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COMBAK REIMYO DAP-999EX TOKU-S

The art of playing
compact discs

Over the years it has often happened to me to write, and perhaps someone has
also read about it, about a personal predilection for solid music. With this I do
not deny, on the contrary, a now mature coexistence with the world of liquids. It's
just that I'm not a fanatic of anything, and I think everything can have a raisond'etre. As long as the quality of what you hear is at least worthy of being considered highSome like to divide the world between analog and digital, between tubes andsolid state, between compact discs and high resolution files . By compilingrankings of absolute quality for each of these specialties.
Well, things are, as usual in life and especially for our

And audiophile world, a little different than we would like,
simplistically, to be ro. If there is one thing that has
haunted me in recent years, a term chosen with care andattention, it has been to note the many different paths throughwhich we arrive at a satisfying, credible, exciting listening.
What do I mean by this? That music fulfills its task when welisten to it in a physiologically correct way. For each of us.
At the limit touching the so-called my-fi. As long as you canfirst nourish and then deepen your knowledge of all the music of

32 March-April 2022

quality, almost everything is legal. Naturally, almost everything
must be understood in a very small neighborhood of the limit
constituted by that neutrality, transparency, correctness
without which one is outside the very concept of high fidelity.
Hence, in this area there are many proposals, all the same
but all different for those who know how to listen, the audio
industry and music formats.
So you understand why Tizio likes the 2a3 tube and Gaius
needs a thousand watts, Sempronio likes creaking vinyl andMariello listens only on Wi-Fi. This is why everything has aclear reason for existing and it is nice, for a curious magazine
like ours, to investigate the questionable.

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COMBAK REIMYO DAP-999EX TOKU-S

The compact disc, or music at 44.1 kHz

The art of knowing how to "please"

When, in 1981 or thereabouts, we began to talk seriously, commercially,of compact discs, the tones were those triumphant ones of those who
had created something objectively crazy for the time. In fact, in aworld accustomed to listening to music scraping plastic with a nail(don't say I don't know how to be raw sometimes), the concept of alaser beam plumbing sequences of points in a spiral as wide as abunch of human hair. at first something more related to science fiction
than to music appeared.

In life you can chase the absolute in every sphere and condemn
yourself to the eternal, uncertain search for the sublime. It's a noble
way of setting up your own existence, but it can be a nightmare if you
don't succeed. Or it is possible to establish, for each of the things that
we consider fundamental as a corollary of existence, a minimum thatcan be insinuated. Or you can opt for a mix of good things and others
less, weighing the relative benefits expected from one and the other option.
In the case of the writer, liquid music has been invited to my listening
room several times since 2005. But initially she did not behave very
well. Continuous problems of configuration, very simple for anyone
able to tinker with a computer, became insurmountable for a functional
illiterate like the one below. Hence the consequent, continuous, imper
territa, compulsive search for physical support. Hence piles of compact
discs kept in absolute disorder, not only without taking into account atleast an alphabetical list but, often, with discs and cases reversed.
Despite this, the increasingly sophisticated array of reading mechanics,
among which an astonishing Kalista Signature has been praising foryears, served my distrust of the liquid side of music admirably.

And it could not be otherwise for a product designed by the best
electronic engineers on the planet. Except that the sound of that
accursed huddle did not excite. It works fine, even surprising, but it
didn't sound right.
And it could not be otherwise for a product designed by the best
electronic engineers on the planet left, however, probably, to work
alone, without passionate music lovers.

... there is everything, andeverything at the same time, evenwhat should almost be antithetical.

Then, over the last ten years, excellence has risen to legend with very
sophisticated electronics and, above all, with the availability via the
network of record works released in high quality but at dizzying
frequencies. In my little world, the com pact disc has satisfied an
unbridled, compulsive, desire for musical knowledge and they have
piled up by the thousands. Some of them remind me of key events in
my life, how can I ever get rid of them?

