RHAPSODY ON AN AUDIO LIFE:

HARMONIX REIMYO PAT-777 300B power amplifier
with CAT-777 tube pre-amplifier


by Constantine Soo

January 1, 2005
Specifications:

Type: WE300B Stereo Tube Amplifier
Circuitry: Non-NFB Class-A
Tubes: 310A x 2 (or WE328A), WE300B x 2, 5R4WG x 1
Input Impedance: 100 kΩ
Input Sensitivity: 200mVrms 8Ω (at 1 Watt)
Maximum Output Power: 7W + 7W (at 8Ω)
Output Power Terminals: 2Ω/4Ω/8Ω (WBT)
Frequency Response: 10Hz ~ 20KHz
S/N Ratio: > 105dB (IHF-A Average rate), >87dB (Flat Average rate)
Remaining Noise: >0.03m Vrms (IHF-A Average rate), >0.23m Vrms (Flat Average
rate)
Cross talk: >90dB/1kHz (Average rate)
Power Consumption: 150 Watt (Maximum output at 7W)
Power Requirements: 117V or 220-230V/50, 60Hz
Construction: High quality aluminum
Dimensions: 430(W) x 191(H) x 351(D) mm, 430(W) x 255(H) x 385.5(D) mm with
cover
Weight: 55lb
Accessories: 1 x 1.5m Harmonix X-DC15S.M power cord, 1 x plastic cover, 1 x
screwdriver

MSRP: $21,995


Manufacturer:

COMBAK CORPORATION (www.combak.net)
4-20, Ikego 2-chome, Zushi-shi, Kanagawa 249-0003,
Japan Tel: 046-872-1119 Fax: 046-872-1125

U.S. Importer/Distributor:

May Audio Marketing, Inc. (www.mayaudio.com)

2150 Liberty Drive, Unit 7,
NIAGARA FALLS, NY
14304-4517, USA
Phone: (800)554-4517 / (716)283-4434
Fax: (716)283-6264

Sales Inquiries: mayaudio1@aol.com
Thanksgiving 2004 marks DAGOGO’s first anniversary.  In the
first year, DAGOGO published articles on using unique designs in
digital front end, amplification and loudspeaker, supplemented by
articles on the designers’ unique perspectives.  In addition, Dr.
Larry Borden’s thought provoking articles on audio-related
matters, including one co-authored by Dr. Chris White, offer
higher intensity in theories, and are a philosopher’s delight.

Prior to founding DAGOGO, my journey on the audiophile
boulevard amassed fateful and fortunate encounters with unique
solid-state and vacuum tube amplification designs, which in turn
fostered curiosities in loudspeaker designs.  That endeavor’s
exerting, consequential influence on me has been beyond my
anticipation.  

The first cornerstone to all that had facilitated my experience to
this stage is Peter Qvortrup of Audio Note.  Peter has such
supreme confidence in what his products can induce in music
replay, he sent me products ranging from the $4k Quest SET
monoblocks to the $20k AN-E SEC Silver loudspeakers ($30.5k
as of Jan05, per AN importer, David Cope of Triode & Co.) in the
last 3 years, enriching my spiritual experience in music listening.  
Then, the most incredible experience of all came to me in the form
of his $31k DAC 5 Special digital converter.

Enter the sandman.  The 2nd most crucial stage in my audio life
came about when Yoshi Segoshi of 47 Laboratory, despite my
newfound affinity for tubes, sent me his Flatfish CD transport,
Progression DAC and Gaincard integrated amplifier for
observation.  Solid-state via the 47 Lab creative power known as
Junji Kimura sounded so harmonious and vibrant, I was ready to
rename Kimura-san “Sandman”, or even more affectionately,
“Sandy”.  It was with this remarkable marque that I experienced
the one transport that has no peer in concept and
implementation: the 4704 PiTracer.  The transport is another
irrepressible testimonial on the brilliance and creativity of a
visionary and how far one can exert his influence over an entire
field.  Together with the AN DAC 5 Special, the 47 Lab transport
assures me of a supremely resolving digital playback that remains
unrivaled to my ears.

The ultimate transcendence took place when the ingenious
designs were assembled to form a system: PiTracer, DAC 5
Special, Loth X JI300, AN-E SEC Silver, plus an AN cable system.  
The $15k Loth X JI300 integrated 300B amplifier signifies not only
a leading-edge, unorthodox approach to a most conventional
technology in amplification, but also a concept thoroughly
executed and beautifully realized.  And in this system where top
products from philosophically differing visionaries are working
together, the sonic result was one of surprising cordiality and,
most importantly, topmost musicality.

