The first Antelope Audio product that I was presented with was Isochrone 10M. I still remember how this clock made all the cloudy feeling disappear from the recorded sound. Later on I also tried Eclipse384. I was amazed by the clean cut and high resolution it provided. Until then I used to consider DSD the best master, but I had to reconsider that after hearing this sound which deserves first place even for the PCM. At that time I was hoping to find a master converter for my recording studio, not at mastering grade, which can offer specialized functions at a good price. A few months later, I was surprised to find out that a product matching my desires had been released. And the price/performance ratio was great. However, the point is in the sound. The sound on Pure2 made the same impression on me as when I heard Eclipse 384 for the first time. I could feel the rich and deep sound, typical for Antelope Audio’s products, flourishing in front of the speakers, while the brightness and smoothness of the analog sound was untouched. I know what it’s like to rely on real sound, and not on the technical specification’s supremacy when dealing with jitter controls. I am a real analog fanatic, but I could not feel at all that Pure2 was digital audio.
Sound engineer, born in 1966 in Miyazaki Prefecture, Japan. Together with the producer Hirobumi Asamoto he established Ram Jam World and participated in the sound creation for many musicians, like Tokyo Ska Paradise Orchestra, Gen Hoshino, Sukima Switch, Yosui Inoue, Motoharu Sano, Yuko Ando, Miwa Sasagawa, Denki Groove, Koji Nakamura, Silent Poets and many others.