Reimyo DAP-999EX Digital-To-Analog Converter
You owe it to yourself to listen... I already miss it.
Review By Jules Coleman
here to e-mail reviewer.
two exceptions, I have never heard digital playback approach the sound of
music. One of those exceptions came in the form of an early proto-type of
the VRS hard drive system that John Hughes, then a principal in the VRS
project, demonstrated at my home in the company of several of my audio
friends and others from the industry. That demonstration gave me a respect
for the possibilities of the digital medium. The VRS involved bit-by-bit
playback and to that point I had yet to hear music sound nearly so good
from spinning aluminum. That changed when the North American distributor
of Reimyo products, May Audio, arranged for me to review the Reimyo
CDP-777. Soon thereafter I was invited to review an entire Reimyo system
including the preamp, amplifier, speakers as well as assorted
interconnects, power cords and speaker cables.
I listened to the Reimyo CDP-777 in both contexts – in
my then reference system (with Shindo electronics) and in the full Reimyo
system. It shone like no other CD player before or since has. The one box
player produced the most natural, relaxed, revealing, and overall
musically persuasive sound that I have heard from digital. The Reimyo CD
player set the standard against which I assessed the performance of other
digital playback systems. Because nothing since has approached its
performance, I find that digital playback has been relegated to back-up
duty and plays very little role in my reviewing.
Even if digital playback has been little more than an
afterthought in my serious listening sessions, I have not ignored it
completely. In fact, I have reviewed more than my share of digital
products over the years. An early version of Gordon Rankin's Cosecant USB
DAC excelled at portraying the rich tonal palette of real music whereas
John Tucker's modifications of various Denon players were especially
well-balanced and musical. Empirical Audio's modified DACs uniformly
conveyed a dynamic realism that few other units could match. Virtuous
in its own way, each player fell considerably short of the Reimyo,
however. Only the Reimyo presented digital as a musically resolved whole
and in that crucial way, only it presented digits as passable conveyers of
The impact of Reimyo's presence in my system and its
subsequent departure was far greater than I had anticipated it would be.
The Reimyo was the exception to my experience that digital sounds more
similar than different. As a result, once the Reimyo left my reference
system, I have found it difficult to invest more than $2000 in digital
If anything, my sense is that the ‘floor' of quality
in digital has risen significantly and that one can do quite well (for
digital) at ever-lower prices. At the same time, I have heard no reason to
believe that the ceiling has been raised. There are finer and finer
gradations between the floor and the ceiling of digital playback and more
products are capable of revealing those fine gradations in quality – and
are priced accordingly.
That is one reason why my ‘eyes lit up and ears perked
up' (sympathetically and instinctively) when I was offered an opportunity
to review the latest Reimyo digital product, the DAP-999EX,
digital-to-analog converter. I had every hope that first rate digital
playback would grace my listening room again – if only for a few months.
I was not disappointed. In fact, even my most optimistic expectations were
Enter The King
The good folks at May Audio arranged for me to
listen to the DAP-999EX accompanied by the Reimyo CDT-777 CD transport
(which will make an $11,000 dent in one's pocketbook) as well two Harmonix
power cords and the Harmonix digital interconnect. I am a believer in
‘one voice' audio systems and understand that I own a system that, with
the exception of digital playback and speaker cables, is Shindo Laboratory
from turntable to speaker system and all stops in between. I don't believe
that one hears what a particular component is designed to sound like
outside the context of the components with which it was voiced. And so I
was grateful to review the DAC in the context of the Reimyo transport. At
the same time, I realize that many readers who are interested in the DAC
would likely pair it with other transports and employ other digital
interconnects; and that is why I also auditioned the DAC with several
one-box CD players serving as transport, and employed a Stealth digital
interconnect as an alternative to the Harmonix supplied by the
The full Reimyo digital front end was placed in my
reference system. It replaced my ‘reference' Meridian and other players
that I had been shuffling through, but I did not compare its sound with
theirs – which would have been pointless. I rarely compare components
anyway, and certainly not in the context of how they perform in my
reference system. I listen to the system as a whole with the component in
it; and make adjustments if necessary in order to optimize the performance
of the component under review.
