[pataburd]

The following was transcribed from my notes from a few years back, but I am printing it here to promote interest/discussion in the DakiOm Negative Feedback Stabilizers in the hope that others on these forums will come to experience and appreciate these fine products as I have and do. When the review was originally written, only the DakiOm's beta version of the F203 existed. Therefore, the bulk of what follows is based on the beta/test/pre-market version of the Fm203. My subsequent experience with the official market-release version of the F203 (improving upon the performance of the beta model) is mentioned briefly in a postscript to the original review.

Preliminaries:
In the course of several informative and congenial e-mail exchanges with Dr. Kim Dao, I was privileged to be given permission to audition/review DakiOm’s experimental feedback stabilizer, hereafter dubbed the “Exp.F203,” designed for headphone/head amplifier applications. Given my very positive listening experience with just a single one of Dr. Dao’s 2-channel R203 stabilizers on my rather modest A/V system at home, I leapt at the opportunity to hear what DakiOm(s) could do for my headphone system at work. DakiOm feedback stabilizers are connected to used or unused analogue audio outputs.

My “office” headphone system was variously comprised of:
* 4 alternate audio sources:
(a) SONY disc drive from my hp d325 computer tower (provided by my employer),
(b) ersatz “Walkman” ($15),
(c) jWIN DVD/CD player ($39)
(d) Panasonic DVD S47S DVD/CD player ($100);
* a Gilmore V2-SE headphone amplifier/pre-amp ($850),
* 2 alternate earphones:
(a) Sennheiser MX-500 earbuds ($20),
(b) Etymotic Logic ER-4S earphones ($330);
* a Signal Cable Analogue Mini (stereo mini-to-RCA adapter: $39);
* Joe Zen ($59), Straightwire Laser Link ($95) and Audio Research Pro Series ($20) RCA interconnects
* two ErnieM do-it-yourself PCK 13Q power cords ($59 apiece): one on Panasonic DVD player and one on the Gilmore headphone amplifier;
* various Infinity Audio precision shorting plugs/terminators on unused pre-amp inputs and unused DVD player digital/video outputs;
* Herbie’s Grungebuster CD mat ($19.95), Marigo Labs Signature CD mat ($200).

For review purposes, I had on hand two (2) DakiOm Exp.F203’s, an R203 and an HR203. One of the Exp.F203’s went into the mini-plug source output (either source a, or b); the other went into one of two 1/4” headphone jack outputs from the Gilmore via the 1/4”-to-1/8” adapter that came with my ER-4S’s. The HR203 went into the (6) unused pre-amp outputs. The R203 went into the DVD analogue stereo outputs.

In Brief:
The short version of this review is simply that the DakiOm feedback stabilizers work exceptionally well. Their performance is consistent, uniform, additive, affordable and preeminently musical. There was not a single application in which the DakiOm failed to satisfy—no, better yet, delight. They are versatile accessories that soon become staple necessities on the audio train.


One-at-a-Time:
Please understand that music has become essential to my sanity and survival at the office, combating the frequent tedium and frustration that goes with programming and debugging computer programs all the livelong day. Music provides a soothing, long-term backdrop to practically all my programming tasks, as well as the occasional short-term excursion into critical (and unabashedly escapist) listening.

To begin, I tried the DakiOms one-at-a-time (with each stabilizer performing solo) at each of three locations. Firstly, a single Exp.F203 went into the mini output of my hp 325 tower. The resulting improvements were easy to hear: the presentation was much smoother, clearer, more expansive and detailed across the entire listening spectrum. Respective instruments and performers became better delineated, each imparting its own unique voice to the composition. All the musical elements occupied their proper places, not just spatially, but rhythmically, tonally, harmonically and dynamically. Instrumental sounds blossomed, became full and rounded, then naturally decayed. Vocals were rendered with more breath, throat, lip and tongue. DakiOm wasn’t getting just one thing right, or a few things right, or even most things right: it was getting everything right. That’s right, EVERYTHING. And meanwhile the sound of music, Music, MUSIC! was vividly emerging from the signal.

