{"id":39126,"date":"2025-01-08T11:19:30","date_gmt":"2025-01-08T09:19:30","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=39126"},"modified":"2025-05-27T14:39:27","modified_gmt":"2025-05-27T12:39:27","slug":"ps-audio-power-plant-15-and-20","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/accessories-reviews\/power-conditioning\/ps-audio-power-plant-15-and-20\/","title":{"rendered":"PS Audio PowerPlant 15 and 20"},"content":{"rendered":"

Review sample provided by Aspera Audio<\/a>
\nRetail prices in the Netherlands:
\nP15 – \u20ac 9.450
\nP20 – \u20ac 12.595<\/h4>\n

The reviews on HFA are usually requested by a manufacturer, distributor, or dealer. However, the inspiration for writing a review sometimes stems from a personal desire to investigate something. This is the case here, but I must add that my situation is far from unique. I suspect the lessons I learned will apply to many systems, so please keep reading!<\/p>\n

For the longest time, I have been aware that the quality of the mains power and the associated accessories can make or break a system. This informed countless experiments with fuses, power cables, connectors, separate audio groups, and high-end schuko outlets for over 20 years, and more recently, differential switches, circuit breakers, and fuse holders.<\/p>\n

Despite my best efforts, however, an ongoing problem in my system is that the sound fluctuates daily. I often sense a deficiency in raw energy compared to the systems of two friends who reside in detached homes in sparsely populated small villages. This is why I have grown increasingly suspicious of the condition of the mains power in my apartment.<\/p>\n

It wasn’t until recently that I described the above to a business relation who suggested trying the PS Audio PowerPlant 10. And he just so happened to have a spare unit I could borrow! As it would turn out, sometimes, solutions present themselves just when you need them most.<\/p>\n

PPP and P10<\/h3>\n

The P10 is not the first PowerPlant I heard in my system. That was the PowerPlant Premier, or PPP, in short. While that beautifully sleek component certainly transformed the sound, its benefits were accompanied by what I experienced as a detracting quality, an overly controlled and static overall performance. Even though I enjoyed what it did for expression and articulation, its business-like nature withheld me from keeping it.<\/p>\n

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Above: PPP, below: P10<\/em><\/p>\n

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The P10 behaved differently. What amazed me most was\u00a0that it did not change my carefully-tweaked sound at all; it only improved it. Even relocating only the CH Precision C1.2 DAC and L1 preamp from my standard passive and unfiltered power distributor to the P10 provided much better clarity, articulation, energy conveyance, and considerably increased dynamic impact.<\/p>\n

For my system, I have three GigaWatt main outlets that supply power to three power distributors: two for the amplification and digital components, and one for the turntable section. Since I discovered that both sides influence one another, I’ve minimized the activity of active components during analog or digital listening sessions by switching off anything not in use.<\/p>\n

As the P10 occupied my last remaining free GigaWatt main wall outlet that I previously used for the turntable\/phono preamp section, I plugged the power distributor for that section into the P10, only to be positively shocked at the level of the improvement. The effects were the same as when moving the preamp and DAC to the PowerPlant, but even more significant in their impact.<\/p>\n

It wasn’t just me who noticed the profound differences; every visitor who experienced the system remarked on them. Fellow writer and friend Werner Ero perfectly captured an essential aspect of it during his visit by saying that the P10 alleviated brain processing. Indeed, it feels almost like a nagging headache that has suddenly been relieved. The emotion and musical intent come across much more clearly, much like this is often experienced with analog sources compared to digital ones. The distinction is that the P10 produces the same effect on turntables and phono stages!<\/p>\n

When switching back to untreated AC, the sound becomes messier, compressed, and shouty, making me want to lower the volume. It feels as though the raw mains power carries or induces consciously inaudible components that effectively tire the brain.<\/p>\n

For those who assume that any competently designed audio component should not require a PowerPlant, I completely understand and can follow the logic. One reason I can add is that PS Audio’s Paul McGowan explains in forums and videos that having a low-impedance, well-regulated, and stable power source is paramount. I’m sure that’s not all there is to it, but in the end, I just cannot ignore what my ears tell me.<\/p>\n

