Boulder 1021 Manual
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Boulder 1021 Manual
This will help you to understand the basic functions and abilities of the Disc Player and allow you to maximize the exceptional performance for which it was designed. The design of the 1021 revolved around a number of innovations and design decisions that elevated the level of the basic CD player well beyond traditional levels. It is not recommended that extension cords be used with this the 1021. Never operate the 1021 with the top cover removed. Never attempt to repair the 1021 yourself.Be sure to open the 1021 near the place where it will be installed so that it does not have to be carried. Damage to the unit may occur if it is connected to the incorrect AC mains voltage. The 12V trigger connection will allow you to turn on an amplifier with an equivalent connection by simply turning on the 1021. The amplifier will also turn off when the 1021 is placed in standby mode. Please contact your dealer for further information regarding this connection. The programming and setup menu controls are also located here. The Redline Display also shows the elapsed track time during playback on the left-hand side of the Progress Bar and the remaining track time on the right-hand side of the Progress Bar. Be sure all cables to be connected to the 1021 are already in place. Note: as the 1021 is very heavy, it is advisable to have two people install the 1021 to prevent damage. To maximize the performance of your 1021 Disc Player, please follow the appropriate instructions for your system and use. As both connectors are the same, it does not matter which left channel connector is used. The other end of the cable should be connected to the left channel amplifier input. The 1021 is also capable of driving an external display device (such as a computer or video monitor or projector). Connecting the 1021 to AC Mains Once all of the necessary rear panel connections have been properly secured, the 1021 can then be connected to AC mains and powered up.
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The remote of the 1021 features all of the commands necessary to operate any function of the 1021. The following commands are included on the remote. Unless otherwise noted, the Remote Control operates exactly the same as the Front Panel Buttons. Playing a Disc Though it features a large number of playback options, the 1021 is a very simple machine to use. The 1021 operates just like a traditional CD player, so it is not necessary to go through all of the menu options or setup tools to play music. The following is a list of more advanced playback features. The 1021 will remember programmed playlists and will play the last programmed playlist when that disc is inserted in the player at a later date (unless cancelled prior to playing). Press the Enter button. Random Play icon should then turn green. Once the Play button is pressed, the 1021 will then play all tracks from the disc (or only the tracks. The 1021 will now continuously repeat the portion of the track between the programmed “A” and “B”. Press the Options button. Once the desired track has been located or to turn the Disc Scan Function off, press the Enter button. To navigate the Display Menu, use the Navigate Up and Navigate Down buttons and then press Enter once the desired option is highlighted. The following options. Track List Menu The Track List Menu allows you to adjust the way the Track List display functions. This may be preferable if the discs that are being played have no metadata or track information is not available to be displayed. To adjust the Show Title setting, use the Navigate Left and Navigate Right buttons to toggle the system between On and Off. To navigate the Audio Menu, use the Navigate Up and Navigate Down buttons and then press Enter once the desired option is highlighted. The following options. If the 1021 is to be connected to a preamplifier, the volume control mode should be set to Fixed. If the volume control is set to Fixed, the output of the 1021 cannot be adjusted.
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If the 1021 will not be connected to the Internet, it is advisable to set this option to Last. This will decrease the amount of time it takes for the 1021 to locate and display any available track information. No settings can be changed from this submenu. The switch position must be changed on the rear panel.Power amplifiers can also send messages to the 1021, which are then shown on the display. When the 1021 is installed in a Boulder Link enabled system with a Boulder preamplifier, the volume control of the preamplifier will respond to commands from a remote control, however the 1021 volume setting will not change. The 1021’s Boulder Link ID Number is programmed in the Boulder Link. An amplifier set to ID 15 will take 47 seconds to turn on.In order to have this product repaired or replaced, the original purchaser must first obtain the prior authorization of Boulder Amplifiers, Inc.Purchaser must then return the product, PACKAGED IN ITS ORIGINAL CARTON, FREIGHT PREPAID to: Boulder Amplifiers, Inc. This will help you to understand the basic functions and abilities of the Disc Player, and allow you to maximize the exceptional performance for which it was designed. The design of the 1021 incorperates number of innovations that elevated the performance of the 1021 well beyond other players. Be sure to open the 1021 near the place where it will be installed so that it does not have to be carried. Remove the foam wrap and lay the 1021 flat on its feet. Inspect the 1021 for any damage. We strongly suggest that you save all the packing materials. If. Damage to the unit may occur if it is connected to the incorrect AC mains voltage. Verify that the AC input identified on the rear panel as shown below is the same as the AC mains voltage in your area. The amplifier will also turn off when the 1021 is placed in Standby Mode. Please contact your dealer for further information regarding this connection. The following features and controls are present on the front panel:.
