he cover of the August edition of the “Stereophile”
magazine is decorated with a photograph of theMoon by Simaudio Evolution 780D – a two-in-one
converter and file player. It is a device which accepts digital
PCM signal up to DXD (24/384), DSD up to DSD256(11.2896 MHz), as well as decodes aptX signal sent
wirelessly through Bluetooth and, on top of that, plays
audio files from external storage media (HDD) through an
Ethernet connection. As it seems, this is the future of audio
from any price range.

Michael Fremer, aka the “Analog Man”, who
responsible for the test, writes in the introduction:

was

However, there is another equivalent way, buthere the vector points at a slightly different
angle. Such is the case with Reimyo and I am
going to explain it using an example. The day
before I listened to the new DAC for the first time, I got a
parcel with two Master CD-R discs produced by M-MAM
Audio, with material from the latest Krzysztof Duda’s, Robert
Kanaan’s and Przemysław Rudź’s album entitled 3CITY(Trójmiasto). The music it brings is fantastic and, no matter
how much I liked their previous album, Hołd, the newrelease goes much further – both when it comes to music
and sound.
While listening to new albums during a test, I never knowwhat to expect. Recordings that I know help me makecomparisons, as I can focus on sound, not paying so muchattention to music, while a new album is a mystery. With the
Reimyo device I could hear really well how the recording
was produced (recorded, mixed and mastered), but I was
mostly curious about the music, so I was sitting like at thecinema, watching a movie that I had been waiting for years.
A fantastic combination of “pure” electronics with electricallygenerated sounds imitating live instruments was naturally
accepted by the Japanese system which neither pointed out
a lack of harmonics in the “instruments”, nor forcefully
reduced electronics to its synthetic component. So, I had
great low bass and fantastic dynamics that electronic
albums usually lack.

Even though it may seem an exaggeration to some people,
the process of giving up CD is definitely too slow for most of
us. There is nothing nostalgic or pleasant in putting a CD ina player and no heat goes through our body when we takeout a plastic disc from a mediocre box that does not evoke
any positive thoughts, and look at how it disappears in thedevice. Looking at digits on a display is not nearly as
engaging as the view of a needle touching the surface of avinyl disc.
Michael Fremer, Moon by Simaudio Evolution 780D,“Stereophile”, August 2016, No. 8, p. 58
I think many people share his opinion.
On the other hand, there is Mr Kazuo Kiuchi the CEO of the
Combak Corporation (Reimyo, Harmonix, Enacom) andco-owner of the XRCD24 patent. He represents the opposite
pole, claiming that today’s technology allows us to renderabsolutely high-end sound from a CD, provided that the CD
is appropriately prepared and played. The CEC company,
whose beautiful system we presented at the beginning of
the month acts in accordance with this belief. There are also
many people who think the same as Mr Kiuchi-san.
So, it might seem that there will be another format war.
However, reality is completely different – Michael Fremer
represents the opinion of the absolute majority and even asmall local war is out of the question. Systems such as theMoon by Simaudio Evolution 780D are the future and thefuture seems bright thanks to high resolution files.
DAP-999EX TOKUHigh Fidelity Edition
However, this is still the future and we do not know when it
will finally become reality. It will also mean a complete
departure from the physical aspect of a recording. This is
not my future. Sooner or later, I will surely find a file playerthat will satisfy me. However, the Compact Disc, Long Playand, above all, analog tape will remain my natural habitat.
It is even truer, as, due to a paradigm shift, we now have
the CD format in its best condition. Silver and gold discs
have never sounded so well before and there is probably
not much left to be achieved in this domain. A good
example is the DAP-999EX TOKU converter prepared by Mr
Kazuo Kiuchi especially to honor our magazine (hence theadded “High Fidelity Edition”).
When I heard for the first time, about a half year ago, that
he was working on what he called his last DAC that would
crown his work in this domain and combine Reimyo with“High Fidelity”, I thought I would have a heart attack. It isboth great responsibility and honor for us.
Even though we did not take part in listening tests, in a way
it is “our” product. Initial plans aimed at a “Red Fingerprint
Edition” version, which would have referred to the award
that we gave to its predecessor, the DAP-999EX Limited,
but we came to a conclusion that its status will be better
represented by a HF logo with the letter “R” meaning“Reference”.
There is an appropriate panel on the cover of the August
edition of our magazine, but its final look may still change –we got the first device that was assembled for our test and
we are still thinking about the details. What we know so far
is that only 36 such devices will be manufactured, each with
our logo and certificate.
Mr Kazuo Kiuchi’s Digital Audio Processor does only one
thing (but does it well): it changes digital signal from a
Compact Disc to analog signal – it accepts only 16-bit
signal. Even though it offers four different digital inputs, we

