Very good out of the box, but with some minor upgrades can really sing.

covered in review.

The combination of the P-1A and the P-3A have real potential. When everything is right they can make music. (Everthing means having selected the best combination of possible clock/data rate, cables, power etc.) To characterize the sound I would say that there is weight and definition w/o harshness. The soundstage depth is good but not great and width is good. Musical pace and dynamics are also good. Bass lines are detailed enough to be interesting ,and the top-end is inoffensive and extended. Energy at the boundries of the soundstage was not a strong point however. I found myself always aware of the center of the soundstage. ( my last DAc was a real winner here, spreading the sound with authority across the sounstage) I found myself a little ambivalent concerning the monolytihic power supply.I think it is definitley an improvement but may not be worth the money. I discovered that a -12V switching power supply (purchased at my local electronic surplus store) rated at 1.5A, beat the Monolytic for use with the P1-A. The sound became more powerful and immediate. I chalked it up to the speed of the switcher, keeping power levels up ,feeding the P1-A all the current it wanted. The downside of a SPS would be noise but I didn''t notice any problems. Then came... MODS: I replaced the OP-AMP drivers in the P-3A with Burr Brown''s best and replaced the bridge rectifier with fast recovery devices ( read bye bye warranty).The rectifiers in that circuit look like very cheap low power devices. Besides the switcher ( for the P1-A)I built a power cable from teflon coated silver wire for the 9VAC source of the Monolythic to the P3-A. I removed the noise filter from the Monolythic and rewired parts of it as well. (I hope this doesn''t sound too pretentious.) Rating the MODS for most effect: 1. the rectifier diodes (big change) 2. the switcher 3. the improved op-amps 4. any rewiring Rating the new sound: The diode upgrade improved depth and sound stage enery and focus at the corners etc... and the improved op-amps smoothed out the sound. I love this combo now. Music should be exciting and that is what it is now. W/O mods 4 stars ,with, 5 stars.

Similar Products Used:

Meta research

very musical, no digititis, cost

included power supply. upgrade to Monolithic Sound power supply.

This is a review of the P-1A and is a follow-up to my review of the Signature 1 modified P-3A (modified by Dan Wright; Dan now has a second level mod – see http://www.modwright.com) which is below. The Signature 1 P-3A is a very fine DAC and as I enjoyed it I began to wonder if adding another piece of equipment would make a significant improvement to the sound. In short, I have found a more significant improvement than expected and would encourage anyone with the P-3A alone to try the combination for 30 days. The combination is very musical -- the P-1A adds extraordinary nuance and detail while eliminating any residual listening fatigue. As I describe below, however, the P-1A must be fully burned-in in order for you to judge for yourself. You might be wondering whether this is a good time to buy equipment for CD playback when new formats are battling for the marketplace. Do you think the various labels are going to re- issue all of your favorite CDs in the new formats? Neither do I. Or if they do, not for a very long time. Since I’ve been using these two units, I no longer care when and how these formats are sorted out (although I would certainly welcome higher resolution). Tips for getting the most out of the P-1A: 1. As Perpetual Technologies advised, burn-in for the P-1A is indeed different from the P-3A. The P-3A showed its stuff after about 60 hours and by 100 hours it was at about 95% of its potential. Not so for the P-1A. I wasn’t hearing much until about 140 hours and after about 160 hours (PT suggest 150 hours required) the sound and soundstage changed suddenly. The unit continued to improve for the next 30 or 40 hours (I wasn’t keeping track at that point, just listening to music for hours). 2. Purchase the Monolithic Sound MSP3 power supply. It powers both the P-3A and P-1A. Both PT units are sensitive to electrical noise and fluctuations. The power supply helps deliver clean power. The change in the sound is significant and immediate. 3. PT suggests using a power regenerating device. I decided to use the PS Audio Ultimate Outlet instead (for reasons of cost and space). I’m using the high current model (with 15amp IEC) in order to plug in my amplifier as well. I highly recommend this unit since it reduces noise very effectively instead of allowing the noise to be transmitted to the

Depth, resolution, smooooth.

Keep manual handy if you need to reset inputs or programming, as you need to refer to number and proceedure sequencing.

Paul, after reading your note, I thought I'd pass this hint on that was given to me by PT's tech support (tried to email you directly, but email not sendable):

PT believes it to be better when using the 1A/3A combo to set the upsampling setting on the 1A to what is actually inputed (44.1 in the case of standard CDs); then utilize the upsampling in the 3A at 96kHz. They believe it to sound better this way, having the upsampling closer to the output, and not having both or the 1A set to upsample with the combo.

Please let us know if this hint has made a difference for you. If you find it significant, perhaps a repost on the review board would be appropriate.

I'm still experimenting with the combo, and am curious about how the P1A fairs in combo with other DACs vs the P-3A. I'll be trying the 1A out with an MSB at some point. The 3A alone is outstanding in it's price catagory.

