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At this price? Come on!!!!!!!

With all respect, I must disagree with the last post. I am using the P1A/ P3A with Modwright upgrades and improved power supply. These babies are being fed a great diet from my Wadia Model 8 transport with upgrades as well.
I'm not sure what happened to the last reviewer. I don't know how it is possible to retrieve info that is not on the disc. It is either there or not, simply put. It is detail retrieval that is the first quality of any component that makes me judge whether or not the upgrade is justified. Secondly, it is imaging. I consider decay of instuments to be a part of "detail"-and the PT duo does this exceptionally well. It does everything well as a matter of fact. The point of upsampling is to gain info previously unheard, along with the other qualities I've mentioned already. This the PT does better than anything near its price tag. You will have to spend more to get slightly better. And by better, I mean Burmeister, Elgar and TOP NOTCH Wadia money. However, take this into consideration........add speaker and room correction upgrades to the mix and I doubt very, very much that anything will top it. Even SACD on it's own will not come close. Now, I know that that statement may appear outlandish to the digital purists who read this. That's OK. You will see in the coming months some reviews from the Audio mags and Audio Web-sites that that statement is true. This product has yet to fulfill its potential!
Don'y forget, also, that these units can decode 24/96 and DSD as well. My only concern since having owned these is if the hardware manufacturers will make a universal transport with a multi standard digital output that will exploit the versitality and performance that these units are capable of.
In the digital world of audio, these get my highest recommendation!

Similar Products Used:

Sonic Frontiers/ Audio Alchemy/ Camelot Technologies/ Monarchy Audio/ Meridian

Makes some recordings sound better

Does it completely artificially; this is not hi-fi

The P-1A uses codec and companding techniques to alter
the original signal to try to enhance the signal
and restore lost dynamics. Unfortunately it does it
in an artificial way that results in a sound that
is not found in the original high resolution masters.

As an experiment we compared processed Chesky CDs
to the 96 x 24 Chesky DVD versions of the same
recording. The P-1A processed CDs were decidedly
more pleasant, but lost some information and added
other information that is not on the 96 x 24 version
of the same recording. The CD was downsampled from
the same high resolution master as the DVD so the P-1A's
changes are definitely not in the original recording.
Please see the full review at:

http://www.jeffchan.com/audio/p-1a-vs-d2d-1.html

The P-1A does make some recordings sound better, but
it does not make them sound more like the original
recording. However pleasing this may be, it makes them
sound *less* like the original recording. This is
not accurate and it's not hi-fi. The goal of hi-fi
should be to most accurately reproduce the original
event, not make it artificially better sounding. The
P-1A fails in that regard.

Similar Products Used:

Assemblage D2D-1

Reduces digital harshness

Complicated setup, little boxes and wires not attractive, it has always worked, but I always wonder if it will next time

I have owned all of the "similar products" and I like the Perpetual P-1A and P-3A combination best. I have the Dan Wright Mods on the P-3A and find them to be a significant improvement. Dan Wright was very professional and responsive in my dealings with him. I find the sound of the P1-P3 to be considerably better than the SCD777 on regular CDs and close (but not quite) as good as the SCD777 on SACDs. I suppose that everyone's ears and experiences are different but I really like the modded Perpetual Technologies equipment.

Similar Products Used:

Audio Alchemy gear, Sony SCD777ES, Rotel RCD-991, ART D/IO, CAL Alpha and Icon, Rega Planet, Denon DCD 1650, Parasound DAC

dynamic, elastic, articulate and utterly transparent

supplied power unit -- upgrade to the Monolithic Sound P3

After reading about Perpetual Technology’s P-1A/P-3A combination and about the PT-approved
modification to its stock P-3A unit, I emailed Dan Wright (modwright@yahoo.com) (also see
http://www.modwright.com/) . Finding Dan to be very knowledgeable, honest, customer-
friendly and professional, I ordered a modified P-3A, the P-3A Signature. The modular design
of the P-1A/P-3A, as well as the potential upgrades of power supply and the need for a separate
transport, didn’t appeal to me at first. But when I realized that I could add one component at a
time, the design seemed to offer an opportunity to experiment a bit.

Phase 1 - Simple hookup followed by nearly endless burn in (100+ hours).
The P-3A is a well-built unit that is simple to connect. Right out of the box it sounded dynamic.
Sure, it sounded rough, but its resolution and drive were evident. After about 50 hours of
playing all kinds of music at low volumes, I tuned in to check the progress. As I was listening to
one of my wife’s favorite disks, she walked by and asked what I was playing.

