Teac Esoteric D-03 Manual

Volume 12, Issue 2
EAC IS ABOUT AS WELL-KNOWN a name in consumer
electronics as there is. But if you are looking for cutting
edge audiophile equipment within the Teac world, their
Esoteric division is where the truly hot action is. That’s
where some of today’s most-advanced and best-execut-
ed high-end equipment is being conceived and pro-
duced. With the introduction over the last couple of
years of some very sophisticated products like the two I
am reviewing here, Esoteric has firmly established a
name for itself in audio’s upper echelon.
From what I have observed, Esoteric does their best
work when it comes to CD playback products. They are
the same folks who, some 20 years ago, set the CD
playback world reeling when they unleashed the T-1
VRDS CD Drive Unit (CD Transport to everyone else).
With the introduction of the VRDS technology (that’s
Vibration-free Rigid Disc-clamping System), Esoteric
took a huge step forward in quality CD playback. It can
be argued that to this day the Esoteric VRDS transports
remain the standard by which all other transports are
measured. Why else would companies like Spectral and
Wadia buy the VRDS transport mechanism for inclusion
it in their own products?
As their latest wrinkle, Esoteric has upgraded the
VRDS CD transport to the VRDS-NEO level. This step
was thought necessary not only to address the needs of
SACD playback, but also because it would significantly
improve playback of the standard Red Book CDs. After I
heard the $50,000 Teac flagship P-01 CD transport and
the dual mono D-01 DAC combination at the 2005
CES, I wrote in my Show report: “To me, this was the
very best sonic performance, at any CES, so far in this
century.” I still think that demonstration was one of the
most exhilarating CES experiences ever.
The Esoteric P-03 SACD and CD transport and D-03
D/A converter reviewed here are directly derived from
their two very expensive flagship units. Both of the
“03s” are very closely related to “01s” technically and
aesthetically, but the prices of the P-03 and D-03 are
significantly lower, though not at pocket-change levels,
with MSRPs of $13,200 each. The P-03 and the D-03
are styled and executed with an elegant to-die-for look,
right along the lines of the Big Brother units. Just like the
P-01 and the D-01 jewels, the P-03 and the D-03 sport
a champagne-hued anodized finish with the front and
side panels showing a brushed texture, while the top
panel is sandblasted. The resulting presentation is sim-
ply breathtaking.
But let’s take a deep breath here. As gorgeous as
these units are appearance-wise, their great looks are
T
Esoteric P-03
CD Transport and
D-03 D/A Converter
Arnis Balgalvis
Reprinted from
The Audiophile Voice
Vol. 12, No. 2

the audiophile voice
not the main feature. These units have been designed
with only one purpose in mind – technical excellence.
And that is where they shine – as you will see, they pro-
vide positively brilliant performance.
When viewing the overall stellar performance pic-
ture, what stands out is their versatility. Esoteric has
seen fit to provide a bevy of desirable options to the
user to accommodate personal tastes, variations in
recording quality, music preference, and the wide vari-
ety of playback equipment likely to be encountered.
The P-03 Transport
To me, the P-03 transport with the upgraded VRDS-
NEO disc-clamping system is an absolute electro-
mechanical marvel, the pinnacle of Esoteric’s electro-
mechanical offerings. I cannot think of another more
sophisticated or better-executed product in all of high-
end audio.
When it comes to output protocol and interface
choices – choices that permit getting the best perfor-
mance out of the P-03 or setting it up to optimally inter-
face with other DACs – the P-03 transport is the most
versatile and flexible CD playback component offered
by Esoteric to date. It has “Anything you can do, I can
do better!” written all over it.
Want to play a Red Book CD? Take your choice of
outputs. The P-03 will give you AES/EBU on an XLR
connector, SPDIF on an RCA connector, Dual AES on
dual XLR connectors, and iLINK (IEEE 1394 or
“Firewire”) on its dedicated iLINK interface connector.
How about SACD? It’s ready! For delivering SACD
data, Esoteric provides a choice of two output formats:
the industry standard IEEE 1394 iLINK, usually known
as “Firewire,” or ES-LINK, a proprietary Esoteric-exclu-
sive protocol. This iLINK uses its own dedicated con-
nector, while the ES-LINK relies on the dual XLR out-
puts.
