Review: Bel Canto Design e One DAC III DA converter
I’m one of those sorts who has to be shown… but I’m not from Missouri.
I had deliberated over the acquisition of an outboard DAC for some time. Were they truly worthwhile, how will they change the sound, and so on! All the while wondering how to proceed? Should I go with Upsampling, oversampling, non oversampling, solid state, tubed, battery powered, etc. I read reviews and forum threads until my eyes & ears crossed and my mind began running everything together and everything became a blur.
I then watched the online jive about different makers products from the esteemed and well regarded, down to the one off products made to order. All the while trying to settle on something which would be a definite step up for my system in the areas which I hold as my main precepts, natural, musical, balanced bandwidth, and presence. Achieving these ends requires a good amount of resolution, speed, and tonal balance… and usually isn’t had as the rule, in budget components. However, so much of what I had read on the numerous popular DACs pointed to many whose entry fees were most affordable with performance levels surpassing expectations due to their advantageous ticket prices.
I thought too about support and build quality. Longevity and ease of use. My personal preffs necessitate remote control as well wherever possible.
I felt that getting my system to where it was at it’s best level and all else was in order, prior to taking the DAC plunge, was a good idea. There was that wait for the dough part that took longer than expected too. Arriving later than sooner at the sufficient funding level earlier this year I took the plunge on a Lavry Engineering’s 30 day in home trial of their DA 10.
Knowing I’d need a decent digital cable I decided to stick my toe in the waters there and bought a Stereovox XV2 link, and added to that with a Nirvana power cord as well.
I already had on hand one generic coaxial cable I had not used in a few years laying around that works well enough, but is no show stopper, so I felt at least that was a start.
During the DA 10 eval I rented a Nirvana digital cable for still more comparison in that area figuring a cable costing 5 times the price of the XV2 should show itself superior to it. More on the Nirvana digital link later on in this article.
The DA 10 was my first outboard DAC. There’s something about one’s first anything I believe. It’s special. No matter how good or bad in truth it is, it always remains ‘your first’.
The DA 10’s boost of performance to my system impressed me immensely. The Lavry support team also impressed me as well. They were easy to reach out and touch. Incredibly forthcoming and very accommodating. They were polite, professional and generous with their time. Before, after, and during my investigating and usage period, to the point that I was quite confident in going forward with any acquisition of a Lavry product.
The DA 10’s performance level was also right on track and commensurate with the personality and professionalism I got during my calls to them. It was a definite step up in performance too across the board for my system. Musical, very good ambient retrieval and superb mids. Easy enough to use. Small and compact. Thoughtfully laid out, if a bit utilitarian like, and sporting Spartan cosmetics and smallish toggle switches. Were I not engulfed with an immense curiosity level, or had I been scantily funded, I could well have stopped right there and been very well pleased.
Curiosity may have killed the cat, as it were, but it keeps the audio nut in paper jammies, wrist bands, and thorazine.
Following anyone’s first… there needs to be a second. At least. If for no other reason than for the sake of some greater contrast and texture. There too, is the nod of satisfying one’s own ego that a proper selection, had been, or needed to be made.
Enter the Bel Canto e one DAC III.
Volumes have been written on Bel Canto’s DACs. Tons in fact. Please refer to their website for specifications and their measurements of the DAC3. So for myself I had some confidence in both their rep and their products prior to obtaining one of them.
On the support side I’ll say they weren’t as handy as was Lavry Engineering to access or acquire info from. Ultimately though, my pre-purchase questions were answered via current owners and Bel Canto’s support staff followed up shortly thereafter.
By pure coincidence during my info acquisition stage, a DAC 3 came up for sale and I was fortunate enough to acquire it. A barely used one, and for a very reasonable fee.
I paid. It came. I plugged it in. It worked…
It was so new it did not arrive entirely broken in according to it’s sellers comments to me, and true enough it was not. Continued playing time increased coherency and liquidity, and further developed it’s voice all the more.
Go con figure!