I'm very value oriented in terms of hi-fi gear, constantly scouring for the bargains out there. With upsampling standard, this DAC is certainly a true audiophile performance value. It even makes an alternative system of mine with Marantz CC65se changer and Denon A/V receiver sound terrific.

I find the 1A/3A combo to be a significant step up over the already beautiful 3A in terms of smoothness and depth of clarity. Hard to argue against the great job they did on the interpolation software they've encoded in the 1A, converting the 16 bit word length quite effectively to 24 bits, which upgrades your entire CD collection.

System:

Transport: Heavily modified Marantz 67se converted to transport only use.

DAC: Perpetual Tech 1A/3A combo.

Integrated: Audio Refinement Complete

Speakers: Paradigm Studio Reference 60
(don't underestimate Paradigm Reference...I've tossed aside some Scanspeak systems and a number of others in favor of these, and Paradigms work great with high resolution DACs)

Cables: DH Labs Q-10 speaker cables
DH Labs BL-1 interconnects
DH Labs D-75 digital coax cable

None

Lifeless; strips off natural harmonics like a wire brush to metal

The P-1A does alter the sound in a way which will please so-called audiophiles who are offended by any product which lets through the natural brashness, bite and impact of music.

The same holds true for Dan Wright's mods. Avoid this guy at all cost. Phone me at 703-370-8217 for the full story.

Buy an unmodified P-3A and grow to love it, warts and all. If you want dynamics with less clarity, go for the Birdland.

resolution, taut base

thin sounding vocals

My present system comprises:

Panasonic A330 DVD player (used as a transport)
Cambridge Audio DacMagic II
Yamaha RV-X2092 Amplifier/Receiver
Elipson 1401 standmounted speakers

The speakers are probably the best aspect of the system, and I have been looking at adding a new pre and power amp and a new CD player.

After much research, I learned that the Panasonic A330 was actually quite good as transport, and so I focused on getting as much "bang for my buck" as possible by looking at a separate DAC, rather than a new CD player. (My viws on this were also influenced by the possibility of "universal" transports being available by the end of next year, thus making it possible for its replacement to be SACD/DVD-A/DVD/CD compatible.)

I auditioned the P-1A and P-3A in my system and noted the following:

P-3A

Having read much on the P-3A, I had high hopes that $699 could liven up my system. I was disappointed. A/B comparisons with my existing DAC showed the demonstration P-3A (which according to the dealer had been well burned in)to have excellent resolution and bass "tautness"; however, it was also v thin in the vocal range and a little bright in the treble. This was irritating with artists such as Natalie Merchant, where the sound from my (ancient - 1996!) DacMagic II was clearly superior. I like my bass distinct, and my cymbals to shimmer, but not at the expense of reedy, thin-sounding sounding vocals. This characteristic was less noticeable when playing classical music, but to my ear(I trained and taught as a flautist) my existing system gives a more musical timbre to instruments for which the added resolution was inadequate compesnation.

The soundstaging also sounded a little tight compared with my existing system - can't comment more.

P-3A and P-1A

Having read rave reviews here and elsewhere on the P-1A, I was hopeful that the addtion of the P-3A would make the difference - and it did. Adding the P-1A and setting it to output 24 bit word length at 44.1khz sampling rate certainly improved the sound coming from the P-3A, and to a certain extent mellowed the bright-sounding treble of the P-3A. The resolution available frommy existing CDs was also slightly enhanced. However, when compared (on an A/B basis) with my existing reference, the P-1/3A combo still sounded a little thin sounding in the vocals - the existing imparted a richer sound. This was less noticeable in classical music, although I retained the impression that the treble was a little bright (e.g. flutes sounded as if the flautist was tense, producing a thinner sound). This characteristic was not overpowering, and might be acceptable to some, but over time it irritated me.

Conclusion

Overall, I was disappointed in the P-3A, which failed to live up to my (perhaps optimistic) expectations. The P-1A did impress me, and equipment like this is clearly the way of the future - it is upgradeable has has a series of functions. When the speaker- and room-correction algorithims become available, this unit will be very interesting. Regrettably, my existing DAC is not 24/96 capable and thus the P-1A, while it improved slightly the sound of my existing system, is not worth $900 to me. Yet.

I'll write again when I have demo-ed the Assemblage D2D/2.6 Signature combo...

Similar Products Used:

Cambridge Audio Dacmagic II

Outstanding resolution, clarity and dynamics; great customer service

None, except that instructions could be clearer

This review includes the following: P-1A DSP, P-3A DAC, Monolithic Sound P3 Power Plant. It is prefaced by the following caveats:

1) While they did make an immediately noticeable improvement in my system, the P-1A and P-3A *must* be broken in for at least 1-2 weeks before any serious evaluation can be made. In this connection, please note that Perp Tech gives you a 30 day trial.

2) I'm not a digital tekkie, so my review focuses on subjective evaluation.

My decision to purchase the P-1A/P-3A combination was influenced by a very convincing demonstration by Mark Schifter (CEO of Perp Tech)at a recent Minnesota Audio Society meeting. As mark toggled the "bypass" switch on the P-1A, there was a marked improvement in the sound delivered by the Vandersteen 2CSE(?) speakers. In this connection, it should be noted that that associated equipment was a high-end AR preamp/amp combo.

