B.M.C. Audio CD Transport (CD­Player) BDCD 1 / D/A Converter DAC 1

A Modular Way to Musics an author you have always to find anapproach of how to start a review.Sometimes it takes time until finding the

right way, and sometimes it just happensinstantly, which brings me towards the threegentlemen behind B.M.C. audio. Bernd Hugo,the former founder ofRestek, Manfred Penning,formerly doing engineering in Restek as well ashigh grade speakers, and Carlos Candeias, a manwhose name speaks for itself. After hard workand planning in January of this year the companywas established. The main points I picked bypersonal interviews with the founders could beconsidered of being a mission for the customers:Quality without compromise and a modular,customisable concept. You may think those arenice words and paper is patient; but I can tell onething at this point already: The described modelsin this review are truly audiophile dynamite,combined with a more than just fair calculation andthus a clear challenge.

The IdeaHow about a CD transport which easily can beconverted to a CD player? What about a D/Aconverter with a preamp option for driving activespeakers? How about driving a power amplifierwithout the need of any preamp? What abouthigh grade computer interfaces as digital audioinput? How all this and more can be modularlydesigned, having very high grade enclosures aswell as uncompromising quality and still beingaffordable? Such questions for sure more thanonce caused the B.M.C. guys some headache. Theextend of such project, considering also thefuture development, includes so much that Ibetter should start right from the beginning –just here and now.B.M.C. starts with three models: The CD-transport BDCD 1, which is easily upgradable toa CD player, or just ordered this way. Then theseparate digital to analogue converter DAC 1 andlast but not least the phono pre-amplifier PhonoMCCI. Since the modular concept is expandingas well as new models to be expected, from time

to time we will update the information aboutB.M.C.. I would like to emphasise that this is anconceptional implementation which is second tonone. You can decide yourselfwhich features youwould like your B.M.C. to be equipped with, andyou even can have just some modules withoutany enclosure. This opens the door for a lot ofpossibilities for handling such gear, which raisesthe question why such concept hasn't beenintroduced to the world of “HighEnd Audio”long time ago.

The TransportIn front of me stands a component completelymade by extruded Aluminium, with dimensionsof 435 x 100 x 360 mm (W x H x D) and aweight of 7,6 kg. The front panel shows athickness of 15 mm and also the side panelsfollow the solid impression with 10 mmthickness. But even more than the casing parts,like front panel, sides and cover attract memagically, the giant wheel in the centre of thefront panel does. Humans generally rememberfaces quite well and when watching thisappearance I'm sure that this face will beremembered. The stated big knob ofcourse is notjust decoration, rather than having different tasksdepending on the model. In case of the CDtransport (or player) it means: Left or right turnskips music tracks and and play/pause happensby pressing the knob. On the clear structuredfront panel is a power knob, the most importantfunctions and a dimmer knob for the brightness.This way it is limited to the essentials – I like itthis way. Of course you can access any tracknumerically by using the remote control. TheBDCD 1 is a top-loader; the CD is inserted fromthe top and here I feel again the advantage simpleand functional solutions. No finger-acrobaticswhen inserting or removing a CD is provided byfour large finger-spaces and also putting on orlifting the 225g weight on top of the CD isquickly turning into a standard exercise: Means,lift the stabiliser, insert a CD, put the stabiliseron the CD, finished! Starting about the inner

A

values: This is a true belt drive CD player and noone might be as inside to such drives as CarlosCandeias is. It also should be said, that suchtransport is the best you can equip a digital audioplayer with. All laser-pick-up data are transferredto the servo PCB. On this board there is not justthe CD transport control, but also all digitaloutputs. Power is provided by a special switchingtype power supply, which already includes aprimary voltage stabilisation and thus cleans-upin advance and separate transformer take care ofoptimum supply for the specific functionaldepartments. Additionally each functional grouphas its own extensive voltage stabilisation. I thinkMr. Candeias is right: The performance of eachcomponent begins with the power supply andthis switching power supply is obviously pushedto the top concerning quality. This is a fact whichjoined me several weeks through the whole timeof testing and delivered any time an absolutelystable and powerful sound due to the clean and

constant voltage and current supply. The longyears of R&D at Candeias-Electronicsconcerning switching power supplies clearly pay-offnow.

The ConverterAs the enclosure is just the same than thetransport, there is no need for further descriptionof look and feel. The fully equipped DACweights 8,4 kg. The big wheel looks the same butthe later on described function is different. Youfind a mute function and again the dim key. Theykey besides is used for digital and analogue inputselection. On the left of the wheel you find somesound tuning functions like over-sampling “High(128fs)” or “Low (32fs)”, two different digitalfilter characteristics “pulse” or “flat”, an optionalup-sampler for jitter reduction for SPDIF-inputsand at last a +6 dB signal boost. After so much“switching” and “pushing” lets evaluate the innervalues and go directly to the candidate's pulse.

