TheGhostWhoWalks
500+ Head-Fier
- Joined
- Jul 21, 2005
- Posts
- 682
- Likes
- 54
I've had the K-01 since February and have been listening to it since March with a variety of different music, tubes, and the few headphones in my collection and thought I would post my (lengthy) impressions here.
Preface
Before purchasing the K-01 I had used (and still currently own) a Harmonix Reimyo CDP-777 for about the past 3 years. In fact, I was so happy with the Reimyo’s performance, especially in combination with my R10s and SDS-XLR, that I thought I had finally reached my personal audio nirvana. For the first time since getting into this most neurotic and obsessive of hobbies almost a decade ago I finally found myself free of attacks of upgradeitus, genuinely pleased in all respects with the sound I was getting.
Then, two things happened:
1. I heard my first SACD (courtesy of my Oppo BDP-83, which I primarily use for my video system).
2. I began to realize my CD collection was growing unruly and I’d be much better off in the long run switching to computer audio.
So it was almost with reluctance that I started my search for an SACD player that could also do PC audio while matching the Reimyo on redbook playback. Even though I’ve never been convinced of the supposed inherent advantage of SACDs (as far as I can tell, the extended dynamic range and frequency response are outside the realm of human hearing), I do think that a higher percentage of SACDs (as opposed to CDs) are mastered for the best possible sound precisely because they’re marketed towards audiophiles. So whether it’s the format or the mastering, I am a believer that SACDs tend to sound better than most CDs.
While I had considered a few options, after finding a like-new K-01 on Audiogon for only $12k I simply had to get it, knowing that even if I was unpleased, I should have no trouble selling it back for what I paid for it.
Build & Looks
The first thing that surprised me about the K-01 (compared to the Reimyo) is just how much bigger it is. The Reimyo is not a small player by any means, but at apprx. 35lbs. it’s almost 50lbs. lighter than the beastly K-01. But the weight is just the first tell-tale sign of the magnificent craftsmanship that went into this machine… pictures don’t really do it justice, but it’s simply one of the cleanest, most elegantly designed sources I’ve ever seen. Though its overall size and weight may make it a tough fit for some shelves—it just barely fit on the middle rack of my Monaco Modular Isolation Rack (with about an inch clearance on the top, about 2 inches total on the sides and maybe 2.5 inches between the front and back).
[size=12.0pt]Sound Preface[/size]
[size=12.0pt]Perhaps the first thing that I should note about the sound is that it is not uniform amongst its modes (SACD, CD, and PC), although the SACD sounds more noticeably different from the CD and PC than the CD does from the PC. I suspect this is because the SACD has its own dedicated filter for DSD that is always on, while with the CD and PC settings there are a variety of upsampling and filter options. In fact, this variety in these modes is as interesting as it is frustrating because, according to Esoteric, each combination requires its own burn-in time, and there are 20 different combinations: [/size]
[size=12.0pt]Upsampling: Off, DSD Conversion, X2, X4[/size]
[size=12.0pt]Filters: Fir1, Fir2, S_LDY1, S_LDY2[/size]
[size=12.0pt]Considering this variety of options for redbook, I decided to start by burning in the SACD filter for the first few months.[/size]
[size=12.0pt]I should also mention that my primary tube combination for SDS-XLR was a Tung-Sol VT231 input and Sylvania VT231 outputs. This is an extremely neutral combination that doesn’t emphasize any of the frequencies or unnaturally push the sound forward or back. If anything, it’s slightly on the soft, relaxing side, but this is a feature of most 6SN7s. [/size]
[size=12.0pt]SACD – Initial Impressions & Burn-in[/size]
[size=12.0pt]My first honest impression of the SACD playback of the K-01 was disappointment. In comparison to the major difference listening the Linn's Messiah in redbook, and then SACD on my Oppo, the difference between the redbook on the Reimyo and SACD on the K-01 was not nearly as pronounced. If anything, I found the Reimyo a bit fuller, richer, and more open. After my first day of listening to SACDs on the K-01 I contacted the seller to ask him about his own impressions, and he stated he had not used the SACD function in his time with the unit and that it probably just needed burn-in. So I was basically forced to play a patience game, but it was definitely worth it. It took its time, but around the 10-day, 250-hr. mark the SACD performance really started to open up and fill-out. At last I was getting superior performance on well-mastered discs like 2L’s Mozart Violin Concertos]2L's Mozart's Violin Concertos (a real SACD/hi-fi showcase disc if ever there was one), and the hybrid SACD of [/size]Dylan's Blood on the Tracks.
