Simaudio MOON Evolution P-8 Reference Dual-mono Preamplifier > Twin Chassis > Stereophile Class A Recommended Component > MSRP $16,000 
Reduced for Quick Sale...  

This is an absolutely Fantastic preamp. It is very similar in measurements, performance and character to the contemporary $33,000 Simaudio Moon Evolution 850p preamp.  
 
The P-8 has a little more warmth, sheen, bloom and meat on the bones where the 860a is a little faster, airier with better dynamics but these differences are so small, they sound so alike but the key difference is with the balance where the 850p trades off some of the P-8's beauty with its strict single minded focus on neutrality.  

They amazing point is the P-8 can be bought for a song compared to the $33,000 cost of the 850p so the choice is yours but the amazing thing is how incredibly close they are. They sound so alike you really have to work at it to even tell the difference if you can at all.  Line them up in the same system like I did and you will be amazed just like I was. Man this P-8 is an awesome pre!   

This is what makes the P-8 such a rare treasure. These pre's are way closer than they have any right to be! I am telling you the P-8's at their used prices are true diamond's. Not many out there but if you get a chance to hear one make sure you do. You will thank me. 

They are legit giant slayers. It handily beat out the excellent Pass Labs XP-30  and Audio Research Reference 5SE Preamps which I had in the exact same system. No problem, hands down it is a better preamp than these units.    
 
I ordered a new pair of Magico S5 MK II Speakers and am changing my amp and preamp combo but a big part of me doesn't want to let this preamp go. It is that good. It is the best I have ever owned. Paired with my Bricasti M1SE DAC it is such a fantastic front end combination. 






Here is the Audiogon Blue Book Value as of 2/2/2019 - 9:07pm EST. This is not my opinion but factual transaction data from the most credible 3rd party source that is widely accepted as the industry standard. It is just a guide but I wanted to provide this as an Fyi to help with your shopping experience.  
 
Also, provided at the end of my post is an exhaustive test and the corresponding measurements performed by John Atkinson for you to look over as well. Enjoy and thanks for reading.  
 
  

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Moon P-8

Category: Preamplifiers > Solid state  
Notes: 2ch, XLR/SE in-out, 75 lbs     
Average             Private Party      Trade-In  
$6,648.50          $7,113.90           $5,185.83


Simaudio Evolution preamps are known for their brilliant sound stages and being incredibly quiet and transparent. The back and side walls of my room just dropped out and disappeared and the stage just popped wide open with a level of transparency and precision I had never heard before and I have owned a ton of really really good gear. 

Read my Feedback and know I will shoot you straight. There is NOTHING performance wise in this price range that can touch it. Not even close. This I promise! .     

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MOON P-8 Reference Dual-mono Preamplifier - Front

Detailed Image

The MOON P-8 preamplifier is a dual-mono fully balanced differential design, representing the next generation of MOON high-performance audio components. Using several newly developed proprietary technologies, this preamplifier yields absolutely no sonic colorations, a level of transparency second-to-none, and possesses a signal-to-noise ratio would have been considered unattainable until now. Further raising the bar, the MOON P-8 can be fully integrated into a custom-install environment via an RS-232 port. As well, a plethora of user selectable cosmetic options are available at the time of purchase. 

$16,000.00 each



Overseas MOON Evolution Series

The MOON Evolution audio components benefit from an even higher standard of manufacturing process than the regular MOON versions. All significant differences are contained within the circuitry and construction of each model.

Evolution versions are built using different materials and parts in certain areas. For example, printed circuit boards are of a higher temperature grade than that of the military specification FR-4 material we normally use; Their traces are gold-plated instead of a tin/lead composite. As well, all capacitors use improved dielectric materials.

Significant Design Features:MOON Evolution models meet and/or exceed stricter manufacturing processes. 

• Significant Design Features:
  