Imagine how shocked I was, therefore, at a chance discovery of
one 300B-based amplifier, the most complex in design I’ve
encountered, possessing a level of music reproduction none had
demonstrated until this day: Mr. Kazuo Kiuchi’s PAT-777.  
Click on pictures to enlarge
OVERALL
QRT in top left
Center
Terminators in top
right
Left
Forward
Right
Conventional looking from afar, the PAT is actually extraordinarily
dandy up close, its font and top plate being a single sheet of
polished aluminum, with the side and back panel wrapped in
aluminum as well.  In terms of finish, the PAT shares the glistening
accolade of best-looking amplifier alongside the Loth X JI300 and
Linn Klimax Twin.

The Harmonix Reimyo PAT-777 is conceptualized around the
WE300B and represents an adaptation of the classic WE91
theatre amplifier design, using the WE 310A input tubes and the
WE300Bs together.  The single 5R4WG rectifier tube is Mr. Kiuchi’
s own idea, and he didn’t stop there.

Although circuit simplicity is one of the advantages offered in the
adopted WE91 design, the distance Mr. Kiuchi had gone to
implement that advantage is amazing.  In places whenever
possible, uniformly applied crimping secures connection between
cable and component.  From the sophistication of layout, the PAT
is a stellar testimony to the competence of both Combak for the
conceptualization and Kyodo Denshi in its assemblage.  All
transformers are custom built for Combak Corporation, and wired
with Harmonix Reimyo’s own cables.

A Quantum Resonance Technology transmitter near the rear
panel floods the entire interior supposedly with a specific range of
electromagnetic field, which Combak further redirects by
placements of absorptive cable terminators near the QRT device.  
A front-panel rocking power switch engages a warm-up sequence
at power on, then the power LED gradually recedes from amber
into green in less than a minute.  The process isolates the
delicate and expensive parts inside the unit from power-up surges
supposedly, preserving the well-being of the components, as well
as the value of the unit.  Though a 7 Wpc amp, the PAT sports 2,
4 and 8 ohm terminals, designed to accommodate banana and
large spade plugs at the same time, as in driving Combak’s own
Bravo! minimonitors with the B-Bass.

There is a little beautifully engraved plate to the lower right of the
Reimyo PAT-777’s front plate, which says, “WE 300 B Original
Vacuum Tube”.  Despite what it seems to imply, the PAT does not
come with a pair of the WE 300B tubes manufactured half a
century ago.  Instead, the plate signifies the tube that the amplifier
was designed with.  On this, Kazuo Kiuchi, Managing Director of
Combak Corporation, has the following to offer:

“Combak Corporation used the original WE 300B NOS’ as
reference in the design of the PAT-777, and is not in a position to
offer the original WE 300B NOS to the public.  Some customers
say the original WE 300B sounds better, while some say that the
KR300B sounds better than even the original WE 300B NOS, and
vis-à-vis.  I think it depends on the individual's preference for the
sound.  For the record, when we first designed the PAT-777, we
chose both the original and current WE300B’s, because in our
tests of many 300B’s currently available on the market, including
those from KR and Sophia, we found the current Western Electric
edition to sound well balanced and natural, with better
harmonic details.

The WE 300B NOS is a collector-type item, and since it can hardly
be found, we think there is no sense in using discontinued and
unavailable tubes, regardless of brand.  One reviewer
communicated his disappointment that the PAT-777 does not
come with an original NOS tube.  I am sure that the PAT-777’s not
using a discontinued tube is not an issue for most music lovers.

To me, the most important thing to do is to make the best
sounding tube amplifier with existence tubes on the market;
selection of good tube is necessarily important but not the
ultimate factor in a design at all as you know.”


Reviewing the PAT would’ve been substantially less rewarding
had I not the experience with the other amplifiers that preceded
the Combak.  Oftentimes, it takes a different viewpoint or
experience to better appreciate matters that are close to us.  
Driving an expensive car may be exhilarating and flamboyant; but
one will soon lose perspective of the privilege if it is the only car
he or she will ever get to drive.  The audio hobby is no exception.  
I would not have seen the light so radiantly rupturing from within
an ingeniously conceived and created products had I not more
than one of its kind for comparison.

