I’m warming up to CDs. There, I said it. And part of the reason for this newfound fondness is the Technics SL-G700M2.
The Technics SL-G700M2 Network/SACD Player can play back all manner of discs including Super Audio CDs (2 channel area only), CDs, CD-Rs, CD-RW, and even MQA-CDs. Thanks to its Network functionality that includes Chromecast Built-in and AirPlay 2 support, and/or the free Technics Audio Center App (iOS and Android), there are a number of ways to control playback of music from streaming services (Tidal, Qobuz, Deezer, Amazon Music, Spotify Connect) and serving local files (NAS or USB) that includes Roon (via Chromecast), which is what I used, or the free Technics Audio Center app (iOS and Android). You can also opt to run with the streaming services own app, like Tidal’s or Qobuz’s, in which case the connection is made using AirPlay, meaning the app runs on your phone or tablet as opposed to streaming directly to the SL-G700M as is the case when using Spotify Connect. Confusing? Just use Roon.
You can also use the USB-B (DAC) input if you prefer to use a computer to control playback and send the SL-G700M your digital music or connect other devices, like TVs, via the Optical and Coax inputs. I put these digital audio inputs in the nice to have category but always opt for network functionality using, you guessed it, Roon to control playback. And I always run hard wired. That USB-A input is for connecting USB storage (FAT16, FAT32, NTFS), and you can see the SL-G700M offers single-ended RCA and balanced XLR out. There are also Optical and Coax outputs if you want to bypass the internal DACs (why would you, but we’ll get to that soon).
Those DACs are a pair of ESS ES9026PROs in dual mono form. From Technics:
The SL-G700M2 is equipped with the High Precision Coherent D/A Converter, which is the result of the accumulation of these technologies, converts digital values to analogue signals with the utmost precision and outputs them to an amplifier. It is composed of (1) coherent processing, (2) high-performance D/A converter in dual monaural configuration, and (3) a proprietary discrete amplifier circuit.
In brief, Coherent Processing Technology uses Technics’ in-house developed DSP for PCM files up to 192kHz to minimize amplitude and phase deviations before sending the data to the ESS chips for conversion. DSD is sent straight to those ESS chips. There’s other Technics tech inside including a Multi-stage Silent Power Supply and Current Injection Active Noise Cancelling all meant to make music sound better.
Up front starting from the left we have a Standby/on button, Power indicator, Headphone jack, USB-A input (for USB storage), Remote control signal sensor, Disc tray, Display, five function buttons (Open or close the disc tray, Playback operation buttons), the Multi control knob, an Input selector button, and Headphone volume button that turns the Multi control knob into a volume control.
As is the case with most every piece of kit I’ve seen from Technics, the SL-G700M2 is built to very high standards, unimpeachable standards, so interacting with those buttons and dial is pure reassuring pleasure. The disc tray opens and closes with such smooth mechanical precision, just watching it do its thing elicits a sense of pride in ownership—I have spent my money wisely. And while weight is no guarantee of good sound quality, this SACD/Network/Player’s 27lbs. is all about build quality.
The Technics SL-G700M2 Network/SACD Player got to play in a few different systems, but it got it longest and closest aural inspection paired with the review Octave V 16 Integrated Amp (more info) driving the DeVore Fidelity O/96 (review) with cables from AudioQuest tying it all together (full system details).
Before we get to the music, I’ll answer one question that I imagine is on most people’s mind—does CD beat streaming? In my system and for my ears, playing from disc, CD and SACD, sounded better than playing from local files or streaming through the SL-G700M2. Better, in that music coming off those spinning discs seemed to have a bit more fullness, a tad more body, as well as a smidge more smooth refinement in and around the notes. In a word, a bit more natural.
Now you’ll notice I did not use one violent word to describe these difference so nothing crushed anything, no one got blown out of the water or blown away, and CDs didn’t kill files. Sometimes I wonder if we’re not blowing things out of proportion because many boys played war games and/or sports as kids and we never got it out of our systems. As sad as that may be. In any event, I completely enjoyed listening to music through the SL-G700M2 no matter its source so let’s get on with those listening impressions.
Einstürzende Neubauten’s fourth studio album, Fünf auf der nach oben offenen Richterskala from 1987, was sold in the USA as Five on the open-ended Richter Scale which to my ears doesn’t sound nearly as interesting, is a study in quiet disquieting intensity from the boys from West Berlin. Not exactly easy listening, but it is beautifully recorded as are most albums from the band, the silence and space surrounding the controlled resplendent racket are equally important. I bought the CD, used, from Academy Records long enough ago I have no idea when, and it is among my favorite records for its wire framed badass-ness.