I'm using a MacIntosh 7007 CD player as a transport for the P-1A and P-3A units. After a couple of weeks of listening, the word that comes to mind is "resolution." The resolving ability of the P-1A/P-3A combo is outstanding -- I'm hearing details that I was not aware of before. Similar improvements are noted in dynamics, sounstaging, and musical "punch." That the P-1A/P-3A combo is able to effect these improvements is remarkable to me, as I'm comparing it to the Mac 7007 CD player, which is outstanding in its own right.

I recently added the Monolithic Sound P3 Power Plant. This unit is specifically designed to drive the P-1A/P-3A units. I would strongly recommend the addition of the Monolithic Sound unit, as it moved all of the above improvements reported for the P-1A/P-3A a notch or two higher.

The total cost for the P-1A/P-3A combo is approx $1,700. The Monolithic sound unit adds another $350. While this is not cheap, I'm willing to bet that -- once the reviews are in -- the P-1A/P-3A combo will be judged as comparable or superior to other high-end processors (Wadia, Levinson, etc.) costing much more. From this standpoint, the P-1A/P-3A is a real bargain!

I should also put in a good word for Perp Tech's customer service. I was somewhat confused by the setup instructions for the P-1A. I got an immediate, courteous, and helpful response from Perp Tech customer service, who got me up and running in no time.

Similar Products Used:

MacIntosh 7007 CD Player

Excellent and inexpensive jitter reducer.DSP processing future enhancements could prove exciting.

Reduced dynamics and "immediacy". "Interpolation" changes frequency balance. Not for those wishing uncompromising accuracy.

After *many* hours of listening I find that Paul Siu's review captures exactly what I heard, at least when it comes to these comments:

"If my reference represents 100% of my stage depth and width, the Perpetual twin gave me not more than 75%. ....There is a sense of confinement as if everything is shrink warped."(sic)

I also agree that, while the SPL peaks measured the same, there is a definite sense of reduced dynamics when the P-1A is introduced into the chain.

On the plus side, it will definitely provide a smooth, delicate and pleasing sound. Acoustic guitar's top end "snap" and timbre, for example, is well rendered. If your transport is not a top-notch performer, or the source material is less than stellar, then you'll likely appreciate what the P-1A does. If your transport and source material is first class, you might find the presentation with the P-1A to be somewhat restrained, artificially sweet and "overripe".

One listen to a well recorded drum solo will point out the P-1A's major shortcoming. Drums solo's are not generally "pretty"; they are often raucus and full of energy. You'll get a nice shimmer from the cymbals with the P-1A, but you'll lose the drums defining character--unrestrained dynamics. Listen also to rim shots and see if their ability to startle is missing.
When used in a system consisting of a CEC TL1X transport,SigTech room correction, Audio Logic 2400 (24/96 DAC), Krell KCT/FPB 600 w/CAST connection,EgglestonWorks Andra loudspeakers, I generally preferred the system without the P-1A. On the other hand, when employing the CAL Audio Labs multi-disc changer as the transport, the P-1A lent just enough sweetness and extra body to make up for the Cal's dryer and less-than-involving presentation.

As an interesting experiment, I also tried using two P-1A in series. This was a setup recommended by Mark Shifter when using the DTI's. Cascading the two units only further degraded the source material. I tried them in every possible configuration and found that, in this case, less is more. One P-1A works better than two.


The "interpolation" setting is more problematic. To these ears, this sounds like a subtle manipulation of the audio frequency spectrum in the digital domain. I.E: A tone control. A one or two db rise in the first octave or so, a slight dip in the upper mids/lower treble, and a little bump up in the top octave. While I must confess that I did not measure the interpolation output, this balance was strongly suggested in listening. You might like it, but to me it takes you progressively farther away from what the musicians and producers had in mind when the source material was created.

Now there are some big plusses to the P-1A:
It is one of the best "de-jitterers" I have yet used. Only the Meridian 518 (and it won't do 24/96 or the other things coming from PT)compares as a de-jittering device.
Also, the P-1A promises upgrades that may prove to make it a low priced over-achiever. Only time will tell whether PT can successfully compete in the arcane and problematic world of speaker/room correction.

Ah, if you could have the P-1A's strengths--liquidity and excellent de-jittering--without the shrunken lateral soundstage and restricted dynamics, you'd have something! (Probably a dCS Purcell and a much bigger bill!)

Get it direct from Perpetual Technologies and try it in your system for a month risk free. Then you can determine if it's for you.

I'd guess 95% of the audio systems out there will sound more pleasing with the P-1A in the chain.
I am keeping one in my system just for the multi-disc transport.

Similar Products Used:

Meridian 518, Camelot Dragon Pro II, Audio Alchemy DTI

small foot print, I2S input and out, True Interpolation and Upsampling.

None that I've found so far.