[size=12.0pt]SACD – Strengths[/size]
[size=12.0pt]The first truly outstanding aspect of the K-01’s SACD reproduction are the frequency extremes; the extension of the bass and treble is just incredible and unmatched by anything else I’ve heard. But it’s not just the extension but the absolute authority with which they’re delivered. The bass never, ever got the tiniest bit flabby, and the treble never got out of control to where it was piercing, and this is important because I’m quite sensitive to over-brightness. Even when listening to instruments in the upper registers, like violins or operatic sopranos there was never a moment that made me wince because it was just too strong. As for the bass, even the R10s most ardent fans admit that its lack of bass quantity and impact is a weakness, but I’ve always found that with the right amp/tubes the R10s were capable of excellent bass output and impact, and the K-01 finally cinched that feeling of mine. [/size]
[size=12.0pt]The second most outstanding feature is likely the dynamics. As much as I love my Reimyo, it was always a bit of a “soft” player, but that made it superb on a lot of jazz and female vocal music (unmatched, IMO). The K-01 is not a soft player, by any means, and while it may not have the over-emphasized PRAT of the Naims, its ability to navigate the volume extremes is superb. This is especially telling in music like the symphonies of Mahler or Shostakovich that is extremely heavy in juxtaposed dynamic extremes. Music like Mahler’s 2nd and 8th symphony, or Shostakovich’s 5th, 8th, and 10th sound downright apocalyptic on the K-01. It’s a shame that there’s so little heavy metal and hard rock in SACD, because this level of dynamic punch would be perfect for those genres. [/size]
[size=12.0pt]The third outstanding feature is macro detail. I’ve always felt that detail that was the “catch-all” term in audio that meant too many things to too many listeners. To me, detail isn’t necessarily clarity, because I think a lot of low-end audio has plenty of clarity, but at the expense of realistic tonality or micro and/or macro detail. So when I say “macro detail” what I’m talking about is the ability to see every individual piece in the whole picture and hold it together. This is different than being able to pick out one element and see deeply into it, which is more micro-detail. The Reimyo, by comparison, excelled in micro-detail, which is better in, say, chamber music, solo instrumental music, or primarily vocal music. Macro detail is what you want when you’re listening to symphonies, concertos, or anything where there’s a lot of sound (like most rock/metal music). In that type of music the K-01 really gets to show off. [/size]
[size=12.0pt]Some other strengths (if not as outstanding as the above) are the soundstage, imaging, fullness, and liquidity. While I've always felt amps and headphones have a much greater impact on soundstage, I do think sources need to image well in order to the get the most out of it, and the K-01s are excellent here, perhaps with a slight edge over the Reimyo. Likewise in the fullness of the sound, while I think the Reimyo can fill out better with individual instruments, the K-01 is superior when it comes to anything larger scale. Symphonies and operas and symphonic metal sound simply monumental through the K-01, and they convey a sense of scale as well as any other source I've heard. With the liquidity, there is a superior ease when transitioning between the frequencies, which I've always felt was crucial in making music sound natural (since there are no dips and dives in live music at all). [/size]
[size=12.0pt]SACD – Weaknesses[/size]
[size=12.0pt]With all the above, the K-01 is not “perfect,” but, then again, what piece of audio equipment is? In many respects, the player’s weaknesses are things you might expect from reading the above. EG, the gobs of macro-detail means that the K-01 is not the best player when it comes to micro-detail, which can be a detriment for those that tend to like to focus in on a single instrument and listen to and discern every little different stroke or pluck or breath. While listening to Takacs' Beethoven Sonatas I frequently felt like the K-01 was too constrained by having to only playback one instrument. This isn’t to say that the recording sounded BAD, but for all the player’s dynamics and frequency response, I miss the intimacy and inner-harmonic and tonal richness the Reimyo brought out in these performances. [/size]
[size=12.0pt]Tonality could be said to be another weakness, but I think it would be fairer to put the K-01s tonality into that middle ground between strength and weaknesses. Honestly, I’m probably just biased from being so used to the Reimyo. In fact, the combination of the Reimyo and R10 is, hands down, the most tonally, musically “right” combination I’ve ever heard. One complaint I’ve always had about digital audio (as opposed to vinyl) is that it has a tendency to bleed instrument tonalities together. Compared to when you’re listening to music and you can always pick out, say, the tonal coloring of an oboe compared to a clarinet or even violin. In digital music I too often find that ever instrument seems to have the same coloring. The Reimyo was the first player to ever fully distinguish them close to what I’m used to hearing live. The K-01 does not reach the Reimyo’s level of tonality or harmonic richness, but neither is even close to the poor performance of most low-end digital audio. For me, though, this is one area I’m almost inclined to consider a weakness because I had become so addicted to the Reimyo’s tonality. The K-01 is an undeniable step-back in this area, even if it’s still far from unacceptable. [/size]