The improvement the P10 made was so substantial that I stopped experimenting altogether and did not even try adding more components to the PowerPlant for several weeks, as I simply enjoyed my system. But, of course, I could not borrow the P10 loaner unit forever.<\/p>\n

Spoilt<\/h3>\n

Having the P10 in my system had spoiled me. Listening with raw mains power no longer interested me, and I needed to get a P10 for myself. But at this time, it had been replaced by the P15, with the P20 available above it. The new models feature a more prominent, higher-resolution display and several internal upgrades. Since the P10 seemed to provide everything I desired, I hesitated to go for a newer model without experiencing it first. After all, sometimes changes might not work as well together in a specific system context, regardless of their objective improvements.<\/p>\n

After reading everything I could about the new models, I still had a few lingering questions, so I asked PS Audio if they would be interested in an in-depth review of both models. They were happy to facilitate this and referred me to Guy from Aspera Audio, who was kind enough to help me get the P15 and P20 on loan.<\/p>\n

And so it happened that, not much later, I had three PowerPlants at my disposal.<\/p>\n

\"\"<\/p>\n

Initially, I listened to the three units disrespectfully but conveniently stacked like this, but I later granted each its own platform. By the way, the super-sturdy build quality was evident by the three-unit stack still not wobbling even a tiny bit.<\/em><\/p>\n

What is a PowerPlant?<\/h3>\n

PowerPlant is the name PS Audio lends to their Power Regenerators. A good analogy is to consider a PowerPlant as a very stable power amplifier that generates a single frequency of 50Hz or 60Hz, depending on the country.<\/p>\n

Power Regeneration uses active components, like those found in large, powerful audio amplifiers, to convert your home\u2019s variable, compromised AC power into pure DC and back to protected and regulated, distortion-free, low-impedance, perfect AC.<\/p>\n

Contrary to the PPP mentioned earlier, the P10, P15, and P20 are built using a linear power supply containing a massive toroidal transformer in the middle of the unit and large capacitor banks positioned right next to the output devices for optimum power transfer.<\/p>\n

\"\"<\/p>\n

The 7-inch, full-color display on the front panel of the P15 and P20 allows the user to measure distortion, both incoming and outgoing, improvement levels, and power consumption. On the home screen, the values are all shown at a glance, and the user can also view a full-screen version after tapping one of the small meters at the bottom.<\/em><\/p>\n

Common Features<\/h3>\n

Like a power amplifier, a PowerPlant requires an input signal to construct its output. Rather than using the compromised raw AC’s frequency as a reference, PowerPlants use an analog-like DSD generator for the input waveform to generate the output power. The desired output voltage is maintained at any input voltage over 95 – 145VAC in the US and 200 – 285VAC in the EU, AU, GR, and UK.<\/p>\n

A PowerPlant rebuilds the AC while lowering output impedance and regulating the voltage. Low output impedance, in particular, is critical to maintaining a dynamic presentation. PS Audio indicates that powering equipment through a passive power conditioner only worsens the problem and should be avoided. The PowerPlant, on the other hand, has such low output impedance (0.008\u03a9 vs. typical 0.4\u03a9) that the company claims even the hungriest amplifiers won\u2019t be starved for clean AC power.<\/p>\n

The PowerPlants have a multitude of outlets divided into five individually switchable Zones. The number of outlets per Zone differs between P15 and P20, as well as per country; see the back panel images further below for more info.\u00a0 Two of the five zones are specially equipped to power high-current audio components. All Zones provide pure, regenerated power, but the High Current outputs additionally have a slow start feature that permits the turn-on of big power amplifiers without triggering the circuit breaker (if started via the P20).<\/p>\n

The PowerPlants have a significant input and output passive filter design, meaning they do not need additional filtering. Moreover, as PS Audio indicates, adding extra power conditioners to the input or additional filtering to its output may be undesirable.<\/p>\n

