Emotiva ERC-2 Single CD Player * Remote

Emotiva ERC-2 Single CD Player * Remote

Emotiva

Regular price $250.00 USD
Sale price $250.00 USD Regular price
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Emotiva ERC-2 CD player

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Because I am an audiophile, I want to hear that music through the best possible source component. Lately, I've been enjoying CDs through the Emotiva ERC-2 CD player ($449).

 

The Emotiva ERC-2 measures 17" (435mm) wide by 4.25" (110mm) high by 14" (360mm) deep and, at 17.5 lbs (8kg), is the heaviest component to enter my listening room since the 25-lb Simaudio Moon i3.3 integrated amplifier ($3300, discontinued). The player's distinct appearance was developed by Emotiva's president and CEO, Dan Laufman, and VP of engineering, Lonnie Vaughn. In building the ERC-2, their goal was to "keep it simple, easy to use, and elegant . . . in a machine-oriented way."

 

Indeed, the ERC-2 is clearly a machine. Its satiny black faceplate of brushed aluminum is capped at each end by a strip of stainless steel. To the left are four silver function buttons (Play/Pause, Next, Stop, Previous), arranged in a diamond; at center, from top to bottom, are the large display, a thin slot for loading discs, and a large Standby button adorned with Emotiva's distinctive E logo; to the right of these, all by itself, is the Eject button. This arrangement makes ergonomic sense, but it creates a louder, busier look than would a simple straight row of buttons.

 

Each button on the ERC-2's faceplate is lit by a halo of bright, clear blue 5that perfectly matches the bright, clear blue of the player's vacuum-fluorescent display. Like a Christmas tree, these blue lights set my small apartment aglow. Fortunately, the Dim button on the ERC-2's remote control softens the display and deactivates the halos. About that remote: It's a massive brick of milled aluminum designed to match the player's overall look and feel—in a word, manly.

 

Indeed, the ERC-2 and its hefty remote together exude an extremely masculine look and feel that I don't fully appreciate; I would prefer a quieter, more subtle appearance. To my eyes, the ERC-2's look is gaudy, boastful; I kept thinking that the women I know would find it unattractive. But every woman who entered my listening room and whose opinion I asked gave an ambivalent shrug. "As long as it works, I don't care," one said. "They all look the same to me." (And, yes, she was talking about the CD player.)

 

It took me a little while to get used to the ERC-2's slot-loading transport, which is made by Toshiba. First, it requires a careful touch: Line up the CD so that its edge is perfectly centered in the slot, begin to gently insert the disc, then let the player take the disc. If the disc is too far to either side of the slot, the player won't accept it. Second, the ERC-2's loading mechanism is slow: The review sample took up to 12 seconds to load a disc and up to four seconds to eject it, so be patient. Finally, once the player has loaded the disc, it immediately begins playing the disc from the beginning—if you want to hear track 5, you'll have to then select it using the front-panel buttons or the remote.

 

On the rear panel are: a set of balanced outputs; two sets of analog outputs; S/PDIF, TosLink, and AES/EBU digital outputs; a trigger input; a rocker power switch; and a standard IEC three-prong power receptacle for the included AC cord. Despite my feelings about its appearance, the ERC-2's build quality is undeniably impressive, with a level of fit and finish appropriate to a component costing three to four times as much.

 

Correct from the ground up
How does Emotiva keep their prices so low? According to Laufman and Vaughn, all Emotiva products are designed, distributed, and supported in Franklin, Tennessee, while manufacture and assembly take place in China. Laufman and Vaughn insist that their manufacturing partners are "totally committed to quality." I buy this. In addition to spending several weeks with the ERC-2, I've met and spoken with Laufman and Vaughn, and I trust that their enthusiasm and care for their company and its customers would be clearly communicated to Emotiva's colleagues overseas, ensuring that the company's values are appropriately respected. They take special pride in having built a loyal customer base and providing exceptional customer service, as is evident in their lively online community and events such as the annual Emofest: a weekend of factory tours, live music, and entertainment open to customers and friends.

 

Informed by feedback from those customers, Laufman and Vaughn told me that they decided "to build a player that was correct from the ground up." Under the ERC-2's hood, four individually regulated and shielded power supplies drive the CD transport mechanism, VFD display, and digital and analog electronics. The result, according to Emotiva, is "dead-quiet ground-floor noise, extremely low distortion, and complete freedom from interaction between circuit elements." At the heart of the ERC-2 is a high-quality Analog Devices AD1955 24-bit oversampling DAC. The ERC-2 carries its balanced topology from the output of this chip straight through to the rear-panel XLR jacks.

 

Emotiva sells direct, with free shipping to anywhere in the continental US. All Emotiva products are backed by a 30-day "hassle-free" return policy and a five-year transferrable warranty.