What about using another DAC with the P-03? Can
do! The P-03 will support AES/EBU or Dual AES/EBU, or
SPDIF on the dual XLR or RCA digital output connec-
tors, respectively.
Yeah, but how about using the P-03 with another
SACD capable DAC? Ready and able, as long as the
other DAC has an iLINK or “Firewire” interface.
But there’s more. The P-03 can up-convert to 44.1
kHz, 88.2 kHz, and 176.4 kHz rates in addition to pro-
viding a digital filter off mode at 44.1 kHz.
How about up-sampling to the DSD rate? Absolutely!
As probably the only equipment to offer this choice, the
P-03 features PCM-to-DSD conversion functionality for
Red Book CD playback. With a DSD rate of 64f or
2.8224 MHz, this makes it the highest up-conversion
rate available in the industry today.
To round out its versatility, the P-03 will also accept
an external clock on its BNC-type “Word Synch” input
connector, for frequencies of 44.1, 88.2, 176.4 and 100
kHz.
Unlike the P-01, which sported a separate power
supply, the P-03 transport is configured to be a single
box unit. The power supply components are contained
in a carefully isolated separate compartment within the
main housing, making it a part of the P-03 chassis.
NEO, Not Just A Three-Letter Word
The NEO version has been designed to fulfill a new
set of requirements. For one thing, since the P-03 has to
accommodate SACD discs, the CD turntable holding
the disc needs to attain rotational speeds 4.5 times high-
er than what a standard CD requires. To that end,
Esoteric selected duralumin, a relatively new low-mass
metal originally developed for use in the aircraft indus-
try as the material for their new CD turntable. To do
this, they had to solve some demanding machining
challenges presented by this new material. Furthermore,
the designers felt they wanted to have the turntable sur-
face assume a new shape. This surface now is slightly
concave, so that when the disc is being played, and
thus is clamped to the turntable at its center portion, it
assumes a slightly concave contour. This shape was
implemented to precisely maintain the optical axis of
the laser pick-up with that of the pit surface of the CD
during playback.
To spin the CD disc, the Esoteric engineers created a
long-life, three-phase, brushless spindle motor using
new high-precision ceramic bearings. The new bearings
were newly developed exclusively for the P-03 and
allow the turntable to spin with extreme rotational sta-
bility and smoothness. Another new motor, a Hall-ele-
ment sensing type, and also a brushless design for long
life, was chosen to drive the P-03 laser pick-up sled
along a rigid shaft. This critical process keeps the laser
sled precisely positioned as it traces the CD’s bit track at
its very center. I just want to remind you here that the
width of a CD bit track is roughly 1/20th of the width of
a human hair. The sled motor is controlled by high-
speed, high-current servos to maintain accurate tracking
and to also provide very fast access speeds.
The whole VRDS NEO turntable mechanism is sup-
ported by a 20-mm thick bridge structure made of
SS400 steel, and the bridge alone weighs 3.75 lbs.
Structural integrity of this order contributes significantly
to the creation of a rigid and resonance-free environ-
ment, something of utmost importance when trying to
accomplish the playback process with state-of-the-art
accuracy.
The P-03 CD tray is a joy to watch and use. It glides
out in the quietest, smoothest manner I know of. Up to
now, the Linn CD-12 had the smoothest drawer, but the
P-03 is now my new “slide and glide” reference.
For a crowning touch, the P-03 transport is equipped
with a shutter mechanism for the CD tray opening.
Whenever the CD tray is summoned to the “Open”
position, the shutter internally pivots out of the way,
and closes once the tray has retracted into the housing.
This shutter not only keeps dust out, but it also prevents
potentially adverse internal sounds from escaping from
the transport’s inner sanctum during playback. In its
closed position, the shutter is rendered inert as it is
secured very snuggly against the player’s front panel.
P-03

Volume 12, Issue 2
The D-03 D/A Converter
Teac offered their all-out D-01 as a “mono block”
DAC so that a pair of them was required for stereo
applications, and additional units would be needed to
meet surround-sound or home theater demands. The D-
03 DAC also features two identical monaural D/A con-
verter channels, but both are consolidated in a single
chassis. Additionally, each of the D/A converter chan-
nels features its own dedicated power supply.
The D-03 DAC is capable of accepting any known
digital input and can handle all of the protocols that the
P-03 transport provides on a corresponding set of con-
nectors. For good measure, it has an additional RCA
SPDIF, as well as, a TOSLINK input.