Phase 2 – Add a better power supply.
The P-3A seemed vulnerable to small power fluctuations. Worried about causing permanent
damage to the unit, I ordered the Monolithic Sound’s P3 via the http://www.av123.com/ website.
I was listening to Lush Life (the great Joe Henderson had just passed away) when the delivery
truck arrived. The MSP3 is also a well-built unit, finished to fit the cosmetics of the P-3A, and
is plug-and-play. I continued listening to the same track, particularly Christian McBride’s bass.
Suddenly there was a wealth of detail that hadn’t been there moments before. I did one quick
A/B listening test; quick because I wanted to return to the music. The MS unit also fixed the
power fluctuation problem.

Phase 3 – Two Wrights don’t make a wrong.
Dan Wright also modifies DVD players to upgrade their performance as transports. Since I was
using an old CD player as a transport (pressed into service when my main unit died), I asked Dan
about cost-effective options. He suggested a Pioneer (DV-343). I purchased one and tested it to
make sure it was working properly (nothing exceptional) and shipped it to Dan. It came back in
pristine condition -- the surgery had been executed very cleanly. After a couple hours of play,
the bass started to get much more solid and elastic. After about 20 hours or so, the elasticity had
spread to the entire frequency spectrum.

Phase 4 – All that burning in sends a good preamp to audio heaven.
After more than 100 hours of burn in, my old preamp went peacefully. I was so impressed with
Monolithic Sound’s power module that I tried their passive/active line stage, the PA1 (see
http://www.monolithicsound.com/). This is a wonderfully transparent unit. I’ll have to write a
separate review to do it justice. Although http://www.av123.com/ explains that they will soon
carry the entire MS line, they didn’t when I ordered mine. However, they did connect me with
Walter Liederman (Underwoodwally@aol.com), 770-667-5633, who had the units.

After listening to the Signature P-3A for nearly six months, I continue to be impressed with its
musicality: It is dynamic, elastic, articulate and utterly transparent. I have been enjoying music
again and, happily, my wife occasionally joins me for an extended listening session. If you find
that you turn up the volume to hear more detail, try a P-3A – volume is no replacement for
transparency.

If you haven’t listened to excellent CD players in the last few years, you will find the
performance of this little DAC very surprising. If you have a player that is significantly older,
you will find it nothing short of amazing. It can be a very cost-effective upgrade to modest
players and is a great way to begin assembling top-of-the-line sound should you decide to
continue upgrading. It is a pretty good deal when you can achieve 95% (or better) of the best
performing components at 1/3 the cost! That deal is even more attractive when you factor in the
ability to upgrade and the first-class customer orientation of the manufacturer.

PT honors its warranty for the modified units. This says a lot about Dan’s work and, not
incidentally, about PT (count me as a fan of both). Check out PT’s web site
(http://www.perpetualtechnologies.com/) for reviews. Be sure to read the one by Greg Weaver if
you are thinking about a Wright modification.

Phase 5? The P1-A Digital Correction Engine this holiday season!

Resolution and musicality

Product configuration details poor.

Even in its present iteration the Perpetual Technologies P-1A DSP based Resolution Enhancement system with the P-3A DAC have the capability to really astound you with their combined audio excellence. This is as I write before the release of additional Perpetual Technologies software upgrades for speaker and room enhancement.
Let me be more specific, if you like me have a considerable CD collection then you will hear new detail and feel audio sensations on these recordings like never before.
It has made me question our existing standards on the way Hi Fi equipment and CDs are aurally reviewed; the PT combination are really are that good.


The order was efficiently dispatched from London within 2 days and it took over three weeks of burn in, before the P-1A and P-3a started to audibly demonstrate the higher resolution capabilities. This can turn out to be a hellish emotionally long time, my advice is be patient, and wait.


The settings for input and output are via a press buttons on the front panel so care has to be taken here. I found that selecting the 16 bit 44.1 kHz mode and using the direct PT custom cable interface to the P-3A certainly provides an immediate satisfying musical experience.
Even when the P-3A DAC is used as a stand-alone unit you will be impressed with the dynamic range and complete background silence that this unit 96KHz offers. However as in every good partnership it's the synergy that wins the day and the P-1A / P-3A have plenty and are quite simply a stunning sounding combination.


