ACCUPHASE DP-800, DC-801, C-2410 AND M-6000

AS IT SHOULD BE….
It has cost me some trouble and effort, but with a lot of pride I want to inform you that for the firstin a long time Music Emotion has been given the opportunity to discuss a number of products of
the legendary make Accuphase in this one and only Dutch technical magazine. They all are,apart from the amplifier, only top models of which the M-6000 monoblocs are truly a ‘first’. Overthe years I have become accustomed to a lot of things, but the efforts which this Japanesemanufacturer has made to put such a range of top products on the market is really magnificent

and asks for much respect. For the first time in my career I had in front of me a set which could
not be criticized, constructively, mechanically or electronically. Perfection really exists!
After this extremely positive introduction one would expect to read an article full of superlatives inwhich everything will be praised sky-high, and where I as reviewer at the end of the testing period
am hardly able to stop drooling over this equipment To be fair, as a professional critic, one needs
to stand firm in one’s shoes and be sober when viewing so much perfection, which enormously
increases the acoustic expectation. I am under great pressure, for Accuphase is a legendary
brand, and sells very well in high-class circles in spite of the recession. It has a solid worldwide
reputation. Hence – completely faultless – or not???
The starting point
Before I started this review I thought very deeply about how to handle these products and theanswer is in fact very simple, i.e. just the same as I treat any other product. I only realized what it
was that I had taken on when the importer, music lover and musician to the core, Paul Hattink,
dropped off the products to be tested at my home on a beautiful summer’s day!
Paul uses a heavy-duty stationwagon of a well-known French make and that car was full of boxes
which contained only one stereo/audio set! When offloading we made use of a heavy-duty
trolley, and the large cartons were transported one by one to the back of my house. By the way,
the four internal, detachable and reusable man-made fibre handles on each box of the M-6000
mono end amplifiers are truly ingenious. It is impossible to lose the top of the box when tilting it,
which makes carrying it a lot safer and more pleasant. It would have been good if moremanufacturers had come up with this idea! It was literally a feast to unpack the product – i.e. thebeautifully polished, glossy solid wood upper panels of the DP-800 transport and DC-801
converter, the clear lay-out and excellent quality of the connectors of the C-2410 front amplifier
and the almost intimidating perfection, solidity and mass of the M-6000 mono power amplifiers.
The total set, which weighed nearly 200 kgs, then needed to be moved to my subterranean audio
studio, which became, due to the high temperature outside, quite a sweaty operation, and both ofus were soon completely soaked!
Well, one needs to make sacrifices in order to be allowed to work with weighty high-end products!
My very reliable Finite Elemente Pagode Master Reference HD-12 had to be completely removed
and of the six platforms only one remained free. Just enough space to place the matching
Accuphase tuner? After all the heavy labour the less stressful part could begin, namely thejoining of the connections. The manmade fibre protectors (which keep the connectors dustfree
when not in use) were removed and what appeared was of very sound quality. Heavy duty parts,
spaciously arranged, network plugs never crossing with signal cables, all of it grouped neatly andorderly. The imposing loudspeaker connections of the M-6000 monoblocs especially deserve to
be mentioned. These are without exaggerating of such dimensions that even a thick tube of thecentral heating could go in easily! The spades of my Nirvana SX loudspeaker cables seemed allof a sudden miniature parts from Madurodam. The enormous grip of these large buttons wastruly fantastic, cannot get loose and are a pleasure to use.

C-2410 pre-amplifier
The adjustment centre for each installation and one of the most important sound-defining parts ina set is the front amplifier. The C-2410 is large and robust (20 kgs) but also of a smart
appearance because of the well-chosen dimensions. The front looks nice, simple and neat withvery solid turning knobs on the left and right for respectively choice of source and volume
adjustment. The last one has been fitted with an AAVA volume adjustment (Accuphase Analog
Vari-gain Amplifier), an advanced circuit which works without resistance and phase movements.
There is also an on/off switch, loudness (!), mute and a full head telephone exit. A number of lessused knobs and dials are hidden behind a wide and neat moveable cover at the front, i.e. tone
regulator, exit choice regulator, phase regulator, installation of the phonotrap, exit amplifier,balance, mono, etc. The top cover has a matt grey finish, whilst the sides are of beautifully
polished wood. The top-of-the-line front amplifier C-2810 has only polished wood top and sides.
At the back the lay-out is beautifully clear with high quality connections whereof a good number
are balanced. When opening the inside. one seems to be looking under the bonnet of a very
expensive car. All building groups have been strikingly neatly hidden, all is built up in a veryorderly way with very short signalroutes and the whole inside is arranged to the same perfection
as on the outside. The separate trafo’s for the left- and right channels are visible, as well as acompletely modular construction inclusive of a very nice (optional) phonotrap. It goes without
saying that the whole system can be operated by remote control.

