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Direct vs. 3 preamps. Claims to the contrary notwithstanding, many audiophiles know that not all variable sources sound better direct than through a quality preamp. To test the feedback relayed by Song-kyung Han that the DP1 could replace costly linestages, I loaded up my Franck Tchang HeartSong rack with Esoteric's €12.000 C-03, ModWright's $3.495 LS-100 and Bent Audio's sadly discontinued Tap-X autoformer passive which sold for $3.000 at its time. PureMusic just then upgraded itself to version 1.82 and I set the Audio Setup options to 'hog mode' and 'native integer format support' which the Eximus proved compliant with (be sure to set AudioMidi to another source).

C-03. With a variable gain architecture—selectable 0, 12 or 24dB—the Esoteric can be run as a quasi passive where full output (no attenuation) equals to just unity gain i.e. the output voltage of the incoming source. I said 'quasi' because the machine's discrete zero-gain input and output buffers still condition the signal and the power buffer's +/-38V high-voltage rails adopted directly from Esoteric's reference dual-mono D-01 digital-to-analog converter remain active. This flexibility affords unique analog equalization if you will. Zero gain is leaner, faster and sharper, high gain fatter, warmer and softer. A few seconds of software adjustments in the setup menu can thus modify the system voicing without component or cable replacements. Given the machine's high cost, this is a very clever anti-obsolescence trick. I routinely exploit it during reviews to best match a loaner with my ancillaries. For these final assessments I reverted back to the Aries Cerat Gladius speakers as even more resolved and broader bandwidth transducers than Inès Adler's groundbreaking Voxativ Ampeggio.

No gain. For something simple but choice, I cued up the glorious Jasmine collaboration between Keith Jarrett and Charlie Haden recorded in Jarrett's deliberately dry home studio with his battered old American Steinway [ECM]. With the Eximus volume bypassed the Esoteric sat at -14dB attenuation or 71/99 in the alternate display mode (10wpc amp with 19dB of gain, true 91dB/1m/w speakers, 66m² room, 3m listening distance). With this plain fare the trade-off from detouring through add-on circuitry was a minor blunting of the leading edge whilst overall weight, thickness or chewiness increased a tad. The upshot of this small give 'n' take? A fancy €12.000 remote control. Really. Score 1:1.
 
With Kari Bremnes' Gåte ved Gåte the same qualities held true except that the more complex arrangements now enhanced them to factor more. The Esoteric again had superior heft and dynamic swings resonated with greater impact. The presentation also shifted forward a few feet. The Eximus direct was leaner and quicker again which now also parlayed into greater spaciousness or air. I heard clearly more venue ambiance—this is a very good recording—and the depth perspective was more pronounced. The presentation was also set back from the listening chair and the general milieu or feel of the presentation was more relaxed and less driven. I'd again call the score 1:1 where different listener preferences could go either way. Regardless, the $3.000 Eximus was competitive with a €12K preamp.


Gain. Shifting the C-03 into higher gain mode and then once more added energetically stifling layers. The DP1's jump factor, lucidity and directness were replaced by a certain opacity which also was fatter and heavier but no longer as communicative. For my tastes here the score reversed 1:0 and 2:0 in favor of the Eximus.

LS-100. The ModWright somewhat replayed the C-03's no-gain setting but clearly upped color temperatures, dynamics and bass power (the latter has proven out repeatedly in various contexts to call this elegant silvery box a bass champ). To my ears the small sacrifices in transparency—see-into-and-thru-ness—were more minor than the gains in gumption, dynamic grippiness and 'technicolor' heated splendor. Here the score had to read 0:2 against the Eximus. Clearly it's not price per se which predicts hifi outcomes but component interactions and personal tastes.

Tap X. In this context you'd think a passive preamp redundant at best and most likely harmful. A priori a possible counter argument could perhaps be made in that full output with the Eximus would shift the autoformers into higher attenuation mode where their output impedance lowers to more greatly exploit their specific virtues.


This was a very tough call. If not imaginary, I'd say that the passive perhaps applied a very fine texture to everything as a kind of seal-skin silkiness. I most certainly perceived no loss of anything, no shifts, no alterations or actual improvements. Functionally of course I gained not only remote volume but also balance control. With my diagonal work-desk placement in one of the room's far corners, the latter is mandatory to enjoy stereo in the office chair. Otherwise all I hear is the left speaker. Naturally $3.000 for just remote balance and volume would be a raw deal but flipping perspective, the Tap-X once again proved its essential invisibility which given its concept and intended use completely fulfilled its raison d'être when available still.

Concluding this chapter. The DP1 made very good on user and maker assertions that it can replace a high-quality preamp of considerable expense. Indeed so. This confirmation wasn't at all invalidated by the fact that with my given amp and speakers I ultimately did prefer running it through the ModWright LS-100 valve preamp with Synergy Hifi 6SN7s and 5AR4 glass. Nelson Pass' S2 amplifier is so fast and lucid that hanging on it a bit of tube-sourced textures and tone color depth is quite the magical combination. Slower amps would likely prefer a direct Eximus connection. This should redouble calls for eventual remote control. Given Simon Lee's extreme cosmetic obsession with this product, it would almost certainly involve costly metal work as well as circuit revisions to accommodate motor drive for the softly stepped attenuator. Invoking usual hifi math I could foresee an easy $400 price increase. Perhaps mum is the operative word.
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