But not only. Continuous listening to compact discs (and vinyls but
this is not the place to reiterate how vinyl is still my greatest love), in
hundreds of tests carried out for the magazine with the most diverse
versions produced, instilled in me a irredeemable conviction: listening
to the frequency of 44.1 kHz, if recorded and processed as appropriate,
if listened to in systems that know how to do their job, well, it can beenough to excite and convince. This is not to say that at higher
frequencies the quality of the final listening does not increase but,even if this is not always the case, this is not the point. The point isthat whoever wants to listen exclusively to compact discs, or files
recorded up to the maximum possible frequency for compact discs, is
not giving up anything that can be considered, returning to the art ofestablishing priorities and limits in one's life, the minimum essential toenjoy. At Reimyo I must have made a philosophical journey not far
from what I was reminded of from time to time in my numerous plays,
something like: however, here we don't even mess with 44.1! And
when they have seriously started to think about how to best satisfy
listening to music from compact discs (or equivalent files), as you canread in the technical article by Paolo Mattei on this same number of
AudioGallery, they they have certainly chosen a renouncing attitude.
The Japanese technicians have never considered the com pact discthe son of a lesser God, quite the contrary! They have come to theconviction that it is even better to listen to a file at 44.1 kHz of sampling
frequency, read and processed in the best way for this technology,rather than a very high resolution file but managed by electronics not
yet able to understand and solve its complexities. In fact, indefinitely
increasing the size of the music files can lead to some problems
related to noise, filters, at the final stage which, they believe, does not
pay as much in terms of listening as the effort necessary to produce
the files.

The front panel with input selection and information
LEDs is very simple.

There are four possible digital inputs, both RCA
and XLR analog outputs.

When music lovers, who wanted to listen to it at least as they wereaccustomed to doing by rubbing those improbable furrows with small
plows, raised their voices once again to deprecate the final sonic
result, someone realized that the whole silver disk hopefully had tomake some effort to improve. It did so, at first slowly, then, with theappearance of the so-called high end products, in a more decisiveway. Thus, in the mid-nineties (my personal and immovable was thebirth of listenable digital music), we came to have digital players
capable of playing. Good.

Sure, they cost a lot, but this time they played. In other words, it waspossible to listen to music recorded at 44.1 kHz, a frequency now
considered by someone as an intercom, in a satisfying way. The
compact disc, that is, had become edible. Thanks to mechanics lessand less needy of the error correction circuit (the Prince of Impostors),
to accurate power supplies, to high-level conversion chips and, last
but not least, fundamental and too often neglected, to analogous
output stages worthy of us of preamps of rank.

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audiostar
COMBAK REIMYO DAP-999EX TOKU-S

A converter is a machine made up of several parts, in which not
only must the incoming data be accepted without afflicting it withjitter, not only must it be converted into voltage, not only must it
avoid noise, electromagnetic pollution, ringing, but all these
aspects must be interrelated with a large output stage. Because
what matters, and this is where I wanted to get to, is the sound we
get in the listening room. Yes, that's the only thing that matters. If
in an electronics, inside the empty frame, there were only abutterfly, or a hamster, or a pigeon, armadillo, earthworm, lobster
capable of converting the sound, I wouldn't care if any of these
little animals gave me emotions. listening.

The trial version is equipped with "legs" to increase thefootprint on the ground.
themselves and the machines to read them. The writer is certainly
not a technician, but having listened carefully (for months in mypersonal system) to some of the largest converters on the market,
even the most expensive ones in the world, I can write here about
an immovable conviction of mine: if the DAC does its job well, if
the record is well recorded and produced, well, the performance
margin obtainable from the very high sampling rate is small, damn
small, as the sampling rate increases. If you listen to MSB's DAC
Select II, if you dissect it as it happened to the writer, you would
love it even if it only played the files at 44.1 kHz, such is the
profuse quality. This is to talk about an electronics (only DAC andrelated power supplies, excluding mechanics) from 165,000 euros
including VAT. Which certainly is capable of taking the reproduced
sound to even higher peaks when playing higher density files but
it doesn't shock as much as it already does by playing digital files
at the frequency of the compact disc. This is it, in my opinion. Now,of course, I certainly don't want toclaim that high resolution files are not needed or there is no needgno of converters capable of reading them. Certainly not. Progressis unstoppable. However, the fact is that a converter designed, like
our Reimyo, to read files at a frequency of 44.1 kHz at the highest
possible quality can, absolutely can, sound legendary. Although
limited by design to primitive frequencies. It can, absolutely can,this is its strength, make it preferable to other DACs that play highresolution files. For the simple fact that the amount of kHz used,alone, says little.

Detail of the DAC placed above the Harmonix foot.

