HHB comm CDR800 User Manual

HHB CDR-800 Professional Compact
Disc Recorder. HHB Communications
USA, LLC, 1410 Centinela Ave., Los An­geles, CA 90025, [phone], FAX
[phone], E-Mail sales@hhbusa.
com; Website www.hhbusa.com.

HHB Communications is a British-based
firm specializing in digital audio record­ing equipment and media for the profes­sional audio industry. In addition to CD
recorders, HHB manufactures portable
DAT recorders, a line of vacuum-tube
processors (including mike preamps,
compressors, and parametric equalizers),
and studio monitor loudspeakers (includ­ing nearfield monitors and powered sub­woofers). HHB also distributes the Genex
line of high bit rate, high sampling rate
magneto-optical digital recorders. Their
complete line of digital media includes
professional-quality recordable compact
discs (CD–R), ADAT tapes, MiniDiscs
(MD), and rewriteable magneto-optical
(MO) discs.

The CDR–800 Compact Disc
recorder (Photo 1) has been on the
market for over two years. At the time it
was introduced, the CDR–800 repre­sented a price breakthrough in profes­sional CD recorders. The list price of
$2200 has become irrelevant, since the
unit now sells for around $1200 at most
pro audio dealers.

The CDR–800 looks suspiciously like
the Pioneer PDR–05 and PDR–99 con­sumer CD recorders, which are essential­ly identical—the PDR–99 is marketed as
part of Pioneer’s Elite line, and features
their glossy Urushi front panel and Rose­wood side panels. While based on the
consumer models, the CDR–800 is actu­ally manufactured by Pioneer for the pro­audio user, and incorporates a number of
features not found on the consumer
units. The Pioneer consumer players
have only unbalanced (RCA) analog in­puts and outputs, along with S/PDIF and
Toslink digital inputs and outputs. To
these interfaces, the CDR–800 adds bal­anced XLR analog inputs, along with a
balanced XLR AES/EBU digital input
(Photo 2).

All analog and digital outputs on the
CDR–800 remain unbalanced. This may
appear odd at first, but most pro audio
users are likely to use the CDR–800 with
an external digital processor for play-

back, making balanced analog outputs
unnecessary. One other important differ­ence between the CDR–800 and its Pio­neer counterparts concerns the types of
recordable CDs you can use. The Pioneer
consumer machines will only recognize
consumer-type CD–R blanks. The
CDR–800 will also work with computer­type CD blanks. The CDR–800 is also
equipped with standard 19-inch rack
mounts.

One important feature of the
CDR–800 is Pioneer’s Stable-Platter
mechanism (Photo 3), which includes a
full-size platter upon which the CD is
placed upside down. There are a couple
of advantages to this system. First, the
disc is supported over its entire surface,
minimizing vibration, which, in turn,
should reduce clock jitter. This serves
the same purpose as the disc dampers
many of us have used, but Pioneer’s solu­tion is far more effective. Second, the
laser now faces down, so it is far less like­ly to accumulate dust.

Operation

Operationally, the HHB CDR–800 is ex­tremely well thought out, and is really
not much more difficult to operate than
an analog cassette deck. For the most

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Audio Electronics 2/00

P

RODUCT

R

EVIEW

HHB Compact Disc Recorder

Reviewed by Gary Galo

PHOTO 1: Front view of the HHB CDR–800 Profes­sional Compact Disc Recorder and its remote control.

PHOTO 2: Rear panel of the CDR–800.
In addition to the RCA-type analog and
digital inputs, balanced XLR analog in­puts and an AES/EBU balanced digital
input are also provided.

part, the manual is clearly written, and
includes numerous illustrations. Input
and output connections are straightfor­ward, but the rear panel also contains a
couple of switches that you may need to
reset. A three-position slide switch locat­ed between the balanced analog input
connectors selects either the unbalanced
RCA line inputs or the balanced XLR

connectors at +4dBu or −8dBu levels.

