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Home >> Merken >> Graham

Graham toonarmen -

The new Phantom II

The Phantom Model B-44, recepient of the "Editor's Choice" Award from Harry Pearson (October 2006 and March 2010), a Class "A" rating in 2005 from Michael Fremer, and runner-up for both Analog Source Component AND the 2006 Product of the Year award in Stereophile, has become a benchmark tonearm in design and performance.

And now, when you read on about the Phantom II, our newest and most advanced design ever, we believe you will agree that this really is the most practical and finest tonearm you can buy today....

Graham website

Phantom II

Reviews

The New Phantom II

The original Phantom is the result of over two years of research into design theory, materials analysis, and extensive testing. This involved not only testing of the individual design components as they were being evaluated, but also comparing the several prototype models against our own Model 2.2 and the available competition.

In designing our newest tonearm, the Phantom II, we knew it had to be far superior not only to other fine tonearms available, but also to our own earlier efforts. If it weren't, there would be no reason to continue the project.

Compared to the orignal Phantom, the new Series II has a similar outward appearance, but has important internal differences.   These include a refined Magneglide (tm) stablizer, new internal wiring for even better detail and improved freedom from any mechanical resistance, an upgraded pivot design for even greater dynamics, and a new titanium armwand. Together, these improvements yield greater performance in the areas of dynamics and sheer musicality, while retaining the features the earlier Phantom was noted for.

The reasons for these and other significant improvements are many, and are covered in three patents, with other applications pending.

The armtube itself, easily removable and using our patented alignment system, offers the safety, convenience and accuracy of off-turntable cartridge installation and alignment, as well as allowing quick interchange of multiple pre-mounted cartridges. It is significantly improved from the earlier armwands, and attaches to a nearly half-inch wide stainless-steel post-and-connector that supports the armwand under tension, resulting in virtually a one-piece armtube/pivot assembly with high damping.

Secondly, we've addressed the all-important (and often ignored) area of dynamic balance. Tonearms should have as little inertia as possible; yet, too often, as a result of the correct placement mass distribution being overlooked, they contribute excessive resisting forces in opposition to the requirements of the phono cartridge as it attempts to follow the ups and downs of a typical record. The Phantom, in spite of its robust appearance, has been designed with a very low moment of interia, so that the majority of phono cartridges can be used with ease and maximum performance.

-- At this point, a brief description of Balance Theory may be helpful: There are basically three types of static balance systems, Neutral, Stable, and Unstable. Stable balance, normally seen in laboratory scales, occurs when the CG (center of gravity) of the moving system is placed BELOW the pivot point. When this type of system is displaced from its preferred rest position, it will generate an immediate and opposing force which tries to return to that same position.

Unstable balance, when the pivot point is below the pivot point, is entirely useless for tonearm design, and will exhibit serious problems, including reduced tracking force as the arm is raised.

The third, and most desirable system for tonearms, is Neutral Balance. With this system, the pivot point and the Center of Gravity of the moving system are in the same plane. When the arm is raised or lowered, there is no opposing force trying to return the arm to a rest position; the pivoting system doesn't really know or care if the stylus is at the record surface level or a half-inch above or below it; as a result, there is no opposing force to the arm as it is traversing record deflection during play. The only downward tracking force is that of the adjustable counterweight, which remains a constant. --

Previously, all true unipivots - that is, those with a single contact point for the bearing and NO secondary stablizing surfaces, bearings, etc. - required the use of side weights or a significantly lowered counterweight in order to provide stability. And generally speaking, those arms with a secondary stabilizer point require a lowered center of gravity in order to provide constant contact with the stabilizer guide bearing.

The drawback to both these conditions is that this design becomes a Stable Balance system, which will cause a tonearm to have a preferred rest position and always tries to return to this point.   ANY time the tonearm is raised, as in tracking warped records, it results an immediate and equally opposing force that tries to push the arm back to its rest position. The higher the warp, the more counter-force is applied.

This unalterable Law of Physics will work against the cantilever, deflecting it during warps and causing the magnetic system inside the cartaridge to be displaced. This, in turn, will certainly affect the reproduced sound, with diminished performance in all areas, including soundstage compression, loss of detail and dimensionality, not to mention record wear. (This is why most tonearms must have their tracking force measured at the record surface level; any height change during the measurement will cause an incorrect reading).