Sometimes doing so requires cable or interconnect
changes. Often it requires moving the speakers around the room to alter
tonal balance. Every once in a long while it requires changing equipment
racks, and I have done so. Whatever it takes to optimize the performance
of the component under review, I take it that my task is to report on the
musically significant attributes of my system with the component under
review. It needs to perform at its best, or at least as best as I can get
it to perform given the limitations of my room, equipment and other
components I can substitute into my system. My experience has been that
very few components sound as they were intended to when one merely plops
them into one's system. Something that one has probably spent a good deal
of time voicing already.
It's hard enough to take reviews seriously (once you
hear what most reviewers' systems sound like), but it is impossible to do
so if the reviewer does not take some considerable care in working with
his or her reference system to bring the best out in the component under
review. I make every effort to do just that and then to report on how my
overall system sounds. To try by describing and characterizing the sound
heard in the light of what I take to be musically valuable attributes of
playback. I try to resist making comparisons because the only comparisons
one can have confidence in making are those between systems. It is the
sound of the system one hears, not the component. In order to isolate the
sound of the component one would have to hear it in a number of different
systems. The sweeping judgments that characterize so many reviews are
largely unwarranted and not helpful. I try to avoid making evaluative
comparisons beyond those that are too obvious to ignore.
I could care less how the Reimyo sounded in comparison
with the Meridian or with any other CD player. I care whether or not it
makes music, or to put it another way, I care whether it conveyed the
musically important dimensions of the performance as captured on disk in a
way that is credible and satisfying.
The Transport And The DAC
One cannot let this review pass without saying a few
words about the CDT-777 CD transport. It is gorgeous, beautifully made and
finished and in conjunction with the DAC provides a foundation to the
music – a sense of relaxed control – that I simply could not duplicate
with any of the other digital front ends serving as transports I had on
One of the great joys of the original one box CDP-777
was the JVC transport device that is unfortunately no longer available.
Instead of abandoning a CD transport and producing only a DAC, the
legendary, Kiuchi-san, the resonance control and component voicing
magician behind the Harmonix company, remained committed to engineering a
transport worthy of his DAC. After considerable experimentation, Kiuchi
settled on the much praised CD-Pro M2 drive manufactured by Philips. The
transport unit that houses the drive is a work of industrial art, weighing
in at a tad over 30 lbs, and features the typical Kiuchi concern for
resonance control and component voicing. There is but one digital out
socket and it is designed for the standard 75 Ohm digital interconnect.
Like Shindo who encourages the use of Shindo
interconnects, Kiuchi's products work best with Harmonix interconnects and
power cords. Kiuchi clearly envisions someone using the transport to do so
in conjunction with the DAC. Though I did not audition the transport with
other DACs, something I would likely have done had I been reviewing the
transport as well as the DAC, I am confident that it will work well as a
transport in any digital front end and that it will give a solidity,
control and overall sense of balance to the presentation of any high
Stylistically, the DAP-999EX DAC compliments but does
not emulate the appearance (or weight) of the transport. The DAC employs
JVCs K2 technology. The K2 processor converts standard 16-bit/44.1kHz CDs
to 24/88.2, and then sends that signal through the ubiquitous Burr-Brown
PCM1704U converter chip. The net effect is a 24-bit, 8x oversampled analog
The DAC housing is slender and elegant. There is little
excess in the design. The rear panel allows for after market power cords
(again the Harmonix is favored); balanced and unbalanced analog outputs,
AES, coaxial, optical and BNC connections. A special treat is the presence
of a switch for shifting phase, though its location on the rear makes it
less likely to be used than might be optimal. The front panel has button
selection mechanisms for choosing the appropriate connection (made on the
back), LEDs to indicate both the connection made and the sampling
frequency. Everything that is necessary in a package suitable to its
function; and nothing more. What a relief… and but for the phase switch
a joy to operate.
Both the transport and the DAC had seen some service
before the review and so I was able to avoid the longish break-in periods
that invariably accompany new products. Within a few days of constant
playing, I was able to listen critically. Both the transport and the DAC
worked flawlessly during my time with them.
In the early days good digital was often equated
with inoffensive sound. In general digital was rendered inoffensive by
taking the edge off the presentation, by rounding it into shape so to
speak. The problem was that in rounding the corners and the edges,
musically relevant information was sacrificed in order to preserve listenability.
