 Moon is a Canadian brand of the company Simaudio, working in the audio branch for over 25 years now, since 1980, when the inexpensive integrated amplifier PW-3000 was presented. In the 90-ties the series Celeste was introduced and finally in 1997 the series Moon, from the upper shelf. That name quickly became the synonym of the brand name. You did not have to know much about audio gear to understand how much heart is put into the mechanical setup of the equipment as well as its design. Sold with a silver or black front panel they carry a golden or silver company logo and a big red display. All devices are being manufactured in Canada. The tested system is composed of the CD player CD5.3 and the amplifier i-3 RS. Although they belong to different series (within the Classic line) still due to the RS meaning a “tune-up” of the standard construction, they are a perfect match. Although not very big the devices are very heavy, what tells much about their buildup. Thanks to the big displays they are operated splendidly. SOUND )
The Simaudio does nothing wrong. No, this is not that case, when it means that we do not have any positives on the other side – far from that! This is just the first thing that comes to mind even after a short listening session. We sit down, and after playing two or three discs we know that everything is OK. If I had to characterize the Canadian devices in relation to another system I tested this month, I would relate to the Linn Majik and further to the Meridian. I think that this is a similar way of thinking about the sound, only that Moon brought it on a higher level. Linn seems more laid back and not as energetic like this system. Going further, the impression is that Simaudio emphasizes time precision and best possible way of reproducing the attack. This gives splendid pace and incredible coherence. The system is very universal, we will listen with pleasure to classical music, jazz and rock, but it is the last genre that benefits the most from that way of putting accents. Most of the time it is so, that those kind of discs have problems with focusing, showing the edges of the instruments. This determines their thin or sharp sound. The last characteristic if encoded on the disc will always be audible if the equipment reproducing is true enough, but we get also some kind of ‘cleaning’ of the sound from the heat between the performers, sounds and planes, as if everything would have a back and was deprived of noise. I do not mean noise per se, but something ‘in-between’, an element, that we get with accuracy as a kind of extra luggage, annoying and uncomfortable. This happens if a system was designed as a hi-fi system and not with music in mind. So please listen to the Moon system to hear how a system having a clear definition of sound plays – within its boundaries, of course – that is not tiring and not making headaches even with heavy playing. That is the way I started (well, I stretch on the facts here, as first I listened to the player itself, but about that later) my listening session, from Back in Black AC/DC (ATCO/Warner Music, 92418-2, CD). Most fans of the band say that the best discs are those with Bon Scott on vocal and probably they are right. But for me the adventure with the brothers Young started with this disc, the first album recorded with the new vocalist – Brian Johnson, who replaced the diseased Scott. Back in Black is a beautiful example of how something can changed without destroying that what was before. Anyway, on the album we have strong guitar playing with a hoarse vocal. When I listened to it with the reference system I had beautifully defined planes, splendid timbre and the fantastically defined voice. The disc starts with a bell, that runs far, very far, with full slightly dark timbre. Just after it the guitar and drums enter. This was shown very detailed, nice, but it was also immediately audible how much compression was put on the band, because the sound slowed down. Literally – it seemed that the bell is ringing faster than the band is playing later on. With the Simaudio this was different, the guitars opened a tunnel for the express train, not allowing the work of the band to be wasted. Which presentation is the right one? I cannot tell for 100%, but after listening to the disc on top systems I would say, that the point of view presented by my system is closer to the truth, but this is only a suggestion. It is not that one of those approaches is better than the other, because I was not present during the recording, I haven’t heard the master tape they are just different. Regardless of the fact which system sounded more “right”, meaning with that better reproduction of the material recorded on the disc (because reality is a completely different story) Moon was more convincing with that kind of music, the accents laid by it were more fitting to strong played music. Saturation was not at such a good level as with my system, even coherence was worse, but the whole seemed better placed. Other discs confirmed that – the newest disc from Paula Cole Courage (Decca Records, B0008292-02, CD) and the 1995 recording Sleepers from the group Galahad (Avalon Records, GHCD4, CD). Paula Cole enchanted me in times when I was working for the first Polish distributor of companies like McIntosh, Aerial Acoustics etc, so it was long ago. One of the albums we always used for any kinds of presentations was This Fire (Wea/Warner Bros, 2-46424, HDCD). Encoded in HDCD it had a strong, well recorded bass, that always impressed. Many things changed from that time. Paula Cole has changed too. But it is still the same voice and very good production. The newest disc is quieter, more mature, but it is still playing with a nerve. Simaudio reproduced it brilliantly. Precise plans, timbre, rhythm and well localized voice. In general, the localization of the instruments on the stage was very good with the Canadian system, what can be probably attributed to keeping of the original phase relationships. This was also confirmed by the disc Way Out West Sonny Rollins (Contemporary Records/JVC, VICJ-60088, XRCD). But we are still with Paula – I mean that the disc can be listened to until the end. There is no need to stop it in the middle to have a rest. Some devices forget about music while striving to precision. Not Moon – it balanced both things nicely not exaggerating in any direction. )