Secondly, I removed the single Exp.F203 from the computer output and put it into the Gilmore V2-SE earphone output being used (the Gilmore has two 1/4” headphone outputs). Results were the same in terms of across-the-board quality of change, but the incremental quantity of change was somewhat less. Sound was slightly edgier, less clear, less expansive, etc., with the feedback stabilizer at the earphone output of the Gilmore versus the source output of my computer. This may be explained by the fact that the computer source offered more room for improvement. Dr. Dao mentioned that the stabilizers tend to “rise to the occasion” with respect to bringing about more improvement from the component in which more potential improvement exists. Another thing I found consoling in this instance was that the DakiOm brought about perceptible and significant improvements whether used on my non-audiophile computer disc drive or on my dedicated, “high end” headphone amp.

Thirdly, I removed the Exp.F203 from the headphone output and put the HR203 on the 3 pairs of unused, RCA pre-amp outputs from the Gilmore. Again, the same across-the-board quality of change was evident, but this time the incremental quantity was on par with, or even slight more than, what I encountered with the single Exp.F203 at the computer source. Music was a bit smoother, clearer, more expansive, etc., with the HR203 on the unused Gilmore pre-outs versus the Exp.F203 on the computer disc drive (mini-phone) output.

Fourthly, I removed the HR203 from the Gilmore pre-outs and put a single Exp.F203 into the unused headphone output of the Gilmore. True to form and in keeping with the three previous applications, the DakiOm brought about a uniform improvement to every aspect of the music, but offered the least amount of improvement compared to the other applications.

In summary, using only a single stabilizer device, the hierarchy of improvement (most-to-least) went as follows: (1) HR203 at Gilmore pre-outs, (2) Exp.F203 at (computer) source output, (3) Exp.F203 at used Gilmore headphone output, (4) Exp.F203 at unused Gilmore headphone output.


A Digression:
Most of the stress involved with listening to the effect of a new “tweak,” for me, is hearing what’s been gained, but at the expense of what’s correspondingly been lost. So often one can perceive an apparent improvement in “resolution,” only to trace it back to an unwelcome shrinking of the soundstage and loss of ambience and musical synergy. I’ve rarely enjoyed the initial, experimental “improvement,” because it invariably comes at the cost of “looking over my shoulder” for how, in the end, I will pay sonically with a commensurate destruction of the music elsewhere, then desperately search for another tweak to offset the unpleasant side effects of the first one. It’s like taking a pill to treat high blood pressure, suffering the side effect of dizziness, then being prescribed another pill to treat the dizziness. It’s called an addiction, or dependency. It’s how the immorally prosperous pharmaceutical industry turns a profit; and it’s how the often unscrupulous “high end” audio industry primarily makes its fortune, too.

The good news for you and me is that, with the DakiOm in place, nothing was missing. In fact, the more I listened, the more the music surfaced. No holes, no gaps anywhere. To the contrary, there seemed to be a surplus of music. I listened to the same song over and over again. Each time I was content to follow one just aspect of the music: lead vocal or back up vocals or bass or strings or drums or intermittent triangle hits, for the duration of the entire song. Every little thing became integral and indispensable to the whole, balanced musical expression. The music seemed inexhaustible, but not fatiguing; relaxed, but not sluggish. The DakiOm feedback stabilizer simply renders music, and is the surest cure I know for chronic and acute rashes of “what’s the next tweak I need” sickness? I don’t need another tweak. In fact, in all fairness to what the DakiOms do, they shouldn’t be categorized merely as tweaks; they’re much more than that: they’re organic extensions of your existing components, hanging off like the vital tail to your trusty retriever, and serving you just as loyally.

Did the Exp.F203 make my computer drive sound like an Arcam or a Theta transport? Probably not. But it did succeed in extracting seemingly every last ounce of enjoyment that my humble disc drive had to offer. I’m a cheapskate by nature, so getting my money’s worth is the greatest boon to the success of any addition to my audio system. In the clichéd “bang-for-the-buck” scheme of things, DakiOm earns my highest recommendation. I mean, is $99 (for an R203) or $169 (for an HR203) too much to pay for a veritable banquet of blissful music? (I’m not sure how much DakiOm will charge for the F203, should it come on line to the public, but I’m guessing something comparable to what they get for an R203.)