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The 1021 features a large, bright 6.5-inch (11cm) VGA display. Artist, track, and album information as well as track list information is shown here. The programming and setup menus are also displayed here. The following features and icons are present on the 1021’s display:. When the 1021 is in Standby mode, this LED cycles from green to red to amber. When the 1021 is powering up, the LED will alternately blink red and green rapidly. When the 1021 is ac- tive, it remains amber. This button will raise the output level of the 1021 if the volume option is set to “Variable.” Volume Down. This button will lower the volume output level of the 1021 if the volume option is set to “Variable.”. This button toggles the 1021 between Active and Standby modes. Power Up or Active Mode. To connect the 1021 directly to a power amplifier (without the use of a preamplifier), the volume control must first be set to “Variable” in the menu system (see page 11-12). Both pairs of outputs will operate in tandem and cannot be controlled independently, whether the volume control is in Fixed or Variable mode. The 1021 is also capable of driving an external display de- vice (such as a computer or video monitor or projector). To install or replace batteries in the remote control, it is necessary to separate the two halves of the remote housing. The 1021 operates like a traditional CD player, so it is not necessary to go through all of the menu options or setup tools before playing music. If the player is left in Pause mode for too long, it will automatically stop playback to preserve the disc mechanism.The following is a list of the more advanced playback features. Direct Track Access. To select and play a track directly, use the Numeric Keypad. If the disc is ejected and removed before the Stop button is pressed twice, the 1021 will remember your programmed playlist.
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The next time that CD is inserted in the 1021, it will load and play only the programmed playlist unless the Stop button is pressed twice. The Random Play icon should then turn green. Once the Play button is pressed, the 1021 will then play all tracks from the disc (or the tracks that have been programmed if a Playlist has been entered) in random order. The 1021 will now continuously repeat the portion of the disc between the pro- grammed “A”. The 1021 will be- gin playing the first few seconds of each track (for instructions to pro- gram the length of each track that the 1021 will play, please see page 2-14). Press the Options button. Once the desired track has been located or to turn the Disc Scan Function off, press the Play button. To navigate the Display Menu, use the Navigate Up or Navigate Down button and then press Enter once the desired option is highlighted. The following options are available in. Back to Prev Menu Pressing the Enter button while Back to Prev Menu is highlighted will take you back to the Main Setup Menu. Back to Player Pressing the Enter button while Back to Player is highlighted will exit the menu system and take you back to the Track List. Show Number The Show Number option turns the track number indication on the left-hand side of the Track List display On or Off. Turning the track numbers off increases the amount of space available for track names, however it may be desirable for the track numbers to be displayed if longer MP3 discs are being played. This option will show the artist name in each track listing. It may be preferable to turn this feature on if compilation discs are played or if discs with a large number of MP3 tracks are played. To navigate the Audio Menu, use the Navigate Up or Navigate Down button and then press Enter once the desired option is highlighted. The following options are. Note: If the 1021 will be connected directly to an amplifier, do NOT set the volume control mode to Fixed.
This will result in maximum output and may lead to damage to your loudspeakers. The length of time can be set to 2s, 5s, 10s, 20s or 60s. If an active Ethernet connection is present, the Link option will read Up. If an active Ethernet connection is not present, the Link option will read Down. This will decrease the amount of time it takes for the 1021 to locate and display any available track information. To adjust the Use Internet Lookup setting, use the Navigate Left or Navigate Right button to toggle the system between First and Last. To select an ID number, use the Navigate Left or Navigate Right button to select the specific ID number you prefer. For further information regarding Boulder Link, please see page 13-2. Amplifiers are indicated as “AMP,” followed by their Boulder Link ID number (for example, AMP 01). To activate the Back to Player command, highlight the Back to Player menu option and press the Enter button. 12-26. For further information regarding the IR remote address of each Boulder product, please contact your dealer. The 1021’s Boulder Link ID Number is programmed in the Boulder Link submenu. It may take up to 30 seconds for the 1021 to recognize the switch change. Master AC Switch on rear panel. PDF file in one language, only English, Length: 98 pages, Size: 4.4 Mb. The manual was created and published in PDF format with the filename of 1021-final.pdf and the length of 98 pages in total. The manual were called as Owner's Manual. Case-senstive characters To download automatically or get the download link. Support our free download service Become a VIP Member Our VIP member can get a specifc download link directly to download your file and read PDF document online in the webpage by a specific link. All specific links are customized just for you. I haven’t heard them all, and I have not had the opportunity to audition top competitors from Accuphase, Meridian, and dCS at sufficient length and in my reference system.