As a variant to the standard sine waveform, the MultiWave function extends the peak charging time of the sine wave, so connected equipment has more energy storage and less power supply ripple. The result is a smoother sound with a larger soundstage than when using a simple sine wave.<\/p>\n

\"\"<\/p>\n

The photos below, taken from the review unit’s display, illustrate my power’s condition before and after regeneration. Note the flattening on the waveform tops and troughs, which the PowerPlant perfectly restored.<\/em><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

The screen shows a fully functional oscilloscope that you can use to view the incoming AC waveform. Tapping either of the arrow buttons on the unit’s touchscreen will scroll through the voltage in, voltage out, and the difference windows. This way, you can see the degree to which the PowerPlant’s output waveform is superior to the incoming AC sine wave.<\/em><\/p>\n

Next: P15 and P20 descriptions<\/p>\n

<\/p>\n

The P10, P15, and P20 PowerPlants are passively cooled and produce no noise. They also have multiple protection methods. An electrical surge, or spiked transient, is an intense, short-duration voltage increase that travels through electrical wiring in our homes and can severely damage connected equipment. There are also sustained over-voltage conditions that, according to PS Audio, many surge suppression devices cannot protect equipment from. PowerPlants protect connected equipment from any power line event, such as overvoltage, undervoltage, surges, spikes, and potentially threatening problems.<\/p>\n

Advanced clamping technology devices comprehensively safeguard the input voltage to the PowerPlant, and the output is fully regulated. Thus, even large voltage swings that could normally damage connected equipment are made safe by either clamping or regulating.<\/p>\n

In addition to measuring power quality with the built-in oscilloscope or the THD analyzer, the touchscreen display allows you to adjust the PowerPlant’s settings, such as the turn-on\/off sequence, waveform type, phase tuning, output voltage, and turning individual zones on or off. The display allows full brightness control, from very bright to very dim or completely off, in comfortably small and precise steps. Incidentally, the display can also be switched on or off via the supplied IR Remote Control.<\/p>\n

\"\"<\/p>\n

The Status Screen shows the overall performance data. Note how, in the above image, the THD output <\/em>is significantly reduced, and the output voltage is stable at 120 Volts.<\/em><\/p>\n

\"\"<\/p>\n

The Setup screen allows global adjustment of the output voltage for all zones. They are not individually adjustable. However, each zone can be individually configured and switched on and off.<\/em><\/p>\n

\"\"<\/p>\n

The outlets are grouped into Zones that can be personalized to fit specific system requirements.<\/em><\/p>\n

\"\"<\/p>\n

LAN control allows the user to control and configure some of PowerPlant’s settings using a web browser on any network-connected device. Most notably, it enables the user to switch on\/off any individual zone or all at once, define names, specify delays, and adjust all network settings.<\/em><\/p>\n

W<\/em>ith the exception of the network section, these settings can also be made from the unit’s front panel touchscreen or via the infrared remote control.<\/em><\/p>\n

\"\"<\/p>\n

The P15 and P20 PowerPlants are 85% efficient, meaning they consume very little power and do not get very warm during use. When powering my entire system, the PowerPlants get only mildly warm. To illustrate, the CH C1.2 DAC becomes significantly warmer than the P10, P15, or P20.<\/p>\n

In standby mode (main power on but the outputs switched off using the front panel button), the PowerPlants draw a relatively low amount of power, with a maximum of 35 watts in the US and Japan and 45 watts in Europe and Asia for the P20. This is because the units continue to operate when in standby to support the “Always On” feature for individual zones. Since the PowerPlant’s standby mode turns off all connected components entirely rather than leaving each system component in standby, using the PowerPlant’s standby function may actually be more power-efficient. In any case, 45 Watts sounds relatively low when considering that the PowerPlant offers similar technology as a big power amplifier, many of which can easily consume 200 Watts idling.<\/p>\n

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P15<\/h3>\n

The DirectStream PowerPlant 15 features an ultra-low-impedance analog power amplifier, an FPGA-based sine wave generator based on pure, clean analog DSD, \u00a0five separate regenerated zones, a 1\/4″ thick gold-plated copper buss bar delivery system, and 1500 watts of pure regenerated power to power medium\u2014to large-power amplifiers just as proficiently as the lowest-power source equipment.<\/p>\n