  • 2-chassis design with the larger chassis housing the power supply, digital controller circuitry and software processing. The smaller chassis contains audio circuitry ONLY
  • Full unsolicited RS-232 bidirectional feedback
  • Custom proprietary toroidal transformer design with lower magnetic, electrical and thermal loss, yielding an improved power transfer and lower regulation factor. The result is increased current speed and better dynamicsM-eVOL
  • An oversized dual-mono power supply features 6 stages of DC voltage regulation and choke filtering
  • SimLink controller port allows for 2-way communications between other compatible MOON Evolution Series components
  • M-Ray volume control based on the R-2R resistor array configuration using metal film surface mount resistors with 0.1% tolerances, resulting in no sonic degradation of the audio signal regardless of the selected volume setting
  • M-Lock for “user selectable” maximum volume setting lock-out for each line input
  • Power supply voltage regulation includesi2DCf (Independant Inductive DC Filtering); There is one inductor dedicated to each integrated circuit type component (DAC, Op-Amp, etc.) in the audio circuit’s signal path - 40 stages in all
  • “Gain offset” for each individual line input with a ±10dB range
  • Each line input is fully configurable to be “home-theater ready”, where the gain
    section of the P-8 is bypassed
  • 530 individual volume steps in 1dB and 0.1dB increments
  • 12 Volt trigger outputs for remote operation
  • An exceptionally short signal path measuring less than 8 inches in length from the rear panel's input to output connectors, yielding a much faster transient response
  • Fully differential, no global feedback circuit topology, using absolutely no capacitors anywhere in the audio signal path
  • 4-Layer PCB’s with pure copper tracings for a much shorter signal path; This results in greater sonic accuracy and a dramatically improved signal-to-noise ratio
  • Ultra rigid chassis construction to minimize the effects of external vibrations
  • Accurate matching of the very finest quality electronic components in a symmetrical circuit design
  • Improved reliabilty through the elimination of moving part.

This great product is located on the North Shore of Boston, MA. 

Please take some time to read my Feedback. It shows how I genuinely care about the other Audiogon members and the small group of other fellow audiophiles. 

This preamp looks and works great. It comes with the OEM double boxes, the manual, all the chassis tether cables and the remote. It has the 8 OEM footer spikes for the 2 separate chassis and 4 footer spike basses for the bottom unit only to protect your rack or furniture.  It looks great and the only noticeable blemish is a small scratch that is on the top of the bottom chassis so you can only see it when you remove the top chassis or if you split them up and just wanted to note this and please look at photo #11 to view it. This is a fabulous preamp and I can't find anything on Audiogon under $10,000 that I would take over it. You are going to love it.

I don't do this for a living but for me it's fun, it's my hobby. I buy some new gear and I am happy that there is a great place to either buy more or when it's time to sell and try some other gear. 

I take the greatest care of my items and I am offering a world class product for a great, well below market price. I am professional business person by trade and an audiophile by hobby and you can count on having a first class buying experience to go with some great top of the food chain Hi-Fi products .

I appreciate your taking the time to read my posting. Thank you for the time and consideration. Feel free to reach out if I can answer any questions. Shipping to be paid by the buyer and flat rate price is for continental USA 48 states only so please ask if you need to ship elsewhere. Only 3% for PayPal please. PayPal friends and family is Free… 

Thank You 

________________________________________________________________________

• Exerts of Stereophile Review 
• SOLID STATE PREAMP REVIEWS

• Simaudio Moon Evolution P-8 preamplifier

  Kalman Rubinson  |   The P-8 is the second of Simaudio's Moon Evolution series that has passed through my system, following on the heels of the Moon Evolution W-8 power amplifier, which I reviewed. Fortunately, the P-8's arrival preceded the W-8's departure, so I was able to use them together as well as with other components.
•  

  The Evolution bodywork, first seen in the W-8, is a major aesthetic step up for Simaudio, and it's even more appealing in the P-8, which adds a remarkably legible and useful display, a large volume-control knob, and other effective controls. As with the W-8, Sim provides sharp spikes for each chassis, but thankfully, these are user-installable.

  In appearance and mass, the two-chassis P-8 is as imposing as the W-8. It comprises the Controller chassis, which contains the display, all the controls (natch), and a power supply capable of driving the Preamplifier chassis and an additional device, such as a phono stage or DAC. All AC is contained within the Controller chassis, which connects to the Preamplifier chassis by means of two four-pin XLR cables, each providing the DC supplies for a single channel. The Controller directs the Preamplifier functions via a cable using an 8-pin Ethercon connector within the XLR shells. All audio signals are kept within the Preamplifier chassis. Despite this separation of powers, the two units operate as one.

  Inside the Controller are two entirely dual-mono power supplies, fed from three toroidal transformers. Sim is obsessive about supply filtering, to the point of adding an inductive filter at each and every chip in the Preamplifier's audio path: a total of 40 such stages in all. This is in addition to using four-layer PCB construction for better grounding and shorter signal paths.