And so we move smoothly to Jazz, Folk and similar trends in music. I mentioned Rollins. Here the case was not so obvious as before, and some thinking is needed to realize if this is really that what we are looking for. With this kind of music Simaudio also shows brilliant attack, very nice punctuality and extremely well controlled bass. But sometimes there is a feeling, that the midrange could be more saturated. Much will depend on the speakers, because for example it sounded very well with the Chario Pegasus. The sound was not as detailed as with the Harpia, Xavian Duetto or the PMC DB1+, but was very pleasant. But the Chario add some ‘body’ on there own, and are not very accurate themselves. Anyway, Rollins’ saxophone could have been deeper. However, I had no such objections with the disc Old Friends-New Roads by Allan Taylor (Stockfisch, SFR 357.6047.2, CD). Here the voice was deep and precise just like the piano and the guitar. Especially the last instrument profited from the punctuality and focus of the electronics. I had similar observations with the disc The Look Of Love Diana Krall (Verve/Universal Music, K2 XRCD24). This is not my most favorite disc of her, I think, that together with enriching the sound the music has lost something. But this is still enjoyable playing and I listen to that disc from time to time. Here the characteristics of Moon came especially handy, as this disc, despite of being prepared by JVC and issued as K2 XRCD24 is a bit fuzzy, the single sounds don’t have a point of attack. The Canadian electronics disciplined everything and gave the pieces the needed rhythm. Very nicely presented was the line of the bass played by Christian McBride, without prolonging but also without shortening. This is important, because Moon, compared directly to my system (about 100000zl in total), systems from Accuphase or Marka Levinsona (test CD No 390S HERE) and Nagra (test CDC+PSA HERE http://highfidelity.pl/!ev/artykuly/19_11_2007/nagra1.html ). Frankly speaking it reminded me most the way of sounding of the turntable Transrotor La Roccia TMD: strong, coherent bass, precise sound, but not as ‘colorful’ as from some other devices. If this suits us – will depend on ourselves. But let us remember, that Simaudio handled the rock disc from Galahad perfectly. That disc is recorded in a specific way – the music is beautiful, but the sound engineering got lost somewhere. The band and the engineers played so much around with counter phase, sound effects, reverb, etc. It even does not sound terrible. But they applied the same method to the bass. And this is a disaster. This sub-range sounds as if somebody would pass it through only in some moments and in some frequencies. It is also quickly droning. Simaudio handled this splendidly, while adding nothing from itself; it did also not allow the sound to flow around, with the bass detached from the rest of the spectrum. Another characteristic became also apparent, it was there before, but was kept in the background, namely a holistic approach to the event, playing with everything that is at hand. Hence so much pleasure from listening to Moon. Especially good impression is made by the CD player, but the amplifier is a strikingly good companion to it. )
I mentioned earlier the resolution. If not, OK, I mention it now. I think that this a good place to do so, at the end of the text, to point out the things that could have been done better, and that probably are improved in more expensive Moon devices. The first thing was already mentioned, and this is saturation. I think it can be done better, but it will cost money. We can handle the tested system by applying adequate loudspeakers, but we will probably loose some precision by that. Second thing is resolution. I started the test by saying, that I did listen to the CD player CD-5.3 on its own. I should not have done that, I mean the idea of the test was to listen to systems and not separate devices, but in this case it just happened that I wanted to listen to the CD. Headphones up (AKG K701), warmed-up Leben CS-300 on the shelf and in my hand the freshly arrived magazines – “Stereo Sound” and „Hi-Fi Choice”. The first – brilliant, the second less, but I try be current. And the music. Not so long ago I bought the re-edition of the beautiful disc Big Science Laurie Anderson (Nonesuch, 79988-5, CD), so it was natural to return to all recordings by this artist, gotten dusted by the long stay on the shelf. My favorite album is Bright Red (Warner Music, 45534-2, CD) from 1994, I chose for the evening. It turned out, that CD-5.3 sounds with an incredibly sorted, precise and ‘human’ sound. I do not claim that the i-3 RS amplifier is worse, as this is clearly not the case. I just think, that it sounds with a more dynamic, and thus more superficial sound as the player. Both devices are supplementing themselves very well and I would not fight with some replacements. But if somebody has already a good amplifier and is searching for a good player, then listening to the Moon CD-5.3 is a must. DESCRIPTION Moon devices have a clearly defined stylistic line, defined by big, red LED displays and a specific shape of the enclosure – with rounded heat sinks as the side panels, and in addition, in more expensive players, the top is higher in the middle than to the sides. This is not a new concept, but it has probably some advantages, as a similar shape of the enclosure was employed by the CEC engineers for the newest drive TL1N http://highfidelity.pl/!ev/artykuly/17_01_2008/cec1.html , arguing that this allows for better vibration control. Both testes devices are from the Classic line. The CD player CD-5.3 is a bit more expensive