A tonearm with Stable Balance can be identified by measuring the tracking force at the record surface level and again at a raised position above the record. If the tracking force INCREASES at the higher position, the arm has Stable Balance. Our own previous designs - the best we could make at that time - also had this limitation due to the use of side weights to provide lateral stability.

Other unipivots with low-slung counterweights will all exhibit this force; the lower the weight, the more counter-force is applied. Although this technique is often promoted as a "high-stability" design, it does so at the expense of consistent tracking force and linear cartridge performance. . It actually results in varying tracking forces during play when traversing even small warps, accompanied by non-linear cartidge operation, and increased record wear.

Once Neutral Balance is chosen for use in a unipivot tonearm, one must remember that both the vertical and lateral planes will be affected the same way; without proper lateral stability, such a design would not have consistenent, proper vertical alignment, and the pivot would tend to flop over to one side or another (usually in the direction of the weighted cartridge offset angle mounting). Obviously this condition must be avoided.

The answer to this lies at the very heart of the Phantom's design and its unique ability to retrieve groove information unprecended in our experience. The key is a magnetic stabilization system which  and which we have called "Magneglide" (TM). With this unique, patented system, all lateral stability, and a portion of the damping, is provided by powerful neodymium ("rare-earth") magnets, placed in a horizontal line from the pivot point of the tonearm.

Working as an adjustable system, Magneglide (TM) provides the following five benefits: lateral stability, azimuth adjustability, damping assist, true vertical pivoting of the stylus tip with no rotation as the arm is raised, and easily adjusted anti-skate compensation.

n combination with pivot fluid damping (similar to that used with the Model 2.2), the Magneglide (TM) system allows normal vertical pivoting of the tonearm in true Neutral Balance, with vanishingly low friction; yet, provides a strong lateral stability that feels almost like fixed bearing arms. (No wobbling of the arm as it is lifted, for instance).

In addition, this dual-damped system forces the Phantom to pivot in the correct vertical plane of the stylus tip, with no rotation as the arm is raised. No regular unipivot can achieve this important geometric requirement. Even a few fixed bearing arms don't get this right!

If the vertical motion of the tonearm is in plane of the armtube itself (and not the correct plane of the stylus face angle), the cartridge will tend to tip over to its side as the arm is raised, as when tracking over warps. This will cause noticeable channel imbalance and reduced tracking accuracy.

With the patented Magneglide (TM) design, we have a high-load, chatter-free and virtually friction-free damped unipivot bearing, combined with true Neutral Balance, and with the all-important geometric accuracy of correct vertical pivoting parallel with the face of the stylus tip.

If all that weren't enough, the Magneglide (TM) system also permits the application of anti-skate through the magnetic coupling of the design, thereby eliminating ANY direct contact or possible resonance to affect the main pivot assembly of the tonearm. The anti-skate system is completely independent, mechanically, and is easily adjusted either by a thumb-wheel rotation or sliding motion (user's choice) of the bias weight for minute adjustments from near zero force to 3+ grams.

If your turntable already had a Graham tonearm on it (to get the angles correct), the Phantom is a true "drop-in" replacement.   Although turntable manufactuers understandably encourage you to use tonearms of their own manufacture, this is not necessary; the modifications to make the Phantom fit are relatively easy, and we provide customer assistance in this area when needed.

And when the Phantom is installed, we are confident that you will agree with many others that it is a signficant improvement over any other tonearm, and the proof will be in the listening.

Claims - and counterclaims - abound in the high-end market and it can become confusing as to what's really correct; however, once you experience the new Phantom II for yourself, we know you will agree that this is, truly, the finest tonearm we've ever produced and quite probably the best arm that is available today.

Stereophile - de originele Phantom B-44 toonarm (US - 09-2005)

Review van de originele Phantom B-44 toonarm door Michael Fremer in Stereophile, September, 2005 © Stereophile

" I was expecting a modest improvement when I dropped the Phantom into my system, but the differences were not subtle... Only after the immediately obvious improvements had settled in did the subtler ones-those having to do with musical flow and a sense of certainty, those that kept me listening long into the night, night after night-begin to assert themselves."