Well i’m about giddy with anticipation during the setup recalling the Lavry’s performance increases to my system. I couldn’t wait to hear what a unit costing near triple the DA 10 might well do! So I used what I had on hand to connect up anything digital to the DAC 3. If it had a SPDIF, or TOS output it was getting connected to the Bel Canto. One way, or another!
I have arrived at the notion, following a number of years of buying and selling both commercially and privately, that with any new piece of electronics the conclusions one makes about them is any one of three or four assessments, to some degree, more or less.
There’s the “Wow. Wow, wow, wow, man oh, man, wow!” …wherein the owner is at a loss for words. Eyes gloss over and close down to mere slits, and a slow drool begins at the corner of the mouth. For a time the world and all within it have been erased and only that immediate space in time holds any value.
Then there’s the “Sweet jumpin’ jellyfish! This is great!” where the owner is amazed, but still able to collect his or her thoughts and keep from drooling…. And lives in a coastal area. Those in more remote mountainous climes may utter, “Sweet jumpin’ Sasquach!”, or the like. The explicatives may change, but the feeling remains universal.
There’s the “Hmmm… not bad. Not bad at all.” Wherein the new owner isn’t disgruntled with their latest purchase, but there not speed dialing up friends either.
Of course, there’s the “That’s it? Perhaps it’s defective?”, this one’s self explanatory.
The Bel Canto DAC III, for myself was the second on the list.
Show & tell me
My first connected digital source, a Verizon FIOS HD cable box proved a disappointing effort. I was thoroughly dismayed at first with the fact my cable box didn’t ‘talk’ to the DAC 3. or, it talked but the e One didn’t listen. Ok. Bummer. Not the end of the world though.
In fact neither did my Oppo DV 980H. At first. The Oppo needed to be reset to it’s defaults to ‘talk’ to the DAC 3. The Bel Canto accepts only PCM info and I had the Oppo set to upsample and output a bit stream via digital out signal to my receiver and analog to my preamp.
Thanks to the Oppo support staff I was directed to a remedy which was just a single button press, to restore defaults, in the Oppo’s setup page. That was all it took and sounds issued forth from the speakers! All is well with the world.
At that point I had three sources to use with the DAC 3. The Oppo 980H, a Sony 400 CD mega changer, & my main CDP, a Sony SCD xa 777es. So the chase continued and I moved ahead to the worst sounding of the lot to see if the DAC 3 could make something more palatable spring forth from it. The Sony mega changer 400 CDP isn’t a true dog of a player, it’s just not one which grabs your attention and holds it indefinitely. The flexibility and variety it gives a user, is it’s true allure. Cataloging is also a plus, and I could do with a couple more to be honest, for this last note alone.
The only digital out on the big CD box is an optical one. Fine. Please let it work, thinking back to the cable box and Oppos concerns…. And it sure did work! No fuss no muss and the sound right off the bat was as if another player were being used in place of it.
Used only with it’s stereo RCA outputs, the 400 CDP needs much by way of power filtering, and a very easally listenable set of interconnects to be attached to it. Isolation too is a key to preventing listener fatigue from setting in. In light of all the additive and complimentary additions I mention here, it’s simply not what one would wish to have as their only source unit forever. Well, perhaps not in it’s stock form. I should say here, that very early on a 50 CD changer was in fact my only source at one time, but that was long ago.
Using the Bel Canto e One the degree of increased ease and natural presentation was remarkable. Again, I checked to see if yet another source was selected. Nope. I had it set properly. A big grin turned in to a broad smile as I continued to listen to the ‘new’ sound of the mega box player. I spent some time moving through the ‘vaults’ collection, renewing old acquaintances and enjoying them as fresh entries… for they sounded new and different.
It mattered not which CD, all of the selections to which I listened to through that night until early morning were presented in a better light. True enough some of the poorer recordings still came off poor, just not quite so unfortunate as they had been previously.
I’ll attribute the benefits being heard now here to the DAC 3s reclocking feature mainly. As my best guess to the big black box’s main character defect is it’s pedestrian clocking device and jittery drive.
