TEAC UD-701 vs NT-505 vs ?

Qualification regarding report is the left channel of the UD-701-N was dead, so I could only do one channel listening with it.

I have not heard of any similar or other manufacturing problems with this model or other TEAC products so I don't take this as a ding against the 701. (See my comments later about its excellent build.)

I also have no beef with Safe & Sound from whom I bought this unit. No suspicion that they sold me dud. In fact, they have been excellent about handling the issue and have promised full refund and paid for shipping back. I am happy to do business with them again.

First will report on listening tests at home. My system is described in my profile. Set-up for tests is described below.

Could not perform direct comparison of 701 to other units (new TEAC NT-505, old Vault 2) because my Audioquest Victoria RCA IC runs as a unitary cable with split into right and light connectors only near its two ends. Therefore, could not connect 701 to RCA IC because the L and R analog outputs on its back are far apart (as a consequence of its dual mono design). Hence, while 505 and Vault were connected to my Parasound JC2 pre-amp via RCA; 701 was connected via AQ Yukon XLR IC, which IMHO are inferior to Victoria and AQ Earth. I also did some listening with NT-505 connected directly to my Parasound A21 amp via Earth XLR IC. I used stock power cables with both the TEAC units. Connection to Internet in all cases was via Wireworld Starlight 8 cable to Ethernet port.

Home Listening Tests...

NT-505 had several advantages over Vault.

More detail. For example, on opening of Bruca Manigua by Buena Vista Social Club featuring Ibrahim Ferrer, the backup horns sound more like individual horns playing together on the 505 than Vault. Same for back-up singers later on in track.

In addition, the layering of instruments and soundstage depth was better on the 505 than Vault.

Portrayal of Ferrer’s voice was somewhat diffuse and I would say veiled or uncontrolled (?) with Vault. With 505, portrayal was more veridical to my ears; it was more precise and intense.

Bass was both more articulate and powerful with 505 than Vault. This was apparent with heavy bass lines on Chic’s Le Freak (Oliver Heldon mix) and Beyonce’s Partition. Also with acoustic bass on Le Herida Oscura from Susana Baca’s new album Palabras Urgentes.

These advantages IMHO were more pronounced on tracks in lower resolutions formats (non-HR vs HR on Quboz). Case in point is Viento del Olvido from Baca’s Travesias. I can’t speak to the technical details but believe that NT-505 has more options for rendering these "low" resolution recordings in high fidelity than Vault.

All that said the listening test made me appreciate how well the Vault renders music and explained why I was very happy with my system as is. Sound is engaging and evokes emotion. The edges of notes of communicated appealingly, For example, edges of guitar notes and other plucked instruments are sharp, appealing and natural (e.g., any track from Samba in Seattle by Bola Sete or Baaba Maal’s Yoolelle - Maman from Missing You.)

I discuss some of the shortcomings of the NT-505 in my next post where I compare it to the UD-701.

The TEAC UD-701-N was superior to the NT-505.

It had all the advantages of the NT-505 over the Vault but in larger amounts.

But none of the disadvantages. The NT-505 at times sounded bright and at moments glassy. For example, on Hamadoun Toure from Toumani & Sidiki Diabete the kora notes just don’t sound natural. The brightness moderated with time. I wondered whether I would find listening fatiguing in the long run. Note that I have not seen other users complain of this in their comments, which are overwhelmingly positive. (@o_holter indicated burn-in was important for the 505 so that may improve further with time.)

The 701 just sounded right. Engaging, natural, emotive. Timing, rhythm, flow of music just sound right- makes you move. Inviting to listen to even with only one channel. (That’s tough to do!) Musical notes with intensity and weight.

Hard to describe. Just that feeling of ahhhh... like a new experience that feels like coming home.

PS

This is a side note. But an observation that stands out. On Valsa de Uma Cidade from Samba in Seattle, Sete taps out a four count before the band starts playing. You can hear on this Vault and 505. Less distinctly on the Vault than 505, although on both it is less distinct than on 701, on which the taps have more weight and character. My guess (since I did not have the privilege of hearing the live performance) is that the 701 portrays the original timbre of those taps more accurately. Another observation from this track that stands out is Sete’s use of dynamics to convey emotion come across very clearly on the 701. There is some of that with the 505 but it’s there to a larger degree with the 701.

PS

The 505 had AKM chips. It was NOT the NT-505-X with Sabre chips.

PPS

Additional notes regarding set-up.

Streaming was via Quboz. Most but not all tracks were Hi-res.

Settings on 505 are thanks to tips from @nomorelandings and @bhvf :

fixed volume (line out) 4x (Upconversion), short delay slow (PCM filter), wide (DSD filter)

I felt that these upconversion and PCM filter settings produced a more natural sound than what I posted previously and 8x upconversion with slow roll off PCM filter. However, differences here are subtle and very likely to vary with listener.

Settings on 701 are thanks to @nomorelandings with modest modifications based on my listening:

8x Fs (Upconversion), fixed volume (line out), 512x (Delta-Sigma Fs), DSD 1 bit (PCM Delta Sigma), Fil 1 (DSD Low Pass Filter Fs).

I felt that DSD 1 bit produced a more natural sound (more weight, higher contrast edges) than the DSD multibit setting. The multibit setting in its defense had more air. Again differences were subtle and likely to differ with listener.

PPPS

Second sentence of last paragraph of post @ 4:00 pm today should read: No suspicion that they sold me dud on purpose.