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Laurence A. Borden reviews the 2005 edition of
Combak's Harmonix Reimyo
DAP-777 20bitK2 DAC
October 10, 2005
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Specifications:
Type: 2-channel Redbook CD 16bit/44.1kHz digital-to-analog converter
D/A Converter IC: JVC 20bit K2 multibit IC (16→20 bit Convert)
Digital Filter: 20 bit 8-time Oversampling
Sampling Frequencies: 48kHz, 44.1kHz, 32kHz. Automatic Switching
Phase Inversion: 0˚-180˚ switchable on the back panel
Frequency Response: DC ~ 20kHz (±0.5dB)
Signal-to-Noise Ratio: > 117dB
Dynamic Range: > 100dB
THD: > 0.003%
Channel Separation: > 105dB (1kHz)
Digital Inputs: 1 x Coaxial (RCA), 1 x Optical (Toslink), 1 x BNC, 1 x AES (XLR)
Input Impedance: 75Ω
Analogue Outputs: 4.90 Vrms (XLR), 2.45Vrms (RCA)
Power Requirement: 117V/60Hz, 220-230V/60Hz
Power Consumption: 13.5W
Dimensions: 430(W) x 65.2(H) x 363(D)mm
Weight: 5.3kg
Standard Accessory: X-DC 1.5m AC Power Cord
MSRP: $5,195
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Manufacturer:
Combak Corporation
4-20, Ikego 2-chome, Zushi-shi,
Kanagawa 249-0003,
Tel: 046-872-1119
Fax: 046-872-1125
http://www.combak.co.jp/
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U. S. Distributor:
May Audio Marketing, Inc.
2150 Liberty Drive, Unit 7,
NIAGARA FALLS, NY
14304-4517, USA
Phone: (800)554-4517 / (716)283-4434
Fax: (716)283-6264
http://www.mayaudio.com
Email: mayaudio1@aol.com
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SO MANY DACS, SO LITTLE TIME
Over the years I have auditioned and owned a fair number of DACs and
single-box CD players. Some upsampled, others did not; some had a
tubed output, others solid state; some were moderately priced, others quite
expensive, and still others were somewhere in between. While virtually all of
them had some good (or very good) sonic properties, they invariably left me
wanting...more.
My first exposure to the Reimyo line of electronics occurred approximately
two years ago, at the Stereophile-sponsored Home Entertainment Expo.
The Reimyo room was, as others have described it, something of a refuge
from the typical over-bearing, overly-bright, hyper-detailed sound so
common at such shows. The Reimyo room was warm and soothing, and
filled with oodles of rich harmonics that brought tranquility to those who sat
and listened. I knew immediately that I wanted to learn more about the
Reimyo line.
The digital source in use was the incredible Reimyo CDP-777 CD player,
which I had the pleasure of subsequently hearing at the home of Jules
Coleman, my audio-buddy and reviewer at 6Moons. To say that I was
impressed with this player would be the understatement of the year.
Unfortunately, no matter how much I rationalized, the bottom line was that its
(approximately) $15,000 MSRP wouldn’t fit into...my bottom line. While
wallowing in disappointment a few synapses fired and I recalled having read
a glowing review by Constantine Soo, our own editor, of a Reimyo DAC
which was more modestly priced than their CD player. I quickly read some
other reviews of the Reimyo DAP-777 DAC, which concurred with
Constantine’s impressions. After a telephone call to Constantine I decided
to do something atypical for me, namely, to buy the DAP-777 sight unseen.
For the last year the DAP-777 has provided constant enjoyment, and has
impressed all who have heard it. When Reimyo announced earlier this year
that the DAP-777 had undergone a series of upgrades, I was of course
eager to try it out.