I have had this in my system for close to 6 weeks now. I bought this because of the performance promise the speaker correction software will make when it's out. so this review is just on the P-1A as a true Interploation Device and Upsampler as well as jitter reduction.
For three weeks I've had this in between my Cal Audio Icon Mark II used as Transport and My B&k Ref 20. I had been using the Dac's on the Cal unit (18bit hand trimmed Burr Browns)in favor over the Ref 20's Dacs even though they were 20 Bit. They are just not Honest, dull, dry lifeless. The Cal is very Warm and Has a nice Laid back Sound to it. So I set the P-1A to output 20bit/44.1kz which was compatible with the ref 20's Dac's. Using the Analog Bypass on the Ref 20(great feature)I got to switch back and forth between the Cal and the P-1A in-line and I have to say the difference was not subtle. The P-1A made an AMAZING difference. It opened the soundstage,warm the edges of the high's beautifully. Everything just sounded,well real. Closer to the original. I hate to descibe things as more musical because that to me means distortion is auctually changing the sound and making it more "musical" some how. Which is not the case here. It made Cymbals (and I've been a drummer over 20 years)sound like they should the proper shimmer,decay or splash etc.
Very pleased to say the least.
Then I got My 96/24 P-3A Dac and WOW! I mean WOW! I hooked the two up using the I2S cable and set the P-1A to feed the P3 pure 96/24 with the CD correction feature on and the whole room became a concert hall. My wife passing through even commented "What did you do this time? (cause I'm always tweaking) "why" I said, Cause it sounds great! Whatever you did, Leave it alone this time!"
Good enough for me! She never says anything. The older CD's in my collection like Tull's Songs from the Wood were breathed new life. I've listened to this CD 100's of times and
I heard a completely different one this time! One of the Songs has soft reverb echo effect on Andersons voice that I never knew was there before. I mean WOW! Goose bumps! The effects were nothing short of Amazing on my whole collection, which is now out of the case and all around my seating area in piles, I can't get over it. And this is without the speaker Correction software installed yet!!!

Running Straight through to My Cinepro 3K6II yelded even better results. The sound is simply the best My system has never sounded. STRONG TIGHT TONAL LOW END,ENVELOPING MID"S AND BEAUTIFUL WHISPY HIGH"S THAT DON"T SHRILL OR WASH OUT. I highly recommend. With the 30 day money back you can't go wrong either. 5 stars!!!!! My Speaker correction Chip will be ready in 3-4 weeks according to Scott at Perp. Tech. I will post update after I've heard.

My system:
PERP TECH P-1A
Perp Tech P-3A
Cal Audio Icon Mark II
Toshiba SD-2100
B&K REF 20
Cinepro 3k6II
Energy C-6 Front's
Energy RVSS Surrounds
Energy EC-200 Front
Sony kv35v35
Hero interconnects on all
Kimber 8tc's on fronts
Velodyne f-1200 Sub

Similar Products Used:

None

Advanced digital technology in a well-engineered design. efficient

Only 2 buttons controlling various functions.

The following is a combined review on the Perpetual Technologies P1A Digital Correction Engine (upsampler) and the P3A 24/96 DAC. Although both components can be purchased separately, Perpetual Technologies emphasizes the synergistic benefits of using the P3A to decode the upsampled signal from P1A. For example, via the I2S connection, the combo of P1A and P3A facilitates an upsampled quantization of 24-bit at 192kHz! Both products are available directly from the manufacturer with 30-day unconditional satisfaction guarantee.

The upsampler (P1A) costs $950, while the DAC (P3A) costs $699. Product information downloads and order information is available at the official website at: http://www.perpetualtechnologies.com/



BACKGROUND

By implementing what PT refers to as signal interpolation and resolution enhancement, the immediate goal is to maximize the available resolution of signals from CDs.

This is similar to what Stereophile magazine reviewed last year on the British dCS 972 upsampler and the Elgar converter. Succinctly, the dCS 972 upsamples the conventional CD signal of 16-bit 44.1kHz to 24-bit 192kHz, and sends it onwards to the Elgar processor.

It is a costly two-step process. With each component costing over $5,000, not too many of us can afford the benefits they offer.

Another British High-End veteran company, Meridian, also has an integrated CD player with internal 24/88.2kHz upsampling. I personally didn't try it. If it works as good as it promises, then this $4,000 machine is also a winner. To many, the search for the Holy Grail can stop with the Meridian. Yet, for me, to invest in a CD-only transport at the present day will be redundant, unless it is of the variety that can play CD and SACD.

In its latest July 2000 issue, Stereophile reviewed another upsampling one-box CD player from Japan, the Accuphase DP-75V. Performing 24/192 upsampling internally, this player costs over ten thousand dollars.

In my situation, my other option of enhancing the resolutions from my CDs is to purchase a Wadia 270 matching transport and upgrade my Wadia 27 to the compatible " ix " version. A 270 costs $8,000, while the 27ix upgrade costs $1,750. The total cost for this option will be $9,750 plus tax.