  The extremely silky volume control operates via a system called M-Ray, which consists of a pair of R-2R resistor ladders similar to those in DAC chips, but with 0.1% tolerances and 530 individual steps of 1dB (0–30dB) and 0.1dB (30–80dB). I generally used levels in the 40–65dB range and benefited from the smaller increment. In addition, the volume control array can be programmed for each input for gain offset (to balance their volume levels) and maximum volume (to prevent excessive output). Also, any input can be set to a fixed 0dB gain with volume control inoperable, so that it can operate as a home-theater bypass. Adjustment of the left/right balance is available only from the remote control, which continues Sim's tradition of hefty, club-like remotes. It lies snugly in the hand and manages all the basic operations of the P-8, as well as other associated equipment. Just don't drop it on your toe.

  The main power switch is on the Controller's rear panel, along with an IEC power connector and AC fuse post. Also on the rear panel are the XLR DC power connections, modular communications connectors, dual 12V trigger outputs, RS-232 connector, IR control input, and in/out receptacles for SimLink, a proprietary communications/control protocol for other Moon Evolution devices, such as the W-8 and the Andromeda CD player. On the Preamplifier's rear, the four RCA inputs and the three XLR inputs are symmetrically placed on the extreme left and right, respectively, with the output and tape-loop jacks clustered in the center around the DC supply and communications connectors.

  The front of the Preamplifier, which contains all the audio circuitry, bears nothing more than a centrally located LED to indicate that it is powered and operational. The user interface is the front of the Controller and the remote control. The large, smooth-turning volume knob and the large digital display dominate the controller's face. The display—large, bright (or not—it's adjustable), and configurable—joins those of the Camelot Uther and the Meridian Reference 861 in the pantheon of the most informative and legible displays I have used.

  On each side of the display are two pairs of buttons, and under it are two more pairs. Top left is the Standby button, which toggles the P-8 between its fully operational and standby modes. Under that is the Display button, which selects among the display's three levels of brightness, as well as whether or not the display remains on, or illuminates only during and shortly after any control operation. I left it on. Top right is the Monitor button, which routes the currently selected input to the tape output, and lets you monitor whatever's connected to the tape input. Under this is the Mute button.

  On the panel's lower left, under the display, are two buttons with which you step up or down to select from the list of inputs. To the right of these are the programming buttons, labeled Setup and OK. Using only these buttons and the owner's manual's handy Quick Reference sheet, you can, for each input, select a meaningful display label, set maximum volume and volume offset, enable that input as a bypass channel, or disable the input entirely. Setup also lets you associate either of the 12V triggers with any input selection. Overall, I found the P-8's functions and programming almost intuitive, and all its operations trouble-free and nearly silent. The exceptions were the barely audible relays going about their business, but this happened only during control operations.

  No missing link 
  Setup was pretty simple. Most of the inputs I used were single-ended. I did, however, connect the Bel Canto PL-1A universal player via both XLR and RCA, and the outputs were via XLR to the W-8, the Classé CA-3200, or various Bel Canto power amps. I programmed the display so that, instead of Bal1, SE1, SE2, and SE3, it read Bel Canto, Sony, FM, and Phono, with the other inputs disabled. It made for a real easy transition for me—I often forget what's connected to what, especially when a new component is inserted in the system. My wife liked it, too.

  NEXT: Page 2
  

  SOLID STATE PREAMP REVIEWS

  Simaudio Moon Evolution P-8 preamplifier Page 2

  From first power-up, the Evolution P-8 performed faultlessly and impressively. It was, by far, the quietest preamp I have ever (not) heard. Even with my ear to a tweeter and the volume full up, I could hear absolutely no difference between Standby and Operate. In other words, any noise that the P-8 might generate—and nothing is completely silent—was much lower than that from any of the power amps I played it through.

  Even more impressive, to me, was the precision of the volume control. While setting up to do some acoustic measurements with the Goldline TEF-25 analyzer, I set up its calibrated microphone at the listening position, fed pink noise through the P-8, and went to adjust the level, when I discovered the strangest thing: The output on the TEF-25's readout matched and tracked the P-8's readout within 0.1dB over a 20dB range! The fact that the readout was the same as that measured in the room was a fortuitous fluke—that is influenced by the electrical sensitivities and gains of all the components, as well as by the room acoustics. However, the fact that these levels tracked each other so precisely is a high compliment to the P-8. This kind of accuracy is a rare and satisfying thing, and indicates that the P-8 is a well-designed and superbly made line preamp.

