Lyngdorf DPA-1, The most desirable correction

DPA-1: an excellent preamp

• Another surprising proposition from Lyngdorf: its room correction built into a superb digital preamp.

• Price: €5,399

• Specialists' rating: 6

• Text: Ramon Sendra

Last October I had the opportunity to test for you the TDA2200, a digitally designed Lyngdorf amplifier which, besides performing very well as such, included a feature I loved: RoomPerfect. I was so impressed by this feature that I devoted that same issue's Cutting Edge section to it. The idea behind RoomPerfect is the same as in all room acoustic correction systems: using equalization, delays and other well-known tricks to solve the problems of "coexistence" between the loudspeakers and the listening room. It is well known that acoustics is one of the decisive elements that give a system its final personality, to the point that it can even ruin the acoustic and sonic potential of our equipment. A very clear example: you listen to a system in a specialist store's demo room; you buy it and install it at home, but then you realize it does not sound exactly as you remembered. Psychoacoustics aside, the room is to blame for all of this. That is why, in the previous issue, I applauded a particular store that, if the customer asked, would install the system in their home on a trial basis before the order was confirmed. The first to apply processed acoustic correction systems did so mainly in multichannel audio systems. If two speakers can already be a problem, imagine 5 or more. But in the world of high fidelity, these solutions were (and in fact still are) sidelined in the pursuit of extreme purity, sometimes to hysterical levels.

If I liked RoomPerfect, it was not because it worked more or less well, but for two very specific reasons. On the one hand, because it can solve a good part of the acoustic problems without destroying the personality of the loudspeakers. We saw this at Área Valencia, when a pair of B&W 802s was connected to the TDA2200 in one of its most difficult rooms: after correction, the system still "sounded" like 802s. On the other hand, a figure appeared on the unit's display showing the percentage of correction applied. In this way, one could tell how acoustically difficult one's room was with a particular system. Getting a measurable figure for this characteristic is not very common. The point is that the TDA2200 was, besides a RoomPerfect corrector, a stereo amplifier, so we asked even then for a "standalone" version of RoomPerfect. Why would I want a digital amplifier if all I want is to correct the room acoustics?

It has taken them half a year, but here they are: two new units that expand the brand's catalog. On the one hand there is the RP-1, a standalone device incorporating the acoustic correction system. The RP-1 is a unit to be inserted between the preamp and the power amplifier of our stereo system. For a little over a thousand euros more, we can opt for the DPA-1 which, in addition to RoomPerfect, includes a preamp (ideal for those who want RoomPerfect and only have an integrated amplifier, or who also want to change preamps). Both units follow designs based on digital technology (the DPA-1 is therefore a digital preamp). Although Lyngdorf's correction technology is extremely precise, it is not at all complicated to use.



PRECISE CORRECTION



Once either unit is installed (the DPA-1 as a preamp, the RP-1 between the preamp and the power amplifier), simply connect the supplied microphone to the unit's rear panel and place it, to begin with, at the listening position. With a couple of presses of the front panel buttons, the system begins measuring. First it will tell us the desired volume level and, once everything is correct, the barrage of strange sounds will begin. As we saw before, instead of the typical pink noise, these Lyngdorfs use sounds straight out of Star Trek, but they work too. After the first measurement we are invited to carry out a second one, moving the microphone to another spot, and so on until the system has gained sufficient knowledge of the room (around 90%). At this point we can either finish the measurements or carry out more to obtain a better knowledge of the room. When we decide we have finished, we can see the percentage of room knowledge and of correction applied. This value can be very useful in comparisons, for example using the same system and the same room while changing the speakers.

In my case, the corrections barely exceeded 10% in normal measurements, although in one (deliberately provoked) case I reached a value above 60%. It is in these (unlikely) cases that we can appreciate RoomPerfect's work, since even when a more or less aggressive equalization is noticeable, there is always a clear echo of the original system. In addition, RoomPerfect allows its correction to be slightly adapted to a new equalization based on several voicings, such as rock, air, etc. I don't recommend them, since they are equalizations on top of equalizations, but it is also true that today's A/V receivers usually come with dozens of similar DSP modes. At least they are there for anyone who wants to enjoy them. What is interesting is the possibility of applying the

RoomPerfect settings only to the main listening position (what the system calls Focus 1) or to the whole audience. The Focus 1 setting is supposedly more precise.

I was unable to test the active bi-amplification system, though I would have liked to, but I very much doubt it would fail to surprise me. At the very least, the chance to come across RoomPerfect again is good news in itself. I fervently recommend that you try it.

P. A. Jamo, S.A. – Press and Communications



The acoustic properties of a room and the placement of the loudspeakers within it are the factors that most influence a system's sound. A suitable environment is rarely achieved, whether because of space limitations or for purely decorative reasons and furniture layout. Lyngdorf's RoomPerfect technology tackles these constraints at the root, adapting the system to the room and virtually optimizing imperfect speaker placement without affecting their sonic personality. In other words, with RoomPerfect products it is now possible to get the best out of any existing system without having to physically modify the room and its surroundings, renovations that are almost always costly and difficult to carry out.

DPA-1: an excellent preamp

Although this article focuses largely on RoomPerfect, during the tests I verified the flawless performance the DPA-1 offers as a preamp. According to the manufacturer, all input signals are converted to balanced, while conversions are carried out using high-performance systems. All lines have a matched impedance (thanks to transmission line principles), in order to eliminate any added noise and keep the impedance stable at all times. It also offers the option of configuring a 2.1 or 2 + 2 system (a pair of speakers plus subwoofer, or an active stereo system). Although this can be configured from the unit itself, a PC can also be used. The advantages of RoomPerfect should not overshadow the high performance the DPA-1 offers as a preamp. The RP-1 incorporates all the functions of the DPA-1 (including the digital crossover filter) except the preamp.

Lyngdorf DPA-1, The most desirable correction

Specifications

DPA-1

FREQUENCY RESPONSE 0.3 Hz to 33 kHz (20 Hz to 20 kHz, +2 dB). SIGNAL-TO-NOISE RATIO 125 dB.

DIMENSIONS 450 x 440 x 100 mm. WEIGHT 7.4 kg.

RP-1

FREQUENCY RESPONSE 0.3 Hz to 33 kHz (20 Hz to 20 kHz, +0.2 dB). SIGNAL-TO-NOISE RATIO 110 dB. DIMENSIONS

450 x 355 x 100 mm. WEIGHT 6.5 kg.



DISTRIBUTOR Productos Audio Jamo (933004458).

Price: €5,399