Last not least, current generation of DVD players output 24/96 signal from the audio tracks in DVD videodisks through its stereo analog RCA jacks. When I played a 24/96 disc from Chesky's Records through my Sony DVD player, I was amazed at the dead-on imaging, instrument localization and dynamics conveyed. We have a winner on our hands already if DVD-Video music becomes more popular.

With the emergence of products like the P1A + P3A, the 24/192 reality is finally here.

In comparison, Perpetual Technologies' $1,700 combo of the P1A and P3A seems irresistible - though still not cheap to the bone. But then again, we would hesitate to buy if it's too cheap, right ?

From the information available on the website, it seems that PT has put tremendous amount of R&D into the design of their initial offerings.



P1A + P3A

Audiophiles who used products from Audio Alchemy will instantly recognize it. PT's founder and President, Mark Schifter, was heavily involved in the designs of Audio Alchemy's gears. His recent credentials include partnership with Arnie Nudell in Genesis Technologies.

The P1A's chassis, though diminutive at 5.5" x 8.25" x 1.75" (WxDxH), is aesthetically an eye-opener. Weighing in at a mere 4lbs, it looks surprisingly flashy. The night when I got home and opened it, it was my wife who was trying to touch it. It looks like a piece of expensive cosmetic makeup jewelry box. If anyone of us ever shops with our wives at Macy's, he'll know what I'm talking about. Imagine the kind of luck, or WAF (Wife Acceptance Factor), we could all have if our dream systems' looks appeal to our wives !

Inputs include I2S, AES/EBU, and Coaxial. Outputs have the same array. ST and toslink are not available. Like the AA gears, it comes with an outboard power supply. Unlike previous AA gears, like DTI-Pro, however, PT's P1A is cold to the touch even after being left on indefinitely.

Similar to the AA gears, the front panel of P1A has only two push-buttons. By various combinations of steps, these two buttons controls the input source selection, polarity inversion, output quantization selection and upsampling rate selection. While aesthetically well conceived, the operations of these two buttons were not as straightforward as I wished. Provided that the minimum output settings of 24-bit quantization and 96kHz sampling rate is always desired, once the input source selection changes, the outputting quantization and sampling rate will both have to be set again.

With only one provisioning input for each format, the audiophile who intends to connect his CD transport to the P1A via AES/EBU, his DVD player via Coaxial, and another machine via I2S, just for example, will have to go through the following steps each time he changes the input:

Input selection - Output Quantization selection - Output Upsampling Rate selection

I feel that unless the user familiarizes himself with the controls by operating the buttons frequently, the manual will have to be consulted carefully. In addition, the front panel gave confirmation of the settings with the varying lights. I had to redo the settings just to make sure I went through the correct steps. A remote control would solve the inconvenience nicely.

PT supplies two footers for vertical placement of the P1A as designed. Conventional horizontal placement is also accommodated using the alternative adhesive pads. I welcome this arrangement as shelf space is getting more and more precious at my house.

The P3A utilizes the same chassis as the P1A's and has the same input array. With the P3A, one half-meter I2S cable was included as part of the package, for receiving upsampled signals up to 24/192 from the P1A.

Upgrades will be available for the P1A. At the heart of this Digital Correction Engine is a SHARC chipset. It is a 32-bit floating-point processor. PT claimed it was versatile and powerful enough that it can also be used for customized phase correction on speakers and customized room acoustics correction.

These upgrades will be available in the form of Internet downloads directly into the P1A, via a terminal on the rear panel. Each upgrade, when available, will cost approximately $300 to $400 each.

As for the P3A, according to my emails with Jon Lane (jlane@perpetualtechnologies.com), Perpetual Technologies' Director of Technology, although upgrades are not planned at the present, another sibling, the P5A, a "balanced, differential version of the P3A with level control and available remote", will become available this fall at $1,499. It will be housed in an entirely different chassis. When available, PT will offer "generous trade-in" program for its P3A customers.

PT is also planning on the release of a SACD/DVD/CD transport this fall. Very ambitious.



My system

Source Components:

CEC TL1 CD transport
via Wadia proprietary ST fiber cable to
Wadia 27
or
Sony SCD-777ES SACD/CD player


Configuration used for the review:

CEC TL1 CD transport, or Sony SCD-777ES SACD/CD player, via
Audio Alchemy DST Digital Transceiver in XLR (1m) to
Perpetual Technologies P1A, via
I2S connection to
P3A


The rest of my system downstream of the Source Components:

via Granite Audio #470 1m interconnect to
Krell KRC-2 preamp
via Granite Audio #470 1m interconnect to
Monarchy Audio SM-70
via Cardas 5c 8ft speaker cable to
Klipschorns


The least expensive component in my system is the Monarchy Audio SM-70. It is a small single-ended, no feedback solid-state amp. At 25wpc, it is impractical in many high-end systems that use speakers with low to medium sensitivity. For my Klipschorns, however, it is a very proper match.