A digital out switch mutes the digital
outputs if only the analog outputs are
used. You select digital copy permis­sion/prohibition with a pair of DIP
switches, which you can set to allow un­limited copies of your recording, one­time-only copying, or no copying at all.
Since the CDR–800 is a professional
product, it is not bound by the consumer
Serial Copy Management System—the
user controls the copy management.

Input selection is done with a momen­tary contact button on the front panel—
you toggle through the various analog
and digital inputs by repeatedly depress­ing the button. The CDR–800 has five
modes of operation—three are automatic
and two are manual. One of the most use­ful of the automatic modes is ID–SYNC
for recording from DAT sources. This
mode copies index numbers from your
DAT and automatically turns them into
track numbers on your CD–R.

The AES/EBU interface does not trans­mit DAT ID codes, so you must use the
S/PDIF connection. To do so, simply load
a blank disc and toggle the INPUT SELEC­TOR until the correct input appears—the
display should recognize DAT as the
source at this point. Now, cue up your
DAT tape to a point about five seconds
ahead of the first DAT index number you
wish to record. Next, toggle the DIGITAL

SYNCHRO button until ID–SYNC ap­pears in the display. The CDR–800 will
begin a short setup procedure, which
takes a few seconds.

After this setup, ID–SYNC returns to
the display, and SYNC flashes in red. You
are now ready to begin recording. Sim­ply press the play button on your DAT
recorder—when the next index number
appears, the CDR–800 automatically be­gins recording, making that index num­ber track 1 on the CD. You don’t even
need to press RECORD on the CDR–800.
Each subsequent DAT index number au-

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PHOTO 3: A close-up view of the Pioneer
Stable-Platter mechanism used in the
CDR–800. The CD must be inserted up­side down, but this mechanism greatly
reduces disc vibration and dust accumu­lation on the laser pickup.

T ABLE 1: MANUFACTURER’S SPECIFICATIONS

Applicable discs: CD and CD-R
Frequency response: 2Hz–20kHz
Playback S/N: 110dB (EIAJ)
Playback dynamic range: 97dB (EIAJ)
Playback THD: 0.0027% (EIAJ)
Recording S/N (analog RCA input): 90dB
Recording dynamic range (analog RCA input): 90dB
Recording THD (analog RCA input): 0.005%
Recording S/N (S/PDIF digital input): 105dB
Recording dynamic range (S/PDIF digital input): 95dB
Recording THD (S/PDIF digital input): 0.003%
Wow and flutter: Less than measurable limit (

±

0.001%

weighted peak) (EIAJ)
Analog input impedance: 10k
Analog XLR line input level: +4 or +8dBu, switchable
Analog RCA line input level: 500mV RMS
Analog output voltage: 2V RMS
Power supply: US model: 120V AC, 60Hz; European

model: 220-230V AC, 50/60Hz
Power consumption: 21W
Weight: 6.2kg (13 lbs. 11 oz)
Dimensions: 482mm (W) ×294mm (D) ×134mm (H)

(18

³¹₃₂″×

11

⁹₁₆″×5 ⁹₃₂″

)

tomatically generates a track number on
the CD. It makes sense to prepare a DAT
master, including all of the index points
you desire, before making a CD–R.

The CDR–800 will also copy other
digital sources the same way, including
MiniDisc, Digital Compact Cassette, and
CD, using the AL–SYNC mode. There is
also a 1–SYNC mode that allows auto­matic copying of 1 track from any of the
above digital sources. After the one
track of the original has been recorded,
the recording process stops. You can
add additional tracks to your recording,
using this mode, until the CD–R is filled
to capacity.

The CDR–800 also allows manual
copying of analog or digital sources, one
track at a time. During manual record­ing, the CDR–800’s REC LEVEL and REC
BALANCE function the same as on any
other recording device. You can record
an individual track, stop, and continue at
a later time. If you manually record a sin­gle track, a process called “fixation” au­tomatically takes place before and after
the track is recording. During fixation,
the lead-in and lead-out information for
that track is written.