Inoffensive and listenable: hardly ‘perfect sound forever.' For
the better part of its existence, digital playback has exhibited all the
dimensionality of cardboard with a soul to match. With few exceptions,
digital playback favors an undue emphasis on the leading edge of notes at
the expense of revealing their harmonic structure and a sense of natural
The emphasis on the leading edge of notes naturally
invited a fixation on what I take to be musically irrelevant features of
playback: soundstaging and imaging. Digital highlights visual rather than
auditory features of performances and in doing so distracts from and
obscures the musically significance of a performance – timbral
integrity, tonal accuracy, dynamic realism, overall coherence and
structural integrity – what I think of as resolution (in the same way in
which in art we distinguished paintings that are resolved from those that
Digital has come a long way, but some characteristics of
it remain largely unchanged. Of the many artifacts of digital playback
three have proven almost insurmountable obstacles to my ability to enjoy
listening long term to it. I can perhaps best characterize the true
excellence of the Reimyo by identifying the digital artifacts that the
Reimyo largely if not completely avoids.
First, most digital playback strikes me as rushed and
harried. I often get the sense that the performance is not developing but
is being rushed along. I hear this as failures of timing and flow. In
saying that I experience digital playback as exhibiting timing defects,
yet do not mean to suggest that digital gets the beat wrong or that it can't
keep time. Rather, to my ears, there is a difference between walking and
marching. Digital marches along; it almost never walks, swivels or sways
along. Have you ever tried to keep time with a musician? There is
something about the feel of a musician keeping the same time you are
keeping. It exhibits an ease by comparison to your relative rigidity;
there is a flow to it that yours typically does not exhibit.
Digital playback is often unnerving to me because it
presents music in what for want of a better term strikes me as at an
a-musical speed. Analog can be rough and frenetic; but it has a grace and
flow that seems appropriate to music that digital lacks – or which
digital displays too infrequently. Have had the same
response to the way some modern turntables keep time: a military march
rather than a walk with Fred Astair. Marching to a conclusion: making sure
you get from point A to point B; as opposed to say, enjoying the walk or
the trip, or just going at a natural and appropriate pace. This feature
kept me from fully enjoying the otherwise impeccable Clearaudio Reference
turntable, for example.
The second feature of digital that is a bar to my
appreciation of it is that the music decays into an infinite darkness.
This accounts in part for the clarity of digital playback, but it is
completely unnatural. Real music decays into space that has density and
dirt. The dark backgrounds of the digital domain do not replicate the
space in which real music is played and recorded. As a result the way in
which notes hang in space and decay in digital is far removed from the way
in which notes are expressed and develop and meld with one another in the
real world. This gives digital a kind of presence that is doubly weird.
The music is presented hanging in space rather than as occupying space and
so it stands out and an apart from what is in fact an integral part of it.
At the same time the presentation is more a visual picture and leaves the
listener at a distance from it thus creating a presence that oddly one
cannot be immersed in.
Finally, partially as a result of one and two above,
digital reproduction often strikes me as a collection of parts and not as
an integrated whole. Digital playback lacks the kind of integration that
presents the performance as structurally complete, as resolved, and thus
as a potential source of meaning. All the elements are presented, but too
often in a way that draws one's attention to their distinctiveness rather
than to the contribution each makes to the meaning of a piece. If
these elements of digital playback sound familiar to you, then the Reimyo
digital front end may be your savior. For me, the Reimyo front end is
analog like in that it overcomes much of what is artificial about
digital… and more.
The Reimyo front end does not eliminate entirely the
unnatural darkness into which digital sounds decay. That is very much a
function of the recording technique I fear and can only be altered by CD
playback adding ‘dirt' or ‘grain' that is itself an artifact, and
likely to appear in places it is not wanted. In this regard, the Reimyo
front end is essentially and unavoidably true to digital. Elsewhere it is
much truer to music than to the medium.
Nowhere is this more noticeable than in the timing and
flow of the musical presentation. The Reimyo front end presents the music
in a forthright and direct yet altogether relaxed and natural manner.
There is a grace to its presentation that is seductive and intoxicating.