CD's recorded with the Sony Bitstream recording process were the first to sound really improved with a clearer top end, deeper bass, and wider stereo image. A particular favorite Everest recording of Shostakovich 5th Symphony/ Leopold Stokowski NY Stadium recently remastered with Sony Bitsream was a superb introduction for the P-1A P-3A combination. Always a thrilling and emotionally satisfying musical experience this CD scaled to new heights in sonic excellence. With the more added realism of searing string sound unique to Stokowski, and clearer more distinct sonorous sounding brass section . This all culminated in a finale where the bass drums pounded the final notes in a frighteningly realistic un-neighbourly way. Wow! What an introduction to 96Khz CD replay.


Higher resolution sums the PT combo up perfectly. Imagine looking at an ordinary 35mm-film presentation in a cinema which suddenly opens up to 70mm ultra high-resolution widescreen. That is the sort of effect, which translated into an aural experience has literally got to be heard to be believed.
Back in the 16bit 42.1KHz CD domain the nearest I have heard the bass and mid range like this compete with this PT duo was with a Wadia 860. For instance on Mike Oldfield Tubular "Bells III" CD a particularly good recording, in the final track the swirling high frequency sound effects, and palpable sounding bass rhythms all culminate in the final resounding chime of the "bell". This says it all. The true sense in Hi Fi excellence is when music soundings so good as this reach out from your speakers and touches your emotions.
Then you have arrived!


Sony bitstream recordings as I mentioned were a truly remarkable listening experience in this new environment. Dire Straights "On every street" deserves a special accolade for its sonic excellence. DG classical recordings using this process also convey higher resolution, clarity and depth. The human voice and choral recordings such as the Bruckner masses are again wonderful sonic examples.
Sony through their Bitstream recording processes and the SACD perhaps now offer us a tangible glimpse of the audio future to come.


Interestingly some early AAD recordings showed wildly varying results. An early Pat Metheney ECM live album which always sounded anemic and thin before, now was transformed into a satisfying fullness displaying the extremes of the tonal range.
Whilst an early HMV classical AAD recording of "English String Music" conducted by Sir John Barborolli refused to sound opulent and stirring in this new digital domain.


Naxos a budget priced but critically acclaimed label will I predict benefit in increased sales as the public realises the audio sonic treasures to be heard at these higher levels. With recordings full of rich unforced spatial detail the Naxos company now offers us even better value for money than before.


No prisoners are taken with modern recordings mixed for the old CD format. For instance Stings "A brand new day", although sounding reasonably impressive through the Naim analog CD player is shown up for what it really is; a highly compressed recording when listened to in 96Khz replay. With a thin bass and a grainy sounding texture, the same goes for Santanas latest CD.
Thankfully these recordings are few in my collection but beware if your trend is in the latest hit sounds.


Increasingly as I listen to more and more of my CD collection through the enhanced resolution that 96Khz now offers, I feel a certain anger and resentment towards the gurus in the audio and recording industry. They got it very badly wrong when the present 16 bit 44.1 kHz was conceived as the replacement digital for analog sound. It obviously does not have the headroom and sounds restricted in comparison to this new listening experience. We were fooled into purchasing a flawed concept and have paid dearly in lost enjoyment because of it.


However a rich CD legacy lies before us made possible by the sound engineers and producers conversant in working with analog technologies and not used to making aural compromises. Believe me their decisions to pursue audio excellence are going to be vindicated when the public hears the sound treasures released by the upsampling process and others in the future.
The P-1A now audibly demonstrates the limitations of the present 16 bit 41.2 kHz CD replay system. I will go so far as to say that it should be recognized as a milestone product in the history of audio. It truly delivers today a high-end audio standard at a price unbelievable for this level of performance.

Equipment used
Sony 725 DVD, Naim CD 3.5 player. 2 MF X pre-amplifiers. MF A200 mono block amplifiers. Sonus Faber Electa Amator II's. REL Storm III
Interconnects: Van De Hul the First Ultimate. Van De Hul "The Wind" speaker cables.

Similar Products Used:

None

Clean, natural sound. HUGE soundstage. Great dynamic range. Excellant imaging. Great value.

none

This review is on the P-3A only. I'm saving for the P-1A.

I just rec'd my Perpetual Technologies P-3A DAC & hooked it up to my Toshiba SD-3109 DVD player a few days ago. The P-3A is definitely worth the $799 I paid for it.

I realize I'm not using a quality transport. I realize it's supposed to take around 200 hours for my P-3A to break in & mine only has 60 hours on it. I realize it's supposed to sound even better with the Monolithic Sound P3 power supply. With those things in mind, this thing is great!