[size=12.0pt]Like the tonality, I also must mention the midrange under this category. Compared to the K-01s top and bottom end, the midrange feels slightly recessed and flat. It’s not so much that the treble and bass are emphasized in terms of volume, though, as it is that the mids just seem lacking in the same kind of fullness and authority that the extremes are giving. This is especially evident in RCA’s SACD of Heifetz & Primrose playing Mozart's Sinfonia Concertante. On the Reimyo and on redbook, there was an equal balance between the two instruments, emphasizing the equanimity that Mozart gave to them, as well as the joint virtuosity of Heifetz and Primrose, perhaps the two finest ever on their respective instruments. On the K-01, by comparison, Heifetz’s violin definitely sounds more prominent than Primrose’s viola, or, at least, it sounds fuller, richer, crisper, more dynamic. Does it ruin the recording? No, but the balance is still off enough to be noticeable. [/size]
[size=12.0pt]Although, one strange thing about that slightly recessed midrange is that horns (all brass really, but horns especially) sound unbelievably great on this player no matter the frequency. I've always felt horns were one of the hardest instruments to get right[/size], and the K-01 has a magic with them the same way I felt the Reimyo had a magic with female vocals and acoustic guitars.
[size=12.0pt]SACD – Conclusions[/size]
[size=12.0pt]I suspect that the “weaknesses” I’ve listed would probably be considered minor, if not non-existent, by many listeners. Again, I have to emphasize that I’m coming from this as someone who adored what the Reimyo did well and didn’t mind what it didn’t do as well. In comparison, the K-01 simply has different strengths, and its “weaknesses” just happen to be those things I loved about the Reimyo. I have a feeling that the slightly recessed/thin midrange would be more of a problem on the more modern headphones that seem to have a tendency to emphasize treble and detail over midrange fullness and warmth. The R10s, though, have perhaps the richest midrange of any headphone ever made, and one way of looking at it pairing with the K-01 is that the K-01 tames some of that fullness, which can become bloated on large and complex music/passages. In fact, on something like Norah Jones' Come Away With Me SACD, the R10/K-01 combo helped to balance the vocals with the instruments without losing the velvety richness of Norah’s tone. [/size]
[size=12.0pt]CD and PC [/size]
[size=12.0pt]Any discussion of the K-01 on redbook/USB must start with the discussion of the filters and upsampling combos because they really do make a difference; yet I, admittedly, have not tried them all at great length. In fact, I’ve only listened to two at any length: Fir1+2X and S_LDY+4X. First, let me try to sketch a rough idea of the sound signature of what these filters/converters do individually: [/size]
[size=12.0pt]Upconverters X2, X4, & Off: The difference I can discern going from off to on is that the sound seems to take on a closer, fuller, and more layered perspective. This is akin to going from that “macro” to “micro” perspective I mentioned earlier. In fact, it makes sense because the Reimyo automatically did 4X oversampling, so perhaps that explains why it had such a rich inner sound and tonality. With the K-01, though, even in X4 mode I don’t think it’s as rich as the Reimyo, but it was certainly more so than in SACD mode. One’s preference here will be simply that; a preference. I found off to be slightly dry with any of the filters. [/size]
[size=12.0pt]Upconverter DSD: This converter offers very similar playback sound to the SACD layer. I definitely think this offered more clarity and macro-detail than the other converter options, but it also had a certain artificiality about it that I didn’t care for and didn’t seem to be there in SACD mode. [/size]
[size=12.0pt]Fir & S_LDY: The difference between these two filters also seems to be one of tonal richness (Fir) VS fast accuracy (S_LDY). I think on most modern gear that tends towards speed, detail, and brightness, most would prefer the Fir filter. However, for headphones like the R10, L3K, or perhaps an LCD-2, the S_LDY is a very viable choice because it doesn’t allow the fullness of these phones to become slow, bloated, and obscure. The big difference is in the transient response, where the S_LDY just excels and gets closer to that “Stat” sound. The Fir is more tube-like. [/size]
[size=12.0pt]So what about 1 VS 2 for the Fir and S_LDY? Honestly, I couldn’t tell a difference. It says in the booklets that 1 has a variable cut-off depending on what’s being inputted, while the 2 auto cuts off at 80kHz (I think it was). Considering humans can’t hear much over 20kHz, I wonder how this would possibly make any difference. Perhaps with more listening I’d be able to discern some subtle difference, but I just stuck with the 1 setting because… c’mon, 1 is obviously a better number than 2. [/size]