DP-800 (sa)cd-transport and DC-801 converter
Keeping in mind that the C-2410 pre-amplifier ranks just below the top model C-2810, it isimmediately obvious that the DP-800 transport as well as the DC-801 converter are truly ‘state-ofthe-art’. In short, this is the most solid and impressive digital combo I have seen until now. Let’s
first have some basic information: The very solid home-made transport weighs just under 30(!)
kgs. The loose converter weighs 22 kgs. It takes cd’s as well as sacd’s and a special feature isthat, like my own North Star Design combination, the Accupahse optimal digital connection also
runs via a Hi-speed link based on the well-known standard RJ-45 (network computer connector
cable). The highest sampling frequency of 24 bit / 192 KHz is only available when using this HiSpeed connection. Optic, balanced and coaxial it goes as far as 24 bit / 96 KHz. No expense or
trouble have been spared to achieve the best result possible and many new techniques havebeen integrated. The DC-801 converter makes use of no less than eight(!) parallel Delta Sigma
D/A-inverters to obtain ultimate accuracy. Like in so many top products, much trouble has beentaken to get the lowest possible jitter values; analogue and digital circuits have as much as
possible been kept separate in the solid housing, whilst the most sensitive signal parts have been
put on Teflon printplates and apart from all used technique, much attention was given tomechanical behaviour, resulting in the suppression of inferfering vibrations.

M-6000 mono end amplifier
The appearance of the M-6000 monoblocs are ultimately taking the visual cake of the whole set!
These enormous mastodons have been very successfully shaped and are executed with abeautiful proportion between compactness and mass. When lifting the monoblocs (38 kgs each)
it is very pleasant to find out that the massive and handsomely hidden ringcore trafo of 900 V/A isin its entirety centrally placed in its housing, which results in a beautiful distribution of weightshould it have to be moved. Also the well-shaped grips on the front and back allow for a swift
and precise placement on platform or audio rack. Immediately clearly recognizable are thegigantic adjustable analogue exit meters, which can, incidentally, also be switched off. This
immediately emanates the so familiar Accuphase solidity. The housing and cooler ribs have been
nicely sprayed, next to the well-known ‘champagne gold’ front, with a sort of black Nextel varnish.
This is a slightly rougher type varnish, which produces a very becoming and chic result of theseproducts and even the thickly rounded cooler ribs have been given a layer of Nextel. Impressive
for someone with an eye for detail is that even the vertical cooler ribs have been fitted with an
extra horizontal metal profile.
This is not only useful to get rid of the last remnants ofresonance, but particularly handy to lift the apparatus or to manipulate it accurately into the audio
rack. In one M-6000 monobloc 16 push-pull MOS-FET’s power switches will allow for an outlet
capacity of 150 Watt to 8 ohm, 300 Watt to 4 ohm, 600 Wat to 2 ohm and an impressive 1200(!)
Watt (music signal) to 1 ohm. This provides unconditional stability and gives the capability foradjusting and fine-tuning of just about any available loudspeaker. Should you be of the opinion
that this is not yet sufficient, then it is possible to join these mono end amplifiers in tandem, todouble the value!
All printplates have been manufactured from Teflon to give a constant dielectric and minimal loss,
and the amplifiers are just like the above-mentioned products built up in a completely balanced
way.
Use and listen

According to importer Paul Hattink, who lent an important hand in mounting the equipment, a long
warming-up period was not necessary and playing at the highest level should be possible soonafter switching on. Before I start to discuss the proper use, first some information about thecables. During almost the whole period of testing the set was connected in a balanced way with
Nirvana SL cables, which energy-technically match very well. Only towards the end nonbalanced Siltech Signature Forbes Lake generation 5 cables were used as a comparison
between the DAC and front amplifier.
Netcables are Nirvana PC and Essential Audiotools
specimen and loudspeakercables Nirvana SX.
We used the excellent Master Contemporary C loudspeakers. After a warming-up period of only
5 minutes, even Paul, who is very well acquainted with his equipment, was literally dumbfoundedby the impressive quality of the sound. After a long first listening session which we had enjoyed
together the previous day, it was now time for me to give my own impressions. The firstobservable thing is the easy use of the Accuphase components. All switches, knobs, andconnections are doing their work independently and are flexible to such an extent that I am
positive they will still be doing their thankful work in 20 years’ time. No buzz or noise is heard
and this situation continued throughout the whole of the review period. However, the mostimportant issue was the ultimate sound reproduction and judging from the reactions of a few
acquaintances who are familiar with the Accuphase ‘sound’, this is the hallmark of Accuphaseequipment.
First of all – what it is not. It does not resemble the reproduction of my own single ended Unison
Research amplifier, i.e. air, 3D stage, transparency, timing, speed emotion, etc. but those are
qualities which I have seldom heard from any transistor design. So – what does it do? A largepart of the above-mentioned properties and complemented by a gigantic authority and ease,which are a hallmark for the very relaxed reproduction. No piece of music is too complex, nodynamic skip too big. Each time again a beneficent, completely convincing eloquence. It gives
one the feeling to be driving in a Rolls Royce. Life is being enjoyed in civilized and easy luxury.
Another aspect which is commendable is stability and reproduction. Everything is in its place andno changes are noticeable, no matter the volume. A point of interest is that although the powerof the M-6000 monoblocs is noticeable when checking the strength and control of the sound, they
are not like so many American designs, overpowering.