I can finally listen to CDs for more than 15 minutes without wanting to run out of the room. Listening fatigue is nonexistent, now. Everything sounds much more natural, much more musical. The improvements in soundstage & imaging are VERY substantial. The soundstage is HUGE! I find myself listening with the volume turned 3-5 decibels higher than usual.

I plan to get the P-1A & the Monolithic Sound P3 power supply in the next few months. I was saving for a B&W Nautilus HTM1. Oh, well. I like home theater, but I LOVE 2 channel music.

I do have a few words of caution. The description of the P-3A on the Perpetual Technologies web site is very confusing. The P-3A performs jitter reduction & automatic 96kHz upsampling. It does NOT "convert" 16 bit data to 24 bit data. The P-1A does.

One final note. The other night, my P-3A passed the ultimate test. My wife said she liked it! She even stayed in the room (for a whole hour) as I listened to music at about 75-78db. Before, she wouldn't stay in the same room with music at 70db for more than 10 minutes. Since that night, she's actually started listening to music with me.

The rest of my system consists of:

B&W Nautilus 804 speakers
Bryston 4B ST amp
Yamaha RX-V 992 A/V receiver (used as pre amp for now)

Effortless dynamics, Outstanding resolution, clarity and dynamics,and musicality, smoooth sound, noise floor VERY low.

It is a matter of taste but if you like bright and "ringing" type of sound, the P-1A and P-3A are not for you.

There are very complete reviews in this list (Eg:Paul Siu's). I can only add that for the price, the sound and features give you an outstanding Cost/performance ratio.

In my system I have the MSB Digital Director, so I can route to the P-IA, via coaxial cable, my CD transport, Minidisc, DCC and PCM digital output of my DVD. For all sources the result is the same: musicality, resolution, clarity, and outstanding noise floor. As a "front end" your all your digital sources the price you pay is a real bargain.

You will appreciate the system Strenghs the more you hear your collection of CD (or other digital sources). At the begining it is probably you will miss the brightness of your old DAC, but once you get used to you new tandem......!

For me the best setting is the P-1A sending 24/96 data to the P-3A (I2s direct setting in the P-3A).

The P-3A as a standalone product clearly outperform the competition at its price range (500-800 USD) and for the one's looking for a state of the art DAC (within its price range) it represent a very good buy. In my opinion a fair distribution of strengths between the pair will be the following:

Strengths Source

Dynamics P-3A
Resolution P-3A
Clarity P-1A
Dynamics P-3A
Musicality P-1A
Smooth Sound P-1A
Noise Floor P-1A

Similar Products Used:

Audio Alchemy DAC

Enhanced resolution and clarity, tighter focus to musical images
Tricky set up
Enhanced resolution and clarity, tighter focus to musical images
Tricky set up
Enhanced resolution and clarity, tighter focus to musical images
Tricky set up
Enhanced resolution and clarity, tighter focus to musical images
Tricky set up
Enhanced resolution and clarity, tighter focus to musical images
Tricky set up
Enhanced resolution and clarity, tighter focus to musical images
Tricky set up
Enhanced resolution and clarity, tighter focus to musical images
Tricky set up
Enhanced resolution and clarity, tighter focus to musical images
Tricky set up
Enhanced resolution and clarity, tighter focus to musical images

Tricky set up

I chose the P-1A/P-3A duo from the several competing products from MSB, Bel Canto, Assemblage, for two reasons; first, there are at least six published reviews of the P-1A/P-3A, all of which are glowing in praise of their sound, second, the measured performance of the P-3A as published in Stereophile, is the virtual equal of the measured performance of the most expensive digital products Stereophile has reviewed. You can look it up. I know that superb measurement data are no guarantee of good sound. But when the subjective evaluation is glowing and the objective evaluation is equivalent to products that cost $7K and more, you get a little suspicious that Mark Schifter just might be on to something. My units, (powered by the Monolithic power supply and connected by the Mystic Reference I2S cable) are only three days old, but I can hear substantial improvement in virtually all sonic parameters as compared to my old unit, the PS Audio Ultralink II. The PS Audio Ultralink II is a good unit, but its processing chips are showing their age. There is information on those silver disks that it is left behind. Its image focus and clarity is very good but clearly bested by the P-1A/P-3A.