[size=12.0pt]The various combinations probably sound about like what you’d imagine. Fir+X2/X4 for extreme fullness, warmth, closeness, richness, tonality VS S_LDY+Off for extreme speed, detail, accuracy, PRAT, etc. Honestly, though, I found I could combine the S_LDY with the X4 and get a lot of richness without losing out on those other qualities. The Fir/X4, though, is getting close to “gilding the lily,” or maybe topping fudge with syrup, but with the X2 it was more just the lily… or the fudge. Damn, now I want to go eat fudge and look at flowers. [/size]
[size=12.0pt]With the filters out of the way, all that’s really left to say is that in Redbook I think The K-01 is as good as it gets. The simple reason is that the ability to match the filters with your listening needs (meaning phones, amp, and music) offers great flexibility. EG, with the S_LDY/X4, L3Ks, and tubes like the 5687s for outputs, the K-01 flat-out rocked on hard rock and metal. The slam and power and excitement was unlike anything I was ever able to get on the Reimyo. On the other hand, the R10s, Fir/X2, and tubes like the RCA VT231 the sound reached close to the level of tonal richness of the Reimyo. Perhaps it lacked that little bit extra sparkle and softness I loved so dearly on female vocals like Norah Jones, Jane Monheit, or Anneke van Giersbergen, but the difference isn’t night and day. [/size]
[size=12.0pt]CD & PC Conclusions[/size]
[size=12.0pt]If I had to form some generalities when you have this many tweaking possibilities, but what I might say is that the sound had the same qualities of the K-01 in SACD, except that both the strengths and weaknesses were slightly less pronounced and quite malleable to the influence of the filters/upsampling. So, basically, imagine everything I wrote about the SACD performance, but slightly attenuated on both ends. I don’t want to suggest that the K-01 is a completely different player on redbook, but on the other hand there is an unmistakable difference between the K-01 on SACD and the K-01 on redbook with Fir1+X4 (eg). Perhaps not night and day, but perhaps noon and mid evening. [/size]
[size=12.0pt]I have not spent a great deal of time with the K-01 and my PC yet, primarily because I haven’t converted much of my collection yet, but I couldn’t tell a major difference between playback on redbook and USB. Perhaps USB was slightly clearer and faster (no spinning disc?). Other than that, the filters seem to have the exact same sound signature regardless of the input. [/size]
[size=12.0pt]Conclusions and Recommendations[/size]
[size=12.0pt]Ultimately, can I say I am satisfied without qualifications? No. However, those qualifications are minor, and what I would say is probably predictable by now; The Reimyo probably fits my own ideal sound better than the K-01. I’ve yet to have that moment with the K-01 that I constantly had with the Reimyo where I say to myself “I can live happily forever with this player.” However, I think part of that is because, over time, my favorite music to listen to on high-end audio is that in which tonality is so crucial, namely chamber and solo classical music and female vocal music. The Reimyo is, IMO, simply better on that kind of music, even though I do feel the K-01 bests it on rock, metal, and large-scale classical. [/size]
[size=12.0pt]I also have to remind myself that what the K-01 can do with a lot of music in SACD is something the Reimyo can’t do with anything, and the option to have PC audio will likely be a major time/space (perhaps money) saver down the road. Likewise, I also feel that the K-01 is probably a better match with my beloved R10s than the Reimyo because the K-01s somewhat thin mid-range helps to tame the sometimes overpowering mids of the R10 and bring it in better balance with the other frequencies. Plus, the K-01s simply rock with the L3Ks, which is precisely what I want them to do. Actually, for L3K owners, the K-01 is a dream player as its effortless authority and macro detail is needed to tame the soupy, sloppiness of the L3K while emphasizing its strengths in PRAT and dynamics. [/size][size=12.0pt]On the other hand, I wonder about how well the K-01 would pair with headphones like, say, the SR009 or LCD-3 or HD800 which seem already geared towards the speed, detail, macro side of the spectrum. I know some already own the SR009/K-01 combo, so they could probably comment more significantly than I could, but I worry more about combinations that are too overly-analytical, cold, and bright than some do. [/size]
[size=12.0pt]The big question (for me) is what to do with the Reimyo. It’s worth about half now than what I originally paid for it, and I’m not entirely convinced that I shouldn’t just keep it to use when I want to indulge in chamber music, solo instrumental music, and female vocals… though the sensible side of brain (I think that’s what it is… it’s been so long since we were on speaking terms) is saying that that’s silly, and that I could at least recoup about half what I paid for the K-01. It may just come down to more burn in and some comparative listening on some key tracks to see if I can live without the rich tonality of the Reimyo and if the K-01 gets close enough to satisfy me. [/size]
Preface
Before purchasing the K-01 I had used (and still currently own) a Harmonix Reimyo CDP-777 for about the past 3 years. In fact, I was so happy with the Reimyo’s performance, especially in combination with my R10s and SDS-XLR, that I thought I had finally reached my personal audio nirvana. For the first time since getting into this most neurotic and obsessive of hobbies almost a decade ago I finally found myself free of attacks of upgradeitus, genuinely pleased in all respects with the sound I was getting.