To be sure things had greatly improved sonically using the mega box, though perfect, they were not. Still some etch could be noticed in the top range of the bandwidth, here and there, now and again, with some discs. This ‘fault’ was a combination of things as I found out upon further review. Primarily the vaults betterment via the DAc 3 could only be had to a certain point. Some of the recordings too were capable of blame as well. Overall, the big black box had been transformed from the break in all else with it, use it as background low volume music player and great CD filing cabinet, to one of actual musical enjoyment.
I must also add here that due to or in spite of the Bel Canto’s increase in overall resolution, The sound was clearly enhanced. Were the sole digital source to be a mass fi unit such as this, I’d favor a Lavry DA 10 over the DAC 3. However, either choice, DA10 or DAC 3 were significant steps up in overall performance with the low end juke box. I alternated between the Oppo & 400 players as sources over the next week or so before I got on my critical soap box.
Things are looking up!
The 777 had just been refitted with a new sled. Motor, lasers, etc., at a local Sony authorized service center. It was sorely needed and long overdue. That addition took some lengthy period to get back to good playing order as the new workings needed time to run in. “A laser needs to be run in?”, I thought to myself. It sure did. After the replacement sled and lasers were added it took somewhere in the neighborhood of 250+ hours for the old number 7 77es too show it’s strengths and finesse yet again.
Connecting up the xa 777 to the DAC 3 usibng the Sereovox SV2 digital cable and picking out a handful of my favorite silver coasters I got things rolling. Immediately I noticed yet again easily detectable changes and later, boosts here and there to the performance level. At the onset the unmistakable and glaring aspect of change was to the soundstage. It was entirely restructured. All the players were set about differently into and about it. Sometimes subtly, and occasionally with more prominence. The stage itself was apportioned uniquely as well gaining a more solid structure containing it. Walls. Ceiling. Flooring. All became more audibly visible. All of which were additive to the presentations greater presence and naturalness, presenting the listener with a You are there perspective.
Where the DA 10’s statement had been, “Kick back and listen… you’re going to enjoy this, I’ll guarantee it.” The DAC 3’s promise was, “Pay attention, hear what you’ve been missing. Now… Doesn’t that make more sense?”
My answer to both was an overwhelming “Yes. Thanks very much indeed!”
If you never hear the difference, life in audioland is quite inexpensive. Once you do hear the difference the costs may become exponentially increased. Around my house, there’s little chance of exponentially priced items passing through. If a thing contains too much ‘can’taffordium’ or ‘unobtainium’, denoted usually by the price tag on it, I just do not make the effort to hear it. Thst procedure is what I call blissful sonic ignorance.
I’ve backslid from that criteria a few times in my life, entering the big room at a dealership, and consequently finding all else thereafter, lack luster and unappealing for a good amount of time.
There are too, those times when a thing is auditioned, however long or short, and found to be less than orgasmic, but still capture some part of you in an exciting, and surprising way. The item which just grabs you as being very right almost immediately. Casts a hold upon you which is inviting you to come closer and listen for it’s errors with greater focus, as no overt sins are being detected.
The effective and affective additions the DAC 3 unveiled were too much for me to ignore and much of which were essential for filling out my systems “now” apparent shortcomings. Consequently the e One out shone the DA10 in sheer strengths, lending much but not all of the liquidity it possessed to my rig as a guiding hand.
Live recordings such as Michael Bolton’s “till the End of Forever” and the tribute album to Jerry Jeff Walker and other Texas troubadours, “Luckenback! Compadres!”, Billy Jo Shavers A Tribute to Billy Jo Shavers, and Mary Stallings “Live at the village Vanguard”, just to name a few, were a real treat through the DAC 3 & the DA10, the former having the edge in ambient retrieval hands down. The greater resolution of the Bel Canto, was additive to the listening event, yet did not dry out the presentation, which was my main concern going in.
Def Leppords’ “Pour some Sugar On Me”, (The Vault), my fav DL track was a transfixing experience, as was much of that album. In fact, many such live rock & roll albums I previewed through each DAC provided completely new sonic scenarios given the fashion with which they made their cases.