34 March-April 2022

I know, I am not paying much attention to the technical contentsof the products I review. I absolutely wanted to clarify this position
once and for all: I really don't care about how electronics are built.
Nothing at all. I'm interested in how its na. Regardless. Indeed,
the less I know about what's inside, how it got there, who thoughtit, the better. If it works, you can see it sitting down. In the listeningroom.
In the case of this Reimyo DAP-999 Toku-S, which is the top-ofthe-range configuration of the only converter of the Japanesehouse, what curiosity about how it was made has managed toappease itself. But only because it seemed absolutely familiar tome the precondition of the project specifications that its creators
have placed at the basis of this electronics: to limit the frequency
to 48 kHz for reasons of final sound quality. You will understandthat for those who have always thought of it like me, this statementsounded disruptive and I wanted to see clearly. Especially after listening to it.
Reimyo DAP-999 Toku-S DAC and CDT-777 TOKU readingmechanism The Japanese converter can certainly be defined asslim, in the sense that its development in height is particularly
small, while the dimensions in width and depth are substantiallythe traditional ones. Rather light, it is well assembled but certainly
does not give much to mere design data. The frame requires that,compared to the less expensive versions, there are legs that
protrude from the frame to see a wider support surface (on thefeet). Therefore the plan dimensions would be those typical ofstandard electronics but the space it occupies on the shelf, in thisconfiguration, is much larger. It is a prism with holes on the upper
panel, in good thickness sheet metal, but there are no exaggerationsin this sense. The front panel is marked by four buttons in thecenter and six LEDs on the left. With the former you select thedigital input from four possible, AES EBU, BNC, RCA and optical,
while with the latter you are informed about the three possible
sampling frequencies linked, namely 48, 44.1 and 32 kHz, on theemphasis , on signal locking, on the presence of errors. In theToku model, which is the most performing of the three available(DAP-999EX Limited, DAP-999 Toku and, in fact, DAP 999EX
Toku-S, with the first at a cost that is about half of the last ... ). As
regards the technique of this processor, based on the well-known(by the employees, perhaps a little less by the enthusiasts) K2
technology, I refer to the article by Eng. Paolo Mattei in the pagesof AudioBoard on this same issue. The mechanics are standardsized electronics, top-loading, with a large and heavy clamp, also
equipped with the typical legs of the Toku S version, sent withslightly different feet from those of the DAC, to reiterate the thefact that it takes a lot of effort to set up. Why do you tell us about it
if it's out of production? For two reasons. The first is because at
AudioGallery we deal with beautiful and well-sounding things, thesecond is because the decommissioning of this mechanic is still
recent and maybe, somewhere, there is still something recently
sold or used. But above all I talk about it because if there issomeone listening who still feels, like me, the need for one

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audiostar
COMBAK REIMYO DAP-999EX TOKU-S

The rear of the CDT-777, with the coaxial digital
output only.
Reimyo & Harmonix

The splendid Toku CDT-777 reading mechanism.
mechanics of excellent quality, well, maybe it starts up and gets one.
Because this mechanic reminded me a lot of my Kalista Signature,
which alone costs three times as much, but, I'll say more, it seems tome that the Reimyo is even more balanced, more refined. The Kalista
does not strive for detail, low, control, however it can, in some cases,
appear stentorian, sharp, very defined.
Not for all implants. While I challenge anyone to find a situation inwhich this Reimyo is not right, so delicate, chiseled, compact and very
melodious.

Reimyo in Japanesemeans miracle.
Based on the Philips CD Pro M-2 mechanism, which is accessed fromabove by manually sliding the drawer towards the back, it needs thenot small clamp supplied to work. Characteristic of this reading unit is
the only possibility of single ended as a digital output. No opticalconnection, no AES EBU output.
Single ended only. The RCA connector is also implemented in anelastic mode. So when inserting the cable you have to pay a minimumof attention to make sure that it goes all the way down to the connector
that dances on its axis to the point that, at first, I thought I had broken
it with my big hands.
This aspect also tells of the various tuning modes carried out by
Reimyo in its electronics. And frankly, he also says a lot about which
one thinks is the best possible connection between mechanics andconverter. There is in fact no connection for jitter reduction, such as
the wordclock used by dCS or the proprietary type used by MSB (pro
ISL), and there is no I2S type connection, used by CEC or Aqua
Acoustics between the others. At Reimyo they believe that the jittercan be eliminated electronically and therefore they just make sure thatthe incoming signal is as free from reading errors as possible. Manual
tuning and large digital cable.