The P15 includes several technical upgrades over the P10, including an updated DSP, a more accurate DSD signal generator, and three times lower impedance.<\/p>\n

\"\"<\/p>\n

The P15 has a 15A AC inlet and 10 power outlets for the US market, as well as a 10A AC inlet and nine outlets for EU, AU, GR, and UK markets.<\/p>\n

\"\"<\/p>\n

Quick Specs for the P15<\/strong><\/p>\n

Voltage Regulation to 1V
\nOutput Distortion US\/Japan: <0.5%, 0.1% typical
\nOutput Distortion Europe\/Asia: <0.9%, 0.2% typical
\nOutput Impedance: <0.008 Ohms
\nMaximum continuous load US\/Japan: 1200VA
\nMaximum continuous load Europe\/Asia: 1500VA
\nMaximum Peak Load: 3600VA
\nPower Consumption in Idle and Standby: 30 Watts in US\/Japan and 35 Watts in Europe\/Asia
\nDimensions: 17\u201d W x 14\u201d D x 8.5\u201d H (43cm W x 36cm D x 21.5 cm H)
\nWeight: 73 lbs ( 33kg)<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

P20<\/h3>\n

With the P20, PS Audio created their biggest and most potent PowerPlant ever, offering 40% more power than the P15. With twice the number of output devices and double the power supply storage of any previous PowerPlant, DirectStream P20 is the company’s new benchmark for power products. Safe and regulated to within 1\/10th of a volt, the P20 provides 2000 watts of pure power for systems of all sizes.<\/p>\n

\"\"<\/p>\n

The P20 offers standard 15A and high-current 20A AC inlets and 16 power outlets for the US market, and a 13A AC input and 13 outlets for EU, AU, GR, and UK markets. In the US, the high-power (different IEC connector) 20A High Current input must be used to provide the maximum current capacity; in the other regions, the standard 13A inlet suffices.<\/p>\n

\"\"<\/p>\n

The packaging for both PowerPlants is constructed smartly, and particularly for the P20, which contains built-in roller wheels!<\/em><\/p>\n

\"\"<\/p>\n

Quick Specs for the P20<\/strong><\/p>\n

Voltage Regulation to under 1V
\nOutput Distortion all regions: <0.5%, 0.1% typical
\nOutput Impedance: <0.005 Ohms
\nMaximum continuous load all regions: 2000VA
\nMaximum Peak Load all regions: 3600VA
\nPower Consumption in Idle and Standby: 35 Watts in US\/Japan and 45Watts in Europe\/Asia
\nDimensions: 17\u201d W x 14\u201d D x 11\u201d H (43cm W x 36cm D x 27.9 cm H)
\nWeight: 105 lbs (47kg)<\/p>\n

Next: Listening Stage 1<\/em><\/p>\n

<\/p>\n

Listening – Stage 1<\/h3>\n

Given the excellent results with the P10 powering only my DAC and preamp and the rest of the system still powered by my default power distributors, I decided to stick with that recipe for now and listen to the P15 and P20 under the same circumstances.<\/p>\n

\"\"<\/p>\n

Starting with the P15, it was immediately apparent that the new model is not merely a marketing effort with a better display but an actual reworked design. The P15 sounds much smoother and massively<\/em> more liquid, fluid, and refined than the P10, so much so that it makes the older model sound pretty rough and dry in comparison. Truthfully, it’s not even close, except in the way that both models clean up the power, remove hash, and allow the connected components to have much cleaner transient behavior and sound much more revealing of low-level resolution and subtle decays.<\/p>\n