Little Feat’s “Waiting for Columbus” re+-released, remastered two disc set had new life breathed into it with each of these two DACs, yet the Bel Canto’s better low end extension and slam lending more texture and pulse to the music.
The remarkably low noise floor of the DAC 3 continued to glean higher reliefs of the performers and the venue. Exposing each element with substance and clarity. More defined in space and with better separation. The common thread throughout was a more noteable natural timber to the instruments being used and played and much improved audible visibility of them all.
Waymon Tisdale’s title cut “Way up” , is simply gripping and totally immersive in the sound field the DAc 3 exudes, as the tracks elements enclose the listener into it’s grandiose scope, hovering about and overhead of the listener. There is sufficient ear candy here even for the most demanding sweet tooth.
Using the DAC 3 with any of the sources proved a lot of fun and at times, impressively so. The initial point of notice was the DAC 3’s bass region. The amount of bass resolution and impact increase over the DA 10 could not be overlooked. It made the Lavry appear severely lacking by comparison. The amount of ambient retrieval provided by the Bel Canto unit too was simply put, alarming. Soundstages were set intelligently, and images were formed well and separated logically. There was depth, width, and substance to the presentation in greater portions than had been there without it.
I had thought along the way to this point my system was delivering a very good to excellent layout of the audio recording, and by many accounts, it was. The differences allowed by both the Lavry and Bel Canto units were fascinating and made me rethink the whole 2 ch. affair.
It was like when you encounter a thing which has an enormous and pleasing impact on you which defies or challenges your belief systems foundations. To be blunt, the addition of either DAC was one of those, “Where have you been all of my life?” satisfying events.
The e one surpassed the DA 10 by sheer alacrity or pace, with it’s timely rendering and placement of the musical cues… and of course it’s authority in the lower spectrum and further lowered noise floor.
The Ferrari F40 like strength of the Bel Canto had it’s finer points as well. No portion of the bandwidth was shown to be strident or overtly resolute, thereby diminishing the musical event through magnification of artifacts or non musical proceedings. The fashion with which the e one presents the recording, as with the DA 10, is fixating indeed.
With whatever musical genre I played through it, the e one clearly developed a listenable, intriguing, and visceral portal to the original event. Where the DA 10’s grip on the listener was that of a more colorful tonal involvement, the e one’s hold is that of a more visceral depiction of it. The DAC 3 has the glitz, the DA 10, the glamour.
Having now achieved some acumen and meager success with my own personal confuser, and the USB interface the DAC 3 offers, it’s no reach to say this benefit too is as captivating as are it’s aplomb with the standard coaxial or SPDIF connections. It’s sole detectable lack therein was a dryer hand, and lesser rear of stage dimension, yet still, quite a good addition.
I listened to the e one’s USB input using several PC music – media players… Winap, iTunes, Fubar, and J River (jukebox & Media Center) using a 16 ft. USB cable from a local super store. Only the J River players were clearly ahead of the pack sonically in my trials. I then settled on J River as my main source for all my Apple lossless PC CD, & AAC file playback
I still use Apple’s iTunes to rip and catalog tracks. Implementing the error correction scheme and a 4x speed from my Sony A800 DVD DL drive. The PC itself is a Dell Optiplex running an XP Pro OS, w/3G hyper threaded CPU, and 2Gig of DDR RAM, with a RAM BUS speed of 800 MHz. I attached a WD 500GB USB 2.0 HDD for storage.
I added on an “ASIO for all” driver ( version 2.8.7) from a German company and PC music is now rivaling my 777’s performance via the e one’s output. Save for some lack of depth in the soundstage the PC/USB presentation is just that formidable.
There is no getting around the fact, having thousands of songs a few keystrokes away without sacrificing much at all sonically, is a big plus for me. In fact the so called “musicallity” has become the resurgent aspect to file playback implementing the above processes.
Without the ASIO driver in use J River’s decoding and playback ability surpasses itunes sonic output quite handily. With the ASIO driver functioning, it’s a ‘no brainer’!