The Resolution Enhancement of the P-1A is an interesting feature. It produces pseudo-24 bit resolution through dynamic, in real-time interpolation. Its specific impact is a function of the sonic character of a specific CD. On the three dozen CDs I have played so far, the sound is clearly improved; on some, just noticeably, on others, spectacularly. My impression at this point is that the better the sound to begin with, the better the outcome of the interpolation. I think the DSP must have something to work with; low-level musical and ambient information, for example, that emerges with greater clarity and definition when transformed from 16 to 24 bit word depth. Jazz at the Pawnshop always sounds good on my system, and probably yours as well. Through the P-1A/P-3A with Resolution Enhancement, its even better. The individual mallet strikes on the vibraphone in Limehouse Blues are more tightly focused and jump out into the room as never before. The subtle tinkling of glasses in the background on Lady be Good is ever more distinct and crystal clear. Individual shimmers of cymbals are better defined and more metal-like.
The units worked perfectly right out of the box. Build quality seems to be very good, and I have not encountered any of the problems some users have described on this page, such as lose connections; they are all tight. Configuring the units is, however, tricky. Their responsive tech-support helped me make sure I got the configuration I wanted.
Highly recommended.
My system: P S Audio P600 Power Plant, PS Audio Lambda CD player, Monolithic power supply, P-1A/P-3A, passive preamp (simply a very high quality, professional Penny & Giles attenuator), Coda Model 11 power amp, Velodyne ULD 12 powered sub-woofer, all Kimber Kable KCAG interconnects, Nordost Solar Wind speaker cables, and Seas Odin Millennium speakers.

Similar Products Used:

P S Audio Ultralink II

Effective Sample Rate Conversion (SRC) and interpolation. Promise of speaker & room correction to come.

Possible compatibility problem with older Audio Alchemy I2S bus.

Like those before me, I have the pleasure to use both the Perpetual Technologies (PT) P-1A and P-3A with the Monolithic Power Plant upgrade in my modest system. Although advertised as "Perfect Companion", I set out to explore both as individuals but mostly as pairs.

First some minor problems I encountered. As a fan of Schifter, I had been and still am using a pair of his dynamic dual Audio Alchemy (AA) DDS Pro Transport and DTI Pro 32 ver. A/3 as my digital reference. The state of the art of digital front-end had improved since, but I have yet to find a transport combo that can sound significantly better at triple the AA's original price. With the promised of better signal transmission, the I2S bus and interpolated 20 bits can still hold its own. Continuating this tradition, the P-1A/P-3A retain the use of the AA Standard I2S. Unfortunately for one reason or another, I can't seem to get the old AA to communicate with the PT via I2S. All signal indicators point to a good lock but the DA refuse to make a sound. All different combinations between two generations plus a different make of DAC or two were tried. Another strange phenomena is that my system will put out a mysterious 1K tone at random whenever the P-1A's I2S input is connect to the old AA. This is regardless of what input was selected at the time or the make of DA converter. With the suggestion of PT, I'd also tried different I2S cables to no avail. Perhaps problem lies with my specific units. Anyone out there experiencing similar problems please let me know.

After receiving the PT Twin, I immediately put them through 200 hrs plus of XLO Burn-in track with a sneak preview or two. Then one at a time, I subject them to my critical torture test.

First the P-1A. Despite of the minor compatibility problems with my old AA gear, the P-1A worked like a charm with minimal break-in. Setting up takes a bit of familiarity, but once set, I left it alone to do its job. Can't say which made the most contribution but between its Interpolation, Sample Rate Conversion (SRC), and Jitter Reduction, the P-1A made a significant sonic impact. Unfortunately, I don't have a full 96kHz capable digital system, but going from 44K to 48K had always netted me with slightly more image precision and marginal increase in stage depth. Going from 20 bits to 24 bits gave me just so much more information to see further back into the stage and with much more precision. The sense of air permeates more freely and more consistantly across the room. Delicate reflections that impinge location clues from distant walls are wonderfully preserved and more pronounce thus giving me a clearer picture into the hall.

Somehow the flow of music seems slower and more relaxed even though time flies by much quicker as I sample each song. Information are presented more organically and abundantly that it takes much less effort for my ears and brain to process. What impresses me the most are the sonic thumb print of each and every instrument. While delicately reproduced, they are more dense and tangible in texture. Tone, pitch, and extension remains the same but with much more definition and substance. One experience more of a living piece of instrument filled with character and individuality. Combine that with pinpoint location, crystal like clarity, and flowing dynamics, and I'm so much closer to virtual reality.