In the 2-month, transitory period after the 2003 San Francisco
Stereophile Show, I auditioned Audio Note’s $20k AN-E SEC Silver
loudspeaker as driven by the company’s own $35k M8
preamplifier and $16,750 Conquest Silver Signature monoblocks,
via a generous arrangement by then-importer, Ray Lombardi.  
The experience etched such unsurpassed musical impression into
my mind, I had been carrying the deeply imbedded memories of
an immaculate sound of the AN ever since, then I happened upon
the Harmonix Reimyo PAT-777 300B power amplifier at CES
2004.  If “tubiness” was a measurable criterion that many
audiophiles have so adamantly preferred, the PAT would get
some of the lowest “tubiness” ratings ever among SETs.  

In the immediately following months of an in-home audition, shock
was the feeling that had transpired throughout every session of
music-listening via the Combak amplifier.  Aside from the shock on
my sensibility, my own heartbeat was just about the only other
thing I could feel above my toes when the Combak was playing
music in my system.  I found the PAT to be able to sustain such
an unprecedented level of refined implementation, that oftentimes
an extended listening session would ensue and leave me
bewildered in the end, only half-consciously self-examining,
wondering whether it was the music, or the sound’s reenactment
process that had so released my mind.  

After rotating the AN-E SEC Silver loudspeakers with amplifiers in
my household that are top models in their own right, such as the
$15k Loth X JI300, the $9k Linn Klimax Twin, and the $7k 47 Lab
Gaincard S, the Combak emerged as the one amplifier with the
most consummate suite of sonic attributes.
In reproducing Evgeny Kissin’s piano playing (RCA Red Seal 09026-63535-2
Chopin 24 Preludes/Sonata No. 2, Polonaise, Op. 53, EVGENY KISSIN),
the 7 Wpc PAT-777 empowered the $20k silver-wired AN-SEC Silver speakers
into producing a sound more than just rich in content and tonal
sophistication.  There was an enormous reservoir of constantly refined energy
simmered in agile dynamics that rendered music anew in every playback.  I
reckon it was a sound as never before heard from a 300B design.
Via the 95dB AN speaker, the PAT also consistently generated the most
consummate spectral refinement across the board, with consistent and
unimpeded flow of tonal vibrancy in recreating the vocal of Carmen Lundy in “’
Round Midnight” (JVCXR-0001 JVC XRCD Sampler, track 5).  

Via the PAT-777, Dame Lundy’s iteration had a most voluptuous sensuality
for the first time with a 300B design, so compelling in its swiftness in the
The Combak/Tannoy was also surprisingly robust in portrayals of some of the
grandest symphonies of all.  In a reenactment of Mahler’s Eighth Symphony
(EMI CDS 7476258), the orchestra had immense tonal body without depriving
the Choirs’ intrinsic delicacy and sophistication.  The proliferation of micro and
macro dynamics as provided by the 300B amplifier revealed the composer’s
deep personal feelings towards the work, and offered a most reassuring
insight into the mental world Mahler traversed in.
Contrasting the EMI disc’s immensity in musical scale, where there was a rich,
aerial sensation in the Combak/Tannoy system’s haunting portrayal of the 3-
stringed shamisen in the JVC XRCD Ondekoza (SVCD-1027).  The Japanese
flute attained a rare liquidity and a mesmerizing, permeating opulence, which
was ever so startlingly precious once the huge taiko started to rumble in the
background.  And this was the most spectrally extended 300B SET I’ve
experienced.
CAT-777 (specs & pictures at bottom of review)

Prior to 2004, Mr. Kiuchi employed preamplifiers of different
manufactures in his cross-nation promotional tour of the Reimyo
CD player and power amplifier.  Hence emerged the clear
inevitability for Mr. Kiuchi to create a preamplifier of his own
design to complete his product line, if not also to provide
assurance in the crucial stage of pre-amplification, which would be
consistent to his design philosophy.  Thus born the Harmonix
Reimyo CAT-777.

Beneath the CAT-777 preamplifier’s brushed aluminum chassis is
a densely packed interior of unusual multitude and orderliness,
matched only by the PAT.  A single AC mains provides power to
the demonstration-class, symmetrical layout of parts and wiring.  
There are six tubes inside the sealed aluminum chassis, an
enclosure with heat dissipating properties that Combak claims to
be adequate.  A soft-start process powers up the unit gradually,
and the power indicator turns from amber upon initial power-on to
green after a minute’s warm-up.