Shortening the signal path
I used the DAC 3 as a preamp too in conjunction with tube mono blocks, and an Odyssey Stratos SE stereo sand amp. The results with both amps were predictable and without issue. Both were done using RCA interconnects. I experienced no issues with noise, hum, flutter, or the kind throughout. The volume increases and decreases were easy, steady, and glass smooth. Only changing sources posed me any issue as the unit could not be seen from my listening position, and it’s quirky selection process using the supplied remote unit, which requires quick presses of the remote’s source selector button in rapid succession to move through the various feeds.
Subtracting my tube preamp from the signal path lessened the amount of harmonic textures somewhat, though the presentation was still quite involving and either way, as a part only of the signal chain or as it’s primary processor and controller, the DAC 3s influence to the sound was always unmistakably improved…. It’s added bass impact was also very welcome.
South of Heaven
The e one like any other device does have some items wherein change or improvements can and perhaps should, be had. It wrought differences and increase alike, to my setup. Most if not all were received well.
As a matter of course the e One DAc 3 is not without it’s shortcomings. It falls a bit South of Paradise in it’s rendered portrayal of music, ergonomics, and functionality.
As I stated previously, I wasn’t too excited about how one had to change source selection. It requires quick consecutive presses of the source selection button to move laterally through the five source assortment. Simply pressing the source button on the remote as one would normally and steadily continuing so, just won’t do it for me.
The mute button has two settings. A near off and full off control. Again, a rapid double click of the mute button is needed to access the full off mute. I fail to see the advantage of a near mute setting as it only sets the volume to a predetermined 20db lesser level. Listening to higher volumes and using this one press feature, might well not suffice for some occasions.
The e One has good flexibility in outputs possessing both RCA & XLR. It’s outputs however are not systematically laid out becoming repetitive of one another. Facing the rear of the DAC, the XLR outs are at the extreme left of the unit and are immediately followed by the RCA outs just to their right. The channel outputs are R ch first, followed by the Left on the balanced set, and then swapped around for the RCA outs having the Left ch set first followed by the R ch thereafter. I found this layout odd and had some trouble remembering which set of outputs actually had the left ch on the left most connector.
I don’t have enough walk behind space with all my equipment so getting back there for connecting and disconnecting becomes a memory driven occasion, rather than a visual one. Jotting down this array helped out a lot while implementing and subtracting other components for this review.
The DA 10, having only two balanced outputs had no such issues. It did need an internal change of the output jacks wiring to support RCA and that was done by Lavry prior to it’s delivery to me. They also provided the XLR > RCA adapters for a very minor fee.
It is strongly recommended by Bel Canto, that the unit be de-energized while connecting or disconnecting sources or amps. To do this the power cable needs to be unseated completely. Pressing the on/off switch button on either the remote or the unit itself only places the DAC in a Standby mode and does not completely sever the power ties from it.
During all my adding and subtracting of cables, gear, etc., I pulled the plug on it so I can’t say if it’s actually a hot swappable unit. Better to be safe than sorry, IMO.
The singular exception to this instruction, I found out, was inserting and removing the USB cable to & from the PC from time to time. I did this while the DAC 3 was in it’s “stand by” mode only.
The face plate of the e One DAC3 sports a single knob and visual display. Powering up, selecting a source, and changing volume are all accomplished using this one control knob/button, for the majority of operation. There is one other button located on the rear of the unit which allows or disallows volume control for it’s digital inputs. This switch is needed to set the DACs volume to match the systems input levels for use as a nonvariable source device. Bel Canto suggests that the volume be raised to it’s full output and then select the fixed volume position with the rear in or out button.
It takes very little to get familiar with the e One, and the remote provides more intuitive access. The remote too, did not appear restricted by distance or angle very much. Pointing it in the general direction of the IR repeater, from anywhere in the 14 x 20 room was usually enough to operate the DAC. There is one button on the remote however that does nothing whatsoever but it’s appearance on the remote makes for a symmetrical layout.