At the head of everything, at least at the level of orientation of thewheelhouse, there is Kazou Kiuchi who has been fighting for forty
years (hence the name Combak, who knows ...) to obtain the best
possible sound. With top experience in JVC (which, in fact, before
and until the production exit provided Reimyo with the mechanics ofreading) and a culture-only person in the topics of vibration control
and electromagnetic interference, Kiuchi San is an international guru
of management of analogue tapes and their digital transfer. Above all,his philosophy based on the exhausting refinement of the listening
chain stands out. It may be a coincidence but the big Japanesebrands, those definitely oriented towards the high end, all think thesame way: everything sounds, everything has a reverberation on the
final result, even those inaudible contributions in themselves, if added
to the one to the other with wisdom, patience and commitment canlead to make the difference. Therefore, in the land of the Rising Sun
does not exist the concept of plug and play if we talk about music
reproduction of the highest quality. Over the years, then, inevitably,
all audio manufacturers have found themselves in this philosophy
aimed at considering every single component, cable, decisive support
for the final result which is given by a sum of the parts apparently notdetermining but which, all together, if well integrated, they make asignificant difference. Through the Combak Corporation, the Harmonix
and Reimyo brands come into play in creating and fine-tuning theperfect chain. Harmonix, which had a moment of great notoriety in
Italy in the nineties, specializes in resonance control systems andcabling, while Reimyo builds electrons and audio, one of each typealbeit in different performance levels, as seen above for the DAC. . It
is therefore no coincidence that when the Italian distributor sent me
the DAC he wanted to send it complete with power cable, digital cable,anti-resonance feet. It also works alone, of course, but its ultimate
configuration, the one by which it must be judged, is only the one
accompanied by everything with which it was developed and approvedin Japan. Explained why it all came together, we could in fact callthese digital sources as Reimyo's source system .

I listen
The Reimyo DAP-999 TokuS was accompanied by thehis mechanics of choice(the CDT-777 Toku) and,as mentioned, the Har
monix RF-999 T MKII pins,
the Har monix Hijiri Nagomi

The mechanics
drawer, open,
and the large
clamp supplied.

power cables and theHarmonix HDG Million
digital cable. As mentioned,
for the mechanics I havebeen delivered some moresuitable feet, and with asurprisingly lower cost thanthose supplied with the
DAC, namely the RF-909

The Harmonix feet placed
under the mechanics.

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audiostar
COMBAK REIMYO DAP-999EX TOKU-S

The formidable
Harmonix
HDG Million
digital cable.

X MKII. Let me say that of all the corollary accessories of thedigital system under test, the one that struck me most, indeed,amazed, was the Harmonix digital cable. It really is a case of its
own. Because while the contributions of the pins and power cords
are most clearly noticeable only all together (probably built to spec
just for these electronics, although I've used them profitably
wherever I've plugged them in), the digital cable is truly a champion.
universality as well as good sound. On the fly, as soon as hearrived, he was able to get noticed right away, which for acolleague, digital too, is something quite special. So it camenaturally to me to implement it with every digital electronics possible
and wherever I put it to work, well, it worked. Providing excellent
performance, mainly in terms of noise reduction and distortion.
Truly satisfying for that naturalness that it manages to instill in the
reproduction, in some way by smoothing the surfaces while
enhancing the instrumental color of each sound subject, which
stands out against a background of black velvet, very comfortable.
I connected it to everything it could be connected to, between thestreamer (in my case a fantastic Moon Mind 2, which has been ona permanent basis in my system for a few months) and any
converter present (the converter park currently consists of the
Naim DAC and Aqua Acoustics Formula xHD) and not just between
the amazing Reimyo mechanics and its family converter. So the
DAC under test was inserted into a system consisting of the Naim
NAC552 preamplifier, the Naim NAP250DR power amplifier, theProAc Re sponse 3 speakers (an old love that returns, that for the
ProAc of the nineties ...). All Naim signal cables and Naim NAC A5
speaker cables, power cables for all Naim Kimber Kable. Magiroom treated with dozens of Daads (they should be eighteen, I
think) and a Volcano, all of Applied Acoustics, current served by
the very solid and very reliable Faber's Cables slipper. Although
this system is quite different in composition from those used inrecent years here at AudioGallery, it is certainly one of the mostmusical, reliable, exciting systems ever hosted in this now dated(but glorious) listening room. The digital source used therefore
consisted exclusively of the streamer Moon Mind 2, a pure streamer(my favorites, the pure streamers, because I want to be free tochoose the converter and because with them it is like using a"liquid mechanics" instead of solid) , and from the mechanics,
properly called, that is solid, of Reimyo. So we come to the sound.
Which is that sound that all audiophiles in the world would havekilled thirty years ago for. The mature, reliable, lively and exciting
digital. Vibrant, mellow, dense and very solid. With tense colors,
infinite shades, unexpected airiness. Frankly

The Nagomi power cables.