  But the purpose of the Evolution P-8 is to make music, and that it did, to my complete satisfaction. With the P-8 coupled to the W-8 and to the Revel Ultima Studio or B&W 802D loudspeakers, I found that the system sounded unconstrained in both dynamics and resolution. From bass to treble, there was a consistent transparency and ease. Of course, I could not A/B it with another preamp, but I could put it in the signal line of one channel using the HT bypass and compare that with the other channel, which entirely bypassed the P-8. The Moon was undetectable. Whether the P-8 was in the left or the right channel between the Bel Canto Pre6 preamp and the power amps, the only differences I could detect were fixed to each channel by the room's acoustics.

  When the P-8 served as the system's only preamp, it was just as self-effacing. I could enjoy Markus Groh's nearly over-the-top performance of Liszt's Piano Sonata in B Minor (SACD, Avie AV2097) at low levels, but could also let it raise the roof with no loss of detail or change in balance. Both the bass pedals and the ping of the higher keys were always evident; it's just that I got closer and the piano got bigger! Voices, too, were natural and uncolored. Hans Theessink's deep voice on "Late Last Night," from Call Me (SACD, Blue Groove BG-4020), is an audiophile-demo classic, but this was the first time I'd heard such an ideal balance of his voice's resonance and its grit.

  The P-8's soundstaging was as good as I've heard from two-channel sources in this system and room. I hauled out Dean Peer's Think...It's All Good (CD, Turtle TR0004) for his powerful bass-guitar dynamics, coupled with an airy spaciousness inhabited by lots of other spicy sounds. For this, a JL Audio Fathom f113 subwoofer supplemented the B&W 802Ds below 30Hz. Nothing could restrain me from turning the music up and up and up—not to hear it better, but to relish it the more. Again, at all levels, the sound through the P-8 was taut and meticulous right down into the nether reaches, and somehow it never seemed loud.

  My favorite stuff, symphonic music and opera, benefited equally from the P-8's transparency. When there's so much going on, to hear it all one needs is a system that is essentially grain-free. I listened to a live recording of Orlando Paladino, Haydn's dramma eroicomico, with Nikolaus Harnoncourt conducting the Concentus Musicus Wien (CD, Deutsche Harmonia Mundi 82876 73370 2), and felt as if I were at the event. I heard each distinctive voice in its place, with a perfect balance between pit and stage. The only distractions were those of the original live event.

  Cross-fertilization 
  I reported on the synergy of the Moon Evolution W-8 and P-8 in my review of the former in March, so I refer you to those comments. I will add, however, that the P-8 was equally compatible with the Classé CA-3200, Bel Canto eVo 2006, and Bel Canto Ref1000 power amps. It was as if the P-8 delivered an optimal signal that permitted each amp to perform at its best. That said, each amp sounded somewhat different in voicing, a determination also made possible by the P-8.

  The P-8 replaced the Bel Canto Pre6 for a while. Later, I used it in bypass mode when the Pre6 returned and I expanded to a full multichannel system. (Oh, for a six-channel P-8!) Compared directly to the Pre6, the P-8 was quieter. It was also more mellow, or less bright—but either phrase implies a fault on one side or the other, and any fault here was relative and context-dependent.

  That said, the P-8 is definitely a Simaudio Moon. On quick switchover, it seemed more soft-edged than some other preamps, but that was a contrast effect—I detected no restriction in high-frequency or transient response. I wonder if the P-8's very low levels of HF noise accounted for this. With FM and LP reproduction, a constant low level of background noise seems inaudible because we adapt to it. Nonetheless, that noise can interact with the music in a process called stochastic resonance, and the result is that our auditory systems report to us that HF signals are enhanced. This can contribute to the highlighting of details, but in the case of the oh-so-quiet P-8, all the details were there, and in their correct proportions.

  Using the W-8 to drive the Revel Studios, I slightly preferred the brightness of the Pre6—but with the B&W 802Ds in the same system, I much preferred the P-8. Switching to the Classé CA-3200 amp helped the Pre6 become a tad smoother through the 802Ds, and approach the sound of the P-8.

  Conclusion 
  The Simaudio Moon Evolution P-8 reminded me of Lewis Carroll's Cheshire Cat. When the Cat is conversing, or when I use the P-8's controls, either is engaging company. Otherwise, their corporeal representations fade, each leaving behind only its most notable feature. In the case of the P-8, that was the sound of the music (and the smile on my face). The P-8's not-inconsiderable price deters me from making any statements about its value, but I could find no fault with its operation or its sound. For this time and in this place, the P-8—especially when paired with the W-8—is as good as it gets.