\"\"<\/p>\n

When I switched from the P15 to the P20, the soundstage grew deeper, with more distinct layering within. This was expected, but what I did not expect was that the P20 even enhanced transient behavior and low-level resolution. While the P20 also sounds considerably smoother and more relaxed than the P10, it delivers a more impactful and expressive performance than the P15. Significantly, the increased impact does not stem from a bloated bass or a boomy quality, which I had dreaded based on prior experiences with amplifiers versus power and output devices. Quite the opposite, actually, as the P20 sounds crisper and more agile than the P15. Clearly, the “small versus big power amplifier” analogy does not apply, as the P20 easily outperforms the P15 across all aspects, even when powering just two 30-watt components.<\/p>\n

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\"\"<\/p>\n

The P20 is heavy and very tall, only just about fitting my HRS rack’s bottom shelf clearance, which made me happy that I went with 12-inch struts for the rack’s bottom section. The P20 costs one-fourth more than the already mighty fine P15, but if the rack space and budget suffice, the choice is obvious: the P20 simply provides the best performance.<\/p>\n

\"\"<\/p>\n

All improvements aside, the P15 and P20 reduced the system’s pacing and dampened the expression compared to the P10. Although both new models massively improved the sound compared to using raw power, unlike the P10, they also changed the character. This realization gave me pause. Would the new models be the equivalent of two steps forward and one step back?<\/p>\n

Flash-Forward: In the following paragraphs, I will explain how I made a startling discovery that would lead to a very different conclusion. If you are interested in all the details, by all means, keep reading. However, if you feel I have been rambling on too long already, feel free to skip to the next chapter, “The Penny Dropped”.<\/p>\n

Doubts and Experiments<\/h3>\n

While I admired much of what the new models achieved and recognized that they certainly exposed some flaws in the older model, I was conflicted about how differently the P15 and P20 made the system sound compared to the P10. I prepared myself to accept that my system needs all the impact it can get, even if that means the sound becomes a bit rough and harsh. It seemed inevitable that I would have to conclude that the new models improve upon the P10 in many ways, but likely suit some systems better than others. This led to a period of doubt, investigation, and experimentation, ultimately culminating in a profound realization.<\/p>\n

One week later, the outside temperature had dropped significantly, and my friend Wouter (aka the record-cleaning master;-) dropped by with a pile of freshly cleaned LPs for our weekly analog session. We played various eighties soul LPs that we know well but had not played in a long time. With the P10 in place, all the fast-paced, rhythm-driven eighties and nineties stuff we played during this session and the previous one had sounded fantastic, incomparably better with the PowerPlant than without. However, we noticed the slower soul albums were missing a bit of liquidity, seduction, and lushness and sounded less soulful and emotional than we recalled from the past.<\/p>\n

As a side note, my system always sounds cooler and less fluid in winter, with the relatively drier air and lower outside temperature, especially when playing LPs. This is normal behavior, but the “raw” directness of the P10 now seemed to exacerbate it. Conversely, counterintuitively, perhaps, my digital front end has always sounded smoother and more relaxed than the analog front end, although it also sounds cooler in the cold seasons. <\/em><\/p>\n

In any case, as autumn turned to winter and the soul records lacked their essential element, I wondered if the P10 was so ideal for my system after all.<\/p>\n

This led to the wild idea of trying the P10 in combination with one of the two new models, one for the digital components and one for the analog section. Overkill? Perhaps, but I just had to know if this could be a viable solution.<\/p>\n

As sometimes happens with audio-related matters, coincidences can lead to important discoveries, and this would prove to be such a case.<\/p>\n

\"\"<\/p>\n

The Penny Dropped<\/h3>\n

While my system was playing with the P10 powering the CH DAC and preamp, I also connected the P20 to a vacant wall outlet with the intention of using it to power the turntable section. But as soon as I switched on the P20, the sound changed, even though I had not connected anything to its outlets yet! Sure enough, I heard the same reduced pacing and dampened expression as when actively using the P20 for the CH DAC and preamp, but now without the P20’s advantages.<\/p>\n

That’s when the penny dropped. What if the P15 and P20 somehow weighed on the power circuit, making life more challenging for the remaining raw AC-powered audio components?<\/p>\n