36 March-April 2022

I don't know if the performances I will write about later depend on
the specialization that we wanted to give to the converter, thereby
limiting it to 48 kHz, and how much of this sound, eventually,
depends on that choice. What I can say is that the ultimate meaningof that high-end industry applied to our discipline is here, open toanyone who wants to absorb its deeper meaning. The search forthe correct sound, yes of course, but there is something more andbetter than simply correct sound. There is the soul of the music,
there is that body, with all the weight, the presence, the gait of thesound subjects spatially reconstructed thanks to the notorious
stereo effect, there is such a realistic timbre blown in mid-air in theroom that pushes you to deepen your musical knowledge also
guided by the simple pleasure of listening to sounds that are sosatisfying to the intellect in themselves. Yes, what is reproducedby the Reimyo is so true, emotional, pulsating that one would also
listen to discs recorded with any sounds, even disconnected fromeach other, that is, produced without that with the craneity ofreciprocal, organized relationships, which we call musical code. It
would therefore seem the triumph of pure audiophilia, of love forsound per se. Instead, all this is clearly subservient to music andone feels loud and clear that whoever has developed this electronics
has sought first of all to pay homage to music. With the broad termmusicality, applied to audio electronics, it is sometimes thought todescribe the ability to reproduce recorded music at a moreengaging level than other devices of the same type that just workand that's it. And that's damn it. No one in the world has yet
managed to explain, measures in hand, why certain objects arecapable of involving to tears and others instead only work, maybe
even very well, and that's it. I believe that the secret, but I have nocertain elements to say it, lies in a combination of characteristics
which, only when present all together and in certain relationships
between them, can make the electronics that possess them makethe leap towards the absolute. that way. I am made to think, aftermonths spent in the company of this DAC, that the essential
characteristics mentioned above are those that I have always
found in those objects of not very large production, developed bya single man. I think of Audio Tekné, I think of Klimo, I think ofConvergent, of Acappella, Thiel, I think of stuff like that. That is,
objects that, once created, created with an already excellent base,are incessantly perfected for a lifetime by the same person. Who
obviously lies, beyond the technical knowledge must necessarily
have an uncommon musical sensitivity. I don't want the hard andpure engineers but when the engineering is to some extent
subjected to the refinement, to the modification experienced even outside the sMachine Translated by Google

audiostar
COMBAK REIMYO DAP-999EX TOKU-S

I find that it almost always reaches
higher ratings. What I mean byhigher ratings makes us understandwell this DAC that offers chisel andwith primacy concreteness,brightness and fragrance, detail andoverall view, absolute control,
speed, net wit and, at the sametime, me praise, heavy bass,
medium so verchiante. Yes, that's
right, there is everything, andeverything together, even whatshould almost be antithetical: carnal
body and strong definition, extreme
heat and hallucinatory plasticity,
The Harmonix productmechanical rhythmic and harmonious
brochure found in thetails that you insist. A machine that
DAC and mechanics
seems absolutely perfect to me. Did
packaging.
I listen better? I've listened to quieter
digital electronics, digital electronics with a darker background, I've
listened to more transparent electrons than digital but, believe me,none of them cost three to ten times the cost of the Reimyo DAC
under test, with balance and such an overwhelming generalmusicality (still ...). The Reimyo, if it were a cartridge, would be aperfectly calibrated MC for its arm and for the phono pre, that is
an audio object placed in the best possible conditions to function,
where impedance, gain, geometric adjustments, general set-up of
the system make listening something unforgettable. If you have
had the opportunity to play with an audio system sensitive totuning, where also the type of fuse downstream of the power
supply tray and the forks used in the speaker cables, even if therelative contribution was inaudible by itself , you may have noticed
that their interaction leads to an unambiguous general improvement.
Some are still smiling but I remember well when, in the midnineties, experimenting with power cables, I concentrated on thesonic changes that the various types of plug and socket produced.
I decided to solder the power cable, without the plug, directly into
the wall box, without the socket. There is no technician in the world
who could subscribe to the fact that the sonic result was, as
experienced by myself, a reduced general congestion and anincreased refinement of the high range. Well, I am ready to dodouble-blind listening with a panel of tenants who presented
perfect audiometry. Just as anyone who has tried to suspend theirelectronics on one or the other table, or on springs, or on rubber
feet or any other damned material, must necessarily have beenaware of changes in the response of the system. . Changes, notnecessarily improvements. But it all sounds, again, dear reader
friends. Putting the volume of the Treccani on top of the compact
disc player also makes the differences audible. Not to mention, ofcourse, what the right wiring can do for a given set up. Fortunately,
there are people who, in addition to knowing how to design
superfine electronics, devote as many energies to the developmentof the so-called boundary conditions or weak interactions, if you
prefer. Here, Kiuchi San has probably come to have total control
of all those characteristics which, all together, must be placed in acertain relationship.
Probably he has studied, and exchanged, exchanged, alternated,started the question so thoroughly that he is able to offer an audio
source that most of all gives the impression of being perfected tosuch an extent as to offer listenings free from any tension. neither
digital, without underlining, free from redundancies of any kindyet full of instrumental colors, very rich timbre, airy and compact.
A true miracle. On the other hand, I almost forgot, Reimyo inJapanese really means miracle.