  NEXT: Specifications »
  

  SOLID STATE PREAMP REVIEWS

  Simaudio Moon Evolution P-8 preamplifier Specifications

  Sidebar 1: Specifications

  Description: Solid-state, two-channel, two-chassis preamplifier. Inputs: 3 pairs balanced (XLR), 4 pairs single-ended (RCA). Outputs: 2 pairs balanced (XLR), 2 pairs unbalanced (RCA, fixed and variable). Tape input/output loops: 1 pair unbalanced (RCA). Input impedance: 11k ohms. Output impedance: 50 ohms. Voltage gain: 9dB. Frequency response: 5Hz–100kHz, +0/–0.1dB. IM distortion: unmeasurable. THD: <0.002%, 20Hz–20kHz. Signal/noise ratio: 130dB, 20Hz–20kHz, ref. full output. Maximum output: 12V balanced, 6V unbalanced.
  Dimensions: Preamplifier: 18.75" (480mm) W by 4" (100mm) H by 16.5" (420mm) D. Controller: 18.75" (480mm) W by 5.5" (140mm) H by 16.5" (420mm) D. Weight: 74 lbs (33kg).
  Serial Number Of Unit Reviewed: G428876.
  Price: Approximate number of dealers: 80. Warranty: 10 years, transferable.
  Manufacturer: Simaudio, 95 Chemin Du Tremblay Street, Unit 3, Boucherville, Quebec J4B 7K4, Canada. Tel: (450) 449-2212, toll-free (877) 980-2400 (sales). Fax: (450) 499-9947. Web: www.simaudio.com.

  

  SOLID STATE PREAMP REVIEWS

  Simaudio Moon Evolution P-8 preamplifier Measurements

  Sidebar 3: Measurements

  As set up for Kal's auditioning, the Moon P-8's maximum voltage gain was lower than the specified 9dB, at 5.33dB for both balanced–balanced and unbalanced–unbalanced operation, though this won't be a factor in practical use. The preamplifier preserved absolute polarity—ie, it was noninverting in both conditions—the XLR jacks being wired with pin 2 hot, the AES-recommended practice. The input impedance was to specification at low and midrange frequencies, at 11k ohms single-ended and 22k ohms balanced, though this dropped to a rather low 4.3k and 9.7k ohms, respectively, at 20kHz. The output impedance was also to spec, at a low 50 ohms single-ended and 100 ohms balanced, both figures consistent across the audioband.

  The P-8's frequency response was flat within the audioband and 3dB down at a high 200kHz (fig.1). This was the same for all combinations of volume-control setting and load impedance, and for balanced and unbalanced operation. Note also the superb channel matching in this graph. Channel separation was better than 130dB below 2kHz, decreasing to a still superb 115–120dB at 20kHz. As Kal noted, the preamp was also very quiet; its unweighted, wideband signal/noise ratio, measured with the input shorted but the volume control full, was 91dB balanced, 86.3dB unbalanced (both ref. 1V output). A-weighting improved both ratios to 106.7dB!

  image: https://www.stereophile.com/images/archivesart/1106SM8fig1.jpg

  

  Fig.1 Simaudio Moon P-8, balanced frequency response at 1V into (from top to bottom at 2kHz): 100k, 600 ohms (0.5dB/vertical div., right channel dashed).

  The Moon P-8 could swing high voltages even into low impedances before clipping. Fig.2 plots the THD+noise percentage against single-ended output voltage into loads ranging from 100k ohms down to 600 ohms; the preamp clips (1% THD) at almost 10V into 100k ohms, 8.2V into 600 ohms. The balanced output clipped at 19V into 100k ohms, 15V into 600 ohms. All of these outputs are well above any level the P-8 will be asked to deliver in practical use; more important, the downward slope of the traces in fig.2 indicates that the THD is buried beneath the noise floor at all levels up to actual clipping.

  image: https://www.stereophile.com/images/archivesart/1106SM8fig2.jpg

  

  Fig.2 Simaudio Moon P-8, unbalanced distortion (%)vs 1kHz output voltage into (from right to left at 1% THD): 100k, 10k, 1k, 600 ohms.