On the sleek faceplate’s far right, a large, oversized, super-
smooth volume control bonds the machine and its master, and
smaller, left and right “Input Level” knobs preside above a row of
four input selector buttons at the center.  Rear panel provides no
less than 3 pairs of RCA outputs neatly situated with the left
outputs to the left, and the right ones to the right.  Mr. Kiuchi
clearly have tri-amping users in mind when designing the preamp,
as a single pair of output would have sufficed when used with his
PAT-777 in driving the Bravo! minimonitors.  Four pairs of RCA
inputs sit atop the outputs.

When comparing the CAT to Audio Note’s $10k M5, I got the
feeling that Mr. Kiuchi designed his CAT so it would not only
impart the least electronic artifacts into the feeble signal, it would
also serve as a mediator in bridging signals between any non-
CDP-777 sources and his crowning achievement, the PAT-777.  
Because the resultant sound at the speakers was not one of
alluring, flamboyant disposition, but of an persuasive mitigation of
it, the CAT/PAT system proceeded to painting soundscapes with
an impartiality that was at once rare in a tube preamp, and yet not
devoid of drama in portraying soloists or ensembles.  

The Reimyo preamplifier’s consistent ability of transferring
resolution resolved by the upstream, Audio Note DAC 5 Special,
was priceless, inducing the Audio Note AN-E SEC Silver
loudspeakers into voicing the most beautiful and therapeutic
sound in my system.  It exerted a most positive influence on my
enjoyment of music in its user-definable tailoring of dynamics of
music in utter concordance with amplifiers and loudspeakers
used.  

Its Input Level control allowed me to fine-tune the interaction
between the 47 Lab PiTracer-driven Audio Note DAC 5 Special
and the ever-changing power amplifier/loudspeaker interface, and
persisted in an unrivaled level of pristine tonality and dynamic
clarity regardless of the ever-changing and varying settings of the
input in relation to the outputting volume.  The
function also permitted the retention of resolution, maximizing
dynamics in its coupling to different speakers.

In a system consisted of Reimyo’s own PAT-777 300B power
amplifier and Audio Note’s top-of-the-line AN-E SEC Silver
loudspeakers, music was infused with exciting dynamics and
energy with the Reimyo preamp’s Input Level set at 10:30.  In
relation to the Input Level, the large-dial Volume was rotated at
settings between 9 and 11, dependent on the level of the disc’s
output and my preference.  Only during midnight listening had I
turned the Volume to around 9 o’clock; and during other times I
would turn down the Input Level to soften the sound a bit for what
I thought was more enjoyable.  

Certain classical tracks benefited from a higher input level,
bringing about colossal improvement in the reenactment of
realism, while some sounded more appropriate with a more
subdued sonic flavoring at the lower input.

I don’t suppose Mr. Kiuchi would contemplate incorporating a
miniature CAT to his DAP…


I lived with the CAT/PAT through a good part of 2004, and the
Combak system reigned supreme with this alluring impartiality in a
household with various solid-state and 300B amplifiers.

As all of us developed an inadvertent preference in sound with
the passages of auditioning and time, so I would be remiss if I
hadn’t also come to a preconceived notion on “my own sound”.  
And there the M5 was at my side.

The PAT represents an open opportunity to indulge into differing
choices of pre-amplifier available at my household, including the
$10k Audio Note M5.  Although suiting up the 300B PAT-777 with
the Kyodo Denshi-constructed CAT preamplifier means listening
to music the Combak way, subject to scrutiny is the extent to
which the preamplifier satisfies 300B advocates and critics alike in
a field of countless contenders.  Undoubtedly, opinion on whether
or not the CAT makes for a platform for the PAT to sound its best
is subjective.

The M5-flanked Harmonix Reimyo PAT-777 emerged as
possessing more levels in dynamic contrasting when driving either
the AN-E SEC Silver or the Churchill Wideband, and its high
output levels enabled solid-state and tube amplifiers alike in
maximizing their potentials when driving various loudspeakers.  
Perhaps it is noteworthy that, with the M5, Linn’s $9k Klimax Twin
was also given a signal robust enough to make the 84dB/4 Ohm
Apogee Duetta Signature and the 82dB/8 Ohm Celestion SL700
flex their respective muscles.  