To double-test my theory, I returned to raw AC for the entire system. Having reluctantly accustomed myself to the messy and hazy sound again, I plugged in the P15 and switched it on without using any of its outputs. Sure enough, the system’s sound took on the same relative downsides noted above. I repeated the test with the P20 and found it behaved the same way. Then, I did the same with the P10, but this time, the system’s sound hardly changed.<\/p>\n

Presumably, the new PowerPlant models have much stronger input filtering, or their power supplies influence the power circuit differently than the P10. Either way, this effect in itself is not new, as I have heard it before with some of my components, albeit never in such an influential and profound manner.<\/p>\n

However, this could explain why I initially thought the new PowerPlants provided improvements as well as detractive qualities when powering only the two CH components. If this thesis was correct, it could be proven by connecting more components to the P20 to get them on the regenerated side of the power circuit.<\/p>\n

As a side note, all audio components have the potential to “load” the mains power in a manner that, to a more or lesser effect, affects other components. Notorious are switched power supplies, and I can confirm the worst offenders induce a kind of hash, blur, or even high-pitched sharpness into the sound. The latter can also be mistaken for a desirable treble accentuation, enhancing the perceived level of detail. However, the same supplies feed noise components back onto the AC, causing blur and smearing into the rest of the system. However, switched technology has improved massively, and the best designs impact the mains power even less than linear designs. Some of my audio components and some cables have a similar damping effect on the raw mains as the P15 and P20, albeit more minor. This is why disconnecting any unused components is usually beneficial.<\/em><\/p>\n

Next: Listening Stage 2 and Conclusion<\/em><\/p>\n

<\/p>\n

Listening – Stage 2<\/h3>\n

Starting with the L1 preamp and C1.2 DAC connected while the rest remained on the passive power distributor, the PowerPlant’s positive impact was already undeniable. Its more instantaneous transient behavior and more profound inner-note silence vividly revealed low-level details, clearly shaped reverbs and decays, and created a deeper and lusher soundstage with more distinct layering within.<\/p>\n

\"\"<\/p>\n

Despite being massively powerful, the P20 never sounds overly controlled. Instead, it sounds effortlessly fluid and very smooth. And sure enough, with every component I added to its output, the sound tightened up and became more expressive.<\/p>\n

Adding the Aqua LinQ streaming endpoint to the P20 further improved crispness, expression, and clarity. Perhaps unexpectedly, for a purely D-D device, even transparency improved. Next, I connected the Music Servers, providing similar incremental improvements but of an ever-smaller magnitude.<\/p>\n

The cumulative effect was that the P20’s core benefits became ever more pronounced while my reservations increasingly took a back seat. An intermediate check with everything connected to the passive power distributor’s raw AC made me very quickly plug everything back into the P20. At this point, the raw power was unlistenable, making the system sound confused, blurred, rough, and shouty. This is a crucial point to make as, sometimes, grunge and even a modest compression may make the sound appear more dynamic, even though that is not truly the case. The P20 really drives this point home and made me scratching my head how I had been listening to a handicapped system for all these years.<\/p>\n

\"\"<\/p>\n

At this point, the P20 outperformed the P10 in all aspects except perhaps in ultimate raw expression. As mentioned, my system requires the most neutral accessories to avoid becoming too polite, but even though the P10 addressed that issue, its performance was otherwise far behind the P20. On that note, I mentioned that the P10 did not change the sound of my system compared to raw AC, and at that time, I felt that was a positive. Now, it is becoming clear that is a relative matter after all, as the P10 does not allow the system to unfold all of the fluidity, subtlety, and immense resolution it is capable of.<\/p>\n

Until now, I had been holding off on adding the A1.5 power amplifier to the P20. Even though PS Audio indicates the PowerPlant has zero issues driving big power amplifiers, history has taught me that any filter or semi-active device ahead of an amplifier has a negative impact, at least on my system, hence my reluctance. But now, it was time to try again.<\/p>\n

Lo and behold, with the power amplifier also powered by the P20, the entire presentation snapped right into focus. Now, the system had it all: fluidity to spare, delicious delicacy, and resolution up the wazoo, as well as amazing crispness, expression, and huge dynamic impact. Every trace of thickness and politeness had vanished, and the pacing was now absolutely spot on, neither hurried nor relaxed but precisely neutral. Oh, those aforementioned soul records now sounded better than ever, easily surpassing what I achieved earlier with the P10 by a massive margin!<\/p>\n

