breezy, concise, and the sound in general less nervous.'

 

The Sound Improvement Disc is an accessory that is placed on top of the CD, results in better separation of instruments and a much clearer reproduction of the voice especially female.  It is the easiest and one of the cheapest ways to upgrade your hifi system. 

 

The best way to hear the difference that the SID makes to the sound is to play a piece of well-known music for a maximum of 30 seconds without the SID, and then the same piece with the SID in place.

 

The SID disc has a special matt finish on one side and this side is placed to the CD label so that the stray light is absorbed, the green colour changing the red light of the laser into black thus neutralizing it. 

 

The SID is only 0.3mm thick and 2.8 grams in weight so it will fit in virtually every player.

 

 

Two Versions:

Model 14 - for Philips-type sliding CD drawers
Model 15 -
for top-loading CD players

 

There are two versions.  Model 14, with a 14mm centre hole, suits drawer loading Philips-based transports.  Model 15, with a 15mm centre hole, suits Pioneer 'turntable' transports, Meridian 505 and 508, and most top-loaders, for example CDC, Theta, Spectral, Jadis JP1, Einstein, Berendsen CD1, Cambridge D300 and D500.  The SID is not suitable for use in CD magazine players, portables, or car players.  If in doubt, please state player make and model when ordering.


 
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Jean-Marie Reynaud Magic CD   France

* Not available at the moment *

Below is a review from the French magazine Haute Fidelite ("High Fidelity") which sums up our own experiences with the JMR Magic CD.

Jean Marie Reynaud Magic CD Review - version 1.1
"Haute Fidelite" - May, 2001
by Laurent Thorin

This is the first time that a manufacturer has proposed a concrete solution to the thorny problem of break-in. Isolated initiatives have been attempted, like the three ranges of the XLO/Reference recordings, but they did not bring any notable advance in this area. The great innovation of the Magic CD of Jean-Marie Reynaud is to reduce the time of breaking in each of the elements in the high fidelity chain (one-tenth the time of musical program material).

The CD does not contain any musical content, and it must be considered as a purely technical instrument to be used only with materials of high quality. A random noise signal is recorded on this disc in a narrow bandwidth, with a sufficient level of noise to simulate extreme usage conditions of all the elements in the signal chain, notably the mechanical parts (CD transport and loudspeakers). It must thus be used with precaution in order to avoid any incident with respect to the sound level of the chain links (loudspeakers).

The narrow bandwidth of random noise recorded on this CD is produced by filtering the signal of a white noise generator fed by a series of modulators and filters. The resulting output of the signal is 1.2 MHz of narrow bandwidth random noise with bandwidths of 10Hz, 31.6Hz, 316Hz and 1,000Hz. The center frequency of each recorded sample on this CD ranges from 2 Hz to 200 kHz.

Composition
The first five tracks present narrow bands of random noise centered on 22Hz. They are intended for the breaking in of the suspensions of woofers. The next two tracks present a narrow band of random noise centered on 500Hz, which make integral demands on the bass and midrange cones. This ensures the break-in of this major element and stabilizes the mechanical junction between the spider, the cone and the voice coil.

The eighth track presents a narrow bandwidth of random noise centered on 1,500 Hz. It relates to the break-in of the crossover elements (strong demands upon the mechanical resonances of the coils and capacitors). Tracks 9 and 10 present a narrow bandwidth of random noise centered on 10kHz. These two tracks ensure an optimal break-in of the suspensions and diaphragms of the tweeters under a very weak noise.

The last track includes comprehensive pink noise, with white noise filters of -3dB by octave, it covers the entirety of the audible spectrum (of 20 Hz has 20KHz) with a constant energy. It is recommended for the break-in of interconnects and low-level signal paths. The volume of the amplifier could be set to zero to exercise transmission of the modulation between CD and the amplifier, for example.

Usage
Before playing this disc, it is imperative to position the volume of your amplifier on ' zero'. Start playing the disk with track 1: increase the volume gradually by looking at the cones of your woofers, their displacement will indicate a low level of noise. If you notice the voice coil bumping the bottom of the air-gap, reduce the volume immediately.

The randomness of the level produces a more dynamic signal. The sound which seemed confined in the box now becomes a part of listening. A series of repetitions of ranges 6 to 10 is recommended to soften the small point of aggression which can be presented by the tweeter with a brand new titanium membrane. Thereafter, the tweeter slips by with a beautiful frankness but no longer disturbs the cohesion of the unit. It is surprising to note that each hour of additional break-in produces its measure of improvement.

After the equivalent of twenty complete passages of Magic CD, the Titus XS evolved considerably and the comparison with the new model is rich in improvements. One could still continue breaking in for additional hours, but obviously Titus XS displays from now on the quasi-totality of its potential. Now, the loudspeakers are much more coherent. The bandwidth seems wider and linear. The transition enters the various registers effectively without any rupture nor hazardous distortion. The loudspeaker is more transparent and sharper, with more vitality.

But especially, it is infinitely more musical, offering a freedom of expression and an infinitely superior openness It is as if the new model seemed attached. We ran the second test with a pair of J.-M. Reynaud Twin MK2 under the same conditions. As before, we noticed a marked change as Magic CD did its work. Close listening allowed us to determine that, as for the Triangle, after ten hours of "driving", a significant evolution of the presentation was observed. At this stage, the loudspeaker starts coming to life, its potential clearly defined.

The Twin MK2 becomes definitely more natural and stable One notes especially a softer presentation, a tonal balance again more realistic. This improvement grows louder and louder until reaching the stage of the 25th repetition where the loudspeaker arrives at its fullness. One is from now on faced with a small model pearl of softness. This stage evolves a great refinement and a beautiful density. The small hardnesses of the beginning completely disappeared, and Twin MK2 presents an elegant and natural balance.

In terms of dynamics and excitement, the net gain is very great. Like the Triangle, the Reynaud Twins are metamorphosed by the effect of break-in. One must radically change into another product category to approach a superior level. After having been fully convinced by break-in experiences of these two loudspeakers, we are preparing some reviews on interconnects. We could note an incredible profit in performance on CD players and transports. The sufficiently aggressive signals of the first five tracks of the Magic CD does wonders for the mechanics of many players which they drive strongly.

Conclusion
This Magic CD has completely upset our practices. It now occupies a place of choice among our optimization arsenal. Let us be clear that before the arrival of the Magic CD, the break-in of a quality loudspeaker took between one hundred and two hundred hours (at least let us count two hundred hours for our excellent Pierre-Etienne Leon Quattro reference). Today, in about thirty hours, Magic CD makes it possible to render a quality loudspeaker almost completely operational.

In addition, it allowed a perception of the results realized with progressive break-in. Moreover, this processing is applicable whatever the technology employed on the loudspeaker. Let us note, in closing, that the Magic CD is also extremely powerful concerning CD players, cables, and electronics.

Laurent Thorin

Note: translated by Randy Bankert of O. S. Services, Inc., former exclusive North American distributor for Jean Marie Reynaud products


  

 

 

Product Brands Represented

 

 

Living Voice Lavardin Technologies Leben Hi-Fi Stereo Jan Allaerts Isenberg Audio
Schr•der Pluto Audio Hutter Thomas Scheu Hadcock

Graham Slee Projects /

GSP Audio

Esoteric Cain & Cain Naim Audio Eighth Nerve
The Cartridge Man Analysis Plus KAB    

 

 

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