If there is a need for better CDMs, their effects on sound quality is hard to determine. Theory explains that digital data quality does not matter as long as ones and zeros can be distinguished, the data can be reconstructed exactly. The famous quote "bit is bit", the big strength of digital signal which can endure big loss of quality along treatments, transferts, storages etc..  compared to analogue signal which degrades along the process. However, all audiophiles will tell you that  "every CDM sounds different". The reason for this is jitter. Everything creates jitter. To give a simple example, the light reflecting from adjacent tracks creates jitter even before the laser beam reaches the diode receptors. The jitter phenomenom is still not fully understood. The well informed technician could claim that the data buffer** manages the problem. However this theory is wrong as the inboard circuits are elementary and their frequency range too short. If optical, mechanical and electrical parts could all be perfect, there would be no need of electronic servo, no correction, no data buffer, no jitter.
Then every little improvement raises the quality, the servo does not have  to work so hard and, jitter is reduced.
Even the ideal D/A converter works from the input data. If the data is wrong or simply affected somehow or other, the convertor has absolutely no way « to recreate » what has been lost.

Mechanical vibrations claim to be a major drawback limitation of today CDMs. As a rule everything that moves creates vibration. One must bear in mind the minute size of  the information stored on a disc. The width of one  human hair can contain up to 50 tracks. At this scale, minute vibrations, their combined effects and their frequencies, disturb the tracking and put great demands on the servo. This limits the performance.
The speed of the disc is not constant it can be anywhere from 200 to 500 rpm). Audiomeca believe this is a big mistake of  the CD

Since 1979, Audiomeca has been designing and manufacturing High End products both for itself and for other brands. Analogue turntables and tonearms were the first products produced and these are still on the catalogue but today the main production consists of CD and DVD players.

In these "all electronics times", the digital read out mechanisms are only available from a handful of big manufacturers. This means that even the most famous High End companies have no choice and have to use cheap and common mass CDMs*. The situation is made worse by the fact that the older mechanism generations were better made so the situation is deteriorating. The usual industry objective of low costs is being maintained and this tendency means that technical simplifications and poor quality follows. As a rule, the associated electronic circuits correct the majority of the problems, however no one knows what is inside the servo and decoder chips, what they can do exactly and what their failings actually are. Besides the handful of peripheral components cannot solve this problem.
A true high quality read out system does not currently exist. Consequently, all markets including the Hi-fi market are forced to use common products.
Audiomeca's experience in mechanics applied to High Fidelity enabled it to undertake a CDM design project. In 1994 Mister René Boonen joined Audiomeca as a consultant (For 10 years Mr René Boonen worked on CDMs at Philips, he designed Philips CDM4 and CDM9. Audiomeca owes him a great debt for  his competency, patience, hard work and friendship). A large scale prototype CDM was built to