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What I can say is that the 1021 is an absolutely superb sounding unit, with superb ergonomics and display capabilities. As you read this review, however, you also need to be aware of several facts. That price puts the 1021 into the category that only the very rich or the very serious audiophile can afford. Second, its superiority is a matter of nuances that come through most clearly in its ability to resolve the upper midrange and treble in a musically natural and realistic way and in its ability to handle music with wide dynamic range where low-level detail is critical. It does not revolutionize CD sound; no product can. Third, the Boulder 1021 is coming out at a time when the high end may be shifting to the use of computers and music servers and away from packaged media. Fourth, it is a stereo unit and not a multichannel unit, and it will not play music recorded on DVD-A, SACD, or any video format. All of the same issues and caveats apply to investing in any top-quality, high-cost CD player, but they are particularly important when you are considering an investment in a true state-of-the-art unit. Accordingly, I would suggest that if you are lucky enough to be able to actually buy, rather than dream about, investing in a unit like the Boulder, you begin by taking a quick look at the size of your CD music collection. Some audiophiles may be wealthy and status-oriented enough to buy the Boulder 1021 simply for the best front-panel and music-content display I’ve ever seen. The 1021’s visual impact is a model for the industry. The key reasons to buy the 1021, however, are that you have a really large library of CDs, you want to get the best out of any quality of CD, and you care enough about musical realism that this is the type of nuance you are willing to invest in. In many ways, the Boulder 1021 is like a great phono front end. You buy it for the music and the collection you now have, not for the media that may or may not emerge in the years to come.
Ergonomics and Styling The Boulder 1021 shows the beauty that form and function can have in a great design. I’m always leery about describing any piece of audio equipment as “sexy” or seductive. First, the implied imagery gets weirdly kinky and, second, it is even more overstretched than wine analogies and metaphors. This kind of praise also tends to cheapen the product, particular when it is as truly musical as the Boulder 1021. The fact is, however, that form doesn’t really follow function in the best designs; it inevitably transcends it. It almost forces you to become involved in the music. You see the contents of the recording, the key performers, the album name, and the movements. If you have CDs that lack metadata or CD text, you can even obtain these data using an Ethernet connection to a computer with an active high-speed Internet connection. It takes a strong act of will to look at this kind of display and not press the play button, and if you are into video, you can even transfer this display to a computer, video monitor, or projector. If you read the instruction manual—which is compulsory in the intelligent use of the 1021—you will also find the display provides an usually useful range of data, including set-up options, volume display, monitoring of the Boulder 1021’s progress in playing back a given track, and an initial display of word length and sample rate. There is also an unusually wide range of control options on both the front panel and remote, although here styling has led Boulder to etch the title or symbol of each control into the metal of the panel and the remote, rather than provide a sharper visual contrast. This is not a problem once you’ve had a few hours with the unit, but it’s not immediately user-friendly unless there is a lot of light.
The Boulder 1021 is capable of an exceptional number of advanced operating functions—look under “Advanced Options” in the manual The best include the ability to set up a playlist to only play the tracks you really want and that the 1021 will remember in the future unless you cancel the list. There are a lot of great recordings mixed with mediocre ones on the same disc. Editing the playlist really helps. If you are only into your digital front end, the Boulder 1021 also has another ergonomic advantage: You can set it for either fixed or variable output. This means you can bypass the preamp and an extra set of interconnects, albeit at the cost of giving up the balance control and ability to fine-tune imaging and soundstaging if the recording and your system are not perfectly balanced. Maez: While it may seem like there are a number of competing formats, we see it as really just a number of interchangeable variants on a single format—the computer-based music file. DVD-A died a painful death a few years ago, SACD is on its way out (Sony Studios in NYC is no longer even using the format), and the Classic Records HDAD was a variation on the DVD-Video spec that was utilized for the audiophile community only, meaning that hardware-based music is likely going to become a minor source of new music (though everyone has a large collection of older albums, meaning that backwards-compatibility with them will be required for any realistic product). Even SACD tracks can easily be converted to very high resolution WAV files via a rather inexpensive piece of gear manufactured by Tascam. AHC: We already have too many formats. Music in the form of straight digital, CD, DVD, DVD-A, SACD, DVD-V, Blu-ray, and within that Dolby and DTS lossless or high-res, plus emerging downloads for digital servers.