TOKU models sound in a specific way. In the DA0 3.0
CEC-a test I wrote that its sound is close to the master(analog) tape, in the case of a Superlink connection. With
an RCA connection it was not that strong anymore. CEC,
similarly to dCS, presents all recordings in this way, even if
their master tapes are digital. It is sound which does notvery clearly show the edge and attack, brings closer theperspective between instruments and has incredible
dynamics. Modeling that we get with Reimyo is about
focusing more on sound sources. Everything is clearer andless ambiguous with it. It is also sound close to the mastertape, but with emphasis on reproducing its copy, similarly
as in the case of a vinyl disc.
Space is shaped in a similar way here. It is really vast andone can clearly hear where a given instrument was planned
to be placed by the sound engineer – this is what the Lektor
Grand SE sounds like. This is planning clearer than reality,
closer to requirements characteristic for listening at home.
At home, events have to go through some kind of “lenses”
to be able to get through the system at all.
Finally, a few words about the bass. It is low and very
energetic, completely different than in the CEC system, andyet different than in the top MSB Technology system. If I
could use speakers for comparison, the MSB systemproduces bass like top-class speakers with a bass reflex
port, e.g. my Harbeth M40.1 or JBL 4367 Studio Monitor
speakers. Most turntables sound similar. The CEC systemshows the lower range like speakers with sealed
enclosures. The range is short, with excellently controlled
attack and decay, but also a bit less “present” at bass reflex.
Finally, the Reimyo system sounds like speakers with abaffle. It goes lower than enormous “vintage” speakers of
the 1920s and 30s, and it also has much more built-up
treble. However, the impression of bass presence without its
continuous presence is similar.
Summary
Which perspective is the right one? Which system
reproduces a live event better? I do not know the answer toquestions formulated in this way. All these top systems lookat recorded material in their own way and all of them are
perfect in this respect. The Reimyo system is the cheapestof all of them, except for the Polish Ancient Audio set. It can
do only one thing, i.e. play CDs, so it is the second mostlimited and least functional system (after the Polish player).
Despite its price, it is comparable with each of theabovementioned players. It beautifully crowns the work ofan amazing man, excellent manager and exceptional
constructor – Mr Kazuo Kiuchi. GOLD Fingerprint.

will probably use the RCA S/PDIF input, as such outputs
are found in most CD transports, including the Reimyo
CDP-777 which the DAP was designed for.
The heart of this device is the K2 circuit. It is an interpolator
unit which changes 16/44.1 signal into 24/176.4 signal,
interpolating in an “intelligent” way. The patent belongs to
the Japan Victor Company (JVC) and we know it from K2,
K2HD, XRCD/XRCD2 and XRCD24 discs where it is thebasis for signal coding and disc preparation. It works withall types of CDs and does not require any preliminary signal“coding”.

In order to ensure conditions similar to the test of theprevious converter version, I used the CDP-777 Reimyotransport and the Ancient Audio Lektor AIR V-edition player(the Philips CD Pro-2LF drive is used in both). To connect
the transports with the DAP, I used the digital Harmonix
HS-102 cable. To supply power to the transport, I used the2-meter Harmonix X-DC350M2R Improved Version power
cord and to supply power to the DAC – the 聖HIJIRI Nagomi
X-DCH cable. Both components were placed directly on the
top shelves of the Finite Elemente Pagode Edition rack.
Apart from Harbeth M40.1 speakers that are part of thereference system, the Reimyo system was also tested with
YG Acoustics Carmel 2 speakers. The Reimyo system wasplaced exactly at the same place where the CEC system(the TL0 3.0 transport and the DA0 3.0 converter had stoodshortly before. It was an A/B comparison test where A and B
were known. Music samples were 2 minutes long, but wealso listened to whole albums – both through speakers anda reference headphone system.