The D-03 contains its own internal high-precision
VCXO crystal-clock oscillator, accurate to +/-0.5 ppm,
for synchronizing external transports such as the P-03.
In the clock “Out” mode, the output is available on a
BNC connector. In the clock “In” mode, an input for
external clock synch rates of 44.1, 88.2, 176.4, and 100
kHz is provided on a second BNC connector.
The D-03 gives the user the choice of turning the over-
sampling digital filter “On” or “Off.” In the “On” mode, the
digital signal is up-converted eight times before the D/A
conversion. No up-conversion takes place in the “Off”
mode. This choice gives the user the ability to tailor the
sound to suit the environment or taste.
The heart of the digital-to-analog conversion process
for the D-03 is the Analog Devices AD 1955 multi-bit
Sigma-Delta DAC chip set, with several of them imple-
mented in a differential mode. The 24-bit, 192-kHz AD
1955 chip is a very versatile device, capable of process-
ing PCM and SACD bit-stream digital signal formats.
Also at work in the D-03 is the Esoteric RAM-Link
circuit, a buffer which reclocks digital audio signals to
reduce jitter from ordinary reclocking by using its own
internal, high-precision master clock. As newly config-
ured for the D-03, Esoteric’s RAM-Link circuit has been
upgraded to handle DSD as well as PCM signals.
WBT “Nextgen” RCA sockets, executed in gold-plat-
ed pure copper, are used for the SPDIF Digital Input
connectors. These connectors have a true 75-ohm char-
acteristic impedance.
The analog circuitry in the D-03 has been executed
using only hand-selected discrete parts. No audio
chipsets are to be found here. Discrete circuit compo-
nent choices were made to achieve the highest audio
signal purity for the critical audio path. I’ve said it
before, and I’ll say it again: Analog can make or break
digital, but not vice versa.
All analog circuitry is judiciously separated from the
vicinity of power supply components to avoid contami-
nating the analog signal by stray fields and interference.
Of note is the layout pattern for the analog audio cir-
cuitry, which is identical for both the left and right
channels. This symmetry avoids any problems generat-
ed by dissimilar signal paths and component placement.
All internal wiring uses “six nines” copper conductors.
The stereo audio outputs of the D-03 DAC appear on a
pair of XLR connectors for balanced signals, and a set of
WBT-0201 RCA connectors for single-ended signals.
Sound and Solid Foundation
The overall mechanical design of both of these prod-
ucts has resulted in an exceptionally rigid and non-reso-
nant chassis. Esoteric has strived to achieve a mechani-
cal environment where sympathetic vibrations and
other undesirable disturbances are kept to a minimum.
They refer to this approach as a “highly rigid integrated
one-piece body style.”
In order to provide a firm foundation for the preci-
sion mounted component parts, each of the P-03 and
the D-03 chassis starts out with a 5-mm thick steel bot-
tom mounting plate which weighs about 13 pounds.
Next, they incorporate massive aluminum front and side
panels which are further reinforced by a set of rounded
corner pillars. And finally, an 8-mm thick cover plate,
also aluminum, completes the enclosure structure. Each
chassis is supported by three quenched steel pinpoint
isolation feet, which are intended to “quarantine” the
units from unwanted external structural vibrations and
provide support the 66-pound P-03 transport and the
59.5-pound D-03 DAC.
Setting Up
During the evaluation period the two components
were placed on a very sturdy and quite inert support
base, with the P-03 sitting on top of the D-03. I did not
experiment with alternate placement of these compo-
nents mainly due to their very brawny weights.
Neither did I play with a.c. power cords; Teac sup-
plied a set of a.c. cords and that is what I used. Please
note that the Teac does not provide a grounding con-
ductor in these a.c. cords. They do provide grounding
posts on each chassis and these can be connected to a
common single-point ground.
Except for the weight, no problems were encoun-
tered during my evaluation period. Considerable effort
was called for when the units were unpacked from their
very well-designed custom packing cartons. Once con-
nected, they commenced to play in a very exemplary
fashion.
For this evaluation, to synchronize the P-03 transport
and the D-03 DAC, Esoteric provided their stunning G-
0s Rubidium Master Clock, which is an exceptionally
stable external clock-standard unit, accurate to 0.05
parts per billion. Need I say more?