Conclusions
Well, what do you want me to tell you? Although by now theundersigned also begins to have a certain familiarity with liquidmusic, I would definitely prefer to listen to a compact disc playedby this duo than the equivalent title played by any other converter
connected to the Moon Mind 2 streamer, even if at a higher
frequency. high. In fact, I want to repeat it here, the differences tobe appreciated are not to be found between two titles at different
frequencies,
but to thehowsetheReignale
DAC atalone
withandits thenmechanics,
treat overallmyo,
44.1orkHz
produce the resulting sound. Believe me, the plate data is notreally important, what matters here is that this system offers such
listening pleasure, such harmonic richness, such respect for tones,
timbres, silences, nuances that we do not he wonders more about
what he is listening to but how he is enjoying it. Now, having
clarified that as mechanics plus converter there are not, to mydirect knowledge, many other alternatives in the world of compact
disc reading, I am obliged to consider reality. And the reality isthat the world is producing ever new titles, and only and only withhigh or very high definition, at a vertiginous pace. So the question
arises: what sense does it make, it would have, to invest in an
obsolete DAC by design? Well, after months of fumbling I havecome to this conclusion: the Reimyo DAC, being able to afford it,
must be bought up to play compact discs with its mechanics(grabbing it on the used market) or 44.1 kHz titles from the
network. Everything else, always being able, must be listened towith a second DAC capable of running after the increasingly higher
rods of the frequencies used to scan the sound. It is so. Somemachines are art and should be chosen only for how they sound,
without wondering how they do it, without imagining a reason why
they do it. Without preconceptions. Long live the music.
Andrea Della SalaFEATURES
Combak Reimyo DAP-999EX Toku-S
Type: digital to analog converter.
Sampling frequency: 48kHz, 44.1kHz, 32kHz.
Auto-switching, 16-bit.
Digital inputs: AES (XLR-3P; Hot: No.3) 110 ohm, BNC 75
ohm, RCA 75 ohm, TORX optical.
Signal processor: K2 Technology (K2 LSI; converts from 16 /44.1k to 24 / 176.4k).
D / A converter: 24 bit -16 x oversampling / multi bit).
Analog outputs: XLR, RCA.
Signal to Noise Ratio: Better than 114 dB (IHF-A)
THD: Better than 0.003% (1kHz Vo = F / S) (30kHz LPF On).
Consumption: 15W

Dimensions: 43 x 4.4 x 33.7 cm.
Weight: 5.5 kg.

Prices including
VAT: Reimyo DAP-999EX Toku-S converter euro 14,625.00(version DAP-999EX- LTD euro 8,950.00, DAP-999 Toku euro
12,105.00).
“Nagomi” H-DCH power cable, 1.5 m, € 1,587.00.
HDG Million cable 1.0 m, € 1,220.00.
Harmonix RF-999 T MKII devices (set of 4 pcs.) Euro 1,450.00.
Harmonix RF-909 X MKII devices (set of 4 pcs.) Euro 285.00.
Distributor:
Ethos Via
Della Fonte Meravigliosa 50 00143
Rome www.ethosfineaudio.com

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