Recordings used in the test (a selection)
Paganini For Two, Gil Shaham, Göran Söllscher,
Deutsche Grammophon/Universal Music Ltd, Taiwan
480 246-5, XRCD24 (1993/2009)
Alessandro Rolla, Duets for violin & viola, wyk.
Isabelle Faust & Thomas Riebel, Glossa GCD
C80021, CD (2016)
Andrzej Trzaskowski Quintet, Andrzej Trzaskowski
Quintet, Polskie Nagrania „Muza”/Warner Music
Poland, „Polish Jazz vol. 4”, Master CD-R (1965/2016)
Art Ensemble of Chicago, A Jackson in Your
Home/Message to Our Folks/Reese and the SmoothOnes, Actuel/Charly 649X, 2 x CD (1969/2013)
Bach, Violin Concertos, dyr. Yehudi Menuhin,
EMI/Hi-Q Records HIQXRCD9, XRCD24, CD(1960/2013)
Chet Baker, It could happen to you, Riverside/ZYXMusic OJC20 303-2, „Original Jazz Classics”, Super
Bit Mapping CD (1958/1987)
Duda/Kanaan/Rudź, 3CITY, 2 x Master CD-R (2016);
płyta przygotowywana do wydania
Enrico Rava, The Pilgrim and the Stars, ECM Records
ECM 1063, „ECM Touchstones”, CD (1975/2008)
Enya, Enya, BBC Entertainment BBC CD 605, CD(1987)
Fausto Mesolella, Live ad Alcatraz, Fonè/Master Music
NT017, XRCD24 (2014/2016)
Martin L. Gore, Counterfeit e.p, Mute/Sire 9 25980-2,
CD (1989)