For getting a pulse first of all there is energyrequired, which is delivered by the power supplymodule. This is a classical approach using an R-Core-Transformer and an enormous capacity of75,000 μF. The 10 A double-Schottky-diodesguarantee fast and clean rectification and specialBalanced-Current-Capacitors can be found notonly in the power supply but also at other keypoints important for sound perfection. All digitalinputs are located on the rear panel and there areplenty: Superlink, AES / EBU (110 Ohmbalanced) , RCA and BNC (75 Ohm balanced)are connected to the Decoder-Logic-Module; thePCB beside the power-supply. The “Superlink”which uses four separate BNC-lines (Bit-Clock,Left/Right-clock, Audio data, and the DACgenerated Master-Clock) is the optimumconnection to the CD transport. The signal isnot first coded and then again decoded to SPDIFas usual digital audio interfaces use to do. Thethere is also a USB-connection for computerbased audio listening. On the next PCB the socalled “DAC-Module” the digital audio data getsconverted to an analogue signal voltage. Just thesame module is used in the CD player.Let's get back to the signal conversion, which isproceeded by two mono-configured24Bit/192kHz TI-Burr-Brown PCM1792 withcurrent output. Afterwards this current must beconverted to a balanced signal voltage, certainlyagain consequently channel separated. Here wearrive at the vertically mounted red LEF-modules. The clever signal processing of the CI-input (Current Injection) and LEF-output(Load-Effect-Free) skips the need of voltageamplification and negative-global-feedbackloops, providing a top-grade signal quality at thefixed analogue XLR- and RCA-outputs.The last space inside the DAC is used by the“Preamp-Module”, which is optional. It is veryuseful to have a variable output which can driveactive speakers or power amplifiers eitherbalanced or unbalanced. In addition the moduleprovides analogue inputs (2 x RCA and XLR).Now again the big wheel gets into focus, becausea variable output requires a volume control. Thelarge knob is mechanically connected to a motordriven potentiometer, which can be used eithermanually or by remote control. Thepotentiometer is actually just a position indicatorwhich and a processor calculating the volumevalue. This value is used twice: For controllingthe resistor switcher on the preamp module andalso of a pair of optical DIGM (Digital

Intelligent Gain Management) outputs. Thoseoutputs are located beside the AC power inlet.What for is that interface? Very simple: B.M.C. isalready developing power amplifier, that can beused directly from the DAC's FIXED output. Sothe music signal is transported undivided andwithout any additional amplification to thepower amplifiers. It starts making great sensewhen the power amp has a lossless gain controlwith 66 precise 1 dB steps. In my opinion this is ahighly efficient solution. The DAC covers thepre-amplifier functions as well and providingbalanced and un-balanced analogue inputscompletes this approach. This bandwidth of useofthis DAC is simply great!Before going to the listening test anotherimportant point: Ifyou should not need all thosefeatures and just care playing CDs, the CD playerwould do the job. The interesting point is thatthe used module is just the same and thus you canexpect a very similar grade of sonic performancecompared to the CD-transport / DACcombination. Of course the DAC is takingcertain benefit from the separate design andpossibly this might be the reason for some laterdescribed sound quality differences. But first ofall I would like to focus on the BDCD 1'smusical performance as an integrated CD player.

The CD­PlayerWhat I it people like when thinking aboutrenowned large analogue turntables? Thequietness from which th music arises and thenaturalness of the musical performance. Thesame is true for the digital domain. Both of mycomponents of the 1000- and 2000-Euro classlook pretty old now and have no glimpe of achance to compare, as the BDCD 1 ratherperforms on a level you would expect at the topend of the four-digit-price-scale. You con'tbelieve? Well, it is just there where thiscomponent plays, or precisely spoken musicallyperforms. Whatever the Jazz pianist GwilymSimcock do with the piano keys, musicalyspoken, I can see it right in front of me, nomatter it I about softest touches or harshestattacks – I'm really watching it and almost cansee Gwilym's hand movements. Rarely a CD-Player delivered that much fine-dynamics andemotional performance to my ears. Here the pre-biased idea of digtital sound looses it's bottom.Easily the BDCD 1 follows slightest change inrhythm and always again the quietness, this solid,natural foundation on which the music builds.