Then, two things happened:
1. I heard my first SACD (courtesy of my Oppo BDP-83, which I primarily use for my video system).
2. I began to realize my CD collection was growing unruly and I’d be much better off in the long run switching to computer audio.
So it was almost with reluctance that I started my search for an SACD player that could also do PC audio while matching the Reimyo on redbook playback. Even though I’ve never been convinced of the supposed inherent advantage of SACDs (as far as I can tell, the extended dynamic range and frequency response are outside the realm of human hearing), I do think that a higher percentage of SACDs (as opposed to CDs) are mastered for the best possible sound precisely because they’re marketed towards audiophiles. So whether it’s the format or the mastering, I am a believer that SACDs tend to sound better than most CDs.
While I had considered a few options, after finding a like-new K-01 on Audiogon for only $12k I simply had to get it, knowing that even if I was unpleased, I should have no trouble selling it back for what I paid for it.
Build & Looks
The first thing that surprised me about the K-01 (compared to the Reimyo) is just how much bigger it is. The Reimyo is not a small player by any means, but at apprx. 35lbs. it’s almost 50lbs. lighter than the beastly K-01. But the weight is just the first tell-tale sign of the magnificent craftsmanship that went into this machine… pictures don’t really do it justice, but it’s simply one of the cleanest, most elegantly designed sources I’ve ever seen. Though its overall size and weight may make it a tough fit for some shelves—it just barely fit on the middle rack of my Monaco Modular Isolation Rack (with about an inch clearance on the top, about 2 inches total on the sides and maybe 2.5 inches between the front and back).
[size=12.0pt]Sound Preface[/size]
[size=12.0pt]Perhaps the first thing that I should note about the sound is that it is not uniform amongst its modes (SACD, CD, and PC), although the SACD sounds more noticeably different from the CD and PC than the CD does from the PC. I suspect this is because the SACD has its own dedicated filter for DSD that is always on, while with the CD and PC settings there are a variety of upsampling and filter options. In fact, this variety in these modes is as interesting as it is frustrating because, according to Esoteric, each combination requires its own burn-in time, and there are 20 different combinations: [/size]
[size=12.0pt]Upsampling: Off, DSD Conversion, X2, X4[/size]
[size=12.0pt]Filters: Fir1, Fir2, S_LDY1, S_LDY2[/size]
[size=12.0pt]Considering this variety of options for redbook, I decided to start by burning in the SACD filter for the first few months.[/size]
[size=12.0pt]I should also mention that my primary tube combination for SDS-XLR was a Tung-Sol VT231 input and Sylvania VT231 outputs. This is an extremely neutral combination that doesn’t emphasize any of the frequencies or unnaturally push the sound forward or back. If anything, it’s slightly on the soft, relaxing side, but this is a feature of most 6SN7s. [/size]
[size=12.0pt]SACD – Initial Impressions & Burn-in[/size]
[size=12.0pt]My first honest impression of the SACD playback of the K-01 was disappointment. In comparison to the major difference listening the Linn's Messiah in redbook, and then SACD on my Oppo, the difference between the redbook on the Reimyo and SACD on the K-01 was not nearly as pronounced. If anything, I found the Reimyo a bit fuller, richer, and more open. After my first day of listening to SACDs on the K-01 I contacted the seller to ask him about his own impressions, and he stated he had not used the SACD function in his time with the unit and that it probably just needed burn-in. So I was basically forced to play a patience game, but it was definitely worth it. It took its time, but around the 10-day, 250-hr. mark the SACD performance really started to open up and fill-out. At last I was getting superior performance on well-mastered discs like 2L’s Mozart Violin Concertos]2L's Mozart's Violin Concertos (a real SACD/hi-fi showcase disc if ever there was one), and the hybrid SACD of [/size]Dylan's Blood on the Tracks.