You should understand that the G-0s clock is an
option. In a normal set-up, the D-03 will output a synch
signal provided by its own high-precision crystal clock
oscillator. This D-03 clock, accurate to +/-0.5 ppm, is
used to slave operation of the P-03 to this premium sin-
gle clock source in order to reduce jitter to as low a
level as possible for improved playback.
Being that the D-03 has fixed-output analog stage, a
preamp has to be used with it; it follows that the overall
performance will be at the mercy of the preamp that fol-
lows the D-03. For this evaluation, I used my JRDG
Synergy IIi preamp with the JRDG BPS-2 battery power
supply. Getting the battery power supply for Synergy IIi
has been one of the best audio moves I ever made. This
set-up allows me to completely remove the a.c. line from
the preamp, thus rendering it totally immune from any
interference or noise floating on the line. I just pull the
plug of the BPS and the preamp is powered solely by the
battery. I have had this preamp operate for more than 24
hours on the battery alone and have not detected any
problems sonically even after such an extended period of
time. With only the battery in place, the Synergy IIi
becomes exceptionally quiet, more transparent, and far
more dynamic. And this is exactly what is needed to eval-
uate the performance of top-tier equipment like the D-03.

the audiophile voice
Only Meant for Each Other?
The P-03 and D-03 units have obviously been
designed by Esoteric to complement each other. Oh
sure, they might be used separately with different com-
ponents. I can attest to that. And they will perform
superbly. But since the up-conversion and clocking
functionality offered by the P-03 and D-03 is unique to
Esoteric products, a significant portion of the perfor-
mance capability and synergy occurs when the two
units are used in tandem, and this performance level
can potentially be compromised if either item is used
with other equipment.
One important caution when starting out with these
new pieces right out of the box: Let the units cook for a
while before listening critically. What’s “a while”? I sug-
gest letting them play 24/7 for at least two weeks.
Ideally, put in a CD, hit “Repeat,” and leave the units
be. Of course, there’s no audiophile I know who is
capable of such detachment, not when dealing with
equipment at this performance and price point. Maybe
you know some guys like this, but I don’t! Everybody I
know will be strongly inclined to rush to hear the units
as soon as possible. But the equipment is not ready! So,
be patient and do the right thing.
I would also suggest that you do read the manual.
And do that closely! As I mentioned, these are very
sophisticated and exceptionally flexible units. In order
to get the most out of them, they have to be configured
properly. Knowledge of the manual will be a great help.
For instance, you can up-convert when Red Book CDs
are played. But since this function resides in the P-03
transport, the D-03 DAC has to be set to receive the up-
converted data. Also note, that while SACD audio play-
back can be accomplished via the iLink or the dual ES-
LINK connection, iLINK will not support any up-convert-
ed data above 44.1 kHz even though it will pass the
SACD data. The most flexible connection for two-channel
audio appears to be the dual XLR configuration. This will
support up-conversion starting at 88.1 and going up to the
DSD rate. It will handle SACD playback as well. The
manual is quite clear in explaining all of the iterations and
it covers a number of other important functions.
The remote is handy and provides all of necessary
control commands for most of the necessary functions.
It even includes the ability to dim the displays and LEDs
from the listening position, a very nice touch. Back-
lighting isn’t included but would have been nice,
though. Just remember, when Esoteric refers to “Play
Area,” they are talking about the SACD and CD layers
of the CD disc.
I had nothing but pleasure and fun using these units.
They were easy to use and I was quite taken by their
many flexible options. The P-03 and D-03 were the
most sophisticated and refined high end products to
ever play in my system.
The Sound, The Whole Sound, And ...
Evaluating the Esoteric P-03/D-03 pair provided me
with countless marvelous listening sessions. That should
not come as a surprise – after all, this is uncommonly
great equipment. In all fairness though, the many
instances when I sat there, captivated by the stunning
musical spectacles unfolding in front of me, really did
not qualify as “listening sessions.” These were times
when music was the featured attraction; this was enjoy-
ment time, pure and simple.
Because the musical events were presented in a vivid
and relaxed manner, a very engaging sonic setting was
created. I was listening to sounds so refined, delicate
and dynamic that I would often get carried away and,
you guessed it, listen far into the night. What I heard
was clear, clean, and very pure, a free and easy flow of
music within a seemingly boundless soundspace. Those
were the days! Evaluation was the furthest thing from
my mind.