than the i-3 RS amplifier. Both differ a bit by their mechanical setup, mostly by the support. The CD-5.3 (and the i-5.3) the device is supported by heavy aluminum pillars ending in gold plated cones. The cones are adjustable, and the device can be leveled out by using that feature. The i-3 RS has only rubber feet for support. I think, that just for our comfort, those should be immediately exchanged to different supports, like Finite Elemente (their description HERE http://highfidelity.pl/!ev/artykuly/17_01_2008/kts1.html ). The amplifier, although being from a lower line of components, is from the upgraded RS series. It is a refined version of the basic device, with better passive elements, military grade, more resistant to hostile environment, like temperature. The PCBs are better, the traces are gold plated. The capacitors have better dielectrics. Anyway, it must be said, that in both cases the mechanical construction is splendid and is adequate to the price. )
From the company materials we learn, that the CD-5.3 is a straight line descendant from the legendary player Eclipse and most solutions employed are shared with the more expensive Evolution line player. Like I mentioned earlier on the front panel we have the big display – what a brilliant idea! Only the EMM Labs have similar but blue. My Lektor Prime also displays information with a LED display, but it is not as readable and clear. Those in Moon are just brilliant! I don’t know about you, but for me the minuscule information on the even smaller displays is just plain useless. If we are further away from the equipment as half a meter, you can forget about them. It is really interesting, why so few companies use such elements – from the tested here only the Ancient Audio and the Trigon (test of the set TRV-100+TRE-50M HERE). Let us demand to be treated well by the audio companies! This is not a problem, I would even say that it has only advantages – those are least ‘noisy’ displays, so from audio perspective, those should be the preferred solution. The display dominates the front panel, there are also a few soft, grey buttons of different sizes there. We can also dim the display from there. On the back – full service – splendid RCA sockets, looking like Cardas made, also the digital one (S/PDIF) and the IEC socket with a mechanical power switch. There are also plugs allowing XLR sockets to be mounted as an upgrade – available from the company. I did not mention that, but the noisy drawer allowed for some associations, and the opening of the top cover confirmed them – the transport employed is a Philips VAM1202/12 CD mechanism. This is a renowned but also already a quite old transport, recently used by Cyrusie (test CD 6s HERE, CD Xt+ DAC XP HERE) or in a modified version in the Quad or Audiolabie, just to mention a few brands. Moon states, that the programming was done by them. The electronics are mounted on two PCBs. The larger one contains the power supply and part of the digital elements, the smaller one the D/A converter and the analog path. The power supply has separate sections for the digital section (including the drive) and analog one, with separate transformers. Care was taken to make the filtering as good as possible, while keeping an eye on the noise, as for example the rectifying diodes for the analog sections are decoupled by Wima polypropylene capacitors. This PCB also hosts the digital receiver from Burr-Brown and a beautiful clock. According to Simaudio jitter was minimized to 50ps RMS, what is a splendid result. On the second PCB we find the Burr-Brown PCM1730 D/A converter. This is a two channel 24/192 delta-sigma chip, with a balanced output and a 117dB dynamics, so allowing for a 20-bit real resolution. I am writing about the balanced output, because the whole path behind it is balanced, and in the tested version only the XLR sockets were not soldered in place. The whole signal path is based on op-amps – in the I/V conversion the popular 5532, in the buffer and amplification BB OPA2604. All capacitors are polypropylene Wimas, and all resistors are metalized. The converter has a separate additional power rectification. )
The amplifier is from a lower line, but it is a beefed-up version RS. In the front we have a LED display that shows the volume or, briefly, the chosen input. There are six inputs, with the first one labeled CD. There is a preamplifier output and a tape loop. The sockets are not as nice as in the CD, but are gold plated. The loudspeaker terminals are single, WBT like. The whole circuit is built on a single, large PCB. The inputs are switched in Maxim ICs and the volume control is handled by the CS 3310 from Crystal. This is a stereo chip with 0.5dB steps. Later on we have a relay and the preamplifier circuitry. It is built around low-noise J-FET transistors working in class A, similar to the power section control stage. The power stage is based on complimentary pairs of bipolar Motorolas (MJL21193+MJL21194), two per channel. The company materials state, that the first 5 watts are delivered in class A. There is no global feedback, only local ones were applied. The power supply is based on a big toroidal transformer with separate secondary windings for the preamplifier and power sections. The voltage is rectified in two rectifiers, common for both channels. Starting there the power supply is separate for each channel, with four capacitors, 10 000 μF each, for the power stage. One can see the thoroughness applied to ground leads and voltage stability, for example by using LEDs as the voltage model. The enclosure is extremely rigid, what of course influences the sound in a positive way. The amplifier is equipped in a standard, ugly, plastic remote, a metal one is available as an option. If we buy the CD-5.3 we get that one as a standard. And it is worth it, it is handy and solid. And controls the whole system.
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| © Copyright HIGH Fidelity 2007, Created by B | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
