Hi Tboooe
I've just committed on the P5D5, almost knew once I took it back, if it sounded good, it was not going back to the shop. Well it sounded more than just good.
Digital system anciliaries:
P5 sits on top of the D5 which rests on Nordost Ti Pulsar points. Currently using Slinkylinks XLR cables as digital interconnects in DUAL mode, one each for L and R channels. Powercords are AudioMagic Powerdrive on the P5 and the Illusion(pure silver) on the D5. Interconnects are the AudioMagic Sorcerer 1m RCAs to the ModWright SWLP 9.0se preamp.
Esoteric settings:
I experimented with the upsampling, 2x/4x/DSD, set on the P5, then on the D5, the later providing the additional upsampling to DSD. The PLL was always set to the PLL2 as this sounded obviously better. While the 4x upsampling is very good, perfectly listenable for CD, it soon becomes clear that the D5 sounded best when upsampled to DSD, the 32bit processor providing more air and a more coherent soundstage.
After the last post, I tried out a wider range of music, including pop, rock, and orchestral music. THIS is the way digital should be done! One could have loads of fun switching between the various modes on the D5 from the comfort of the chair with the remote. Ultimately I decided to just stick with the DSD upsampling for the bulk of my listening, unless I wanted a bit more "punch", then I'd switch to FS4x.
Where the P5D5 excels are separation, air, and dynamics. Have you ever wondered why so many orchestral recordings sound congested, or lacking in dynamics? Well with the Esoterics, the orchestra is given its full measure, the instruments spread out well beyond my speaker/room boundaries, basses and typani hits have impact. Triangles have sparkle and air/reverb around them. Grand pianos sound like the real thing, listening to each, you are able to tell their different characteristics apart from each other. A Bluthner sounds different from a Steinway grand. BTW the Mari Kodama recordings of Beethoven sonatas on Pentatone SACD are simply sublime.
At the end of the day, their attention to detail is evident in the music reproduced. I suspect its the VRDS Neo mechanism which gives them the edge over the competition, and while digital technology will edge forward, their ridgid clamping system and the linear laser tracking system is simply superior.
I've just committed on the P5D5, almost knew once I took it back, if it sounded good, it was not going back to the shop. Well it sounded more than just good.
Digital system anciliaries:
P5 sits on top of the D5 which rests on Nordost Ti Pulsar points. Currently using Slinkylinks XLR cables as digital interconnects in DUAL mode, one each for L and R channels. Powercords are AudioMagic Powerdrive on the P5 and the Illusion(pure silver) on the D5. Interconnects are the AudioMagic Sorcerer 1m RCAs to the ModWright SWLP 9.0se preamp.
Esoteric settings:
I experimented with the upsampling, 2x/4x/DSD, set on the P5, then on the D5, the later providing the additional upsampling to DSD. The PLL was always set to the PLL2 as this sounded obviously better. While the 4x upsampling is very good, perfectly listenable for CD, it soon becomes clear that the D5 sounded best when upsampled to DSD, the 32bit processor providing more air and a more coherent soundstage.
After the last post, I tried out a wider range of music, including pop, rock, and orchestral music. THIS is the way digital should be done! One could have loads of fun switching between the various modes on the D5 from the comfort of the chair with the remote. Ultimately I decided to just stick with the DSD upsampling for the bulk of my listening, unless I wanted a bit more "punch", then I'd switch to FS4x.
Where the P5D5 excels are separation, air, and dynamics. Have you ever wondered why so many orchestral recordings sound congested, or lacking in dynamics? Well with the Esoterics, the orchestra is given its full measure, the instruments spread out well beyond my speaker/room boundaries, basses and typani hits have impact. Triangles have sparkle and air/reverb around them. Grand pianos sound like the real thing, listening to each, you are able to tell their different characteristics apart from each other. A Bluthner sounds different from a Steinway grand. BTW the Mari Kodama recordings of Beethoven sonatas on Pentatone SACD are simply sublime.
At the end of the day, their attention to detail is evident in the music reproduced. I suspect its the VRDS Neo mechanism which gives them the edge over the competition, and while digital technology will edge forward, their ridgid clamping system and the linear laser tracking system is simply superior.