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Maez: The CD, DVD and Blu-ray recordable formats can all hold music files that can easily be transferred from computers where they have been downloaded or tracks that have been converted from existing discs. The standard DVD format may go away in the future, as Blu-ray discs can hold all of their content and then some. With the added storage space that DVD and Blu-ray recordables offer, there’s no reason to utilize Dolby or DTS lossless, especially if they require a license—a Blu-ray disc can hold enormous amounts of music. Maez: Those players that utilize a bespoke dimension-and-connection disc-reading mechanism (i.e., Philips, TEAC, Pioneer, etc.) have two disadvantages here: First, the mechanism does not apply to a standardized size and mounting format, and thus, second, the mechanism will be obsolete when formats change—SACD and CD-only mechanisms are already heading that way. While they offer convenience for some designers (they come with a pre-packaged set of user interface, servo, and decoding boards), they are in no way future-proof. AHC: What about “channel confusion”. Will we go stereo or multichannel, and if we go multichannel, will it be 5.1 channels or 7.1 channels? Maez: Multichannel will always be around for the theater experience, but we haven’t seen a multichannel-audio format succeed yet. Even the marginal success SACD had a few years ago was primarily based on two-channel sound. This is more likely due to the fact that most people simply don’t have a properly set up multichannel system—and they’re much more expensive. Poor or poorly set up multichannel systems just don’t sound good, regardless of the quality of the recording. This is too bad, as the potential for much more realistic sound is right there. AHC: What about honesty in marketing. Will there be enough to show if a recording being sold as “high-res” was actually made with high-res equipment. Maez: We agree there is a problem. AHC: How high is high-res.
Maez: We’ve done a lot of listening, and we prefer the very high data rate (176.4kHz or 192kHz) WAV files, though that may be just a function of the particular tracks we’ve been listening to being better recorded or engineered than those of other file types. SACDs we haven’t listened to, as we don’t have a high-quality SACD player because we think that the format will slowly disappear relatively soon and there’s not much motivation for us to invest in a player. It’s a great format, but without acceptance and support from the general public, it’s doomed. The audiophile community has really never been able to sustain a format by itself. AHC: How do we achieve some agreement on the media to be used. Will this be discs? Will there be standardization of download sales and transfer coupled to evolving and competing storage concepts for digital storage—the post-player, digital-library market. Maez: Any downloadable file can be filed on a computer or burned and backed up on a disc. I realize that many TAS readers are not heavily into technobabble, and that digital technology is all Geek to even more. It also takes Boulder six dense pages in a white paper on the 1021 to even survey its design features in summary form—much less get into technical detail. This, however, is not your father’s CD player. This means you not only can play the new high-res discs, you can download high-res content and make your own high-res discs in the future. 1 1 Be aware that this is not an entirely glitch-free process, but the minor problems that occurred in my use of such material with Boulder 1021 also occurred in using such discs on computers other than the one on which they were recorded, and generally seemed to be problems in the streaming process. The Boulder 1021 also has some basic advances in technology that are important enough that you should at least be aware of them if you audition it and consider investing in a top player.
The 1021 processes digital data in a fundamentally different way than virtually all other players, and in a form that does much to eliminate jitter and clocking problems. The Boulder White Paper on the 1021 summarizes this technology as follows: “The disc mechanism is an extremely accurate, high-speed data retrieval unit with particularly low bit-error rates. Data is transmitted within the player in packets and is buffered once before (hardware) and once (software) after DSP to eliminate any jitter artifacts. This eliminates any susceptibility to timing- or jitter-related clocking variances. Raw data is buffered when received by DSP and is manipulated entirely in the digital domain. “All incoming data is sample-rate-converted to a minimum of 352.8kHz and bit-rate-converted to a minimum of 24 bits in DSP. Higher bit and sample rates are advantageous by way of enabling the use of gentler digital filtering, as well as providing the maximum data rate for the DACs. “Digital filtering is accomplished via Boulder’s own Eigen-value algorithm. Eigen-value filtering is the best option for balancing frequency response and phase coherence and features the best known digital impulse response with regards to pre- and post-impulse ringing. “A very important feature in Boulder’s digital processing scheme is the use of floating-point math for all DSP calculations. Floating-point math enables the processor to perform complex calculations without overflowing the processor. Boulder’s engineers identified this as a particularly flawed methodology. Since the data is always embedded with a clock signal, any errors in the embedded clock signal as well as opportunities for jitter to infect the signal become compounded and more and more audible as the data travels from place to place. Boulder’s solution was to handle and transmit the data in a packetized, asynchronous format that has no embedded clock signal and is therefore not susceptible in any way to timing errors.