[size=12.0pt]SACD – Strengths[/size]
[size=12.0pt]The first truly outstanding aspect of the K-01’s SACD reproduction are the frequency extremes; the extension of the bass and treble is just incredible and unmatched by anything else I’ve heard. But it’s not just the extension but the absolute authority with which they’re delivered. The bass never, ever got the tiniest bit flabby, and the treble never got out of control to where it was piercing, and this is important because I’m quite sensitive to over-brightness. Even when listening to instruments in the upper registers, like violins or operatic sopranos there was never a moment that made me wince because it was just too strong. As for the bass, even the R10s most ardent fans admit that its lack of bass quantity and impact is a weakness, but I’ve always found that with the right amp/tubes the R10s were capable of excellent bass output and impact, and the K-01 finally cinched that feeling of mine. [/size]
[size=12.0pt]The second most outstanding feature is likely the dynamics. As much as I love my Reimyo, it was always a bit of a “soft” player, but that made it superb on a lot of jazz and female vocal music (unmatched, IMO). The K-01 is not a soft player, by any means, and while it may not have the over-emphasized PRAT of the Naims, its ability to navigate the volume extremes is superb. This is especially telling in music like the symphonies of Mahler or Shostakovich that is extremely heavy in juxtaposed dynamic extremes. Music like Mahler’s 2nd and 8th symphony, or Shostakovich’s 5th, 8th, and 10th sound downright apocalyptic on the K-01. It’s a shame that there’s so little heavy metal and hard rock in SACD, because this level of dynamic punch would be perfect for those genres. [/size]
[size=12.0pt]The third outstanding feature is macro detail. I’ve always felt that detail that was the “catch-all” term in audio that meant too many things to too many listeners. To me, detail isn’t necessarily clarity, because I think a lot of low-end audio has plenty of clarity, but at the expense of realistic tonality or micro and/or macro detail. So when I say “macro detail” what I’m talking about is the ability to see every individual piece in the whole picture and hold it together. This is different than being able to pick out one element and see deeply into it, which is more micro-detail. The Reimyo, by comparison, excelled in micro-detail, which is better in, say, chamber music, solo instrumental music, or primarily vocal music. Macro detail is what you want when you’re listening to symphonies, concertos, or anything where there’s a lot of sound (like most rock/metal music). In that type of music the K-01 really gets to show off. [/size]
[size=12.0pt]Some other strengths (if not as outstanding as the above) are the soundstage, imaging, fullness, and liquidity. While I've always felt amps and headphones have a much greater impact on soundstage, I do think sources need to image well in order to the get the most out of it, and the K-01s are excellent here, perhaps with a slight edge over the Reimyo. Likewise in the fullness of the sound, while I think the Reimyo can fill out better with individual instruments, the K-01 is superior when it comes to anything larger scale. Symphonies and operas and symphonic metal sound simply monumental through the K-01, and they convey a sense of scale as well as any other source I've heard. With the liquidity, there is a superior ease when transitioning between the frequencies, which I've always felt was crucial in making music sound natural (since there are no dips and dives in live music at all). [/size]
[size=12.0pt]SACD – Weaknesses[/size]
[size=12.0pt]With all the above, the K-01 is not “perfect,” but, then again, what piece of audio equipment is? In many respects, the player’s weaknesses are things you might expect from reading the above. EG, the gobs of macro-detail means that the K-01 is not the best player when it comes to micro-detail, which can be a detriment for those that tend to like to focus in on a single instrument and listen to and discern every little different stroke or pluck or breath. While listening to Takacs' Beethoven Sonatas I frequently felt like the K-01 was too constrained by having to only playback one instrument. This isn’t to say that the recording sounded BAD, but for all the player’s dynamics and frequency response, I miss the intimacy and inner-harmonic and tonal richness the Reimyo brought out in these performances. [/size]
[size=12.0pt]Tonality could be said to be another weakness, but I think it would be fairer to put the K-01s tonality into that middle ground between strength and weaknesses. Honestly, I’m probably just biased from being so used to the Reimyo. In fact, the combination of the Reimyo and R10 is, hands down, the most tonally, musically “right” combination I’ve ever heard. One complaint I’ve always had about digital audio (as opposed to vinyl) is that it has a tendency to bleed instrument tonalities together. Compared to when you’re listening to music and you can always pick out, say, the tonal coloring of an oboe compared to a clarinet or even violin. In digital music I too often find that ever instrument seems to have the same coloring. The Reimyo was the first player to ever fully distinguish them close to what I’m used to hearing live. The K-01 does not reach the Reimyo’s level of tonality or harmonic richness, but neither is even close to the poor performance of most low-end digital audio. For me, though, this is one area I’m almost inclined to consider a weakness because I had become so addicted to the Reimyo’s tonality. The K-01 is an undeniable step-back in this area, even if it’s still far from unacceptable. [/size]
[size=12.0pt]Like the tonality, I also must mention the midrange under this category. Compared to the K-01s top and bottom end, the midrange feels slightly recessed and flat. It’s not so much that the treble and bass are emphasized in terms of volume, though, as it is that the mids just seem lacking in the same kind of fullness and authority that the extremes are giving. This is especially evident in RCA’s SACD of Heifetz & Primrose playing Mozart's Sinfonia Concertante. On the Reimyo and on redbook, there was an equal balance between the two instruments, emphasizing the equanimity that Mozart gave to them, as well as the joint virtuosity of Heifetz and Primrose, perhaps the two finest ever on their respective instruments. On the K-01, by comparison, Heifetz’s violin definitely sounds more prominent than Primrose’s viola, or, at least, it sounds fuller, richer, crisper, more dynamic. Does it ruin the recording? No, but the balance is still off enough to be noticeable. [/size]
[size=12.0pt]Although, one strange thing about that slightly recessed midrange is that horns (all brass really, but horns especially) sound unbelievably great on this player no matter the frequency. I've always felt horns were one of the hardest instruments to get right[/size], and the K-01 has a magic with them the same way I felt the Reimyo had a magic with female vocals and acoustic guitars.
