Owner`s manual

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a warmer overall tonal character and sweeter highs. The P-3A has the edge in detail
retrieval, dynamics and overall realism, all its previously mentioned strong suits. Choosing
between these two DACs is like deciding whether to go on a date with Elizabeth Hurley or
Tyra Banks – either way you come out a winner. A good litmus test to demonstrate the
differences between these two DACs is Charles Lloyd’s new (and shockingly good) CD The
Water is Wide (ECM 1734). Through the Bel Canto, the tone of Lloyd’s alto sax on this disc
of ballads leans ever so slightly toward soothing and organic. The P-3A brings out more of
the brassy, burnished tone, while also more distinctly revealing the multitude of percussive
details touched off by the deft Billy Higgins on drums. Whether or not you’re a jazz fan, buy
this disc and enjoy it often.
In a final comparison, I sought to learn whether the Perpetual could run with one of the “big
dogs” of the digital market, the benchmark Theta DS ProGenV. The Theta sells for many
times the retail price of the P-3A, and on the surface this comparison seems unfair. Trust
me, it’s not. We pitted these DACs against each other at a friend’s apartment using his
reference system, not mine. Tough for an audiophile to admit, but his system is simply
better than mine is – it’s more resolving and has a more optimal listening space. When the
right gear is employed, the system yields a highly involving musical experience.
The Theta vs. the P-3A was a great comparison – these are two wonderful DACs. Each
performer took its turn on center stage each earned a standing ovation. As far as
differences, from about 80 Hz on up, the Perpetual P-3A simply opened up a clearer window
into the musical event and revealed nuance, tonal color, and subtle musical details that the
Theta just barely missed. It’s that realism thing again – the P-3A is a marvel at extracting the
bits. Both DACs have majestic tonal color and dynamic impact. From about 80 Hz and
below, however, the Theta reigned supreme in our test, with an authority in the lowest
octaves that the P-3A could not quite match. Allow me to dispel any myth that the P-3A is
bass-shy, however, because it was only in direct comparison to the Theta that the P-3A was
bettered in low bass. Compared to any other DAC in my own system, the P-3A exhibited
better performance in the lower octaves. Listen to “She’s Already Made Up Her Mind” from
Joshua Judges Ruth (Curb 10475), Lyle Lovett’s folk/gospel album from 1992. That song
will put a DAC through its paces – from light cymbal work and plaintive solo vocal at the
beginning, through the dynamic drum thwacks about 2/3 of the way through.
When comparing the P-3A as a stand alone DAC to the MSB Link and Bel Canto DAC-1, I
didn’t initially use the Perpetual P-1A. In the comparison between the P-3A and the Theta
DS ProGenV, the P-1A preceded each of these DACs in the signal path. That point segues
nicely to my next topic, that being the performance of the P-1A/3A used together.
The P-1A/3A Combo
As a stand alone DAC for normal CD playback, the P-3A soundly established itself in my
system as a benchmark for resolution of detail, dynamic impact, coherence and an overall
sense of sonic purity. At a price of $699, it’ll give the competition fits. Add the P-1A,
however, and things get even more interesting.
I’m tired of hearing the term, and I promise not to dwell on it, but the concept of synergy is
very real. The P-1A and P-3A are truly meant to be used together. Take my word on that.
You have a 30-day money back audition period to listen for yourself if you’d like to
experience it first-hand. When Perpetual Technologies suggests that the 1A/3A be used in