>   everything stays separate, regardless of level. The integrity of individual instruments is maintained without resorting to hyper-definition and the kind of over-damped, sat-on sound that seems to go hand in hand with musical control. The Reimyo is the proverbial iron first in the velvet glove, allowing music to breath while keeping a deft bridle on proceedings, with a light enough touch that you don't even notice it. You simply enjoy the benefits. What took me by surprise was the depth of musical insight that resulted. Bachelor No.2 is a nice recording, but it still came out of a mainstream rock studio. Minimalist it isn't. The DAP-777 lets you hear the studio, the way the album and tracks have been assembled. So as each layer gets added to the cake, building to the climax of ‘How Am I Different’ you hear it drop into place, around the core of the close-miked vocal. Does that detract? Far from it, indeed, quite the opposite. There's the creative use of compression, used to give the impression of steadily increasing level. Does it offend? On the contrary, it allows you to enjoy the skill with which the whole jigsaw has been assembled into a musically coherent whole.
   Minimalist acoustic recordings are even better served. ‘Waltz For Debby’ with the Bill Evans Trio (from the XRCD issue), familiar as it is, is rejuvenated by the DAP-777. Scott LaFaro's bass is present in body and soul, its internal volume and size apparent, the complex notes redolent with their natural harmonics and pellucid thumbprint. Pitch and placement are spot on, comments that apply to Evans' relaxed piano lines too.