[size=12.0pt]SACD – Conclusions[/size]
[size=12.0pt]I suspect that the “weaknesses” I’ve listed would probably be considered minor, if not non-existent, by many listeners. Again, I have to emphasize that I’m coming from this as someone who adored what the Reimyo did well and didn’t mind what it didn’t do as well. In comparison, the K-01 simply has different strengths, and its “weaknesses” just happen to be those things I loved about the Reimyo. I have a feeling that the slightly recessed/thin midrange would be more of a problem on the more modern headphones that seem to have a tendency to emphasize treble and detail over midrange fullness and warmth. The R10s, though, have perhaps the richest midrange of any headphone ever made, and one way of looking at it pairing with the K-01 is that the K-01 tames some of that fullness, which can become bloated on large and complex music/passages. In fact, on something like Norah Jones' Come Away With Me SACD, the R10/K-01 combo helped to balance the vocals with the instruments without losing the velvety richness of Norah’s tone. [/size]
[size=12.0pt]CD and PC [/size]
[size=12.0pt]Any discussion of the K-01 on redbook/USB must start with the discussion of the filters and upsampling combos because they really do make a difference; yet I, admittedly, have not tried them all at great length. In fact, I’ve only listened to two at any length: Fir1+2X and S_LDY+4X. First, let me try to sketch a rough idea of the sound signature of what these filters/converters do individually: [/size]
[size=12.0pt]Upconverters X2, X4, & Off: The difference I can discern going from off to on is that the sound seems to take on a closer, fuller, and more layered perspective. This is akin to going from that “macro” to “micro” perspective I mentioned earlier. In fact, it makes sense because the Reimyo automatically did 4X oversampling, so perhaps that explains why it had such a rich inner sound and tonality. With the K-01, though, even in X4 mode I don’t think it’s as rich as the Reimyo, but it was certainly more so than in SACD mode. One’s preference here will be simply that; a preference. I found off to be slightly dry with any of the filters. [/size]
[size=12.0pt]Upconverter DSD: This converter offers very similar playback sound to the SACD layer. I definitely think this offered more clarity and macro-detail than the other converter options, but it also had a certain artificiality about it that I didn’t care for and didn’t seem to be there in SACD mode. [/size]
[size=12.0pt]Fir & S_LDY: The difference between these two filters also seems to be one of tonal richness (Fir) VS fast accuracy (S_LDY). I think on most modern gear that tends towards speed, detail, and brightness, most would prefer the Fir filter. However, for headphones like the R10, L3K, or perhaps an LCD-2, the S_LDY is a very viable choice because it doesn’t allow the fullness of these phones to become slow, bloated, and obscure. The big difference is in the transient response, where the S_LDY just excels and gets closer to that “Stat” sound. The Fir is more tube-like. [/size]
[size=12.0pt]So what about 1 VS 2 for the Fir and S_LDY? Honestly, I couldn’t tell a difference. It says in the booklets that 1 has a variable cut-off depending on what’s being inputted, while the 2 auto cuts off at 80kHz (I think it was). Considering humans can’t hear much over 20kHz, I wonder how this would possibly make any difference. Perhaps with more listening I’d be able to discern some subtle difference, but I just stuck with the 1 setting because… c’mon, 1 is obviously a better number than 2. [/size]
[size=12.0pt]The various combinations probably sound about like what you’d imagine. Fir+X2/X4 for extreme fullness, warmth, closeness, richness, tonality VS S_LDY+Off for extreme speed, detail, accuracy, PRAT, etc. Honestly, though, I found I could combine the S_LDY with the X4 and get a lot of richness without losing out on those other qualities. The Fir/X4, though, is getting close to “gilding the lily,” or maybe topping fudge with syrup, but with the X2 it was more just the lily… or the fudge. Damn, now I want to go eat fudge and look at flowers. [/size]