Two-at-a-Time:
Added to the office system in pairs, the DakiOm feedback stabilizers exhibited an additive effect in keeping with the hierarchy mentioned above. In the order of most to least effective, the pairwise combinations went like so: (1) HR203/F203 at audio source, (2) HR203/F203 at used headphone output, (3) HR203/F203 at unused headphone output, (4) F203 at audio source and at used headphone output, (5) F203 at audio source and at unused headphone jack, (6) F203 at both used/unused headphone jacks. In each of the six above configurations, the two together were better than either one by itself.

Again the improvements were across the board, but augmented/bettered by the addition of a second DakiOm. Now I could hear more complete sounds; for example, with plucked strings (from Hiroshima’s “Go” CD), the initial attack, the ring of the pluck, the swelling of the string tone, the decay and overtones became more articulate, more individuated and better paced. Bass drum smacks and stand-up bass riffs became more articulate and rich, giving a more vivid sense of the notes’ achieving a fuller roundedness in the body of the instrument. Air and instrumental or vocal weight became more differentiated, with notes taking on even more distinct characteristics of the thing or person that produced them. I have a CD of Chinese pop hits from the early 90’s. No, I neither speak nor write Chinese, but I love to hear how differently Chinese vocalists use their mouths, and from where they project the sounds from inside their mouths. I listen to the voices as I would another instrument (since I don’t really know what they’re saying). Sung words became more articulate and easier to understand. There was more guttural “gravel” in male vocals. It was captivating to “listen through” the constituent parts of word sounds. For example, I could hear “p” sounds originate with a soft pop on the lips; then I could hear the lips part with that moist, fleshy peel; then the initial puff of expelled air at the front of the mouth; then the air following behind from the back of the throat; and finally the wavering and diminishment of the breath itself. I realize that the Gilmore already excels at resolution and detail, but the DakiOms seemed to turn it up by an order of magnitude. And all the while more music kept coming through. Usually, I get buried in such detail and listen much too critically—probably because I’m hunting down what seems to be missing. Many of my listening experiences conclude in discontentment, and I end up having heard no music at all, being instead overly vigilant only to what the tweaked gear didn’t get right this time. Such is decidedly not the case with the DakiOms. Again, they render such completeness to the music; the many, many extra details the stabilizers extract from the recording fit snugly into a single, unified, balanced expression of the performers’ art. I was both completely captivated and more than content with what I was hearing. In truth, I wanted to listen another time, in order to try and catch what I’d missed the time before.


All three DakiOms at once:
As you are sure to have already guessed, things got even better, in all the right places and in all the right ways. More of EVERYTHING—especially music! All I have to say is that the improvements were consistent, uniform, additive and evermore musical. Music simply blossomed to newer, truer and better levels.


The Versatile DakiOm:
I will note that while the DakiOms apparently derive the maximum potential from any component they are used with, more potential will be tapped with better components. For example, my experience using the feedback stabilizers with my computer disc drive was excellent; however, it was even better with my Panasonic DVD S47S, a very good budget performer in its own right. Sound was rich, open and detailed with my Sennheiser MX-500’s (another budget over-achiever); but the musical experience was made even richer and more arresting with the Etymotic ER-4S’s. The bright character of my Straightwire interconnects remained evident when in series with the DakiOm R203; and I much preferred the Joe Zen’s to the Straightwire Laserlinks. This is actually another testament to the versatility of Dr. Dao’s stabilizers: they find a home—and they deliver the musical goods—in all types of systems. They bring distinct satisfaction to your listening experience, whether your system perches on the low, middle or high end of the audiophile scale. The DakiOms’ chief strength lies in their uncanny ability to derive music from whatever component they find themselves attached to. You can take the DakiOms with you through every stage of your upgrade path, where they’ll secure a rightful and laudable place in just about any system configuration.