The Digital Audio Processor DAP-999EX TOKU High Fidelity
Edition is a small semiconductor device which accepts only
16-bit signal of 32, 44.1 and 48 kHz sampling frequencies.
In the introduction I wrote that, due to this fact, it is
exclusively designed for signal from Compact Discs, but it is
not exactly true. It is so today, but several years ago it would
have been a converter designed to work with Compact
Discs AND a DAT (Digital Audio Tape) recorder. The latter
usually worked with 16/48 signal, but it was also possible tochange it to 16/32 mode, elongating recording time on agiven tape in this way.
Today, as I think, only one green LED will turn on, the one
at the input signal sampling frequency of 44.1 kHz.
Naturally, there are three diodes, one per each frequency.
Below there are three other diodes informing the user about
the synchronization of the DAC with a signal source,
de-emphasis operation and any errors. Next to them there
are four buttons to change the active input: RCA, BNC andan optical input (all of them S/PDIF) or AES/EBU. Switching
between them is automatic after signal enters the device,
but they can also be changed manually.
DE-EMPHASIS
The description is related to an ancient technology, but it
can prove useful. In any modern DAC there is almost
always no diode signaling 32 kHz sampling frequency, as
this type of signal is very rarely used. There is also no
information whether a given recording was coded using
pre-emphasis, since CDs have been pressed without it for
many years. D/A chip producers often forget about thatancient technology and a de-emphasis circuit which is
obligatory for CDs is not included by them. However, it
sometimes proves useful, especially if we deal with the firstpressings of digital discs.
Some of the first CD players used 14-bit converters thatworked like 16-bit devices thanks to higher oversampling.
Their problem was high noise. In order to eliminate it, amethod known from, for example, a Dolby noise reduction
system was used. When a CD was pressed, the treble wasraised and when it was played, digitally, de-emphasis wasused, i.e. the treble was decreased. A “flag” was placed in
the CD’s sub-code to inform the DAC that it was necessary
to turn on the de-emphasis circuit.
The technology was used in CDs since their beginning until
the end of the 1980s, especially on discs coming fromJapan. It was later given up and many players do not “see”
that flag, and CDs with pre-emphasis are played in a brightand rough way, with an emphasis on the treble.
The power switch is located at the back with inputs andoutputs. The device has a balanced design, so we canobtain signal on RAC and XLR outputs. Their level is a bit
higher than the CD standard and equals 2.55 V instead of 2
V on the RCA output, and 5.1 V, not 4 V on the XLR
outputs. Next to digital inputs there is a mechanical switch
changing the absolute phase of digital signal.
The new version differs from the previous one mostly whenit comes to the TOKU logo which resembles a personal
signature stamp that any Japanese artist has. The housing
is made of aluminum, which is not a new thing, but it isdifferently coupled with the ground. Instead of round pads
there are aluminum feet extending beyond the housing.
Wide brass spikes, placed on special Harmonix RF-909X
tuning feet, are attached to the bottoms of the aluminumfeet. Similar spikes can be found in the CD-777 transport,
but in TOKU their latest “TuneUPmate” RS-1115 version has
been used. The spikes are a bit shorter, so if we want thetransport and the DAC to stand at the same height, we havePaula Cole, Courage, Decca B0008292-02, CD (2007)
R-men, I thought about you, T-TOC Records MCDR
3002, „Platinum Gold Sound”, CD-RIIα (2010)
Japanese issues available at
The news of the latest and perhaps the last converter in thehistory of the Reimyo company made us think about what
Mr Kiuchi-san wanted to achieve this time and which
direction he wanted to take. He could go anywhere, as there
are a few equally important paths in top high-end. If
someone thinks that there is one universal andunquestionable “model” of top sound, he or she is wrong.
We talk about re-production, i.e. about a process whichaims to re-create sound “according to the likeness” of theoriginal event. It is a bit similar to translation, the purpose ofwhich is to use one’s own words to express the spirit of theoriginal work as faithfully as possible. When it comes tomusic, the “original work” is a situation in a studio or at astage.
It appears that the sound of the TOKU HFE model wasmodeled in a very similar way to the sound of the CEC DA0
3.0 which was tested some time before and is twice as
expensive. It is neither “the same”, nor “identical” sound, but
the language of music produced by the devices is very
similar, as if both creators similarly felt and understoodmusic reproduced at home.
The tested DAC sounds exceptionally clear. There isnothing left of the earlier slight but clear rounding of soundand the slight emphasis on lower midrange has also