It is noteworthy that the Wadia 27 was of the original 1996 design, before the "ix" 24/96 upgrade was available. In Wadia 27, the "direct connect" concept from DAC to power amplifier shortens the signal path, therefore supposedly reduces signal degradation. Before the arrival of the Sony SCD-777ES, and the subsequent P1A+P3A combo, no preamp was used. Prior to the Wadia 27, I had Sonic Frontiers SFL-2 preamp and SFD-2 20-bit tubed DAC. The rest of the system at that time consisted of the semi-retired Music Reference RM 9 II EL-34 based push-pull amplifier and Celestion SL700's.

Configuration of the system went through some changes during the review, before the finalization of its current status.

Initially, my Wadia 27 was directly connected to the Monarchy Audio SM70 (25wpc, single-ended class A). Then, I brought out the semi-retired Adcom GFP 565 preamp to provide volume control for the Sony SCD-777ES. However, the Klipschorns' extreme sensitivity exposed the minute background noise inherit to the Adcom's design. It was just a matter of time when a quieter preamp would replace the Adcom.

So, coinciding with the arrival of the P3A, I purchased a Krell KRC-2. The Krell reduced the hiss to being audible only 2 feet from the Klipschorns. Much to my surprise, by routing the signal from my Wadia through the Krell KRC-2, the soundstaging and imaging in my system improved substantially. The last time appreciable improvement was wrought was during my discovery of the Granite Audio #470 single-crystal slow-drawn silver interconnect (see my review in the "Cable" section). Being a believer of Wadia's "Direct Connect" methodology for 4 years does not mean blindness to contribution an excellent preamp can offer. In this case, the Krell provides an excellent testimony.

Comparisons between the P1A+P3A and the Sony SCD-777ES was made; but will not be included due to the complexities involved and the current length of this review.



P1A to Wadia 27

Undoubtedly an elite of digital audio the Wadia 27 is, years of listening to it could easily make appreciation to the smallest change in the soundscape to be blown out of proportion.

Prior to the emergence of the P1A and P3A, I exchanged emails with Wadia on the topic of upsampling technology. According to Wadia, their proprietary 64-times oversampling in Wadia 27 is "mathematically synonymous" with upsampling to 24-bit 96kHz. Food for thoughts. This aspect will be posted in greater depth in a possible Wadia 27 review.

I have no technical background to dispute such a viewpoint; but it does help to explain the reason that Wadia, being one of the premiere architects at the digital audio forefront, has not released any upsampling machine to date.

The P1A was initially connected to the Wadia 27 via the Audio Alchemy DST Transceiver in XLR for a month, before the P3A was available. In this arrangement, the P1A confirmed an output word length of 24-bit with the Wadia receiving. The Wadia also was able to accept 48kHz-upsampled rate at the maximum. So, 24/48 it was!

During that period, compared with the ST direct connection from the CEC TL1 to the Wadia 27, I noticed a very minimal amount of improvement with P1A in the link. When playing CDs made in the mid 80's, the P1A softened the brittle vocals a little, while no difference was perceived from playing CDs from Telarc.

On more recent remastered recordings, like the 4D process from Deutsche Gramophone, instruments from the Berlin Philharmonic were rendered more 3-dimensional to a degree.

Improvement was there; but to me it certainly couldn't justify the $1,000 investment.

Regarding this disappointing minimal improvement, I sent an inquiry to PT. The following is an excerpt from Jon Lane's reply to my email:

"Empirically, we know that many DAC's , including some very expensive units with "24/96" advertised, simply do not have the noise floor to thoroughly allow all 24 bit data to be throughput unscathed. That is, 24/96 DAC's may actually possess 110dB of s/n thus rendering them something like practical 18 bit machines, not 24. Our little P-3A DAC, by the way, features in excess of 140dB of s/n and thus qualifies as a near-24 bit machine, with -144dB being theoretical for 24 bits."

"I would question whether the associated equipment - while excellent in its own right - is suitable. Without a -140dB s/n in your DAC you will not benefit from 24bit data. Further, the 48kHz limit in the Wadia is also reducing the system's total capabilities, at least on paper. I would never disparage the Wadia name or product, but I must say that Perpetual Technologies digital components are simply revolutions in the digital world: very leading edge design and extraordinary value. We are breaking the mold of limited production, expensive high-end equipment with our very high volume, direct business model. The P-1A/P-3A combo, at around $1500 [MSRP $599 until May 31] is far beyond any system combination we've ever compared ourselves to that is over a year or so old at virtually any price save only the Levinson (also SHARC-based). The digital landscape is changing radically due to advances in chipsets, affordable software-based systems on a single CPU, and volume manufacturing. Due to these differing philosophies, it may be wise to evaluate the two complete systems side by side rather than trying to marry one to the other."

In short, my Wadia 27 might not be up to the task! Wadia 27's owner's manual doesn't list the s/n ratio, only the mips and resolution in bits. My inquiries to Wadia in May regarding the s/n ratio had not been answered.