When you have finished recording a
CD, you must perform a process called

“finalization,” which allows the CD–R to
be played on any conventional CD play­er. During this process, the absolute lead­in and lead-out information for the entire
disc, and the table of contents, are writ­ten to the CD, along with a code that pre­vents further recording on the disc.
Once you have finished recording a disc,
press the FINALIZE button. After a few
seconds of setup, the display will indi­cate a time of 4:03 or 4:07, depending
on the length of the recording. This is
the amount of time it will take to finalize
the disc.

Now, press the PAUSE button to begin
the process. The time display begins
counting down—when it reaches 0:00,
the process is complete, and the CD–R
may be played in any CD player. The
CDR–800 has a SKIP–ID function that
can be used during finalization. This
function allows you to effectively elimi­nate any unwanted tracks on your CD
after it has been recorded. Suitably
equipped CD players will then ignore
those tracks during playback.

The CDR–800 is supplied with a re­mote control that duplicates the func­tions of the front-panel controls. You
must use the remote to enter track num­bers for CD playback—numeric buttons

for track selection are not included on
the main chassis of the CDR–800. Re­mote-control operation can be defeated
with a DIP switch on the rear panel. The
rear panel of the CDR–800 is also fitted
with an 8-pin DIN Parallel Remote sock­et, which allows you to construct your
own wired remote control, duplicating
PLAY, PAUSE, RECORD, STOP, MA NUAL
TRACK NO., WRITE, and the two
TRACK SEARCH BUTTONS. A connec­tion diagram is included in the CDR–800
manual.

Circuitry and Construction

As Photo 4 shows, the CDR–800 is
packed with circuitry. There are no less
than 13 PC boards in the CDR–800, vary­ing in size from large servo and audio
digital boards to several very small
boards, including the headphone amp.
Two power transformers are used, one
for the audio and digital circuitry, and an­other dedicated to the servo. Like most
products of Far East origin, the CDR–800
uses standard 3-terminal IC regulators for
the power supplies. Several of these reg­ulators are located on the two power­supply PC boards, but the analog/digital
board and the servo board each house a
pair of local IC regulators.

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35

The physical structure of a CD–R disc is
shown in Fig. 1. The recordable CD is
molded with a continuous groove spiral
from the inside to the outside of the disc’s
polycarbonate substrate. The “pre­grooved” disc is necessary in order to
provide the recorder with a physical ref­erence. The groove also contains timing
information that the recorder uses to
keep the CD spinning at the correct
speed at all points along the disc surface.
After the polycarbonate substrate is mold­ed, the disc is spin-coated with the
recording layer, an organic dye such as
cyanine, phthalocyanine, or azo.

The recording layer is then coated with
a vacuum-deposited reflective layer, fol­lowed by a spin coat of protective lac­quer. Most CD–R manufacturers add a
label coating to further protect the disc
from scratches. Special discs are available
with a label area compatible with an ink­jet printer specifically made for printing
CD–R discs.

Inexpensive CD labeling systems are
also available, from a variety of sources.
Most of these allow you to print or write
on a circular label with adhesive backing.
These labeling systems carefully center
the label on the CD in order to ensure
smooth disc rotation. The adhesive back­ing on the CD labels is compatible with
the materials from which the disc is man­ufactured, and should not impair the per­formance of the disc, or shorten its life. If
you label CDs by hand, you should avoid
solvent-based inks that could damage the
disc. TDK makes a pen specifically for la­beling CDs, which you can purchase
from any pro audio dealer.

The recording laser beam is the same
wavelength as that used for CD play­back—780nm. The laser in the CD
recorder literally burns the organic
recording layer, momentarily raising the
temperature of the recording layer at
that spot to over 300°F. The width of a
burned area, the equivalent of a pit on a
prerecorded CD, is only 0.6 microns.
The burning alters the optical character­istics of the organic dye, producing a dif­ferent level of reflection from burned vs

non-burned areas.

