This review page is supported in part by the sponsors whose ad banners are displayed below
Further technology details are quoted from the NuForce website: "Since all control functions are powered by discrete power supplies, the P-20’s design prevents any logic circuitry clock-signal noise from ever contaminating the analog section's low-level signals... The heart of the P-20 boasts an all-discrete fastidiously precise amplifier module. Because speed is of paramount significance, we’ve reduced capacitive loading on the final voltage amp with the implementation of ultra-low-noise monolithic dual JFETs, specially selected VMOS FETs and extremely flat hFE bipolar transistors in a dual -cascode configuration,all of which is combined within a driven-shield arrangement. Each amp module’s self-contained shunt regulator further assists in isolation from power supplies. A similarly isolated floating-current source supply feeds each module to insure separation from ground-system noise."
Set-up is dead easy as all is well laid out and clearly marked. Operationally the nifty octagonal remote control—identical to the P-9’s—allows fine adjustment of the volume (aside from input selection, volume mute etc) via the numerical display. This is extremely useful for those OCD enough to note each album’s ideal volume level (and I know a few such audiophiles, some of whom use this feature on a track-by-track basis...oof!).
The value of an idea lies in the using of it – Thomas Edison. The P-20 was used in the context of the Reference 18 and Cymer Audio SE-35 monos. Source was the outstanding AMR CD-77.1 and air moved by Wilson Audio Sasha W/P. I’ve moved house since the last review and fortuitously the new room measured by a professional was found to be almost flat. Gobsmackingly, "studios would love these acoustics" were the words he used while I simultaneously deflated and expelled pent-up pressure built-up prior to his verdict. So the first 6moons assignment in the new room promised a neutral base camp for the climb to future sonic peaks. And indeed one such peak was reached when the P-20 fired up.
As much as the previous preamp range-topper of P-9 was an outstanding performer (and I’m still amazed by its bass prowess), the P-20 ups the ante with a more refined more transparent presentation. You hear deeper into a recording which allows a more intimate and direct connection with the music and musicians. There’s a more thorough and complete demonstration of macro and micro detail. And this transparency tied in with the P-20’s absolutely balanced delivery of the complete audible spectrum brought the old ‘straight wire with gain‘ term to the forefront. This preamp just steps out of the way with complete neutrality and musicality. So gloriously neutral is the P-20 that it’s actually a difficult product for a reviewer to converse about.