Stereophile - de nieuwe Phantom II (US - 10-2009)

Review van de nieuwe Phantom II toonarm door Michael Fremer in Stereophile, September, 2009 © Stereophile

" It was easy enough to compare the Phantom B-44 with the Phantom B-44 II, and I easily heard major improvements in speed, air, high-frequency extension, and detail. Using the Lyra Titan i phono cartridge, the Phantom II sounded considerably faster and more open on top. Bass performance was unchanged, which was fine, as it was already well extended and extremely well controlled. With its ease of setup, tracking agility, arm interchangeability, and ultra-high build quality, I consider the Phantom B-44 II to be among the most desirable arms currently available. ."

The absolute Sound - Harry Pearson's review van de Phantom II

Review van de nieuwe Phantom II toonarm door Harry pearson in the Absolute Sound, oktober 2009. © The absolute Sound

" I am not sure of how to end this essay on the Phantom II, since in a way, it is of such excellence that it gave me deeper insights into the strengths of the Goldfinger cartridge, the Zanden phonostage, the Scaena speakers, and the character of the McIntosh tubed electronics, the 2300 preamplifier and 2301 amplifier as well (to be discussed here next time out). It is obvious to me that I wasn't getting this level of performance before the Phantom II arrived, just as it is obvious to me that the arm is a masterpiece of craftsmanship and design savvy. ."

The absolute Sound - Harry Pearson's review van de Phantom II

Review van de nieuwe Phantom II toonarm door Harry pearson in the Absolute Sound, oktober 2009. © The absolute Sound

" I am not sure of how to end this essay on the Phantom II, since in a way, it is of such excellence that it gave me deeper insights into the strengths of the Goldfinger cartridge, the Zanden phonostage, the Scaena speakers, and the character of the McIntosh tubed electronics, the 2300 preamplifier and 2301 amplifier as well (to be discussed here next time out). It is obvious to me that I wasn’t getting this level of performance before the Phantom II arrived, just as it is obvious to me that the arm is a masterpiece of craftsmanship and design savvy. ."

Hifi.nl Stroom: Het Onderschoven Kindje en het Badwater (NL) - 5 november 2009

Review van de Powerplant Premier op hifi.nl door Toine Dingemans, specialist in akoestiek.
© hifi.nl

" De kwestie die aanleiding vormde tot dit verslag is deze: "Is er nog een duidelijke verbetering in de weergavekwaliteit mogelijk, na alles in de set naar vermogen met elkaar te hebben gematcht tot een maximaal en tot tevredenheid strekkend niveau, dat tevens financieel en praktisch haalbaar is?"

Music Emotion (NL)

Nederlandstalige review van de Powerplant in Music Emotion van oktober 2007.
© Music Emotion

" Geconcentreerd luisteren is veel minder vermoeiend. Hersenen hoeven niet meer allerlei bijgeluiden weg te filteren. Zo kun je meer muzikale inhoud uit het gespeelde materiaal halen en dus een diepere band ermee krijgen op emotioneel gebied. Ook krijgt het hele geluid een veel minder kunstmatige presentatie.''

Toine Dingemans - Soundscapes (NL)

Review van de Powerplant Premier door Toine Dingemans, specialist in akoestiek.
© Soundscapes

" Een upgrade van formaat met een onvoorziene impact die je in elk geval gehoord zou moeten hebben in je set -- een aanrader voor elke serieuze muziekliefhebber die weliswaar tevreden is, maar het volle potentieel van de set wil benutten.''

Hifi + (UK)

Review van de Powerplant Premier door Roy Gregory in nummer 59.
© Hifi+

''This is about music as experience rather than about performance as an intellectual exercise. This is about the message in the music and if that’s what you’re after then the PS Audio PPP delivers it loud if necessary and never less than clear.''