The music I played was from centipede Paul Hattink, because I particularly enjoy listening to it.
The sound of his Album Stonehenge 5 – Hatfield’s End (2005-001) and Concierto de Stonehenge

(STS611187) in its new outfit sounded majestically, very exciting and intensive. The many
dynamic skips, capacities and particularly beautiful tunes are reproduced in such a way that themusic is experienced in a completely different manner. The sub-layer is truly profound, powerful
and beautifully elaborate and the most subtle effects are not subjugated. On the contrary,
because even the sounds of the analogue Juno synthesizer of Roland which was used, as well as
the effect instruments of other makes, may be faultlessly analysed. Maybe the most interesting
part of this set is the DP800 / DC0801 (sa)cd-combination. Truly extremely stable and beautifully
built. I have a lot of respect for engineers who possess so much eye for detail and perfection.
There is the valve which runs almost silently and can only just be heard in a completely quiet
room. The player is also fast and without sound, although even Accuphase has not yet beensuccessful in ‘reading’ a sadc as fast as for example a Philips CDM2-Pro player is able tomanage this with a cd.
Would this in fact be a technical possibility?
However, it is still
sufficiently fast. The only real disadvantage is the small text display. Sitting in my listening chairat a distance of 4 meters, I am not able or just not able to read the track number. But when thesound begins, the pleasure starts and Accuphase engages with gusto in the battle with the
Esoteric P-03 and D-03 combination, which is exactly of the same price. Also as far as weight isconcerned there is not much difference. For maximum objectivity I first removed both players
from the complete Accuphase set hierarchy and connected them to my high-resolve andsimultaneously running Unison Research amplifier. As far as tone is concerned, both players areof the same direction, i.e. a lot of pressure, authority and design in the sublayer, layer and theoften problematic low-medium reach. The middle territory has an organic high-solution capacity
and a textural high. There is a marked difference between the cd and sacd. Where on the
Esoteric the sacd gives a clearly better achievement than the cd, with the Accuphase the sound isabout the same! It is difficult to indicate which is better, as I am unable to recollect how it shouldbe. It is of course wonderful that theoretically sacd sounds better on the Esoteric than the cd
layer, but on the other hand it is great that the Accuphase is able to get so much from the cd thatthe sacd does not add much. And the goodness is that I still have more cd’s than sacd’s!
Besides – the differences in sound between the two are more in the outline of the whole. Where
years ago I felt that the older generation Esoteric players were inclined towards the rather clinicaland analytical, it is felt that the P-03 and D-03 combination is more organic, rich and qua timbre
almost tuned to a soft and relaxed direction.
The Accuphase combi has a tighter outline qua
contour and follows, I feel, a more neutral direction as far as pitch is concerned. The choice forone or the other depends as always on the combination of acoustics and the rest of the chain.
Both are absolutely top performers. In total it has taken weeks of intensive listening to music
played on the complete Accuphase set. It is remarkable that I have listened much to the music
and interpretation and have paid less attention than usual to the technical aspects. The
appliances were visually very much present, but because it functions all so beautifully, one feels
pride in owning this set which is absolutely 100% without problems qua handling and functioning.
To be very honest, I must confess that it is one of the few high-end combinations which haveappeared over the past years which have done their work so completely without difficulty during
the test period. No cd has been refused, no relay got stuck, no crackling, tapping or humming
was heard, and even with the volume turned up high, no switch tripped. In short, all its functions
were fulfilled with charisma! Of course that is extremely positive for the Accuphase make;however, it should be considered by the whole of the audio industry, as I am of the opinion that
equipment in this price range should be without fault, which unfortunately is not often the case.

Conclusion
Only three words have settled in my head during the test period and these are “perfection without
problems”. Because that is just why Accuphase stands out above the competition. This
Japanese company has worked for many years with dedication and without any exaggeration ormarketing hypes on products which are rather an evolution than a revolution. Each new series of
products is only marketed if the sound is indeed better than the previous one, whilst sticking to its
own identity and sound properties. According to Accuphase, they do not look at or listen to othermakes and continue to sail a stable direction. With complete honesty I can say that in this caseI will make an exception and will give this very precious and costly set an excellent price/quality
ratio. Why? Because I cannot find any fault and the sound reproduction is absolutely first class.
Text:
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Translated byDistribution
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Werner Ero
Werner Ero and Accuphase
Coby Maida e-mail: maidajacoba@yahoo.com
Hi.Fine Benelux
info@hifine.nl
www.hifine.nl
Music & Emotion