But real is real. Esoteric did not provide me with
$26,400 worth of gear just so I could have some fun.
The name of the game here is evaluation.
For starters, let me look at the performance picture in
broad strokes. In all my listening did I get a resolved 3-
D soundstage? Yes, I did. Was the gear good at commu-
nicating musical values? Absolutely! How about detail
retrieval and instrumental tonality? Yes and yes! An
expansive soundspace? All there, in spades! Dynamic
contrasts? Done! Evenly distributed spectral response?
All the way! Staging? As good as it gets! Soundspace?
Totally immersing!
You name it, the P-03 and D-03 could do it.
But as I was listing all these sonic characteristics, it
occurred to me just how little they convey about the
whole performance picture when singled out separately.
At this level of performance, it’s not the quantity of posi-
tive sonic characteristics that counts, but the overall
manner in which they are presented. What counts is the
degree of refinement and finesse. And in this important
aspect, the Esoteric equipment just plain shines.
We are not talking about a nuance here or a detail
there. The improvement is far more global than that. For
example, because the advances are conveyed in a very
finely measured way, recordings on the whole become
much more enjoyable. The laterally delineated width,
the dimensional depth, all accented by superb defini-
tion and fast response, produce an absolutely stunning
sense of musical engagement. When all was said and
done, a very life-like sonic panorama materialized.
Orchestral assaults are easily perceived as awesome
and decidedly reminiscent of the feeling at a live perfor-
mance where loud is never too loud. Get too loud at
home and we usually reach for the remote. But with the
Esoteric gear, this was not the case. Here, the musical
presentation I encountered rarely peaked out due to the
equipment. Play clean material, and it will be recreated
accordingly. As a result, my playback volume had a ten-
dency to get louder for some of the more boisterous
D-03

Volume 12, Issue 2
selections. Conversely, when delicate material was
involved, the volume could be turned way down with-
out losing resolution.
With the level of execution the Esoteric engineers
and designers have achieved, everything occurs at a
refined plateau. I observed that seemingly small
changes could result in very positive performance
increases. For example, take system noise floor. I have
found that the lower it is, the more abundant the details.
It is very thrilling to have the music materialize from
what appears to be a very dark and empty sonic space.
With this sense of stillness as the backdrop details are
allowed to emerge and are perceived in very stark relief.
Being more aware of all this “small stuff” accents our
sonic involvement.
The P-03 and D-03 went a long way to stage this
background of black nothingness. I found that I was
able listen into the music and the performance to a
newfound degree. It also seemed to be an added benefit
when listening at lower volume settings. The music
appeared to be more welcoming, more inviting. More of
the core values of music reproduction were brought out
in a far more discernable manner.
I observed first-rate transparency and the performers
were revealed to have more presence. The midrange
was simply exquisite. Bass was more defined and at the
same time more forceful. Nothing like good, clean heft.
There was no performer or instrument that was not
revealed in an new and enjoyable light. The whole
soundstage was “alive with the sound of music.”
All this emphasis on definition and detail might lead
some to suspect that this equipment is overtly analytical
at the expense of musical values. Not so by a long shot!
The P-03 and D-03 did an elegant balancing act when it
came to dealing with the analytical and musical aspects
of performance.
So much so, that in all my listening, neither aspect
made itself conspicuous at the expense of the other. I
actually never questioned it. It only became a consider-
ation during the evaluation process when it occurred to
me to bring it up for the sake of clarity.
During their extended stay with me, this Teac equip-
ment delivered exceptional performance every day of the
week and every hour of the day. Some say familiarity
breeds contempt, but this was absolutely not the case
here. I have gained nothing but the highest respect for
these pieces, a respect that increased the longer I had the
equipment. Time and time again, this equipment demon-
strated an uncanny ability to delve into the music in a
most resolving manner and to come up with an astound-
ing amount of newfound musical details. These details
appeared very naturally combined and culminated in a
display of an exceptionally engaging sonic panorama.
This was performance personified, refined and finessed to
the finest possible level in my experience.
The Sound of ...