6moons.com - april 2007

Engelstalige review van de Powerplant Premier op 6moons.com Henk Boot & Marja Vanderloo
© 6moons.com

" As with all noise or stress-eliminating actions performed in an audio setup, the image of the performance is enhanced. Minute details are no longer obscured by noise artifacts and the image, whether visual or audible, is less artificial and more fluid. At its very reasonable price and with its unequivocal practical merit, we predict the PPP will become a bestseller for PS Audio''

Stereophile - februari 2009 (US)

Engelstalige review van de Powerplant Premier in Sterophile door Robert Deutsch
© Stereophile

"...that you realize that such a system can sound better: more like real music and less like an electronic reproduction of same. This is what the PS Audio Power Plant Premier delivers. I wouldn't want to be without it. '

Stereo (GR) - juni 2007

Duitstalige review van de PPP in het prestigieuze magazine Stereo door Tom Frantzen
© Stereo

"Das ist sie, die ultimative Stromquelle, noch besser und günstiger als ihre Vorgänger. Niedrige Impedanz, ein völlig reiner Netzsinus, fünf zusätzlich ge lterte Steckplätze und 1500 Watt (VA) Dauerleistung sind ideal, um eine komplette Kette samt Endstufen ohne Dynamiklimit mit sauberster, konstanter Energie zu versorgen. Das ist deutlich hörbar! Die Zusatzfunktionen wie das Anzeigeinstrument, die mögliche Wunschspannung, der Schutz für Telefon/ Antenne, der Schaltkomfort oder auch die Auffrischungsfunktion "CleanWave"''

Haute Fidelité (FR)

Franstalige review van de PPP door Christian Izorce voor het Franse blad Haute Fidelity
© hautefidlité

"Voici une très sériuze realisation dont l'efficacité est indéniable''

Reviewers Choice Award - Soundstage Network (US)

Engelstalige review van de PPP door Randall Smith - 2008
© HomeTheaterSound

"Improved transparency and quieter backgrounds permitted a level of musical realism that I have come to deeply appreciate. While I had high expectations for this power conditioner, I wasn't prepared for this much improvement...''

The Absolute Sound - Golden Ear Awards 2008

Na de befaamde 'Editor's Choice Award 2007' krijgt de Powerplant Premier de 'Golden Ear Award 2008'. Waarvoor dank!

The Absolute Sound - Editor's Choice Awards 2007

De HD power lijn van PS Audio krijgt de vermaarde Editors' Choice Award van The Absolute Sound. Waarvoor dank!

Order a reprint with Hi-FiNews for £3.50

Published in February 2008

Premier Class - No mere mains filter, the Power Plant actively regenerates a clean 240V supply to tease the very best from your equipment...

Gewicht: 18.5 KG

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Content 6

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Copyright © 2009 Aspera-audio.com. All rights reserved.