In my opinion, the proposed F203 headphone stabilizer should find a ready market among head-fiers (along with the R203 and the HR203). A 1/4” jack may find a wider market than the 3.5mm mini-phone plug, too, since the mini-crowd, which primarily uses portable gear, tends also to be on a portable budget. I don’t envision many Walkman-only users (who walk and run while they listen) employing the 3.5mm DakiOm F203, either, because although they probably would welcome the gains wrought in musicality, they probably wouldn’t warrant the added bulk or price. Fixed, home or office applications would supply the main market, I am guessing. (Keep in mind that I am not a “Walkman” type of guy, so this is only my opinion.) However, the mini-plug worked well for me, since that’s what my Etymotic ER-4S’s employ (I had to use a 1/4”-to-mini-phone adapter between the Gilmore and the Exp.F203). In addition, I had fun using the Exp.F203 on the mini-out to my multi-media speaker system to clean up garbled dialogue from old, dubbed kung fu DVD’s. I also ran it between my wife’s Walkman and her little stereo system—again to significant effect. IPOD or MP3 users who hook up to their home systems may well benefit from the DakiOm F203. The next time I fly, I will be sure to bring the F203 along for bettering my listening pleasure. Over the days and weeks ahead, I will lend one of my test units out to various colleagues at work to garner their impressions. In any event, I would encourage an initial test marketing of the F203 to discern what segments of the listening world are most apt to make such a purchase.


Endnotes:
Needless to say, I purchased the test versions of the F203 from Dr. Dao. (In addition, I bought another R230 and an HR203 for my home theater components.) And I ended up re-vamping/optimizing my office system. My Panasonic DVD S47S (which formerly occupied my A/V shelf at home) now stands atop my work desk, with the DakiOm R203 attached to its stereo outputs and the Joe Zens linking the R203 to my Gilmore V2-SE. The HR203 has found a permanent place at the unused pre-outs of the Gilmore. One Exp.F203 is attached to the used headphone out, which services my Etymotic ER-4S’s, while the other Exp.F203 dangles gracefully from the unused headphone output. Wow! Talk about alluring! Layer after layer of music unfolds effortlessly and enduringly.

Now I’ve just put on the Chinese, 90’s pop CD—whose liner notes I still can’t read and whose lyrics I still can’t understand, for probably the 20th time. Hold all my calls, please. These DakiOms are staying right where they are, and so am I . . . lost in the lush music-scape like never before!

Many thanks to Dr. Kim Dao for his noble and successful efforts to make more music more affordable to more people like you and me.

BRAVO, and Happy New Year, DakiOm!


January 27-February 10, 2005



POSTSCRIPT, 04/05/2006:

The new-to-market F203’s sound even more musical, liquidy, open and transparent than the test versions I auditioned last year. With DakiOms in place, be assured that you, the listener, leave few, if any, essential audiophile “stones” unturned.

The DakiOms continue to deliver readily discernable, across-the-board improvement and musicality in the latest version of my dedicated headphone system, consisting of:

(1) RAM-modded Samsung DVD-HD841 player with full, premium mods +SuperClock 3
(2) SinglePower MPX3 headphone amplifier, with premium upgrades and NOS 6SN7’s
(3) AKG K701 headphones
(4) DakiOm feedback stabilizers:
*1x HR203 at source outputs
*1x R203 at unused amplifier outputs
*2x F203 at headphone outputs
(5) Paul Speltz Anti-IC’s or MillerSound IC’s
(6) PowerVar ABC-400 AC conditioner
(7) ErnieM PCK-13 power cords
(8) Marigo Signature CD Mat
(9) Duende and Herbie’s tube rings
(10) PAC Digital Interface
(11) Infinity Audio shorting plugs
(11) DIY “brilliant pebbles” and “cloud ten” damping devices; Totem Beaks (on amp caps).

Thanks again, Dr. Dao!


SECOND POSTSCRIPT, 06/16/08:

With Kim Dao’s third generation of DakiOm Negative Feedback Stabilizers on the market, I intend to gradually upgrade my inventory of them from the “203” to the “263” or “273” series, starting, God willing, with the F273 stabilizer designed for use with ¼” SE headphone output jacks.

If what Dr. Dao tells me is true, i.e. that the F273 represents a significant, readily discernable and hard to do without improvement over the F203—and I have never had any reason to doubt the verity of anything he has told me in the past, then I believe I am in for an unparalleled treat!

Gear: EVS-modded Oppo 970HD, EVS IC100 interconnent, Bada PH-12, D2000, HD600, K501, MAC Source and HC power cords, DakiOms, PowerVar. (NOTE: Although my listening gear has undergone noticable changes at the source, amp, cable and headphone ends, the DakiOms have remained a constant in my systems.)