Let me briefly mention my experiences with some of
the options. For the most part, I used the G-0s to clock
the P-03 and D-03, as this configuration allowed these
components to do their best. And that best was
absolutely superb. What the G-0s brings to the plate is a
bit more of that best, more air, more presence and more
soundspace. Disconnecting the G-0s clock, that is using
the D-03 to clock the P-03, produced a slightly less
refined sound, which lost some of some its verve and
refinement. In addition, this diminished the volume of
the recorded stage just enough to let me know that
some space was gone. My advice is to get the G-0s if
you can afford its $13,000 price. Is it indispensable?
No, not in my experience. It does provide enough of a
performance gain to take it seriously. But if you do not
have the scratch, don’t despair. The P-03, running off
the D-03 clock, will do just fine. And the G-0s can be
added later on.
I also did not succeed in getting the up-conversion
options of 44.1, 88.2 and 176.4 to work to my advan-
tage. My preferred setting was “Conv Off.” Whenever I
up-converted, I observed a slightly better sense of air
and spaciousness, but I also found the sound to thicken
up slightly, and there was a loss of drive and a dimin-
ished sense of ease. All in all, the misgivings I had were
not eased by any gains.
Up-converting all the way to DSD did produce a slight-
ly smoother sound. The presentation gained in expansive-
ness and transparency by maybe a notch. I could now
“peer” into the stage, and I observed everything to have a
touch more presence. But I also perceived a mild tendency
for some transients and sibilants to become a little forward.
Returning to the “Conv Off” mode on the P-03 provided
me with a more enjoyable atmosphere. Overall my prefer-
ence was the “Conv Off” mode.
The SACD story was a touch disappointing to me. I
could not get the Esoteric equipment to outdo the SACD
performance of my stock Sony SCD-1. This old
warhorse did a better job of conjuring up a more
thrilling and involving soundspace, and it had better
dynamics. The Esoteric P-03 and D-03 were able to pro-
vide a more vivid soundstage with credibly ornamented
instrumental timbres. To be fair, the Teac’s SACD per-
formance is excellent and will be a great boon for those
of us who do enjoy this format. But if you are going to
get the P-03 and D-03, it should first and foremost be
because of their formidable Red Book performance.
What’s the P-03 like on its own? That’s easy. The
Esoteric P-03 Transport is the best mechanical transport
that I have ever used. That includes all the areas of per-
formance, features, and flexibility. It easily tops the
Esoteric’s own D-70 – which I owned for two years –
and the X-01 sonically and in versatility.
I also compared the P-03 to a borrowed Wadia
270SE. This Wadia transport does use the VRDS mecha-
nism, but not at the NEO level. And here too, the P-03
came out on top. The 270SE just was not keeping up
with the P-03 when it came to replicating the sound-
stage intricacies. It was just a step behind in low-fre-
quency extension, and could not attain the P-03’s level
of overall fidelity. To be fair, the P-03 is also one of the
priciest transports around at $13,200. As far as
ergonomics are concerned, the P-03 is a total joy, and
its many handy features were easy to choose and use.
Sonically, the P-03 offers stellar performance. It pro-
vides a very evenly balanced yet highly resolved output.
It retrieved what I perceived to be the most subtle of
details. How can I say that about a transport? Well,
when I compared it to the other transports, including
the transport section of my own Sony SCD-1, the P-03
always did a better job.
I have found that sonic gains are usually easier to
discern in the soundstage area. It seems that it’s here
that the newfound minutiae have their most impact.
With the Esoteric P-03 in place, its resolution resulted in

quicker transients, richer harmonics, and very credible
timbres. The soundstage was imbued with a billowing
volume and materialized in immense yet very resolved
proportions. The P-03 was also responsible for adding
to the overall focus and the fleshing out of instruments
and performers.
The P-03 also did a great job of distinguishing
among the discs I played, be they CDs and SACDs. No
matter the format, to me every disc has its own charac-
ter. That’s apart from the music contained on the CD or
SACD. The opposite of delineation is homogenization.
When things sound all nice and pleasant, you should
watch out because that system is not doing its job. But
the P-03 did its job with stellar results. It dug deeper
than every other mechanical transport to reveal every
disc for exactly what it was, to the best degree in my
experience.
In short, the Esoteric P-03 is the best mechanical
transport that I’ve ever used. Only the Nova Physics
Memory Player competes with it as a digital source, and
that unit is rather more a computer-controlled digital
storage unit than it is a standard two-piece DAC and
transport.
