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
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
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
Model 14 - for Philips-type sliding CD
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.
Below is a review from the French magazine Haute Fidelite ("High Fidelity") which sums up our own experiences with the JMR Magic
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.
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
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.
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
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.
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.
Note: translated by Randy Bankert of O. S. Services, Inc., former exclusive
North American distributor for Jean Marie Reynaud products