Yet there is nothing soft about it. There are no rounded edges or rolled
off frequencies top or bottom. The presentation is honest and true, but
the Reimyo almost looks beyond the mode of recording to the essential
emotional and musical values of the performance itself.
It conveys everything that is essential to the musical
event with a modesty and confidence that is beguiling. The Reimyo is (in
my experience) unmatched in its timbral integrity and tonal accuracy. And
when mated to the extraordinary transport gives the music a strong,
unwavering and persuasive foundation that carries the performance from
machine to one's heart. The Reimyo engages, engulfs and immerses the
listener. It does not present the performance as something staged for one
to observe from a distance – in another part of the room. It invites one
into the performance; it immerses one in it as does vinyl.
As I mentioned above, I find most digital presentations
to emphasize the parts at the expense of part-to-part and part-to-whole
relationships. The music is taken apart but rarely put back together. The
great thing about the Reimyo is that it misses none of the parts – and
one can follow along to them or focus on them should one choose to do so
– yet it draws one's attention to the whole; and it does so by revealing
the structural integrity of the performance. A fully resolved performance
is rendered as such. A less than fully realized work is portrayed
The Reimyo front end could not achieve this level of
performance if it lacked the capacity to unravel and accurately portray
the most complex and demanding passages in orchestral music. The Reimyo
system was never once tripped up and at no time did it sound confused or
confounded by the material. Rare is the player that display all the
complex individual parts of a performance yet does so in a way that does
not unduly direct one to the trees at the expense of the forest.
I do not think that the Reimyo front end is meant for
those audiophiles who like to take their music visually. I am sure that
with the right (or wrong) associated equipment the Reimyo will image and
soundstage on a par with the best of breed. But that is not what the
Reimyo system is all about. Mr. Kiuchi is notorious
for his ability to employ his ‘tuning devices' to change entirely the
voicing of everything from instruments to listening rooms. But the voice
he hears has always been that of music. Those who have visited his rooms
at CES will notice that his taste runs a bit to the sweet, dense and rich.
If his electronics, including the digital front end, have a coloration at
all, it is that they too favor the rich and full over the lean and light.
I found this coloration less to my liking in the Reimyo preamplifier and
amplifier than in the digital front end. In fact, I find it downright
desirable in the digital domain.
The DAC stands on its own as a great achievement, but
there is no denying that it shines most brightly when partnered with the
Reimyo transport. When I substituted other CD players used as transports
alone there was a corresponding reduction in overall level of performance.
The greatest loss was in the strength of the foundation to the music that
the transport provides. The
Reimyo system did not fool me into thinking I was listening to vinyl. What
it did was make the fact that I wasn't significantly less important. If
you are interested in listening to the best that digital has to offer,
then you owe it to yourself to listen to the Reimyo digital front end. And
if you are in the market for a state of the art digital to analog
converter, I cannot imagine your doing better than the Reimyo DAP-999EX. I
already miss it.
Type: High resolution digital to analog converter
Frequency Response: DC ~ 20kHz (+/-0.5dB)
S/N Ratio: Better than 114dB (IHF-A)
Dynamic Range: Better than 100dB
Input Quantization: 16-bit
Sampling Frequency: 48, 44.1 and 32 kHz (auto-switching)
AES (XLR-3P- Hot: No.3) Input Impedance:110 Ohm
BNC: 75 Ohm
Coaxial (RCA) 75 Ohm
Signal Procession: K2 Technology (CC Converter IC; 16-24bit)
DA Converter: 24-bit 8-time oversampling/multi-bit
Phase Inverter SW: 0-180 on the back panel.
XLR balance/ 5.1 Vrms/ Low Imp.
RCA unbalance/ 2.55 Vrms/ Low Imp.
Linearity: +/-0.5dB (+10dBm ~ 90dBm) 1kHz IHF-A
THD: Better than 0.003% (30kHz LPF on)
Channel Separation: Better than 105dB (1kHz)
Dimensions: 430 x 44 x 337 (WxHxD in mm)
Weight: 11.2 lbs
Standard Accessory: Harmonix X-DC2 1.5m Special made (ROHS compliance)
4-20, Ikego 2-chome
Zushi-shi, Kanagawa 249-0003