Listening to the e One DAC 3’s song was always intriguing, revealing, and enjoyable. It’s low noise floor, cat like response, and deft handling of varied musical environs and styles, prompts me to give this unit high marks on it’s performance alone.
Given the tactile constraints, output jack incongruities, decidedly unique manner with which, sources need be selected, lack of full power off, and a stepped mute setting, I see that there is room for some betterment to the Bel Canto e One DAC III.
While my tendencies and tastes in products and sound lean toward rich, full and natural sounding with a very slight tilt to the warmer side of neutral as a rule, add to that my confidence level is reinforced by a tangible & accessible, customer friendly support base. The Lavry DA 10 should have been the first and perhaps last DAC I needed as it definitely covered all these bases.
Curiosity got the better of me. For there are far too many items on the market today which excel in the regard the Bel Canto and Lavry Eng. Products do. Consequently I’ll not adorne the Bel Canto unit with wings and a halo just yet.
True Value hardware?
The e One’s sonic attributes alone formulate a substantial argument for it to be included as prospective fare for real world system enhancing digital to analog converters, were one to be in the hunt for such devices having between two and three grand on hand. A better value for the smaller handful of green could seek out a DA 10 and be financially prudent, and probably sonically satiated.
The e one DAC3 will surely open new vistas to your disc playback, bring along resolute and substantive bass, reveal ambience with higher relief, and it does choreograph the stage intuitively, and delineate well the players within it, in a most additive way to that of an existing system. The only less impressive integration of the DAC 3 was when I applied it to my oldest receiver driven bedroom HT set up. Although a noticeable gain was had it was nothing like the impact ascertained when it was set into my main system… albeit, having far greater resolution to begin with.
Add to the mix the support for USB and the remote control functionality, and the e One presented some worthwhile advantages over the DA 10…. As well it should given the price point differences.
System synergy and tastes fuel much of my acquisitions in audio componentry and has been a prudent path these past years at least for me. Going in, I had much on hand of what the DA 10 brings to the table. Full bodied sound. Fine presence. Bandwidth balance… and ‘toe tapping’ involvement. .. less we forget some degree of sonic ignorance.
The Bel Canto supported all of these system attributes and became the stabilizer. It added definition, better image outlines and placement, a more organic tonal rendering, and a much improved bass presence to my all hollow state outfit. It stripped away the system’s and my own, naiveté, replaceing it with a newfound enlightenment.
Considering both units retail price tags, the question remains, Is the Bel Canto e One worth the $1525.00 larger outlay to have it instead of the Lavry DA 10? It sure seems a valid one as well. True, the remote control and USB interface exceed the DA 10s feature set. The Lavry however is a 24/192 DAC instead of the 24/96 Bel Canto, and possesses a volume control too. Both have volume controls and comparable warranties.
The answer then could swing either way. My answer would be predicated on more similar items as a vote for the Lavry edition, given it too had a remote control and USB interface, with all else being as it is with each unit. I can not attest to the Bel Canto’s true value for I’ve no real world experiences with other similarly out fitted units selling for the same price as the DAC 3.
The Bel Canto’s performance level was not two and one half that of the Lavry, nor was it even twice that of the DA10. If I had to hang a number alluding to the noted degree of performance increase of the e One over the DA 10 in sonics alone, I’d call it at best, perhaps a 30-40% gain in the end, and feel that is a generous assessment. I offer that figure primarily due to the added bass slam, greater resolution and balance, yet there is some sacrifices made in timberal presence and color in this deal one should be aware of as well.
I will say this about the e One’s value to me as subjective as it may be, I don’t regret paying the additional amount for it, although I do feel it’s price preowned or new, is on the high end of things thus making it less a value oriented model and more a performance oriented one. I suspect also that point lessens the potential sales of the DAC 3 were it priced at or under $2000.00.