[size=12.0pt]With the filters out of the way, all that’s really left to say is that in Redbook I think The K-01 is as good as it gets. The simple reason is that the ability to match the filters with your listening needs (meaning phones, amp, and music) offers great flexibility. EG, with the S_LDY/X4, L3Ks, and tubes like the 5687s for outputs, the K-01 flat-out rocked on hard rock and metal. The slam and power and excitement was unlike anything I was ever able to get on the Reimyo. On the other hand, the R10s, Fir/X2, and tubes like the RCA VT231 the sound reached close to the level of tonal richness of the Reimyo. Perhaps it lacked that little bit extra sparkle and softness I loved so dearly on female vocals like Norah Jones, Jane Monheit, or Anneke van Giersbergen, but the difference isn’t night and day. [/size]
[size=12.0pt]CD & PC Conclusions[/size]
[size=12.0pt]If I had to form some generalities when you have this many tweaking possibilities, but what I might say is that the sound had the same qualities of the K-01 in SACD, except that both the strengths and weaknesses were slightly less pronounced and quite malleable to the influence of the filters/upsampling. So, basically, imagine everything I wrote about the SACD performance, but slightly attenuated on both ends. I don’t want to suggest that the K-01 is a completely different player on redbook, but on the other hand there is an unmistakable difference between the K-01 on SACD and the K-01 on redbook with Fir1+X4 (eg). Perhaps not night and day, but perhaps noon and mid evening. [/size]
[size=12.0pt]I have not spent a great deal of time with the K-01 and my PC yet, primarily because I haven’t converted much of my collection yet, but I couldn’t tell a major difference between playback on redbook and USB. Perhaps USB was slightly clearer and faster (no spinning disc?). Other than that, the filters seem to have the exact same sound signature regardless of the input. [/size]
[size=12.0pt]Conclusions and Recommendations[/size]
[size=12.0pt]Ultimately, can I say I am satisfied without qualifications? No. However, those qualifications are minor, and what I would say is probably predictable by now; The Reimyo probably fits my own ideal sound better than the K-01. I’ve yet to have that moment with the K-01 that I constantly had with the Reimyo where I say to myself “I can live happily forever with this player.” However, I think part of that is because, over time, my favorite music to listen to on high-end audio is that in which tonality is so crucial, namely chamber and solo classical music and female vocal music. The Reimyo is, IMO, simply better on that kind of music, even though I do feel the K-01 bests it on rock, metal, and large-scale classical. [/size]
[size=12.0pt]I also have to remind myself that what the K-01 can do with a lot of music in SACD is something the Reimyo can’t do with anything, and the option to have PC audio will likely be a major time/space (perhaps money) saver down the road. Likewise, I also feel that the K-01 is probably a better match with my beloved R10s than the Reimyo because the K-01s somewhat thin mid-range helps to tame the sometimes overpowering mids of the R10 and bring it in better balance with the other frequencies. Plus, the K-01s simply rock with the L3Ks, which is precisely what I want them to do. Actually, for L3K owners, the K-01 is a dream player as its effortless authority and macro detail is needed to tame the soupy, sloppiness of the L3K while emphasizing its strengths in PRAT and dynamics. [/size][size=12.0pt]On the other hand, I wonder about how well the K-01 would pair with headphones like, say, the SR009 or LCD-3 or HD800 which seem already geared towards the speed, detail, macro side of the spectrum. I know some already own the SR009/K-01 combo, so they could probably comment more significantly than I could, but I worry more about combinations that are too overly-analytical, cold, and bright than some do. [/size]
[size=12.0pt]The big question (for me) is what to do with the Reimyo. It’s worth about half now than what I originally paid for it, and I’m not entirely convinced that I shouldn’t just keep it to use when I want to indulge in chamber music, solo instrumental music, and female vocals… though the sensible side of brain (I think that’s what it is… it’s been so long since we were on speaking terms) is saying that that’s silly, and that I could at least recoup about half what I paid for the K-01. It may just come down to more burn in and some comparative listening on some key tracks to see if I can live without the rich tonality of the Reimyo and if the K-01 gets close enough to satisfy me. [/size]