 

Awesome music
Summvs (CD, Raster-Noton R-N132) is the fifth and final installment in the stirring and lovely Virus series of recordings from electronic composers Alva Noto and Ryuichi Sakamoto. In "By This River," a great open space is punctuated by wonderfully physical low-frequency pulses and startling high-frequency buzzes and chirps, while a rising progression of reverberant piano chords creates a lulling melody. Not only is the piece beautiful and emotionally powerful, it's a fine test of any system, filled with quick, hypnotic stereo effects, sudden stops and starts, and profoundly deep silences. I find it fascinating (and somewhat sad) that much of what makes this music special is lost through lesser systems. For instance, through my office system of Dell laptop and plastic computer speakers, "By This River" sounds disjointed, one-dimensional, and uninvolving; at home, through the hi-fi, it's a rich, soul-stirring experience.
The Emotiva ERC-2 CD player conveyed "By This River" with stunning impact and a very good sense of momentum and flow. Starts and stops were clean and precise, giving way to staggering silences and making the voluminous deep-bass blasts even more impressive. Hitting 82dB peaks, those blasts coursed through my listening room and sent fluttering the curtains 5' from my speakers' rear ports. Most satisfying, this bass was never bloated or loose, but always taut and well controlled. The ERC-2 quickly distinguished itself as a punchy, authoritative, muscular performer able to produce very quiet backgrounds while keeping a steady grip on the music. (I would have enjoyed hearing this track through the Boston Acoustics A25 loudspeakers I reviewed in the November issue, which have a similarly clean, forceful sound, but I no longer had them on hand.)

 

The ERC-2's ability to present deep silences also benefited "Following Sea," a tender and slow-moving piece for brooding piano, gentle percussion, and swaying cello, from Sophie Hutchings' successful debut, Becalmed (CD, Preservation PRE 030CD). I could feel the silences between the notes, and all the exquisite sorrow and hope they held. At the same time, the ERC-2 revealed this track to be more dynamically limited than I'd thought it was—there was an overall lack of air and space and a hardness in the sound of the piano that I hadn't before noticed. While the emotional intensity of "Following Sea" remained intact, the music sounded less sumptuous and enticing than I'd become accustomed to hearing through my Exposure 2010S CD player ($1395).

 

 

Similarly, "Rivers of Water, Rivers of Mud," a propulsive hard-rock track from the mps, the debut album by my old band, the Multi-Purpose Solution (CD, Mint 400 M4R00 18), sounded threadbare and lacked coherence. We recorded this album in a small basement, almost entirely live and direct to tape, with very few splices or overdubs. It's littered with small blemishes. During the many late-night recording sessions, our drunken lead singer, Jim Teacher, fell into the charming habit of talking into the mike as the tape rolled. Partly in an effort to save time and money, and largely because we were lazy, we decided to leave these random bits of conversation in the recording and try to hide them in the final mix. While my Exposure 2010S manages to overlook these little flaws, the Emotiva had a funny way of throwing a spotlight on them and separating them from the music. Late in the chorus, when Jim Teacher is joined by ska artist King Django, the Emotiva presented Django's voice as clearly distinct from JT's, but also removed from the rest of the music, making it obvious that Django's backing vocal was recorded as an overdub.

 

But when fed well-recorded music, the Emotiva ERC-2's sound was always involving and thoroughly enjoyable. Mark Hollis's eponymous solo album (CD, Polydor 537 688-2) is an emotionally and sonically intimate affair filled with need and trembling with passion. The Emotiva presented "Watershed" in all its lovely, scintillating detail, the instruments fairly leaping from the speakers and into my listening room. Hollis's voice sounded appropriately rich and compelling as he slowly and carefully sang "Should have said so much / Makes it harder / The more you love." And when Hollis's voice gave way to Henry Lowther's brilliant trumpet solo, the Emotiva conveyed each note with startling force and agility, for a breathtaking and exquisite re-creation of this performance. It wasn't quite the same crazy physicality and realism I've heard through my Exposure player, but it was close, and it came with no deficiency in flow or momentum, and no appreciable sacrifice in the highs or lows.

 

But speaking of crazy physicality, Night Logic is a thrilling release from an especially fiery jazz trio: Marshall Allen on alto sax, Matthew Shipp on piano, and Joe Morris on double bass (CD, RogueArt ROG-0028). In "New Age for the Milk Sea Nightmare," the piano occupies the center of the stage, the bass is to the right, and the sax twists and turns from the left with beauty, grace, and force. Through the Emotiva, silences in this music were stark, detail was delicious, and the power with which Shipp pounds his keys, Allen blows his sax, and Morris runs up and down his bass was so staggering that, at about seven minutes in, when the trio reaches a chaotic climax, it was almost too much to endure. The entire track is a complex and furious 10 minutes of music in which the band unravels and recoils, whips and spirals into a devastating storm. The Emotiva painted it with great scale and drama while never breaking a sweat—a convincing and captivating performance.

 

Explore more music
I have a rule: A good hi-fi component should make me want to listen to more music—drive me out of the office and into a record shop to explore more music. If it doesn't do that, something is very wrong. No matter how much it costs, what it looks like, or how sexy it might look to potential mates, if a component doesn't fuel my search for more new music, it's worthless.

 

During my time with the Emotiva ERC-2 CD player, I found myself buying more CDs than I had in years. And I'm so happy about it. If not for the Emotiva ERC-2, I might not have experienced the full and heavy pleasure of Alva Noto and Ryuichi Sakamoto feeding my mind and expanding my listening-room walls with "By This River"—music of painful beauty and enormous soul. That alone is worth the meager $449. The rest is lagniappe. I could live without the blue lights and the big, fancy remote. I would hate to go on without the music.

In stock

There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.

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Fully Serviced

All items are meticulously serviced and restored to meet factory specifications

Well Cared Shipping

We pack with precision and ship in brand new, appropriately sized, boxes.

Information flow

Be in the know with timely notifications on your order, starting from acceptance to tracking numbers, allowing you to stay connected with your purchase