The New Phantom II The original Phantom is the result of over two years of research into design theory, materials analysis, and extensive testing. This involved not only testing of the individual design components as they were being evaluated, but also comparing the several prototype models against our own Model 2.2 and the available competition. In designing our newest tonearm, the Phantom II, we knew it had to be far superior not only to other fine tonearms available, but also to our own earlier efforts. If it weren't, there would be no reason to continue the project.
Compared to the orignal Phantom, the new Series II has a similar outward appearance, but has important internal differences. These include a refined Magneglide (tm) stablizer, new internal wiring for even better detail and improved freedom from any mechanical resistance, an upgraded pivot design for even greater dynamics, and a new titanium armwand. Together, these improvements yield greater performance in the areas of dynamics and sheer musicality, while retaining the features the earlier Phantom was noted for. The reasons for these and other significant improvements are many, and are covered in three patents, with other applications pending. The armtube itself, easily removable and using our patented alignment system, offers the safety, convenience and accuracy of off-turntable cartridge installation and alignment, as well as allowing quick interchange of multiple pre-mounted cartridges. It is significantly improved from the earlier armwands, and attaches to a nearly half-inch wide stainless-steel post-and-connector that supports the armwand under tension, resulting in virtually a one-piece armtube/pivot assembly with high damping. Secondly, we've addressed the all-important (and often ignored) area of dynamic balance. Tonearms should have as little inertia as possible; yet, too often, as a result of the correct placement mass distribution being overlooked, they contribute excessive resisting forces in opposition to the requirements of the phono cartridge as it attempts to follow the ups and downs of a typical record. The Phantom, in spite of its robust appearance, has been designed with a very low moment of interia, so that the majority of phono cartridges can be used with ease and maximum performance. -- At this point, a brief description of Balance Theory may be helpful: There are basically three types of static balance systems, Neutral, Stable, and Unstable. Stable balance, normally seen in laboratory scales, occurs when the CG (center of gravity) of the moving system is placed BELOW the pivot point. When this type of system is displaced from its preferred rest position, it will generate an immediate and opposing force which tries to return to that same position. Unstable balance, when the pivot point is below the pivot point, is entirely useless for tonearm design, and will exhibit serious problems, including reduced tracking force as the arm is raised. The third, and most desirable system for tonearms, is Neutral Balance. With this system, the pivot point and the Center of Gravity of the moving system are in the same plane. When the arm is raised or lowered, there is no opposing force trying to return the arm to a rest position; the pivoting system doesn't really know or care if the stylus is at the record surface level or a half-inch above or below it; as a result, there is no opposing force to the arm as it is traversing record deflection during play. The only downward tracking force is that of the adjustable counterweight, which remains a constant. --
	Previously, all true unipivots - that is, those with a single contact point for the bearing and NO secondary stablizing surfaces, bearings, etc. - required the use of side weights or a significantly lowered counterweight in order to provide stability. And generally speaking, those arms with a secondary stabilizer point require a lowered center of gravity in order to provide constant contact with the stabilizer guide bearing. The drawback to both these conditions is that this design becomes a Stable Balance system, which will cause a tonearm to have a preferred rest position and always tries to return to this point. ANY time the tonearm is raised, as in tracking warped records, it results an immediate and equally opposing force that tries to push the arm back to its rest position. The higher the warp, the more counter-force is applied. This unalterable Law of Physics will work against the cantilever, deflecting it during warps and causing the magnetic system inside the cartaridge to be displaced. This, in turn, will certainly affect the reproduced sound, with diminished performance in all areas, including soundstage compression, loss of detail and dimensionality, not to mention record wear. (This is why most tonearms must have their tracking force measured at the record surface level; any height change during the measurement will cause an incorrect reading).
A tonearm with Stable Balance can be identified by measuring the tracking force at the record surface level and again at a raised position above the record. If the tracking force INCREASES at the higher position, the arm has Stable Balance. Our own previous designs - the best we could make at that time - also had this limitation due to the use of side weights to provide lateral stability. Other unipivots with low-slung counterweights will all exhibit this force; the lower the weight, the more counter-force is applied. Although this technique is often promoted as a "high-stability" design, it does so at the expense of consistent tracking force and linear cartridge performance. . It actually results in varying tracking forces during play when traversing even small warps, accompanied by non-linear cartidge operation, and increased record wear. Once Neutral Balance is chosen for use in a unipivot tonearm, one must remember that both the vertical and lateral planes will be affected the same way; without proper lateral stability, such a design would not have consistenent, proper vertical alignment, and the pivot would tend to flop over to one side or another (usually in the direction of the weighted cartridge offset angle mounting). Obviously this condition must be avoided. The answer to this lies at the very heart of the Phantom's design and its unique ability to retrieve groove information unprecended in our experience. The key is a magnetic stabilization system which and which we have called "Magneglide" (TM). With this unique, patented system, all lateral stability, and a portion of the damping, is provided by powerful neodymium ("rare-earth") magnets, placed in a horizontal line from the pivot point of the tonearm. Working as an adjustable system, Magneglide (TM) provides the following five benefits: lateral stability, azimuth adjustability, damping assist, true vertical pivoting of the stylus tip with no rotation as the arm is raised, and easily adjusted anti-skate compensation. n combination with pivot fluid damping (similar to that used with the Model 2.2), the Magneglide (TM) system allows normal vertical pivoting of the tonearm in true Neutral Balance, with vanishingly low friction; yet, provides a strong lateral stability that feels almost like fixed bearing arms. (No wobbling of the arm as it is lifted, for instance). In addition, this dual-damped system forces the Phantom to pivot in the correct vertical plane of the stylus tip, with no rotation as the arm is raised. No regular unipivot can achieve this important geometric requirement. Even a few fixed bearing arms don't get this right! If the vertical motion of the tonearm is in plane of the armtube itself (and not the correct plane of the stylus face angle), the cartridge will tend to tip over to its side as the arm is raised, as when tracking over warps. This will cause noticeable channel imbalance and reduced tracking accuracy. With the patented Magneglide (TM) design, we have a high-load, chatter-free and virtually friction-free damped unipivot bearing, combined with true Neutral Balance, and with the all-important geometric accuracy of correct vertical pivoting parallel with the face of the stylus tip. If all that weren't enough, the Magneglide (TM) system also permits the application of anti-skate through the magnetic coupling of the design, thereby eliminating ANY direct contact or possible resonance to affect the main pivot assembly of the tonearm. The anti-skate system is completely independent, mechanically, and is easily adjusted either by a thumb-wheel rotation or sliding motion (user's choice) of the bias weight for minute adjustments from near zero force to 3+ grams. If your turntable already had a Graham tonearm on it (to get the angles correct), the Phantom is a true "drop-in" replacement. Although turntable manufactuers understandably encourage you to use tonearms of their own manufacture, this is not necessary; the modifications to make the Phantom fit are relatively easy, and we provide customer assistance in this area when needed. And when the Phantom is installed, we are confident that you will agree with many others that it is a signficant improvement over any other tonearm, and the proof will be in the listening. Claims - and counterclaims - abound in the high-end market and it can become confusing as to what's really correct; however, once you experience the new Phantom II for yourself, we know you will agree that this is, truly, the finest tonearm we've ever produced and quite probably the best arm that is available today.

