Digital Processor Reviews

I first spied the Ayre Codex two Januarys ago, at the 2015 Consumer Electronics Show, and its scrappy proletarian vibe sure made it look different from any other Ayre creation. On learning that its price would be well under $2000, I was immediately curious what Charley Hansen and his gang—makers of the $3450 QB-9^DSD USB digital-to-analog converter, plus a few five-figure amps and preamps—could create when cost is an object.

Researchers at MIT recently discovered a "music channel" in the human brain. These neural pathways respond to all kinds of music—and only to music. "A listener may relish the sampled genre or revile it," Natalie Angier wrote in the New York Times. "No matter. When a musical passage is played, a distinct set of neurons tucked inside a furrow of a listener's auditory cortex will fire in response"

The night before I started to write this review, PBS began a five-part series on computers called "The Machine that Changed the World." The first episode described the development of the ENIAC (Electronic Numerical Integrator and Accumulator), the first electronic computer. The ENIAC used 18,000 vacuum tubes, had over 500,000 solder joints, required a room 30' by 50', had to be physically reprogrammed with patch cords to perform different tasks, and packed less computing power than today's $4.99 pocket calculator.

I don't know much about horses, but I've been given to understand that dead ones don't respond to even the severest beating. In light of that, I'll make only this brief statement—Even with the best playback gear of my experience, I don't derive as much pleasure from CDs as I do from LPs.—and move on to a simpler truth: Regardless of what I think, CD players are still a necessity for most music-loving audiophiles.

Apogee Electronics Corp. has been in business for 30 years, and I've always thought of them as one of the pro-audio companies responsible for moving digital in the right direction. They've made their mark in recording studios around the planet with digital-audio interfaces and master clocks that have long been considered some of the most technically and sonically advanced, and that were probably used in a high percentage of the recordings in your collection. So when I saw Apogee pop up at the consumer end of the market with a technically unique product, budget-priced at $295, it got my attention.

The EAD DSP-1000 III is housed in a 2.5" high, U-shaped chassis with a brushed-aluminum front panel. The cover is made of solid, 1/10"-thick steel with a nice "powder" finish, giving the unit an expensive feel. A pushbutton standby switch sitting below a green LED indicator sits at the panel's left. Even when set to Off, power is maintained for the decoder's circuits, but the digital inputs and analog outputs are muted. To the right, three pushbuttons allow selection of one of the three digital input sources (TosLink, 750 ohm coaxial, or glass optical interface). Like the EAD DSP-7000 unit reviewed by J. Gordon Holt and Steven Stone (Vol.18 Nos.1 & 5), the DSP-1000 accepts any of the three sampling rates: 32kHz, 44.1kHz, or 48kHz. Toward panel center is a lock light that illuminates when a digital data link is established. HDCD decoding occurs automatically whenever an HDCD disc is played, causing the front-panel HDCD indicator to light. No remote is available for this decoder.