Representative of the Audio Note method, the M5 pursued more
diverse tonal shading, imparting stronger impressions of distinct
intonation.  If there is one aspect of the M5 that is more enticing
than the CAT, it is the increased dynamic contrasting, by way of
the multiplicity of transformers inside the M5.  This is one aspect
of Audio Note’s design that I personally consider as consistently
inviting.
SUMMARY

The Harmonix name is known for its passive acoustic and
equipment tuning products, and the Reimyo series of electronics
represents Mr. Kiuchi’s incursion into active sound reproduction.  
The PAT is priced unmistakably as the marque’s premium
product, and the fact that its MSRP surpasses that of the
acclaimed CDP-777 Extended K2 CD Player reflects its priority in
Mr. Kiuchi’s mind.  Yet, it is not a niche product.  

When driving speakers with complimentary efficiency, such as the
95dB/8 Ohms Audio Note AN-E SEC Silver loudspeakers, or the
similarly efficient Tannoy Churchill Wideband, the Harmonix
Reimyo PAT-777 was dynamically superb, spatially expansive, its
meticulous tonality endowing instruments with subtle but realistic
textures, empowering a most mesmerizing presence.  

But just as the AN-E SEC Silver is able to delineate the minutest
shift of tonality from upstream equipment changes, the PAT-777 is
also an unusually sensitive embodiment of Mr. Kiuchi’s
sensibilities that can easily be made to sound less lively in a
system mismatch.

For many SET users among us, I reckon that the sound of the
Harmonix Reimyo amplification represents an impasse in our
quest for beautiful music, because for what we’ve come to
appreciate and expect what a typical 300B-based designs can
normally do, this Combak SET, in its uniquely responsive
transients and unprecedented dynamics, is the least colored
throughout the spectrum in service of the music, and not given in
to reckless gratification.


The more I experimented with equipment during my reviewing
process in the past 4 years, the more I felt the necessity of not
indulging completely in either solid-state or tube system.  As
amplification determines the sonic characteristics of my system, I’
ve migrated between purely solid-state and vacuum tube
amplification for the past decade or so.  Frankly, many machines
from both types of design create uneasiness on my part during
listening, and neither could bring about a level of satisfaction until
some are cross-bred in my system.  To date, the Harmonix
Reimyo PAT-777 is the power amplifier bringing about the most
involving and resolving sound in my system.

Understanding how the dollar-per-watt value standard devalues a
7 Wpc amplifier, and how a good number of audiophiles simply
won’t be able to forgive themselves for spending $7,100 on a 50
Wpc amplifier, much less a $22k one for a stingy 7 Wpc, the
appeal of the $22k Harmonix Reimyo PAT-777 is understandably
reserved for readers believing in the merits of high-efficiency
speakers, such as the Audio Note AN-E SEC Silver and the
Tannoy Churchill Wideband, which are designed to accommodate
low output SET’s.  In the case of the Audio Note speakers, the
PAT-777 experience evokes that of the Audio Note Conquest
Silver Signature as driven by the M8, conceding in a less robust
output capability.

Nonetheless, for the financially capable high-efficiency speaker
aficionados, the $22k Harmonix Reimyo PAT-777’s commandment
of an unusually broad sonic attributes, implemented with an
unheard of level of refinement, ought to make it the one amplifier
to savor.  

In this context, Mr. Kiuchi’s Combak Harmonix Reimyo PAT-777 is
the finest SET I’ve used.
CAT-777 tube pre-amplifier

Specifications:

Type: Vacuum Tube Control Amplifier
Circuitry: NON-NFB. Complete Discrete Construction.
Tubes:
Output: 12AU7 x 2   12BH7A x 2
Rectify: 6x4WA x 2
Channel: 2-Channel Stereo (Discrete L-Channel/R-Channel)
Input Terminals: 4-Input, RCA Terminal (Phono/CD/Tuner/Line)
(* Phono terminal is Flat same as other three. No RIAA circuit built-in)
Output Terminals: 3 RCA Terminals
Input Level Control: Individual L/R volume Control
Main Level Control: L/R volume Control
Power Indicator: Switch On to Red (Muting) gradually change to Green to Ready (Time
interval 40-Sec)
Gain: 17dB (Volume Max)
Fix Input Level:
Input: 0.2Vrms
Output: 0.5Vrms (Main Volume Max)
Frequency Response: 5Hz - 100kHz
Noise Level: -84dBm/48.9uVrms (IHF-A)
Cross talk:
Better than 100dB (1 kHz)
Better than 90dB (20 kHz)
Body Construction: All High Quality Aluminum (Front Chassis: 10mm/ Body Chassis:
5mm)
Power Consumption: 45W
Power Requirements: AC 117V or 220-230V, 50/60Hz
Whole Unit Size: 430(W) x 139.5(H) x 411(D) mm (Include feet, screw)
Weight: 30 lb.
Accessory: Not included (AC Power Cord not included)
We suggest Harmonix X-DC Studio Master Power Cord.