The most common organic dye found
in CD–R disc is cyanine. Azo dye, origi­nally developed for types of optical
recording media, is also used for CD–R
discs. Cyanine and azo-based discs are
sensitive to ultraviolet light, as well as
heat and humidity. As such, their archival
life expectancy is only about ten years.

The recording surface of most CD–R
discs is green, while some appear blue.
This is due to the type of dye used and
the color of the reflective layer. Silver and
gold reflective layers yield a different
color when they reflect light back
through the organic dye.

More recently, the Japanese firm Mitsui
has developed a CD–R disc using phthalo­cyanine dye. These discs are gold in color,
in part due to the gold reflective layer.
The phthalocyanine discs are far less sus­ceptible to the degrading effects of light,
heat, and humidity, and are expected to
have an archival life in excess of 100

years. Mitsui is manufacturing these gold
discs for a number of other firms, includ­ing HHB, and they have licensed the tech­nology to other manufacturers as well.

Care should be exercised in the han­dling and storage of all CD–R discs. Tests
have shown that the green cyanine-based
discs can be rendered unplayable if left
exposed to bright sunlight for only a few
days. Unless they are being recorded or
played, all CD–R discs should be stored in
their jewel cases at all times. The HHB
CDR–800 recorder automatically adjusts
the intensity of the laser beam to suit the
specific type of dye found on the CD–R
that has been inserted in the recorder.

All CD–R discs from reputable manu­facturers are certified to meet “Orange
Book” specifications. The Orange Book is
a document produced by Sony and
Philips describing the technical specifica­tions for the compact disc format. Part II
of the Orange Book describes the CD–R
format. You can find a considerable
amount of information on the CD–R
format on the websites of Maxell
(www.maxell.com) and HHB (ww w.
hhbusa.com or ww w.hhb.co.uk).

CD–R Basics

FIGURE 1: Cut-away view
of a CD–R recordable CD.
The pregrooved polycar­bonate substrate is coat­ed with an organic dye
recording layer and a re­flective layer. During
recording, the laser beam
burns the organic dye,
momentarily raising the
temperature of the dye
to over 300°°F.

A-1522-1

Balanced analog and AES/EBU digital
signals enter the CDR–800 via the input
PC board assembly. The balanced analog

inputs are transformerless; the + and −

legs of the balanced line are each fed to
5532 op amps operated noninverting as
unity gain buffers. The outputs of these

buffers are fed to the + and − inputs of a

single 5532, converting the balanced sig­nal to an unbalanced state.

The use of 5532 op amps is a real dis­appointment. I fail to understand why
the Japanese audio industry continues to
use these 20-plus-year-old devices when
so many high-performance dual op amps
are now available. A product as sophisti­cated as the CDR–800 clearly deserves
better, but the Pioneer designers obvi­ously continue to believe that high-per­formance op amps just don’t make any
difference.

The AES/EBU digital input also dis­penses with the usual transformer-cou­pled input—the balanced to unbalanced
conversion is accomplished with an
SN75157P differential line receiver. The
SN75157P is a dual device; only half of it
is used.

The signals from the balanced input
PC board are fed to the audio digital PC
board assembly, which also houses all of
the analog and digital unbalanced in­puts. The unbalanced analog inputs for
each channel are fed to NJM072 input
signal op amps, manufactured by JRC.
These are TL072-equivalents, another ex­tremely dated device (data on JRC op
amps can be found on their web site:
www.njr.co.jp).

I’m not familiar with the analog-to-dig­ital converter chip—it bears the part
number AK5340–VS. HHB claims it uses
the latest 1-bit conversion system, which
is completely free of zero-crossing distor­tion. The A/D chip design also elimi­nates nonlinear distortions within the
passband, and does not require external
adjustments.

Digital inputs are fed directly to the
LC89585 EFM encoder chip. The
CDR–800 also includes a built-in sam­pling-rate converter chip, which con­verts 32kHz or 48kHz inputs to the CD
standard of 44.1kHz. The sampling-rate
converter functions only when needed—
inputs at the standard 44.1kHz frequency
bypass the sampling-rate converter.