Nevertheless, although "excellent in its own right", the Wadia 27 did not represent a synergistic match for the P1A, which the P3A was specifically designed for.



P3A arrives

In late May, the P3A arrived in the same size of package of the P1A with a substantially larger power supply. A half-meter length of an I2S cable was included for connection from the P1A.

The P3A is cosmetically identical to the P1A. The front panel and the rear panel features the same array of controls and connection options. There is only one pair of analog outputs with no balanced option.



Listening

High resolution were the words most immediately came to mind. Imaging and microdynamics were the combo's real forte. With that said, as being truthful to the upstream signal, the effect of P1A and P3A's 24/192 upsampling was dependent on the original quality of the processed CD. Furthermore, after listening to CDs after CDs, I was consistently reminded of the different priorities different audiophiles would have, and how that could affect the degree of appreciation for the combo.

For example, in my rectangular 12 by 17 by 8 (WxLxH) listening room, at both corners of the shorter wall, my Klipschorns have been recreating a considerably large soundstage. Due to the fact that they were placed on the short wall, the Klipschorns were firing at the center of the listening room. They were subsequently "toed-out" to change from pointing at the center of the room to the listening position. The P1A and P3A, while excelling in resolution retrieval, did produce a very different soundstage from which I was used to when using the Wadia.

Playing regular classical CDs, like those from Deutsche Gramophone, EMI, Columbia and Orfeo, to name a few, imaging was rendered very precise on the soundstage. There was a higher level of energy concentration at the center. In better recordings, this characteristic rendered instruments with close approximation to the center with distinguished focus, with the soundstage extending orderly but not extremely wide. The front to aft of the soundstage was reproduced with respectable depth and highly stable localization.

In addition to the distinguished dimensionality, excellent microdynamics also helped in portraying background instruments distinctively on stage as next to the highlighted players, with instantly recognizable portrayal of instrument timbre.

When it comes to this, the P1A and P3A demonstrated a very interesting aspect of its personality.

In my horn system, realistic dynamics is its strength. The P1A+P3A consistently rolled out every bit of dynamics extracted from the CDs, giving me a feeling that the listener was part of the music-making experience. When the orchestra's brass section soared proudly, distinguished horn instruments were highlighted with the flare and exquisite sheen that resembled a live performance.

Human voices went through a filtering process for the better. No extra definition was added to the performances from the sopranos and tenors; but it sounded cleaner. There was no perceived increase in air or ambiance. Somehow the singers appeared lower on stage, like that of sitting as opposed to standing. This aspect was consistent whether I was playing a performance captured in studio or a live concert. In addition, the distance between the mouth and the microphone appeared to have shortened as well, giving the impression of a bigger mouth.

The definition of the bass drums was excellent. The control of loudness was exceptional. Being the instrument that creates the lowest octave in the orchestra, the bass drums were carefully rendered with good edges. On better recordings, its background role was elevated into higher status as the purpose of its contribution became felt.

Woodwinds came through with clarity coupled with a delicate touch. The fragile yet pronounced high notes they created were given enough strength and air, making them befitting as subtle yet vital pieces of the big picture. Percussion like cymbals were reproduced without sounding compressed. Excellent aftertaste ambiance brought out the spaciousness needed in numerous recordings.

Pianos were recreated with impressive body and tones. Most interesting was the loudness of the instrument. Through the P1A+P3A, almost all pianos seemed closer to the front stage. It didn't sound forward or aggressive. While I had previously become accustomed to hearing piano reverberation captured either in studios or concert halls, this aspect of the ability of the P1A+P3A was a joy to experience.

Strings were given the same presence on stage - with an interesting twist. The texture of violins and other strings was somehow reproduced with the sound of distinctive individual playing. On some of their Deutsche Gramophone recordings, especially the 4D remastered ones, performance from string sections of the Berlin Philharmonic under the baton of Herbert von Karajan sounded slightly more controlled and unified, than a few other European ensembles. For these other orchestras, the sometime less-unified playing came through with startlingly clarity and prominence. This prominence somehow made me became very conscious of the fact that I was listening to a high-resolution system. This can be sonically exciting to one audiophile; but musically distracting to another. Either way, I believe this level of resolution is something to be marveled at. In addition, the intensity of emotional resonance accorded by such resolution was undeniable.

Depending on the priorities an audiophile has and what his system is capable of, this level of resolution can be simultaneously pro and con. I enjoy the faithful reproduction of the complexity of tonal colors in my system. To date, I have yet to experience similar abundance of details in a system, and my experience with the PT gears might have altered my sonic priorities somewhat. Most of us pursue certain sonic signatures when we assemble our system. To those whose system's excellence is manifested heavily by its analytical prowess, this individuality of instruments resulting from excellent resolution retrieval can be too rosy.

Granted that the ultimate in sonic realism is nothing less than a live concert. To me, listening to recorded music will always carry a different set of priorities from those of a live concert. For example, during a live concert, there are plenty of visual aids both on and off stage. Individual players will not be as sonically prominent when visually present, as they can be when invisible but presence strongly felt in an excellent sound system. Witnessing live music making with each violinist visibly seated within the string section playing music is the ultimate in resolution. It is a whole different matter when I am at home guided only by my own ears and seeing only draperies.