  Fig.3 plots THD+N against frequency at 3V from both the unbalanced and balanced outputs. Under both conditions, the distortion rises out of the noise only above the audioband. Confirming this superb linearity, fig.4 shows a spectral analysis of the Moon P-8's single-ended output while it drove 1kHz at 1V into 8k ohms; other than the second harmonic at –108.5dB (!) all other harmonic components are close to the residual level of my signal generator. The intermodulation distortion (fig.5) was similarly low, with the second-order difference product lying at –96dB (0.0016%).

  image: https://www.stereophile.com/images/archivesart/1106SM8fig3.jpg

  

  Fig.3 Simaudio Moon P-8, THD+N (%)vs frequency at 3V into (from bottom to top): 100k, 600 ohms, balanced; 100k, 600 ohms, unbalanced (right channel dashed).

  image: https://www.stereophile.com/images/archivesart/1106SM8fig4.jpg

  

  Fig.4 Simaudio Moon P-8, unbalanced spectrum of 1kHz sinewave, DC–10kHz, at 1V into 8k ohms (linear frequency scale).

  image: https://www.stereophile.com/images/archivesart/1106SM8fig5.jpg

  

  Fig.5 Simaudio Moon P-8, unbalanced HF intermodulation spectrum, DC–24kHz, 19+20kHz at 1V into 8k ohms (linear frequency scale).

  Its superb measured performance reveals Simaudio's Moon P-8 to be a superbly engineered component.—John Atkinson

More review exerts below

SOLID STATE PREAMP REVIEWS

Simaudio Moon Evolution P-8 preamplifier John Atkinson, September 2009

John Atkinson wrote about the Moon Evolution P-8 in September 2009 (Vol.32 No.9):

Back in March, I reviewed the Moon Evolution P-7 preamplifier ($6900) from Canadian manufacturer Simaudio. As you can read in the reprint of that review in our free online archives, I very much enjoyed my time with the P-7: "Beautifully made, beautiful looking, and beautiful sounding, the Moon Evolution P-7 justifiably deserves a Class A recommendation in Stereophile's 'Recommended Components.'" I also wrote that I would soon turn my attention to Simaudio's Moon Evolution P-8 dual-chassis preamplifier, but added that, "given how consistently fine the P-7 sounded in my system, it's difficult to imagine how it might improve on what its less expensive sibling has to offer."

Kalman Rubinson reviewed the Moon Evolution P-8 and was much impressed, concluding that it reminded him of Lewis Carroll's Cheshire Cat: "When the Cat is conversing, or when I use the P-8's controls, either is engaging company. Otherwise, their corporeal representations fade, each leaving behind only its most notable feature. In the case of the P-8, that was the sound of the music (and the smile on my face)."

I refer readers to Kal's review for a full description of the P-8. While basically functionally identical to the single-box P-7, the P-8 segregates all the "dirty" circuitry—control logic and microprocessor, display, power supply—in one chassis and keeps the signal-handling circuitry in a separate, "clean" chassis. The two are connected with two four-pin XLR cables, each carrying the DC voltage supplies for a single channel. A third cable, using an eight-pin Ethercon connector within its XLR shells, carries the source, volume, and setup information from the control box to the audio box.

The circuitry of the two preamplifiers is fundamentally similar except for the continuously rotating volume control. Whereas the P-7 implemented its volume control with a circuit Simaudio calls M-eVOL, which gives 1dB steps between settings of "0" and "30," and 0.5dB steps between "30" and the maximum setting of "80," the P-8's more sophisticated M-Ray volume-control circuitry uses pairs of close-tolerance R-2R resistor ladders with a total of 530 steps: of 1dB from 0 to 30dB, and of 0.1dB from 30 to 80dB.

I used the P-7 for several months, and then the P-8 for almost as long. I then spent a long weekend swapping between the two preamps, after first ensuring that their levels were precisely matched.

It was the strangest thing. In side-by-side comparisons, I was hard-pressed to hear any differences at all between the P-8 and the half-the-price P-7. Both had the same slightly forward sound when compared with the darker-hued Mark Levinson No.380S; both sounded more robust than the somewhat ethereal Parasound Halo JC 2.

But listening to the P-8 for extended periods, it offered a palpability, a solidity to the recorded soundstage, that I didn't experience with the P-7. During the review period I mastered Live at Otto's Shrunken Head (Stereophile STPH020-2), the latest CD from Bob Reina's electric jazz group Attention Screen, and both preamps faithfully reproduced the images of the musicians crowded onto the Manhattan club's tiny stage. Soundstage width and depth were identical, but the individual acoustic objects within that stage had more of a three-dimensional feel through the P-8—even when, as in the cases of the bass, guitar, and electric piano on this CD, those objects actually represented loudspeakers! Such details as the way drummer Mark Flynn's toms in "Ice Crushing at All Speeds" could be heard to "light up" the walls of the club were more readily perceived, almost as if the ear-brain was having to do less work to create the illusion of a soundstage lying between, behind, and perhaps above the speakers.

