The Perpetual Technologies P-1A/P-3A combination upsampler and D/A converter arrived at my studio about the same time as the Integra Research RDC-7, so I was able to compare the two. The analog output of the stereo-only Perpetual Technologies was routed to the main left and right channels of the RDC-7's multichannel analog pass-through inputs. The RDC-7, when auditioned alone, was sourced from one of its digital inputs. Therefore, both the upsampling and D/A conversion of each device were included in the comparison. Both configurations added a whole new level of enjoyment to CD playback. Both increased the depth of the soundstage and the textures of instruments and vocals on Bob Marley's Legend CD, but the RDC-7 provided additional clarity and punch to the bass guitar and kick drum. The sonic improvement in each case was substantial.

This discovery inspired a frenetic shuffle through my CD collection that lasted well into the night. I switched to my old Sennheiser HD-520 headphones, then discovered that simply plugging the 'phones into the front-panel jack muted all of the preamp outputs. Nice touch. My roommate could finally get some sleep.

Listening to this new clarity in my old CDs, I drowsily realized that both units were able to re-create a more involving presentation of music in a better-defined space, but the RDC-7 was a tad less fatiguing—higher frequencies without glare, and vocals less sibilant. This was a world better than the reproduction directly from the Marantz CC-47 CD changer or the Sony DVP-S7700 DVD player—much less harsh. It was difficult to go back to hearing the old standard CD sound. It's hard to describe, but it was as if a haze had been lifted from between my ears and the original performance. It wasn't quite as good as the sound from the new DVD-Audio discs, but, after having been spoiled by the new format, I found it at least palatable. It's good to know that my CD collection still has some value.

How does it compare to Junior?
After discovering MF's review sample of the Integra DTR-9.1 receiver at our photographer's studio, I nabbed it for a few weeks so I could investigate the differences between these close siblings. For this comparison, the RDC-7 was auditioned from its unbalanced outputs, the DTR-9.1 from its preamp outputs—in both cases the amplifier remained the Theta. I made certain to match all of the input and calibration parameters—speaker sizes, distances, and levels were all set exactly the same in the setup menu. I chose a few music DVDs for the comparison, as well as some DVD-Audio discs that I'd recently acquired. After quickly reviewing them all, I settled on "Life in the Fast Lane," from the Eagles' Hell Freezes Over DVD. I was familiar with the music, and it contained everything I thought I needed for a useful comparison: great bass, good transients in the drumwork and guitar playing, and lots of clear vocals.

After switching back and forth for a while to learn what differences might exist, I got down to some serious listening. The RDC-7 was better than the DTR-9.1 in every way, some more subtle than others. Bass was notably tighter and more dynamic. The soundstaging was seamless, each performer more well-defined in his place in the continuous space around me—the 9.1 seemed to compartmentalize each performer a bit more. Instead of merely hearing a recording, I had the sense of real performers in real space.

The most obvious difference was in the upper frequencies. Vocals were slightly more sibilant through the receiver; the RDC-7 gave a fuller and more natural timbre to them. With the RDC-7, cymbals had body, not just tinkle; there was simply more information to be heard. I hadn't expected to hear this much difference, as the retail price of the two units is so similar. While the DTR-9.1 is very good, the RDC-7 was better.

Balanced Audio Tests
Next I turned to comparing the RDC-7's balanced and unbalanced outputs. Some audiophiles and all the recording professionals I've met swear by balanced circuitry and interconnects, and I needed to find out why. I analyzed my comparison procedure, making sure I would hear only the difference in circuitry. The only things that I thought could affect the comparison were volume level and interconnect wires. I measured the acoustic outputs at 1kHz with the GoldLine DSP-30 spectrum analyzer, matching the output levels. The balanced XLR outputs were 6dB louder than the standard RCA unbalanced outputs, but that was easily adjusted in the setup menu with Intellivolume. Interconnects were all Monster Cable.

By now, I'm sure that my neighbors were sick of "Life in the Fast Lane"—I know I was—but I was working for a higher calling. I found that the balanced XLR outputs yielded another step up in the realistic presentation of the music. With the unbalanced outputs, the sound wasn't as distinct—voices were thin, and while the drums sounded full, I just couldn't hear the stick hit the drumhead as clearly. With the balanced outputs, the environment of the performance was more apparent, transients were im-proved (I could really hear a better pressure wave; not louder, but more distinct), and the entire experience was as live as I've heard in my new sound room. Even the surround soundfield was more inclusive and involving. I became a believer in balanced outputs. I played some other music in my collection, including Peter Frampton's excellent Live in Detroit DVD and some DVD-Audio discs of classical music. I was entranced. [It should be noted that the comparison here includes an additional variable: the balanced and unbalanced operation of the amplifier. But that will be difficult to avoid in any such test.—TJN]

I also visited all the usual suspects in my DVD collection to see how these incremental improvements enhanced the movie experience. In every case, sound effects were clearer, dialogue more understandable, and entire scenes that I've seen hundreds of times had some degree of freshness, as if I were viewing them for the first time. In Ronin, for example, the sound effects were startling—everything reproduced in my room as if it was really around me. I heard levels of detail and dynamic contrast I'd never noticed before. While I always get involved in movies, this extra amount of reality made them even more convincing.

No Fear
The Integra Research team didn't miss a thing with the RDC-7. They asked advice from custom installers, ensuring that the features included would be useful and plentiful. They joined forces with a topnotch technology partner, Apogee Electronics Corp. And last but not least, they designed the RDC-7 to be easily upgradeable, and that is the clincher. Even with the increasing flow of new technology, the Integra engineers have done their best to eliminate future shock.

Some people buy expensive processors only to find them too complex in setup and everyday operation to use to their fullest. The Integra Research RDC-7 will not be one of those processors. I'm certain that this incredible package will get played and enjoyed—often.