In particular, Telarc CDs sounded very different. At 24/192 upsampling, the first thing I noticed was air. The impression of high resolution did not impose itself onto the original signal as prominently as it did with CDs from other labels. However, I could easily discern hall ambiance in the recordings -- to a greater extent when compared with both the pre-upsampled signal and with the CDs from Deutsche Gramophone, for example. The trademark bass drums still possessed the gut-wrenching poundings expected. All aforementioned aspects of improvement from other labels happened to the Telarc recordings as well - though in a less dramatic proportion. The strings, however, did not go through the transformation given to those of other labels. Nevertheless, given the generally high recording quality, Telarc's orchestras still produced some of the best sounding bow fiddling available.

Overall, most labels' upsampled CDs still sounded relatively thinner in body than those from Telarc's did.



Afterthoughts

The P1A and P3A are worth auditioning whether separately or as a combo.

Given what the combo of P1A+P3A is designed to do to our vast CD collections, it is easy to forget the fact that no human design does everything perfectly right. The combo helped alleviate limitations inherited in some recordings by maximizing the available resolution; but it does not alter the fundamental flaws in them. In addition, careful system matching remains the most important factor in getting the sound that you want, regardless what you expect the PT gears to do for your system. Do not underestimate this importance.

In upsampling, a well-founded explanation to the reason one CD label will benefit more over another remains wanting. However, the question becomes momentarily less intriguing when we consider the possibility that the technology utilized in the recording process from some labels might have been so advanced, that upsampled signal might look almost identical to the original.

If that is the case, then the same situation may also be applicable in the context of the Wadia 27 and P1A+P3A. Having been exposed to the Wadia 27 for 4 years, my findings on the P1A+P3A might have been destined to be less dramatic than it could have. I had been switching back to my regular system after each listening session which generally lasted several days, just to reinforce the impression of my long-association with my gears. I find it interestingly necessary, because for more than a few times I couldn't remember what my Wadia sounded like, hence my hesitation in putting my critical thoughts down on paper.

To me, the PT gears spell both misery and hope, as they were very close to several performance aspects of my Wadia. Audiophiles are lucky in that they only have to spend a fraction of what it took just a few years back, to attain the SOTA in CD playback. The P1A+P3A will easily outperform most digital front ends in its current state, except for the ultimate designs. It will become even more formidable when PT comes out with an equally competent transport, synergistically designed to be linked to the P1A.

Unlike my review on other components, like Granite Audio #470 interconnect, for example, I commitment more words on Perpetual Technologies' P1A and P3A. It is because while the cable's sole mission is to transmit signal with as less degradation and distortion as possible, P1A+P3A generates the signal. The issue becomes more complex when we consider not just the degree to which the combo performs its job; but the possible dent it could create in the formidable world of costly High End audio.

Aside from my criticism, I was more inclined to play classical music over other types. In my opinion, none other forms of music could really expose, if any, the inability of one's system in the resolution of microdynamics, dimensionality and tonality. During the instances when I was playing Jazz or pop CDs, I often found the recordings less complex and thus represented a considerably less challenging task than orchestral materials would. This may help to define the strengths of the P1A+P3A, although it is clearly also a matter of personal preference.

Last not least, depending on the abilities of an audiophile's former and current components, it is safe to assume that most will consider the lateral and layered soundstaging abilities of the P1A+P3A to be pleasantly surprising. Dimensionality was exceptional in that rarely was CD reproduction ever able to approach such level. This is a good demonstration of what today's digital audio technology can do. At the asking price, I am astounded.

In my opinion, the P1A+P3A could rival the best in an High End system in terms of microdynamics.

At this point, allow me the liberty of saying that live concerts did bring out some of the most intoxicating stereo effect ever from this combo. Never before had coughs and applause been so crisp and vivid!

Five Stars on the product value in light of its performance.

Similar Products Used:

Wadia 27

Wide open soundstage, effortless dynamics,NO RINGING,natural vocals.

Old units MAY distort,Can be fixed easily.

Futher to my previous reveiw of the P1A, I would like to state that Scott Liddi at Perpetual, bent over backwards, with all kinds of considerations, too many to list, to fix my problem! Scott suceeded in calming me down and replacing the mis-performing unit with a new upgraded unit, This new unit works perfectly and sounds fantastic! So much so I purchased another for my other P3A.
The problem was real but so was the solution, Perpetual took all measures to solve the situation. The President of Perpetual, Mark, emailed me from China!
Great sounding combo, that addresses the ringing in normal CD reproduction, and a natural sounding presentation, with firm bass, and wide open soundstage.
Thank you Scott Liddi, well done Perpetual.

Similar Products Used:

Theta Pro Basic IIA, Audio Alchemy DTI PRO 32/DDE 3.0, Bel Canto, Theta 396 Chroma.