Technically, the two preamplifiers measured very similarly. Both had wide bandwidths and superbly linear circuitry, though the P-8 had an even lower noise floor than the already deathly quiet P-7. Could that have been the reason, at least in part, for the P-8's admittedly subtle but, once heard and learned, significant superiority? I must admit that I don't have a clue. Except that, before the Moon Evolution P-8, the finest-sounding preamp I'd used in my system had been, without a doubt, Ayre Acoustics' KX-R ($18,500), which Wes Phillips reviewed in October 2008. Like the P-8, the Ayre, had that degree of image palpability—and an astonishingly low noise floor. And the tubed Convergent Audio Technology SL1 Renaissance that Bob Deutsch raves about in the November 2009 issue also has very low levels of background noise.

This image palpability, of course, has long been held to be the prerogative of tube preamps, though they don't always have low noise, and older designs often had a somewhat forward midrange that you either loved or were annoyed by. Nevertheless, it was to obtain that palpability that, back in 1984, I spent the money I'd planned to use for a down payment on a car on a tubed Audio Research SP-10 preamplifier (which I still have, though I haven't used it in years). These days, the best solid-state preamps, such as the Ayre KX-R and now the Simaudio Moon P-8, at least equal tubed preamps, and perhaps even exceed their performance, in an area that used to be the exclusive preserve of tubes.

The brief period of overlap during which I had the Meridian 808i.2 CD player, the Musical Fidelity 750K Supercharger monoblocks, the Revel Ultima Salon2 speakers, and the Simaudio Moon Evolution P-8 preamplifier was, I think, the best sound I have experienced in my current room. First the Musical Fidelitys had to go back to the distributor, then the Revels had to be forwarded to a reviewer for another magazine. And now that I've written this Follow-Up, the Simaudio P-8 will soon be on its way back to Canada. But as I write these words, with Attention Screen playing on the Meridian and a Simaudio Moon Evolution W-7 amplifier driving the Acoustic Energy AE1 Mk.3 Special Edition speakers I will be reviewing in the November issue, the P-8 is still working its special magic on the soundstage—and the music!—John Atkinson

NEXT: JA's Review System »

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SOLID STATE PREAMP REVIEWS

Simaudio Moon Evolution P-8 preamplifier JA's Review System

Sidebar: JA's Associated Equipment

Digital Sources: Ayre C-5xeMP universal player; Meridian 808i.2 CD player; dCS Puccini SACD player; Benchmark DAC 1 D/A converter; Logitech (Slim Devices) Transporter WiFi music player with Apple Mac mini for media storage; dCS 972 D/D converter.
Preamplifiers: Simaudio Moon Evolution P-7, Parasound Halo JC 2, Mark Levinson No.380S.
Power Amplifiers: Simaudio Moon Evolution W-7, Musical Fidelity 750K Supercharger monoblocks.
Loudspeakers: Revel Ultima Salon2, PSB Imagine B, Spendor SA-1, Acoustic Energy AE1 Mk.3 Special Edition.
Cables: Digital: Kimber Illuminations Orchid AES/EBU, Stereovox CV2 electrical S/PDIF, AudioQuest OptiLink-5 S/PDIF. Interconnect (balanced): AudioQuest Cheetah, Ayre Signature. Speaker: AudioQuest Kilimanjaro. AC: PS Audio Lab, manufacturers' own.
Accessories: Target TT-5 equipment racks; Ayre Myrtle Blocks; ASC Tube Traps, RPG Abffusor panels; Shunyata Research Dark Field cable elevators; PS Audio Power Plant 300 at 90Hz (preamp), Audio Power Industries 116 Mk.II & PE-1, APC S-15 AC line conditioners (not power amps). AC power comes from two dedicated 20A circuits, each just 6' from the breaker box, a power amplifier plugged into each.—John Atkinson

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Exerts from TAS

Moon Evolution P-8 preamp, W-8 amp, & Andromeda CD player

Equipment report by   Paul Seydor   Categories:   Solid-state preamplifiers  |  Products:   Simaudio Moon Evolution P-8

Cruising the halls of Consumer Electronics Shows, I’ve often paused to admire the products of Simaudio, a Canadian firm with over twenty-five years’ experience manufacturing high-quality electronics. It has always had a reputation for high performance, while its uniquely styled amps and preamps impressed me as both eye-catching yet functional. So it was with keen enthusiasm that I accepted the assignment to review three of Simaudio’s flagship components from its Moon Evolution line: the P-8 preamplifier and W 8 amplifier, both dual-mono designs, and the Andromeda CD player. Intended as full-out assaults on the state of the art, and priced accordingly—a formidable $33k for the stack— these two-channel-only beauties attest to the tenacity of old-fashioned stereophonic reproduction in an increasingly multichannel world. “Old-fashioned?” Perhaps “new style classicism” is more accurate.