Really, this is something very few CD-player cando. In the second half of “Conumdrum”Simcock really smashes into the piano keys andI'm asking myself how B.M.C audio managedmaking this component on one side sound sonatural, and on the other that powerful. My lasttwo points are best demonstrated at the lowerrange octaves. Clear, clean and ultra-stable it goesdown to the sonic basement – what a resonator! -and just after a moment I'm listening to finestand sparkling trebles. The young piano playerperforms a wide variety of play, puss out all thestops and the BDCD 1 follows him right away,showing all facets of sound. A grown-up grandpiano stands between and behind my speakersthree-dimensional in my room, almost live and incolours. In a single word: Great!Listening to Jacinthas “Danny Bay” for the firsttime I realise how the sound moves away fromthe singer and almost feel I can watch it. Justfrom the musical point of view it may not be soimportant, but anyway those are noticeablethings. Real goosebumps I got from the purebreath in her voice while keeping very realisticsurrounding. I know several CD-player makingher voice just “breath”, but not my actual testingcomponent. At any time of the singingperformance it accurately shows what the artist

does with her voice, how she uses her lips, throatand chest for expressing herself and creating theintended atmosphere. The BDCD 1 works outall subtle details with an easy naturalness, whichin this case shows the unique character of thesinger. Very close to the performance of the bestanalogue equipment there is a micro-dynamicallink, made from an ocean of subtle information,originating from a stoic quietness. You know thatfeeling? Just don't disturb, keep it, very closelybeing there... it is amazing how much you can beone with music. The the band goes on again andyou are allowed to move again. The tension losesand you wish you could hear Jacintha's solo-partagain and again. The guy on the drums dives thecarrying rhythm at the track, delivers the key-feeling with his trending broom, and in the bestmanner the synchronised work of his wrist andthe broom-made sound of the cymbals is gettingobvious. All these related key-impression are in acommon consensus making a music auditionsounding real and natural. Just by a perfecttiming the true musical content of a song getsrecognisable. At this point lots of CD-playersimply fail and that's why in mos cases suchmusical feeling won't happen. Real musicians areactively playing, here is a live musicalperformance happening. Perfect timing and thus

a clear musical consensus create somethingknown as ensemble playing. Without this themusic degrades to a simple chain of tones. Myreview component is a master of inner musicalcoherence; a true music-machine on a level Icould experience very rarely. I could mentionmore about this recording, about the pianist, thebass or sax, or about tones rise and end, but itwould be just too much. You simply peep intothe recording room and as realistic as “Simcocks”grand piano is Jacintha's recording.Soundtracks are a chapter of its own, specificallywhen it s about a ark, mythical and sometimesepic theme, like “Lord of the Rings”. The iseverything inside, from powerful orchestra, epicchoir passages, to sensitive, almost spherical kindof music, which for a CD-player is a true “mustbe able” challenge. The attack of a big choirmight be comparable to some auto-mobile types.A nice hot GTI might be fun until experiencingthe sensation of a generously motorised sedan,which means true power and control – but backto music. The expression and message of a darkmusical theme, implemented by a large choir andorchestra, does not lives from an everything

consuming pumped-up scenario, rather than alarge musical dynamic build on fine-dynamicalinformation. This is the key. The more you haveto push the volume for getting a sensation, theless musical content is carried. This doesn't meannot to enjoy high listening volumes, but itdescribes the difference between “I could” and “Ihave to”. Also with modest listening levels thewhole musical sense opens up to me whenlistening to the BDCD 1. Even thoughcontrabass and cello are unusually present due tothe music theme, the reproduction keeps abreathtaking transparency and blackness, whichmatches perfect to this kind of music.Additionally I notices lot of micro-informationthat actually made the musical consensus. Ifwriting about visual impressions I would have tomention an immense contrast range and a edge-free picture. It is delicious to follow most decentsinging which never is covered-up by anoverwhelming orchestra, easy to follow but neverbreaks apart, which characterises a true musicalacrobat audio component. Enya's floating voice –I know, everything made intentionally, stands upin the air right between my speakers and nurses

