I love to have the combination of state-of-the-art DAC and pre-amp. Usually though the former is throw-away.
The thing is, though, with certain recordings the balance is off from the get go. All the room EQ in the world will not change that since it's coming from the source. Especially an analog source, such as a record player, where phono cartridge channel imbalance may likely manifest. Play a mono record and you'll frequently find that the image is not in the center, between the two loudspeakers. And with tape, with monophonic recordings, you'd often find different programs on different tracks.With increasing use of room eq, the channel balance (even between L and R) is becoming a non-issue as it is the first step done in that process. This channel gain is a hold-over from the older generation 2 channel analog only pre-dating any DSP use.
I see no opportunity for Parasound's market share to grow, but their "old-fashioned legacy audio" products will probably survive for a while. There have been some comparisons with Schiit Audio gear in this thread, and I believe that as far as boutique audio products go, Schiit, with it's modern, compact amplifiers and preamps that complement their digital products, will thrive and grow as Parasound fades into obscurity and finally drops off the radar.
One can disagree with the philosophy of design but I think there is a tendency to confuse bad/sloppy engineering in failing to meet chosen goals (transparency or sound signature) with competent engineering to meet a goal whether you agree with that goal or not.
I don't disagree with the above use case (however common/rare it might be). My point is that with room eq becoming ubiquitous dsp based channel balance as an available function (that you can manually tweak) is a given. For your use case, it would be far more usable to provide that as a button on your remote than even knobs on the device. Whether it is better or worse aurally implemented underneath as an analog circuit is more of a religious debate.The thing is, though, with certain recordings the balance is off from the get go. All the room EQ in the world will not change that since it's coming from the source. Especially an analog source, such as a record player, where phono cartridge channel imbalance may likely manifest.
Not everything but I completely agree.Of course, if you never listen to monophonic recordings and don't use a record player/tape it's not much of an issue, probably. With a digital source (PC) everything can be done via software if you need it.
If you look at it beyond the legacy-derived name of pre-amp for its functionality, that is THE ONE logical unit in the audio stack to provide the greatest invention in audio:But then why would even need a dedicated preamp, if that's the case?
There's some comment over on DIYA that it measures poorly as it's tested at 4V which is out of the design spec. (in part, a way to try and blame ASR!!)
What does the product spec actually say?
If you look at it beyond the legacy-derived name of pre-amp for its functionality
Thanks , and I assume that with digital input the specs translate to 100dB SINAD since .001% is 100dB and the SNR is 113dB. Do you agree?
I have a Yamaha MX-1 also. Is it going to get measured ? Thanks, JAJWhen I drop off my Yamaha MX-1 with @amirm, I'm happy to bring along my Parasound P5 with it. Currently, pulled both out of my system to try out a Soncoz SGD1 fed straight into an Icepower 1200AS2 based amp.
The P5 is an odd bird in their line-up. It's very "not audiophile" if you take a look inside.