Peachtree Audio decco65 D/A integrated amplifier Page 2
My first impression of the Peachtree decco65, according to my listening notes: Someone with a good ear has voiced this amplifier. With line sources, this humble integrated sounded pleasantly up-front, with more color and texture than I expect from relatively inexpensive solid-state amplificationespecially, it must be said, inexpensive class-D amplification. The decco65 had a distinctly tight, pacey bass register, while its treble range was believably crisp without being bright. Its sound lacked the "air" of more expensive electronics, but avoided sounding opaque or chalky with the sources I tried.
Spatially, the Peachtree's ability to convey scale was okay, though not up to the level one can hear with very good and very expensive tube amplificationbut its sense of impact and touch was excellent for this price level. The percussion and horns throughout Lee Feldman's "River," as well as the attack components of the bass-clarinet notes in his "Trees Are People, Too," both from Album No.4: Trying to Put the Things Together that Never Been Together Before (CD, Bonafide UM-130-2), had great punch and tactile realism. So, too, did the autoharp and xylophone that lend such textural interest to the title song of PJ Harvey's Let England Shake (CD, Vagrant/Island VR651).
Alongside this punchy, tactile, up-front amp, the decco65's DAC sounded clean, open, and commendably free from artificial texture and other digital nasties. Comparedquite reasonably, I thinkwith my AudioQuest DragonFly USB DAC ($249), the latest Peachtree DAC sounded both tighter and smoother: not artificially smooth, in the manner of those depressingly expensive digital components that often sound plasticky and fake to my ears, but naturally, organically smooth. By comparison, the DragonFlywhich appeared to have a higher output than the Peachtree's internal converter, necessitating a bit of level-matching on the flywas equally tactile, but characterized by slightly coarser textural contrasts, and with less-well-controlled bass.
A few examples: With "That Time Is Gone," a great up-tempo number with a "Mr. Soul" vibe from Falling Off the Sky, by the dB's (ripped from CD, Bar None BRN-CD-210), the decco65 DAC distinguished itself as both flatter and clearer. Subtle timbral and textural details, especially in the sounds of the electric organ, were easier to hear through the decco65's converter, which also tightened up the sound of the electric bass while maintaining fullness, depth, and impact. By comparison, bass-note decays were just a little bit sloppy through the DragonFly. And Hindemith's Escales Romantique, performed by Daniel Myssyk and Ensemble Instrumental (ripped from the Fidelio sampler Escales, no catalog number), sounded lovely: open, colorful, and sufficiently textured, the note attacks given their rightful, realistic prominencebut no more. And with Joanna Newsom's "Only Skin," from her 2006 album Ys (ripped from CD, Drag City DC303CD), the decco65's DAC allowed the squeak at the start of her vocal performance just enough prominencenot the excess lent it by the AudioQuest DACand gave her harp and various bass strings good weight without the DragonFly's slight excess of same.
There were, however, a couple of music files with which I favored the DragonFly's bigger bass and more distinctly drawn textureseg, David Grier's performance of "Ookpik Waltz," from his Live at the Linda (ripped from CD, Dreadnought/Burnside 0701): There the decco65's DAC didn't give quite enough emphasis to note attacks, while the DragonFly provided more texture in the note sustains and decays, and allowed Grier's 1946 Martin D-28 a larger sense of scale.
For its part, the decco65 did a fine job of playing the relatively few 192kHz music files on my iMac. A hi-rez file of "Marrakesh Express," from Crosby, Stills & Nash, delivered deeper, tighter bass and considerably more natural-sounding detail than an AIFF file ripped from the "Red Book" CD of the same recording (Atlantic/Rhino R2 73290). Steve Stills's fine electric bass playing sounded even finer than usual from the hi-rez/decco65 combination, driving the song in a more obvious and enjoyable manner than before. Vocal articulation was better, too, and the entire production sounded altogether more spaciousthings that could also be said of the other 24/192 files at my disposal.
decco65 vs iDecco
I reviewed the Peachtree iDecco in December 2010 and ultimately purchased one, so a comparison seemed in order, especially of the two models used as integrated amplifiers. Using my Sony disc player and the AudioQuest DragonFly as line-level sources, the Peachtrees sounded less alike than I'd expected, notwithstanding their different power-amp topologies. The iDecco had more of a flair for atmosphere, nailing the hall sound of recordings so endowedbut, in the bargain, often pushing soloists farther toward the back. The decco65 was less spacey, with an up-front sound that helped cut through the murk of such recordings as Jeremy Backhouse and the Vasari Singers' performance of Herbert Howells's Requiem (CD, United 88033), and violinist Marianne Rônez and Affetti Musicali's two-disc set of Biber's Mystery Sonatas (Winter & Winter 910 029-2).
I love analog, but I also enjoy living in the 21st centuryand digital music is a part of that life: It demands to be accepted. To do otherwise is like saying, "I want to have a child, but I don't want to have a child who would ever want to dress in strange clothing or have his nose pierced." Reality is seldom as awful as some of us tend to expect.
In the case of the decidedly modern, decidedly easy Peachtree decco65, reality is quite pleasant: This is seriously good, seriously listenable digital sound, wedded to an amplifier that comes closer than most to being the electronic equivalent of a Mini Cooper: It's nearly impossible to use without smiling. Add to that a three-figure price, and you have not only an exceptional performer but an exceptional value. Peachtree Audio's decco65 is among the most recommendable affordable-perfectionist products I've had the pleasure of using.