The data is simply processed as necessary and is only clocked or timed in the digital-to-analog conversion section, specifically right at the DACs themselves. Since the Precise Interval Clock is located directly adjacent to the DACs, there is no opportunity for jitter to affect the accuracy of the clock signal to the DACs and clock timing is always accurate. Low-frequency modulation noise and jitter are thus reduced to immeasurable levels. “In order to maintain proper data rates and processing speeds, the clock signal is then simply fed back to the DSP as necessary in order to sync the operation of all portions of hardware within the player without affecting data timing.” If this is a bit too complex, Boulder does make its points more simply: “DSP operates on the floating-point math principle to eliminate any mathematical overflow and truncation. Analog Devices AD1955A converters handle digital-to-analog conversion in a circuit yielding a significant reduction in distortion. “Gain stages for the 1021 are the proprietary Boulder 983, based on the modular and discrete 993 gain stage used in all Boulder 2000 Series products. The 983 is a circuit board-implemented, high-current output gain stage featuring a mix of discrete and microcircuit parts which provide the best possible distortion figures and exceptionally low noise in a compact, board-mounted design... Balanced operation assures low noise in tandem with the use of the 983 gain stage. The 1021 is true differentially balanced at the outputs for optimal common-mode noise rejection. Lower distortion, and in particular, lower noise, contribute to much greater resolution.” This summary is only part of the story. There are exceptionally sophisticated power supplies. There is a very high quality drive that can read DVDs as well as CDs. The analog sections use the best of Boulder analog preamp circuitry and components—and that is one hell of a “best.” Great attention is paid to layout and eliminating vibration.
The Sound I’ll get to sound quality with good-to-great recordings in a moment. If you really love music, however, you already know that these are a relatively small part of a large CD collection—much of which you may tend to consciously or unconsciously sideline because great music and great performances often do not correlate with great CD sound. Like many audiophiles, you may also find that bad-to-mediocre recordings are normally more fatiguing, if not annoying, on CD than on LP. The Boulder 1021 can’t make bad CD recordings into good ones, anymore than the best plastic surgeon can turn a pig into a silk purse. 2 It does, however, consistently get the cleanest and most musical result out of older and lower-quality CDs that I have heard from any player to date. The dynamics of the original recording and basic limits of the soundstage will not be markedly different than what you hear with other good players. Low-level detail and upper midrange and treble clarity and musicality will be. It may seem strange to encourage you to take a bad CD, or even an MP3, with you when you audition the Boulder 1021, but let’s focus on the music. One of the great strengths of this player is that it broadens the range of recordings you can really enjoy. 2 I’ve been waiting to mix in and metaphorize this analogy for years. As you might expect, the Boulder 1021’s greatest strengths are with the best recordings, including those that pose some of the greatest challenges in resolving musically realistic sound from acoustic instruments—music with very-wide-range dynamics, and music with extended low-level passages. I am not going to tell you that CD equaled SACD with the best SACDs.
You will find, however, that such differences between CD and SACD are slim to non-existent when you compare the sound of the CD track on the 1021 with that of most SACDs on other players, particularly those SACDs based on remastered older analog and digital tapes (You also will not hear the problem in the top octaves of some SACDs, where something strange seems to happen in the upper treble. I can see no technical reason for this to be part of the SACD process, but not every SACD has cleaner and more realistic upper octaves than CD.) The Boulder 1021 also offers advantages that no SACD or DVD-A player has in dealing with the future of digital sound. The 1021 did a superb job with new high-res recordings. I don’t suggest that you go mad downloading your own high-res recordings. Some of the material on HD Tracks is not based on good enough recordings to justify the “high-res” label. Some of the downloads seem erratic and present problems in conversion to a DVD-R. The sound of the best high-res recordings, however, is superb. These have a degree of natural harmonic detail, low-level clarity, and dynamic definition that is truly exceptional. I found that really high sampling rates opened a whole level of detail and musical realism for every form of music and musical taste. As I say in the sidebar to this review, it is not yet clear that high-res will win enough acceptance to dominate the future of digital stereo, but from all my listening to date, it should. This did not, however, make me ignore the merits of the 1021 in reproducing good CDs. I have always found the harpsichord to be a brutal test of digital CD, and the Boulder did the best job I have yet heard of getting what seems to be an exceptional recording out of the regular CD. The midrange and upper octave harmonics of the music were more detailed and more realistic, without any added upper-octave emphasis. And while we’re on Bach, the Boulder 1021 did equally well with demanding piano recordings.
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