MSRP = $13,995
interior
left
forward
rear panel
Associated Equipment:

Digital Front End

47 Laboratory 4704 PiTracer CD transport
47 Laboratory 4705-G Gemini Progression DAC
Audio Note DAC One 1.1x Signature
Audio Note DAC 5 Special
GW Labs DSP
Sony SCD-777ES SACD/CD player

Amplification

47 Laboratory 4706 dual mono Gaincard S with DACT24 & Cardas posts
Audion Silver Night PSE 300B monoblocks
Decware SE84C
Harmonix Reimyo CAT-777 preamplifier
Harmonix Reimyo PAT-777 300B stereo amplifier
Linn Klimax Twin
Loth X JI300 integrated amplifier
Reference Line Preeminence Two passive preamplifier
Reference Line Preeminence One Signature power amplifier]
Z-systems RDP-1 Reference Digital Preamplifier

Speakers

47 Laboraotory 4722 Lens minimonitors
Apogee Duetta Signature
Audio Note AN-E SEC Signature
Audio Note AN-E SEC Silver
Celestion SL700
ELAC CL330JET
Genesis VI
Loth-X BS1
Murata ES103a/ES105 spherical super tweeter
Rethm 2nd
Tannoy Churchill Wideband
Tannoy Dimension TD10
Tannoy ST-200 SuperTweeter

Cabling

Audio Note Sogon digital cable (1m, RCA)
Audio Note Sogon interconnect (2m pair, RCA)
Audio Note AN-Vx interconnect (1.5m, RCA)
Audio Note Sogon LX speaker cable (5 feet, spade/banana, bi-wired)
Audio Note AN-V silver interconnect (RCA 1m, 2 pairs)
Audio Note AN-SPx speaker cable (2m, bananas, bi-wired)
Audio Note AN-La copper speaker cable (8 feet, bi-wired)
Audio Note Sogon speaker cable (5 feet, bi-wired)
Canare L-5CFB 75-ohm digital cable (RCA, 1.5m)
Canare D206 110 ohm digital cable (AES/EBU, 1.5m)
Cardas Quadlink 5C (8 feet)
Granite Audio #470 silver cables (RCA 1m, 2 pairs)
Granite Audio #560 AC Mains (2)
Harmonix Reimyo Studio Master AC cord (2)
Illuminations D-60 75 Ohm digital cable (1.5m, RCA)
Loth X
Van den Hul MCD-352 (8 feet)

Accessories

Harmonix Reimyo ALS-777 line conditioner
Salamander Synergy 20 (2), Twin 30 and Amp Stand, ASC Tube Traps and Flat
Traps
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mid to higher registers, as to dominate the duration of the track amidst reverberations that lingered
between singings.  The Combak/Audio Note’s rich and articulate spectral reproduction imparted
highly differentiating and localized impression of voice versus instruments as well, culminating into a
judicious spaciousness of discrete imaging, communicating a sound that was preciously lukewarm
and intimate throughout.  The Harmonix Reimyo was the most refined 300B design I’ve encountered.

The intimacy factor was intensified further when the Tannoy’s 15-inch Dual-Concentric™
substituted the Audio Note 2-way speakers in enforcing the day.

From the same XRCD, in Hiroko’s “Once And Forever” from the same XRCD, the 300B Reimyo also
revealed through the Tannoy a suite of rich tones on the trio of piano, guitar and flute that was the
most definitive and differentiated to date, and was utterly conducive in fostering immaculate
imaging.  Yet, with the Dual-Concentric™ Tannoy, Hiroko’s voice amidst her expressive keyboard
narratives was captured as moments of tacit insistence and soft lamentation, alongside aerial,
bountiful offering of mesmerizing chimes and triangles.

Don’t miss Misha’s “Through The Rain” from the same XRCD. The rhythmic and inquisitive piano
melodies of Misha procured such a sense of tranquility with the live rain in the background, you’d
want to play the track before sleeping every night.