Unlike the P-1A, the P-3A need extensive break-in. After 200 to 300 plus hours of constant burn-in, the unit still need a day or two to re-stabilize after power down. It didn't take long for me to discover that the P-3A doesn't like punishing loads. Directly driving the EVS-1K, 1K ohm load, attenuated VTL MB-750, the sound was lifeless and two dimensional. So I totally reconfigured my system using a tweaked SF Line 3 and Krell FPB-600. The Line 3, although slightly less transparent, allows me to do instantaneous comparison between D/A's with greater volume precision while the FPB-600 is my most accurate amplifier. Using 1kHz test tone and full range pink noise, I matched and preset the output between the Classe DAC-1 and P-3A. To further ensure consistency, I also used two pairs of matching interconnects and identical digital cables.

For $699 retail one gets a multi-function D/A, the P-3A is nothing short of miraculous. On its own, the P-3A sounds wonderfully detail and sweet. Good extension, solid three dimensional image, and an expensive soundstage. However, one doesn't realize this D/A's full potential until driven by the P-1A, I2S bus mandatory. Subjectively, the Sample Rate Conversion (SRC) and interpolation is better with the P-1A. For direct comparison, I use my reference Classe DAC-1/Meridian 518 combo(20bit output with dither Shape "D"). The P-1A was set to upsample to 96kHz before driving the P-3A via I2S bus. The advantage P-1A/P-3A has over M518/DAC-1 are 24bit/96kHz over 20bit/44kHz or 48kHz final and I2S.

In this comparison, the Perpetual sounds slightly closed in. I lost some back of the hall signature and natural decay of most instruments. If my reference represents 100% of my stage depth and width, the Perpetual twin gave me not more than 75%. There is a strong sense of silence across the stage. But as we approach the distant end of this stage, the sound became more and more muted taking away the expansiveness of the hall. There is a sense of confinement as if everything is shrink warped. On the other hand, with the higher bit and sample rate, I have an increased sense of image saturation with an illusion where each instrument is planted solidly in front. The texture of these images are dense and fully formed. The only thing missing to render this more believeable is the free flowing outward propagation of each without which it is also harder to sense their relative position.

This heightened sense of saturation also negatively impacted the sense of dynamics. I found this more prominent in the upper bass to lower mid where the weight is not as convincing. If foot tapping is indicative of pace and rhythm flow, the Perpetual takes a back seat to my reference. It also lack the movement down low in the subterranean area where my reference is clearly defined. In comparison, the Perpetual came across as a lump with indistinct pitches. Finally, the Perpetual twin sounded a bit compress at large scale climax where everything starts to blur together.

Please be reminded that I'm being extremely critical on these observations and I'm asking a lot for $1,500. Judged alone, both P-1A and P-3A are landmark products that sets the tone for all highend manufactures to follow. With the promise of speaker/room correction, the P-1A may be the product of the future for all.

Best Regards
Paul Siu

Reference System:
VPI TNT Mk V, JMW 12" arm, Insider Gold, WT Classic, Lp Lab Carbon arm, Frog, AR PH-3SE, Wadia 17, AA DDS Pro Transport/DTI-Pro 32 ver. A/3, SF Ultra Jitterbug, Assemblege D2D-1, Multiple SigTechs, Z-System Rpd-1, Meridian 518, two Classe DAC-1, SF Line 3, two Bryston 4B-ST, Classe M700 mono, VTL MB-750 (upgraded MB600), FPB-600, 2 pairs of AA OM90.1A, CAT JL-1, Genesis II, Genesis 900 pair, multiple PS Audio P-300, etc., too much to list in dedicated music room.

Similar Products Used:

Assemblege D2D-1, Meridian 518, AA DTI-Pro 32 Ver. A/3, Classe DAC-1.

Sound

MAJOR DESIGN FLOOR IN THE SOFTWARE! DISTORTION!
The unit distorts on transients. The company is aware of this and if you call they will ask you to return it, AT YOUR COST, for fixing.Talk to John their tech, ext 305.
A floored product, that was sold too soon to unsuspecting customers, my original unit arrived without some of the chasis screws, which I was never able to get from Perpetual, dispite many attempts. They also have over charged my credit card several times.
Be aware of young companies in the high end. Audio Alchemy, where are you now??

A good sounding unit, but the company does not inspire confidence. Customer service is poor.

Similar Products Used:

Audio Alchemy 3.0, Theta Basic IIA.