Blixa leads the way with his spoken, whispered, and screeched vocals, the man can scream, backed by Mark Chung (bass, vocals), Alexander Hacke (guitar, vocals), N.U. Unruh (percussion, vocals), and F.M. Einheit (percussion, vocals). And we all know that Blixa plays a mean guitar that lent Nick Cave & The Bad Seeds some extra badness when he was part of the band. This music builds but never fully detonates, keeping the tension high and suspension even higher. With the CD in play, the Barn became Neubauten’s playground, with Chung’s bass sounded perfectly deep, rich, and full grounding the mayhem going on on top. Sounds, and we’re talking sounds made by hitting all manner of things, resounded with complete freedom from the O/96, drawing an expansive stage for the danger to unfold within, with everyone sounding perfectly fleshy drawing an exquisite contrast between man, guitar, and noise.
Streaming the same title from Tidal using Roon, try saying that five times fast, everything got a bit bunched up between the speakers, a clear loss of separation, as well as a loss of clarity or lessening of the full voice of each element. Just to torture myself, I also compared the version I ripped from this very CD, played back using Roon, and it sounded very much like the streamed version from Tidal. In other words, not as good as the CD.
These differences held with a bunch of other CDs so I conclude that with the Technics SL-G700M2, CDs sound better than files, streamed or served. And that’s about all I’m prepared to conclude seeing as I haven’t compared every streaming/network CD player playing CDs or files nor have we accounted for the huge number of variables at play. But as I said up front, these differences between the sound of CDs and same music via streaming or local files did not prevent me from enjoying all of the music I sent through the SL-G700M2. As comedian Steven Wright famously kinda said, You can’t have every CD. Where would you put them? So my love for streaming remains unshaken.
I’m no classical music aficionado, nor am I a collector of SACDs, but I do know that Lorraine Hunt Lieberson’s way with these Arias by Handel on hybrid SACD are about as heart-wrenchingly beautiful as music gets. With the Technics reading the pits and lands, Lieberson backed by Harry Bicket and The Orchestra of the Age of Enlightenment were made material in Barn, with a wonderful sense of the space of the recording and a richness and rightness of voice that added up to pure pleasure. The Technics does have a bit of a matter of fact sound, no extra fat, no added warmth, but in this system playing in the Barn this was never a distraction nor did it take away from the emotional connection to this highly emotional music.
I also happen to have the Ayre CX-8 CD Player here for review (more info) that includes Ayre’s Network option. So functionality wise, along the same lines as the Technics minus SACD and MQA compatibility. The Ayre adds Roon Ready to its hand, a winning card for my personal interface preference. In terms of sound, and keeping in mind the CX-8 comes in at $7290 with the network and digital input options—or more than double the price of the Technics—the Ayre delivered a more fleshed out sound coupled with a greater sense of space and air (apologies). These qualities made listening through the Ayre a bit more relaxed, for my tastes, as compared to the SL-G700M2. On the other hand, the Technics sounds comparatively a bit more incisive compared to the Ayre, with a stiffer and more punchy sound. To my eyes and hands, the Technics build quality is more robust than the Ayre. Take your pick.
A friend invited me to the screening of Bruce Weber’s film “Let’s Get Lost” at the Museum of Modern Art back in 1989 when I was living in NYC, an unflattering flattering portrait of Chet Baker. I fell for the film, I’d already fallen for Baker’s music as a kid thanks to my father, so I made my way to Tower Records to buy the soundtrack CD soon after the credits rolled. Baker’s vocals are world weary and loose cheeked as he sings about love and loss even though his real loves were won over by heroin. This is another great sounding CD and the SL-G700M2 gets it right, sounding out bass, piano, trumpet and Baker’s soulful crooning through standards old and new. Sliding this same CD into the Ayre CX-8 brought out more timbral richness and overall weight, a generally sweeter sound that comes at a much higher price.
I also spent many days and some nights using Roon to play favorites old and new. One late night I let a CD rip of Marc Ribot’s Ceramic Dog’s “Midost” from their album Party Intellectuals fill the Barn at way higher than normal volume levels and the Technics treated me with an adrenaline-infused party of my own where all thoughts of differences in aspects reproduction fell to the wayside.
The Technics SL-G700M2 Network/SACD Player makes a very solid case for the Network/SACD Player. What you get is an infectious and highly refined sound from discs, streaming, and local files that make for a seamless listening experience. During the SL-G700M2’s 2-month+ Barn stay, there were many times I forgot I was reviewing, having gotten lost in music. If you add in the Technics superb built quality and price, we’re looking at one very compelling solution to all your digital needs.
Technics SL-G700M2 Network/SACD Player
Price $3,499.99
Company Website: Technics