my audio-sense away from any technicalorientation, just by her magical voice, just by thisfine, sensible and magical flow; just be pure,untainted musical content.The BDCD1 does not sound at all; it makesmusic. It is a music-machine “par excellence” andmakes an ensemble just sound real by it naturalsonic behaviour.The grade of sonic fidelity, combined withtiming and rhythm, shows when listening to theCD “Depth of Image” from Opus 3 label. Thefirst track “Tiden Bara Gär”, beside female voicealso has a instrumental mix made by contrabass,bongos and triangle. Meticulously it has beentaken care to prevail the original acoustics andkeep the recording pure and simple, which meanshands-off mixing consoles and no interest indynamic compression. Consequently thisrecording just sounds open, wide space, preciselyrecorded, fast and sonically realistic. The triangleis not just a shining and fine treble sound event,rather than having a small but real body. Same istrue for the bongos; true size and a reproductionquality that lets you hear the slightest variationof the hands pinching the bongos skin. At lastagain a wonderful contrabass, allowed to play justunvarnished and natural, without any specialemphasis which is so popular for lots of Jazzrecordings. Both guitars deliver their sparklingand sometimes even harsh sound character. It iseasy to pint at the location of any instrument aswell as the singer, also in terms of depth. Therelations just fit! The triangle join the bongoslike a precise clockwork, the plucked bass withclear definition takes care of substance, twoguitars create a lively airy atmosphere andTherese Juel add her accents with her nordicsinging. Once started this precision-rhythm-sound-power-music motor there is no way tostop. Up to myself it could just go on forever thisway – that much I've got dragged into by all this.Dragged into because my inner me tells me afterthe first seconds of music that the CD istranslate to music one to one, sonically absolutelycorrect, with unlimited dynamic and thatrealistic that I have a hard tme to focus on singlecriteria. Actually there is just music played backin an original consensus, which is true for anyrecording, no matter my older Supertramp discs,epic Bruckner orchestral music, or theunmistakable flair ofGregorian Chorus with oldconvent walls. The introduced CD player has theart of giving every single detail its specific rolewithin the music, which is why you can hear

“richness in detail” in another light.

CombinedSo what is te sound difference between the CD-Player and the separate Transport D/A set? Icould check both conveniently just by directchange of listening source. But how to put thisdifference reasonably into words? The CD playersimply knocks your socks off in a positive sense –please excuse my slang words, but sometimessuch word simply hit the nail. The combined setdelivers even some more sonic accuracy withstabler firmament and the music has some moreswing. Everything has just some finer structure.Such difference may origin from the DAC'sextensive power supply and the consequentseparation of DAC and CD readout servocircuitry. But even after realising this higher levelof music reproduction I could listen again with“just” the CD without the feeling of must havethe DAC. So if I would knew I “just” can affordthe CD player, I could sleep peacefully anyway.In adition this concept is modular. At any time aBDCD1 owner may upgrade to a set and may usethe original DAC module without buying ittwice. Here one more comment, which might bemy most importing consult:

B.M.C. DAC1 Power Module

To The PointThe B.M.C. company really amazed me.Not just the modern distribution, but

also the modular concept should very wellattract music lovers. Module PCB andenclosure parts are supplied by Candeias-Electronics and in Kassel (Germany) the finalproduct is assembled. In both cases, enclosureand electronics, there is a remarkable standardof quality – really fine hands-quality is just onesuccessful accomplishment ofplenty.The boards are equipped with finest parts andCandeias pushes the power supply issue to thetop of what I had the privilege to listen to.There are not many CD-transport / DAC setswith such natural, yet almost analogue andflowing sound character on one side, and alsodelivering a realistic performance,ultra-stableand build on a stoical quiet foundation, spoilingthe ear. Additionally there is the fact that theowner can look forward to easily upgrade acomponent. Thus the reviewed audiocomponents deliver a more than just fair price /performance ratio; in fact a true bargain!

It Must be SaidWhoever could never decide whether wantingthe precision of solid state devices or the flow oftube devices with the B.M.C.s will find easilythat the solution to this dilemma is more relatedto the source than expected. Ifyou should not getthe right music from here you will never get itafterwards. No matter in which direction thefollowing equipment may tweak the sound, itwould be just a superficial solution without themusical real impact. The reviewed candidatesdemonstrate this idea very clearly and just fromthe source lots of sound questions never arise atany time.Dear reader, this is about the highest level ofmusical connection, about fascination, againhaving the privilege of experiencing the musicalcontent a recording in a true way. According tothe experienced sound experience I reached apoint of conclusion: The owner of those deviceswill not just make a re-discovery journey throughthe whole music collection, but also will have anexperience you want not to miss any more.

InformationCD-Laufwerk BDCD 1,CD-Player BDCD 1,D/A-Wandler DAC 1Preise: BDCD 1-Laufwerk: 2298€BDCD 1-CD-Player: 2798€DAC 1: 2798€Vertrieb:B.M.C. Audio GmbHErlenfeldweg 39D-34123 KasselTel: +49 (0) 561-473 98 1 50+49 (0) 561-510 43 63Fax: +49 (0) 561-475 14 69E-Mail: info@bmc-audio.deInternet: www.bmc-audio.de

Otwin Maas

Digital / Analogue Converter Module