disappeared. Both these elements are great. I like suchdevices very much as they ensure incredible listening
comfort. To a greater or lesser extent, the ultimate resolution
and differentiation “no matter what” are sacrificed in them,providing in return beautiful listening experience while welisten to all albums, not only the best ones or some special
re-editions and releases. Examples of very good convertersof this type would be the Exogal Comet Plus tested in theJune edition of “High Fidelity” (No. 146) and the AccuphaseDP-720 SACD player that we have known for a long time.
The Reimyo system does not round anything and does notfill the lower midrange unless it is required by the given
musical material. Because of that, its sound is harsher andmore direct. At first, it may seem that this is against the ideaof reproducing music, as most CDs are not soundmasterpieces. However, after listening to the device even fora short time, one comes to a conclusion that it does notbutcher worse CDs and does not emphasize their defects.
Thanks to exceptionally good resolution, it overcomes thisproblem and enters music deep enough to make faults andproblems connected with CD preparation “unimportant”.
They become part of the message as much as music itself
does and become a “flavor”, not a fault (these are notalways faults anyway, but often cumulated compromises
independent of the producer, as well as his or her
conscious choices).
A part of this creation is stronger energy of the midrange,
especially within the range of 1 – 2 kHz. It is the “presence”
range which we are evolutionally especially sensitive to. It is
most frequently slightly lowered in order to conceal faults
and I opt for any action taken in accordance with the rule –“first, do not harm.” However, in the best products
something that I hear when I listen to the TOKU HFE andwhat I know from the top CEC system, the dCS Vivaldi
system and the Ancient Audio Lektor Grand SE player canbe allowed: we show everything as it really is and go
deeper. The strong midrange does not explode in our faceto buy new spikes for the transport.
The TOKU HFE is a variation of the Limited version, so it
should be no surprise that all the basic modules are exactly
the same in both devices. The differences lie in slightly
different passive elements selected with regards to the way
they change sound. The differences that we can see with
the naked eye include, among others: the mains fuse –here we have a black version of HIFI-Tuning.com, a better
AC mains voltage filter and different capacitors in the output
stage – the ones used here are flat and screened with
gold-plated copper plates. For a change, the digital NPC
filter has disappeared. It makes sense, as it was used in thefirst version of the DAP, without the word “Limited” in thename. In the subsequent version with the “Limited” plate on
the housing it was inactive, but it was left in its place, in aneffort to change as little as possible in the topology of theprinted circuit board. The K2 JCV8009 circuit, used in thefirst version and inactive in the “Limited” version has also
been removed from the main board now, alongside with two
secondary circuits.
Digital inputs are isolated from the signal transmitter using
matching transformers that also take care of the desirable
input impedance (75 and 110 Ω). Next, signal enters thedigital receiver, the old Yamaha YM3436D circuit. Even
though its production was stopped a long ago, it is valued
for low jitter. The circuit accepts signal up to 24 bits, but the
sampling frequency is limited to 48 kHz. The receiver isisolated from the inputs using matching transformers.
Signal is then transmitted from the large board to asecondary board that is the “heart” of the device. On its
input there is the K2 JCV8009 circuit surrounded by eight
CMOS gates operating, I guess, as part of the upsamplingand digital filters circuit. A really good looking MXO clock
ensures time coherence.
16/44.1 signal is synchronically changed here into 24/176.4.
Changing 16-bit into 24-bit words is not an example ofsimple upsampling which relies on adding 8 more “empty”
bits to 16 signal bits. Here we have an interpolating circuitthat “predicts” changes that should take place andgenerates missing signal. Apart from JVC with the K2
circuit, the Denon company has also had achievements inthis field with a similar Alpha Processing circuit, now in its
Advanced AL32 Processing version.
Signal is transmitted from the board through the Burr Brown
DF1706 digital filter and reaches a battery of optoelectronic
circuits, galvanically isolating this component from the next
one. I do not know if you remember, but some time ago it
was regarded as one of the best external digital filters andco-operated with D/A Burr Brown PCM1704 converters, justlike here. One such NOS circuit operates in each channel,
in the highest specification (“K”); chips are paired. The
converters are surrounded by excellent purple Sanyo
capacitors.