On the playback end, the SM5813AP
digital filter feeds a pair of 1-bit Pioneer

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PHOTO 4: Inside view of the CDR–800. Two
power transformers are used, and the solid
copper chassis provides excellent shielding
against EMI and RFI.

PD2028B Pulseflow D/A converter
chips, which are actually stereo devices,
with left and right audio outputs. To im­prove low-level linearity, an entire chip is
devoted to each channel, configured in a
differential mode. The balanced outputs

from the D/A chips are fed to the ±inputs

of a 5532 op amp. The unbalanced out­put from the op amp is fed to a second
5532, which functions as an output
buffer. The filter/DAC combination
should provide resolution comparable to
conventional 20-bit converters.

Deemphasis is accomplished in the
analog domain, using a shunt filter locat­ed between the first and second 5532.
The deemphasis network is activated
with a single bipolar transistor. The
CDR–800 does not apply emphasis to CD
recordings. Only a handful of commer­cial CDs, mainly from Denon, are record­ed with high-frequency emphasis, and
modern high-resolution converters make
it unnecessary. Overall, the construction
of the CDR–800 is extremely impressive.
This unit should stand up to demanding,
day-in, day-out professional use.

Performance

In order to evaluate the accuracy of
CD–R recordings, I made a demonstra­tion disc cloned from a number of tracks
on commercial CDs that I normally use
for equipment evaluation. I made the
test disc by connecting my CD trans­port, a modified Denon DCD–1015, to
the S/PDIF input on the CDR–800. My

DCD–1015 has a Canare 75Ω BNC out-

put connector—the two units were con­nected with a DH Labs D–75 S/PDIF in-

terconnect fitted with a Canare 75Ω

BNC connector on one end, and a

Canare 75Ω RCA connector on the

other.

Every self-respecting, golden-eared au­diophile will desire to know exactly
how the CDR–800’s copies compared to
the original CDs. Unfortunately, the an­swer is not at all straightforward. I can’t
honestly state that the copies were indis­tinguishable from the originals. Howev­er, any differences I heard are no greater
than those caused by substituting one
high-quality digital interconnect for an­other. The differences were normally far
less than those I associate with changing
CD transports.

In my opinion, digital copies made on
the CDR–800 are faithful reproductions
of the original, and any observed differ­ences may well be attributed to external
factors. The performance of the
CDR–800 will depend primarily on the
quality of your source and the intercon-

nect between your source and the HHB
recorder.

The dated op amps mentioned previ­ously undoubtedly limit the perfor­mance of the CDR–800 when used with
its analog inputs and outputs. However,
the excellent performance of the A/D
and D/A converters used in this recorder
make up, in part, for the performance
of the op amps. I have no doubt that re­placement of the op amps with the best
dual devices currently available would
significantly improve the analog perfor­mance of the CDR–800, allowing the ex­cellent digital circuitry to perform to its
potential.

Conclusions

The HHB CDR–800 is a remarkable prod­uct, and a real breakthrough in affordable
professional CD recorders. Used with ex­ternal digital sources, via its digital input,
the CDR–800 will make compact discs
that are virtual sonic clones of the origi­nal digital source. Recently, HHB intro­duced the CDR–850 rewritable Compact
Disc Recorder (CD–RW), which is priced
about $200 less than the CDR–800. Read­ers may wonder whether it renders the
800 obsolete. Not at all! The new
CDR–850, also based on a consumer Pio­neer product (the PD–R555RW), does
not have the Stable Platter mechanism.
For the ultimate in CD–R mechanical sta­bility, the CDR–800 will continue to be
the recorder of choice.

Home users in need of a CD recorder
should not hesitate to purchase this pro
product. Because of the Stable Platter
mechanism, the CDR–800 will probably
outperform your existing CD transport,
so you may be able to dispense with your
existing playback machine.

When the time came to purchase a
CD recorder for use in my studio at the
Crane School of Music at SUNY Pots­dam, where I am employed as audio en­gineer, I chose the CDR–800. I could not

give a more enthusiastic endorsement. ■

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