The D-03 DAC was not far behind the standard
set by the P-03. I am a bit hesitant to similarly praise
it to the sky because I was only able to hear it with
one preamp. As I explained, the JRDG Synergy IIi
was doing the best job possible being powered by
the BPS battery power supply. But when I heard the
other DACs I had, the D-03 did distance itself from
them and moved to the forefront. To keep things
even, I ran the other D/As through the preamp as
well, even though the MSB Platinum DAC III and the
Nagra DAC had output level controls for the audio
signal. The MSB does it in the analog domain, the
Nagra in the digital. As they don’t need further pre-
amp level amplification, these two D/As might be
connected directly to a power amp.
The D-03 is a great DAC. Of all the D/As that I have
heard, it is my favorite. It has a way with music that is
very rewarding. I still marvel at the profusion of minutia
that was revealed from practically all of my favorite
CDs. In addition, the D-03 could really put some heft
behind the music without appearing overblown. Talk
about balancing the analytical and the musical; the D-
03 is a champ at gilding the sonic lily to a very refined
level. At times it appeared to take the edge off some
passages, but in the next breath I heard everything fast
and resolved. All I can say is that it served the music
exceedingly well.
Conclusion
I had nothing but pleasure and fun using these units.
They were easy to use and I was taken by their numer-
ous flexible options. Plus, they “look simply mahvel-
lous!” The P-03 and D-03 were the most sophisticated
and sonically most refined high-end digital products to
ever play in my system. Only the Nova Physics Memory
Player compares for sonics, and as I say, it has a very
different product conception.
When compared to Teac’s P-01 and D-01 which run
to $50,000, I suggest that the P-03 and the D-03, being
priced at a total of $26,200, can be considered to be
best buys. Of course, the P-01 and the D-01 are the bet-
ter performing pieces, Esoteric’s crème de la crème. But
taking into account that double the money is involved,
and considering what the P-03 and the D-03 can do,
this best buy idea has a lot going for it.
I have been racking my brain about how to keep this
equipment. Try as I may, I cannot come up with a way
to pay for it. I’m certain the editor won’t pay me enough
for this review to allow me to buy it. So, with a heavy
heart, I will have to pack them up and call the shipping
company to take them away. Let me tell you, this part-
ing is far more than just sweet sorrow.
But wait, how many bricks does it take to make up
60 pounds? OK, Teac guys, just kidding.
I hope it is very obvious that I am immensely
impressed by the P-03 and the D-03. Separately, they
stand on the firmest ground imaginable and will provide
exemplary performance. But together they are true
world-class products. As such, they have my highest
recommendation.
Esoteric by TEAC P-03 CD Transport and D-03
D/A Converter, $13,200.00 each. TEAC America
Inc., 7733 Telegraph Rd., Montebello, CA 90640;
phone [phone]; web site www.teac.com/eso-
teric; e-mail [email protected].
Associated Equipment
MSB Platinum DAC III D/A Converter with Volume
Control, Sony SCD-1 CD/ SACD Player, Esoteric
G-0s Rubidium Master Clock, Jeff Rowland Design
Group Synergy IIi preamp with BPS-1 Battery
Power Supply, Mark Levinson ML332 Power
Amplifier, JRDG Model 12 monoblock power
amps, Marantz MS-9S1 monoblock power amps,
Avalon Acoustics Eidolon Diamond Loudspeakers,
TARA Labs ISM Onboard The 0.8 Interconnects,
TARA Labs Omega Loudspeaker Cables, TARA
Labs The Zero AES/EBU and SPDIFE Digital
Cables, Stereovox XV2 75 Ohm Digital Cables,
Echobuster and ASC Tube Traps room treatment.
NOTES
G-0s
the audiophile voice
Reprinted from Vol. 12, No. 2 of The Audiophile Voice ©
2007 by permission; Guts & Elbow Grease Publishing Ltd.,
P.O. Box 43537, Montclair, N.J. 07043.
Subscriptions
are $20.00 for one year, $38.00 for two or $54.00 for three
years within the U.S., Canadian subscriptions are $39.00
for one year and $65.00 for two years. Overseas subscrip-
tions are $66.00 for one year. Please make payment by
check or money order in U.S. funds. You can also use
PayPal at our web site wwwaudiophilevoice.com. We do
not use credit cards so as to help keep overhead low. Send
payment, in U.S. funds, to The Audiophile Voice, P.O. Box
43537, Upper Montclair, N.J. 07043