with many irritating and annoying colorings, and details
which have nothing to do with music. It is different. Thanks
to this open quality the sound is clearer, more distinct anddirect, and therefore closer to a live event.
I have focused on the specific elements that belong to the“hi-fi” realm because they reflect music perception that
Reimyo guarantees really well. It is a “direct” message inthe sense that it is exceptionally tangible and immediate. It
is tangible not due to the fact that instruments come before
the front plane of the speakers, but because of their clarity,
sonority and richness. The sound attack is exceptionally fastand loud. I do not hear any delay or subtlety.

The analog section seems much simpler, even “normal”.
The Burr Brown OPA627 integrated circuit is responsible for
I/U conversion, while low pass filters and amplification are
made using standard JRC 5534 integrated circuits. The XLR
output sockets are rhodium-plated, while the RCA output
sockets are gold-plated. It is worth paying attention to thefact that the XLR output has “American style” cables, i.e.
No. 3 is the hot pin. If we connect the DAC to devices fromoutside Japan, it is worth changing the absolute phase by
180º.

It is something that “vintage” sound lovers will not like, as
they are used to warmth and sound condensation. As
regards TOKU HFE, condensation means increasing theamount of information from the whole frequency response
range, within the whole range reproduced by a given
instrument (group, band) and it is not about burning out
sub-ranges that might suggest something like this.
Therefore, sound changes from one album to another andoften from a track to another track, as everything depends
on what is being played at the given moment.
It has special influence on the audience. It is because we(audiophiles, of course) sit and listen to music, but at thesame time we still think about how it is reproduced. That
intuitive awareness of matter makes us perceive a musicalmessage in a really attentive way. If the sound of a new
device is notably better than what we have known so far, we
often listen to more and more albums, testing what this orthat recording sounds like. We browse through ourcollection, enchanted by the improvement in sound quality,
captured in our listening position by sound fireworks that wehave never heard before. This is the way of listening
proposed by dCS and CEC, and it is outstanding.

I have not mentioned it yet, but power supply in the device
looks great. There are as many as five separate power
supply units, drawing voltage from two little, beautiful,
double-C transformers. Input voltage is preliminarily filteredin a metal TDK Lambda “tin” and “conditioned” in an
Enacom filter (the company belongs to the Combak
Corporation group).

Technical specifications (according to the manufacturer)
Input signal: 16 bit
Input signal sampling frequency:
48 kHz, 44.1 kHz, 32 kHz
Digital inputs:
1 x AES/EBU/input impedance: 110 Ω
1 x BNC/ input impedance: 75 Ω
1 x RCA/ input impedance: 75 Ω
1 x TOSLink
Digital signal processing: K2 Technology (K2 LSI; 16-24 bit)
DA converter: 24 bit, 16-time oversampling
Output voltage:
XLR – 5.1 Vrms (hot = 3)
RCA – 2.55 Vrms
Frequency response: DC – 20 kHz (+/-0.5 dB)
S/N ratio: >114 dB (IHF-A)
Dynamic range: >100 dB
Channel separation: >105 dB (1 kHz)Linearity: +/-0.5 dB (+10 dBm ~ 90 dBm) 1 kHz IHF-A
THD: >0.003% (1 kHz Vo=F/S) (30 kHz, LPF On)
Power consumption: 15 W
Dimensions: 430 (W) x 44 (H) x 337 (D) mm
Weight: 5.5 kg

SYSTEM AŻRÓDŁA ANALOGOWE- Gramofon: AVID HIFI
Acutus SP [Custom
Version]- Wkładki: Miyajima
Laboratory MADAKE, test
TUTAJ, Miyajima Laboratory
KANSUI, recenzja TUTAJ |Miyajima Laboratory
SHIBATA, recenzja TUTAJ |Miyajima Laboratory ZERO
(mono) | Denon DL-103SA,
recenzja TUTAJ- Przedwzmacniacz
gramofonowy: RCM Audio
Sensor Prelude IC, recenzja
TUTAJŻRÓDŁA CYFROWE- Odtwarzacz Compact
Disc: Ancient Audio AIR
V-edition, recenzja TUTAJ
WZMACNIACZE- Przedwzmacniacz
liniowy: Ayon Audio
Spheris III Linestage,
recenzja TUTAJ Wzmacniacz mocy:
Soulution 710- Wzmacniacz
zintegrowany: Leben
CS300XS Custom Version,
recenzja TUTAJ
AUDIO KOMPUTEROWE- Przenośny odtwarzacz
plików: HIFIMAN HM-901- Kable USB: Acoustic
Revive USB-1.0SP (1 m) |Acoustic Revive USB-5.0PL(5 m), recenzja TUTAJ- Sieć LAN: Acoustic Revive