Based on my experiments, analog components such as turntables, phono stages, preamplifiers, and power amplifiers, as well as digital components with an analog output, seem most sensitive to the quality of the mains power and benefit most from being powered by a PowerPlant. As demonstrated by the Aqua LinQ, a purely digital streaming endpoint is still affected, but to a smaller extent. Finally, Music Servers also benefit, but to an ever-smaller extent.<\/p>\n

With the entire CH system, including servers and streaming endpoints, powered by the P20, would you think I was starting to reach the PowerPlant’s limit? Heck, no! Even when playing loudly, the P20’s power meter hovered consistently just above the 250-watt mark, while the unit is specified to offer 2000 watts continuously. Holy cow!<\/p>\n

Epilog<\/h3>\n

My experience with the PowerPlants taught me that a good power supply is every bit as essential as a thoroughly acoustically-treated room. These PowerPlants are large and heavy, and they may appear rather costly if you think of them as power distributors. But that’s the thing. They are so much more! If you live in an apartment complex in a crowded city, chances are your power is as severely affected as mine. And if you have a carefully assembled high-performance system, you owe it to the system to allow it to perform its very best.<\/p>\n

Another thing the PowerPlants made abundantly clear is that there is no substitute for true dynamics. One may try (as I did) to inject excitement into the system by selecting specific lively-sounding power cables, connectors, and distributors. This works to a certain extent, but the PowerPlants make it very clear that I was listening to an edgier and flatter version of reality. Meanwhile, passive filters do have a limited ability to clean up the sound, but in my experience, always at the cost of a measure of speed, dynamics, and impact. After hearing the P15 and P20, I know there is no substitution for actual power regeneration when the AC power is as compromised as at my place. Indeed, those who live in the middle of nowhere may benefit less from adding a PowerPlant. But that is speculation on my part and something best experienced in person as part of a home audition.<\/p>\n

\"\"<\/p>\n

Conclusion<\/h2>\n

The P15 and P20 PowerPlants are large and heavy units demanding what initially seems like a very serious investment. But when considering they are not just filters but convert your home\u2019s variable, compromised AC power into pure DC, and then back again into safe, protected, regulated, distortion-free, low-impedance, perfect AC using an analog-like DSD generator for the input waveform, the proposition becomes far more understandable. Now, consider that a PowerPlant raises the quality of an entire audio system to an otherwise impossible-to-reach level, and their prices become entirely reasonable. Now, consider that even a single high-end component can easily cost more than the P20 PowerPlant, and the products become a no-brainer purchase. A great bonus is that the P15 and P20’s many outputs negate the need for additional power distributors for all but the most elaborate systems. PS Audio offers the PowerPlant 12 and Stellar PowerPlant 3 for smaller systems and catering to more modest budgets.<\/p>\n

The choice between the P15 and P20 is simple. If budget and space allow, get the P20. It costs a relatively modest extra amount but offers notably better performance than the already mighty fine P15, with more power and additional outlets.<\/p>\n

Either way, the P15 and P20 are highly recommended. Since I am no longer willing to listen to my system without one, I am holding on to the P20, making it the new cornerstone of the system and, with it, a brand-new HFA Favorite.<\/p>\n

\"\"
\nHighly recommended: P15<\/p>\n

\"\"
\nHFA Favorite: P20<\/p>\n

 <\/p>\n

Associated Equipment<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer:\u00a0 PS Audio<\/a>
\n<\/a>Distributor for the BeNeLux: AsperaAudio<\/a><\/p>\n

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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Ansuz PowerSwitch X-TC3 and D3 <\/a>\r\n\r\n <\/div>\r\n
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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Jorma Audio Unity Interlink, Power Cable, and Speaker Cable <\/a>\r\n\r\n <\/div>\r\n \r\n <\/div>\r\n\r\n