	Stereophile - de originele Phantom B-44 toonarm (US - 09-2005) Review van de originele Phantom B-44 toonarm door Michael Fremer in Stereophile, September, 2005 © Stereophile " I was expecting a modest improvement when I dropped the Phantom into my system, but the differences were not subtle... Only after the immediately obvious improvements had settled in did the subtler ones-those having to do with musical flow and a sense of certainty, those that kept me listening long into the night, night after night-begin to assert themselves."
	Stereophile - de nieuwe Phantom II (US - 10-2009) Review van de nieuwe Phantom II toonarm door Michael Fremer in Stereophile, September, 2009 © Stereophile " It was easy enough to compare the Phantom B-44 with the Phantom B-44 II, and I easily heard major improvements in speed, air, high-frequency extension, and detail. Using the Lyra Titan i phono cartridge, the Phantom II sounded considerably faster and more open on top. Bass performance was unchanged, which was fine, as it was already well extended and extremely well controlled. With its ease of setup, tracking agility, arm interchangeability, and ultra-high build quality, I consider the Phantom B-44 II to be among the most desirable arms currently available. ."
	The absolute Sound - Harry Pearson's review van de Phantom II Review van de nieuwe Phantom II toonarm door Harry pearson in the Absolute Sound, oktober 2009. © The absolute Sound " I am not sure of how to end this essay on the Phantom II, since in a way, it is of such excellence that it gave me deeper insights into the strengths of the Goldfinger cartridge, the Zanden phonostage, the Scaena speakers, and the character of the McIntosh tubed electronics, the 2300 preamplifier and 2301 amplifier as well (to be discussed here next time out). It is obvious to me that I wasn't getting this level of performance before the Phantom II arrived, just as it is obvious to me that the arm is a masterpiece of craftsmanship and design savvy. ."
	The absolute Sound - Harry Pearson's review van de Phantom II Review van de nieuwe Phantom II toonarm door Harry pearson in the Absolute Sound, oktober 2009. © The absolute Sound " I am not sure of how to end this essay on the Phantom II, since in a way, it is of such excellence that it gave me deeper insights into the strengths of the Goldfinger cartridge, the Zanden phonostage, the Scaena speakers, and the character of the McIntosh tubed electronics, the 2300 preamplifier and 2301 amplifier as well (to be discussed here next time out). It is obvious to me that I wasn’t getting this level of performance before the Phantom II arrived, just as it is obvious to me that the arm is a masterpiece of craftsmanship and design savvy. ."