AS with the DAC 3 & DA 10, so too was the run off between the Nirvana digital cable and the Stereovox XV2. the nirvana coming in at $700 and the XV2 at well under $200. The Nirvana is definitely not 3 times as good as the XV 2. No question in my mind there. Do they offer different versions of the same sonic landscape? Yes, indeed they do, though neither falls short of presenting an interesting, intuitive broadcast, which is filled with colorful images, defined boundaries, and an inviting appeal. The Nirvana being akin to the Lavry, and the Stereovox more so the DAC3…. For comparisons sake only and not in truth.
The Nirvana digital link was not beyond my ability to possess, but I put my money on the Bel Canto and XV2, for little more reason than they fit my needs, tastes, and elevated my system in a sensible and unregretable way. I found a better value in the addition of a pair of Nirvana SX Ltd interconnects later to be a still more apt fit for the systems synergy, albeit at a higher cost than the Nirvana digital cable had been..
I am certain the e one has elevated my systems performance and is therefore a very good fit for my needs in spite of it’s minor tactile infractions and format conversion shortcomings, eg., PCM only. I’m quite happy with it overall.
As with the differences from the DA 10 to the e One, I suspect there are still mo better somewhere out there to be decided upon. That being said, I’m in no hurry to find them out.
For the near $2K price I laid out for it, (preowned) I think it’s a fine unit and does an exemplary job despite its narrowed scope and it’ll remain here for a long time. The hunt for better will wait. Indefinitely.
In fact that ‘hunt’ stoppage is as good a statement as I can come up with for the e one DAC 3…. And a good one to be able to offer regardless the component one has which halts the pursuit for more.
For now, all is well with the world at blindjim’s house of sunburn and sonic curiosities.
Thank you for your time.
Thor Audio TA 1000 MK II Tube preamp
2 Dodd Audio 1 0 MK II Tube amp
Odyssey Audio Stratos SE stereo Amplifier
Bel Canto e one DAC III DA converter
Silverline Audio Sonata III Speaker
Silverline Audio SR 15s
Silverline Audio Center Stage
Phase Tech PC 10.5 towers
Phase Tech PC 6.5 floor standing two ways
Canton 220 boodshelfs
Velodyne DD 15 THX Ultra Subwoofer
Velodyne CT 10 subwoofer
Sony SCD- XA 777es CD Player
Sony 400 CDP MEGA CHANGER
Sony combo DVD/VCR player
Oppo DV 980H universal player
Running Springs Audio Halley AC filter
2 PS Audio Duet AC filter
PS Audio UPC 00 AC filter
Sound Anchor 6 shelf Stand
2 Sound Anchor amp stands
2 Sound Anchor Tall Monitor spkr std. Stand
Synergistic Research Tesla Acoustic Ref IC RCA 1M
Synergistic Research Resolution Refference X Activve RCA 1M
Nirvana SX Ltd 1m RCA IC
Harmonic Tech Magic II 1m RCA
MIT Shotgun S2 1.5m RCA IC
Audio Art IC 3 Interconnect RCA 1.5M
Alpha Core Micro Pearl Interconnect RCA 1.5M
Elrod Power Systems Signature 3 Power cord 6 ft 0A
Shunyata Research Taipan helix Alpha Power cord 6ft. 15A
Shunyata Python VX Power cord 6 ft 15A
VooDoo cable Tesla Power cord 5ft 0A
2 VooDoo Cable Gold Dragon Power cord 6 ft 15A
VooDoo Cable Black Dragon Power cord 6 ft 15A
Nirvana power cable
Virtual Dynamics power III
Synergistic Research Signature 10 X2 active Bi wire Speaker cable 21ft.
Synergistic Research Alpha Quad X series Active Speaker cable 15 ft
Synergistic Research Alpha Quad X 2 10ft.
Bright Star iso nodes
6 Herbie's Audio Lab Iso Cups Tweak
Herbie's Audio Lab Peak Tube Damper Rings Tweak
Mother Nature Wood block footers Tweak
2 VooDoo Cable IEC power 0A > 15A adapter
Onkyo TX SR 805 Multi ch receiver
Sony 444es 5.1 AV receiver
BenQ PE 7700 Video
Sony TV model s 30 Rear Pro. 61 inch
Lavry DA 10