NO DAC IS AN ISLAND
I originally used the new DAP-777 as I had the older model, with a CEC
TL1x transport. Part way through the review the CEC was replaced with a
Sony CDP-707 ES, the transport section of which was heavily modified by
Alex Peychev of aplhifi. Speakers throughout the review process were the
incredible Horning Agathon Ultimates. If you haven’t had a chance to hear
this speaker, or one of Tommy Horning’s other models, I suggest you
contact Jeff Catalano of High Water Sound in New York City, the U.S.
importer, to arrange an audition. Amplification was via a Kondo Sound
Labs M77 preamp and Tube Distinctions Soul amplifier. 47 Lab’s
GainCard also saw occasional use. Equipment sat on racks from Harmonic
Resolution Systems. The digital signal was conveyed from transport to
DAC via a Stealth Audio Varidig Sextet cable. The analogue signal passed
from DAC to preamp via a Stealth Indra interconnect, from preamp to amp
via a Stealth GS-50-50 interconnect, and from amp to speaker via Stealth
MLT hybrid speaker cables. Yes, I like Stealth cables.
Listening took place in my new dedicated listening room, the dimensions of
which are 15’ x 21’ x 9’. In each corner is mounted a Mondo Trap from
RealTraps, and in the ceiling-wall interfaces are a series of SoffitTraps (also
from RealTraps). On the ceiling are hung ten Skyline Diffusors (Low Profile)
from RPG. A series of absorbent panels are positioned on the side walls at
the first reflections points, and immediately behind the listener.
WE HAVE IGNITION
Physically, the new unit is indistinguishable from the earlier model, except
that the Reimyo name (on the face plate) is a slightly different shade. Rather
than describing the arrangement of the inputs, controls and indicator lights, I
will refer you to Constantine’s earlier review (see bottom). I am pleased to
report that the unit has performed flawlessly since the day it arrived.
As Constantine described previously in the News section (see bottom), the
upgrades are as follows:
1). The PCB has been redesigned to improve signal flow.
2). The new unit employs higher-grade Harmonix tuning feet, the same ones
used on the $15,495 CDP-777 CD Player.
3). The new unit includes a newly designed, 1.5m long AC power cord as
opposed to the 1.0m version from previous production.
4). The new unit has more extensive application of Harmonix’ unique tuning
technology.
5). The weight of the unit increased from 4.7kg to 5.26kg.
It was apparent from the first listen that the newly designed unit was cut from
the same sonic cloth as the older model. All the things that I liked were still
there: the rich detail, the dynamics, and the harmonic smoothness were
present in spades. However, the upgraded unit brought some added
benefits. Most notable was a quieter background, which allowed more
detail to be heard. I should emphasize that this was not the kind of hyper-
detail that is so prevalent in audio nowadays, and which is characterized by
an emphasis of certain frequencies. Rather, with the upgraded Reimyo,
enhanced detail was heard throughout the frequency range. It never
seemed forced or contrived but simply let more of the music flow through.
An added effect of the darker background was improved microdynamics.
That is, one can more clearly discern the attack, sustain and decay of notes,
which give the sense of the music being fuller and more complete.
Moreover, the Reimyo DAP-777 does not tend to favor one part of the
spectrum at the expense of others, a property which adds to its relative
neutrality. This was especially apparent with stringed instruments, at which
the DAP-777 truly excelled. Some noteworthy examples I used in my
auditioning included Heartland. An Appalachian Anthology (Sony SK
89683), which features (amongst others) Yo-Yo Ma on cello, Edgar Meyer
on bass, Sam Bush on mandolin, Mark O’Conner on violin, and Bela Fleck
on banjo; Steve Earl’s wonderful folk renditions on Train a Comin’ (Winter
Harvest Entertainment WH 3303-2); Jorma Kaukonen’s tribute to country
music on Blue Country Heart (Sony CK 86394); and for blues, the
incomparable Big Bill Broonzy’s Trouble in Mind (Smithsonian Folkways
recordings LC 9628). In each case, instruments were reproduced with
marvelous body and harmonics, and appropriate size and weight. Each
retained its individuality, while blending beautifully with those accompanying
it.
The new DAP-777 was equally adept at reproducing brass. Noteworthy
examples include Norris Turney’s alto saxophone on Big Sweeet n Blue
(Mapleshade MS 02632), Clifford Jordan’s tenor sax on Live at Ethel’s
(MapleShade MS 56292), and the Count Basie Orchestra on 88 Basie
Street. Through the DAP-777, horns were biting yet simultaneously sweet,
largely devoid of the hard edge so commonly heard with digital recordings.