	Hifi.nl Stroom: Het Onderschoven Kindje en het Badwater (NL) - 5 november 2009 Review van de Powerplant Premier op hifi.nl door Toine Dingemans, specialist in akoestiek. © hifi.nl " De kwestie die aanleiding vormde tot dit verslag is deze: "Is er nog een duidelijke verbetering in de weergavekwaliteit mogelijk, na alles in de set naar vermogen met elkaar te hebben gematcht tot een maximaal en tot tevredenheid strekkend niveau, dat tevens financieel en praktisch haalbaar is?"
	Music Emotion (NL) Nederlandstalige review van de Powerplant in Music Emotion van oktober 2007. © Music Emotion " Geconcentreerd luisteren is veel minder vermoeiend. Hersenen hoeven niet meer allerlei bijgeluiden weg te filteren. Zo kun je meer muzikale inhoud uit het gespeelde materiaal halen en dus een diepere band ermee krijgen op emotioneel gebied. Ook krijgt het hele geluid een veel minder kunstmatige presentatie.''
	Toine Dingemans - Soundscapes (NL) Review van de Powerplant Premier door Toine Dingemans, specialist in akoestiek. © Soundscapes " Een upgrade van formaat met een onvoorziene impact die je in elk geval gehoord zou moeten hebben in je set -- een aanrader voor elke serieuze muziekliefhebber die weliswaar tevreden is, maar het volle potentieel van de set wil benutten.''
	Hifi + (UK) Review van de Powerplant Premier door Roy Gregory in nummer 59. © Hifi+ ''This is about music as experience rather than about performance as an intellectual exercise. This is about the message in the music and if that’s what you’re after then the PS Audio PPP delivers it loud if necessary and never less than clear.''
	6moons.com - april 2007 Engelstalige review van de Powerplant Premier op 6moons.com Henk Boot & Marja Vanderloo © 6moons.com " As with all noise or stress-eliminating actions performed in an audio setup, the image of the performance is enhanced. Minute details are no longer obscured by noise artifacts and the image, whether visual or audible, is less artificial and more fluid. At its very reasonable price and with its unequivocal practical merit, we predict the PPP will become a bestseller for PS Audio''
	Stereophile - februari 2009 (US) Engelstalige review van de Powerplant Premier in Sterophile door Robert Deutsch © Stereophile "...that you realize that such a system can sound better: more like real music and less like an electronic reproduction of same. This is what the PS Audio Power Plant Premier delivers. I wouldn't want to be without it. '
	Stereo (GR) - juni 2007 Duitstalige review van de PPP in het prestigieuze magazine Stereo door Tom Frantzen © Stereo "Das ist sie, die ultimative Stromquelle, noch besser und günstiger als ihre Vorgänger. Niedrige Impedanz, ein völlig reiner Netzsinus, fünf zusätzlich ge lterte Steckplätze und 1500 Watt (VA) Dauerleistung sind ideal, um eine komplette Kette samt Endstufen ohne Dynamiklimit mit sauberster, konstanter Energie zu versorgen. Das ist deutlich hörbar! Die Zusatzfunktionen wie das Anzeigeinstrument, die mögliche Wunschspannung, der Schutz für Telefon/ Antenne, der Schaltkomfort oder auch die Auffrischungsfunktion "CleanWave"''
	Haute Fidelité (FR) Franstalige review van de PPP door Christian Izorce voor het Franse blad Haute Fidelity © hautefidlité "Voici une très sériuze realisation dont l'efficacité est indéniable''
	Reviewers Choice Award - Soundstage Network (US) Engelstalige review van de PPP door Randall Smith - 2008 © HomeTheaterSound "Improved transparency and quieter backgrounds permitted a level of musical realism that I have come to deeply appreciate. While I had high expectations for this power conditioner, I wasn't prepared for this much improvement...''
	The Absolute Sound - Golden Ear Awards 2008 Na de befaamde 'Editor's Choice Award 2007' krijgt de Powerplant Premier de 'Golden Ear Award 2008'. Waarvoor dank!
	The Absolute Sound - Editor's Choice Awards 2007 De HD power lijn van PS Audio krijgt de vermaarde Editors' Choice Award van The Absolute Sound. Waarvoor dank!
	Order a reprint with Hi-FiNews for £3.50 Published in February 2008 Premier Class - No mere mains filter, the Power Plant actively regenerates a clean 240V supply to tease the very best from your equipment...


Gewicht:	18.5 KG
Afmetingen:	52X53X21 cm (verpakking)

Handleiding PWT	PPP handleiding

Tips PPP