KOLUMNY- Kolumny podstawkowe:
Harbeth M40.1 Domestic,
recenzja TUTAJ- Podstawki pod kolumny
Harbeth: Acoustic Revive
Custom Series
Loudspeaker Stands- Filtr: SPEC RSP-901EX,
recenzja TUTAJ
OKABLOWANIE
System I- Interkonekty: Siltech
TRIPLE CROWN RCA,
czytaj TUTAJ |przedwzmacniaczkońcówka mocy: Acrolink
7N-DA2090 SPECIALE,
recenzja TUTAJ- Kable głośnikowe: TaraLabs Omega Onyx,
recenzja TUTAJ
System II- Interkonekty, kabległośnikowe, kabel sieciowy:
Tellurium Q SILVER
DIAMONDSIEĆ
System I- Kabel sieciowy: Acrolink
Mexcel 7N-PC9500,
wszystkie elementy,
recenzja TUTAJ- Listwa sieciowa: KBL
Sound REFERENCE
POWER DISTRIBUTOR (+Himalaya AC)- System zasilany z
osobnej gałęzi:bezpiecznik - kabel sieciowy
Oyaide Tunami Nigo (6 m) gniazdka sieciowe 3 x
Furutech FT-SWS (R)AKCESORIAANTYWIBRACYJNE- Stolik: Finite Elemente
PAGODE EDITION, opis
TUTAJ/wszystkie elementy- Platformy
antywibracyjne: Acoustic
Revive RAF-48H, artykuł
TUTAJ/odtwarzacze cyfrowe| Pro Audio Bono [Custom
Version]/wzmacniacz
słuchawkowy/zintegrowany,
recenzja TUTAJ | Acoustic
Revive RST-38H/testowane
kolumny/podstawki pod
testowane kolumny- Nóżki antywibracyjne:
Franc Audio Accessories
Ceramic Disc/odtwarzacz
CD /zasilacz
przedwzmacniacza/testowane produkty, artykuł
TUTAJ | Finite Elemente
CeraPuc/testowane
produkty, artykuł TUTAJ |Audio Replas
OPT-30HG-SC/PL HR
Quartz, recenzja TUTAJ- Element antywibracyjny:
Audio Replas
CNS-7000SZ/kabelsieciowy, recenzja TUTAJ- Izolatory kwarcowe:
Acoustic Revive
RIQ-5010/CP-4- Pasywny filtr Verictum X
BLOCKSŁUCHAWKI- Wzmacniaczesłuchawkowe: Bakoon
Products HPA-21, test
TUTAJ | Leben CS300XS
Custom Version, recenzja
TUTAJ

SYSTEM B
Gramofon: Pro-Ject 1
XPRESSION CARBON
CLASSIC/Ortofon M
SILVER, test TUTAJ
Przedwzmacniacz
gramofonowy: Remton
LCR, recenzja TUTAJ
Odtwarzacz plików: Lumin
D1
Wzmacniacz
zintegrowany: Leben
CS-300 X (SP) [Custom
Version, test TUTAJ
Kolumny: Graham Audio
LS5/9 (na oryginalnych
standach), test TUTAJ
Słuchawki: Audeze LCD-3,
test TUTAJInterkonekty RCA: Siltech
CLASSIC ANNIVERSARY
550i
Kable głośnikowe: Siltech
CLASSIC ANNIVERSARY
550l
Kabel sieciowy (dolistwy): KBL Sound RED
EYE, test TUTAJ
Kabel sieciowy: Siltech
CLASSIC ANNIVERSARY
SPX-380
Listwa sieciowa: KBL
Sound REFERENCE
POWER DISTRIBUTOR,
test TUTAJ
Platforma antywibracyjna:
Pro Audio Bono

LAN-1.0 PA (kable ) | RLI-1(filtry), recenzja TUTAJ- Router: Liksys WAG320N- Serwer sieciowy:
Synology DS410j/8 TB

System II- Kable sieciowe: Harmonix
X-DC350M2R ImprovedVersion, recenzja TUTAJ |Oyaide GPX-R v2, recenzja
TUTAJ- Listwa sieciowa: KBL
Sound Reference PowerDistributor (v2), recenzja
TUTAJ- Słuchawki: Ultrasone
EDITION 5, test TUTAJ |HIFIMAN HE-6, recenzja
TUTAJ | Sennheiser HD800| AKG K701, recenzja
TUTAJ | Beyerdynamic
DT-990 Pro, wersja 600
Ohm, recenzje: TUTAJ,
TUTAJ- Standy słuchawkowe:
Klutz Design CanCans (x3), artykuł TUTAJ- Kable słuchawkowe:
Forza AudioWorks NOIR,
test TUTAJCZYSTA PRZYJEMNOŚĆ
- Radio: Tivoli Audio Model
One