CD-player Perreaux CD1 Prisma

According to the manufacturer, the components of the reference player CD1 Prisma carefully screened and tested for compatibility and stability. In addition, the components used are extremely audiophile character (resistors Roderstein, capacitors Black Gate). The unit cost Burr-Brown DACs with parameters 20 bit/96 kHz and analog output stage operates in class A. The body design minimalist and a bit controversial. Oval display shows a medium-sized blue small numbers quite a lot of information on the disk, but even with the average distance it reads badly. When tray is extended become inaccessible microscopic buttons controls located directly on the screen, under the transport. Universal remote brand of aluminum, very elegant and beautiful, surprising his unexpected weight - the first time picking up, it can even unknowingly dropped. Selecting tracks with numbers greater than 9 organized not particularly comfortable, and the possibility of direct dialing a two-digit track number is missing. As a significant disadvantage for the transport of note is that he completely refuses to read some discs CD-R, including "Vinyl" Verbatim. For the modern player is not typical and generally, strictly speaking, is a violation of the standard Red Book.

From the first track it becomes clear that in the second test showed a leader who plays in a completely different but equally delectable style. If Blacknote was underlined admiring large natural voices, here we have a holiday reverberation and subtle shades, shapes sounds gently shimmer, and they like a jet, surrounded by a cloud of mid-tones and details. Only in this player you can understand how diverse harpsichord tone, with some overtones operate valves woodwind and bowed overtones differ from violins and violas. Detailed sound from CD1 Prisma absolutely phenomenal, and processing and low-level signals too. Such reverberation in a very quiet music you expect to hear only during a live performance in the hall with excellent acoustics. However, the resolution is not a hindrance emotion - in the records of Empire Brass Quintet soul sinks excellent soft horn against a very clean and sounding pipes. And in just one countertenor voice in the Stabat Mater - with a clear outline, devoid of the slightest blur boundaries and spreading sound brittle, fragile, glass, - the unit can be forgiven for all the flaws of ergonomics and control rather uncomfortable and listen without interrupting. At the beginning of the overture to "Tannhauser" sound floated deep, deep distance, immediately creating a fantastic mood. Plans in depth gorgeous and deployment of huge orchestral spiral goes smoothly and inevitably, with impeccable logic of presentation. Records of any genre player wins back the same way - with perfect precision and detail.