The DAP-777 reproduced human voice with remarkable clarity. On
“Brother, Can You Spare a Dime?” from Strike a Deep Chord (Justice JR
0003-2), Dr. John’s voice was husky and full, while Odetta’s was melodious
and sweet, both largely devoid of digital artifact. My friend Bill Stratton sings
baritone in the “New Life Quartet.” On “Dem Dry Bones” from the album I
Believe in Miracles, (True Light Productions http://www.soundclick.
com/bands/NewLifeQuartet ), the harmonies were reproduced with
breathtaking vividness, which enhanced the song’s spiritual message. Last
but not least was Ella. How can I possibly find words to describe Ella’s
voice on “Too Darn Hot,” “I Love Paris,” and “I’ve Got You Under My Skin,”
from The Cole Porter Songbook (Verve 821 989-2 and 821 990-2)?
Suffice it to say that through the new DAP-777, she sounded as magical as
ever I’ve heard her.
The new DAP-777 also did a marvelous job of conveying music’s dynamics
and energy. The Blues Jumpers’ “Thanks for the Boogie Ride” ( Wheels
Start Turning, Ridge Recordings) had me out of my seat and boogy-ing,
while Cream’s “Steppin’ Out”(Live Cream Volume II, Polydor UDCD 2-625)
had me bouncing all over the room playing air guitar. Glad no one was
watching.
As was true of the older model, the new DAP-777 is sufficiently revealing to
allow one to readily discern changes in other parts of the audio chain. For
example, the modded Sony had a distinctly different sonic presentation from
the CEC transport, just as various interconnects sounded different from one
another.
As I have described in detail elsewhere ("How important is soundstaging?"),
I do not put much emphasis on the soundstaging and imaging present in
most studio recordings. However, I do feel that the natural ambience
present in some live recordings adds considerably to the listening
experience. The revised DAP-777 did an excellent job of conveying this
aspect of the music in a natural, believable manner, as evidenced with Live
at Ethel’s, and Jimmy Vivino’s wonderful tribute to Mike Bloomfield and
Albert King on “Albert’s Shuffle” (Al Kooper Soul of a Man: Live,
MusicMasters D 206948). I should add in passing that the soundstage of
the revised DAC was slightly more forward than that of the earlier model. I
had no preference for one over the other.
As mentioned above, the revised DAC provided better delineation of the
notes as compared to the older model. And yet, the newer model provided
an improved sense of the music’s continuity. While this may at first blush
seem paradoxical or contradictory, I believe this speaks to the DAP-777’s
ability to capture the inherent properties of music, thereby effectively
conveying the music’s emotional content. While the earlier model excelled
at this property, the new unit is even better. In my opinion, this is the most
significant aspect of the new unit, as it makes the music sound more
analogue-like.
We have all experienced the phenomenon whereby as our systems gain
resolution, poor recordings become increasingly difficult to listen to. We
thus fall into the audiophile trap of listening to good recordings, rather than
to good music. While the DAP-77 can’t make a poor recording great - -as
the saying goes, one cannot make a silk purse from a sow’s ear - - it does
make poor recordings more enjoyable than do many other high-end
components. This is not because it blurs or sugar-coats but rather, because
it allows the essential musical elements - - those present even on poor
recordings -- to come through. I cannot overstate the significance of this
property, as I found myself listening to and enjoying a number of CDs which I
had been ignoring for years.
CONCLUDING REMARKS
Digital technology has improved considerably over the past few years, and
enthusiasts can now choose from a wide variety of CD players and DACs.
While many units are competent, there are only a few that stand out from the
crowd. The older generation Reimyo DAP-777 was, in my opinion, one of
the better DACs on the market. It captured the essential essence of the
music, portrayed it without artifice or embellishment, and provided wonderful
tonality. The new unit retains these virtues, and adds to them a greater
degree of refinement. While its list price of $5,195 is not insignificant, I
regard this DAC as one the true bargains in digital audio. I was sufficiently
impressed that I bought the review model. ‘nuff said.
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Other DAGOGO articles mentioned in this Review:
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Constantine Soo's Harmonix Reimyo DAP-777 20bitK2 DAC Review (2004)
Dagogo 2005 1st Quarter News on the latest DAP-777
Laurence A. Borden's "How Important Is Soundstaging?"
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