Given how distinctively styled the Evolution components are, I evaluated them almost exclusively as a stack, as that is how most purchasers will more than likely use them. Let’s begin with tonal balance. In my opinion, once you set aside electronics that are deliberately voiced to sound a certain way (e.g., some of Bob Carver’s amplifiers with their “Gundry dip”) or the occasional impedance mismatches from weird cables and/or unusual speaker loads, the vast majority of solid-state components have no sonic signature in the strictly tonal sense. This is certainly true of the Evolution gear. Gourmet in, gourmet out, garbage in, garbage out is pretty much the story here.

But does this mean everything sounds the same? Not quite. Recently I auditioned an expensive integrated amplifier with superb performance. But the Evolutions soon exposed a slight touch of dryness in that otherwise impressive unit, unearthing very fine details of ambience that had eluded it, and suggesting improved resolution—very subtle but noticeable—when it came to separating lines and textures. For example, on my trusty Glenn Gould recording of Beethoven’s First Piano Sonata [Sony], though the recording is dry, high resolution electronics unveil a slight cushion of air between the instrument and the microphones. Both amplifiers made this evident—the Evolutions fractionally more so. As for Gould’s notorious vocalisms, same story: a bit more clearly separated from the sound of the piano, thus more distinctly localized.

But I get ahead of myself. As soon as I fired up the Evolutions, even without the obligatory break-in, I noticed an unmistakable increase in transparency, a “see-through” immediacy that put me in mind of the Boulder electronics I reviewed a couple of years ago or the McIntosh C46/MC402 combination that is a current reference. Coupled with this was a sense of total ease and relaxation in the listening experience. A few days later I was joined by a close friend, an audiophile of long experience who is also one of the most widely employed studio violinists in Los Angeles. Within in a few minutes his first observation was, “Man, these things are really easy to listen to.” It’s worth noting that this man’s reference at home is one of the Edge amplifiers so admired by some of my TAS colleagues.

Yet the Evolutions are not just about, to use Charles Ives’ wonderful phrase, letting the ears lie back in an easy chair. They also exhibit extraordinary grip, control, and authority. One afternoon found me comparing performances of the Mahler Third Symphony, beginning with Esa Pekka Salonen’s recording of my hometown orchestra, the Los Angeles Philharmonic [Sony]. The soundstage is Cinerama size, the dynamic range formidable, but what is truly breathtaking about this recording is its vast spaciousness. There seems to be no limit to the air above and beyond the orchestra, yet quiet passages retain their immediacy without seeming to be spotlit. For example, when the tympani are tapped quietly, you can “hear,” as it were, the texture of the skin; when the tambourines are shaken, articulation is such that you can almost count the spaces between the rings. Next up was Benjamin Zander’s recent Telarc recording. The sound of the hall in this recording is gorgeous, but while the space is and feels smaller than that of LA’s Dorothy Chandler Pavilion, the sense of sheer orchestral mass, abetted by Telarc’s justly famous bass response, is even more powerful. (Perhaps owing to the W 8’s stratospheric damping factor, bass response seemed to extend to the center of the earth.) Last up was Bernstein’s DG recording with the New York Philharmonic. Clearly multimiked, taken from concerts at Avery Fisher Hall, this is the least impressive sonically of the three: noticeably dry and lacking in atmosphere, the orchestra cohesive, yet also spotlit with exaggerated perspectives. Yet the close miking does reveal one thing with blinding clarity. Instruments actually do appear to occupy a specific space and stay there. In both the Sony and Telarc recordings, beautiful as they are, there is a subtle vagary to the imaging that gives the impression that nothing quite occupies its own place. The effect is rather like a focus that is constantly searching for ultimate sharpness.

I have heard these effects before with other fine electronics, though not always to the degree that this Evolution stack resolved them. But more to the point is how musically involved I was that afternoon. The Evolutions allowed me to hear how, despite its comparatively inferior (though still eminently listenable) reproduction, Bernstein’s is so clearly the best performance, as if he had got his players literally to breathe the Mahlerian idiom: so nuanced in expressiveness, so epic in scope. As far as I’m concerned, any audio equipment that makes for this level of engagement in the musical experience has already discharged its highest function.

Are the Evolution components worth their substantial price? Let me answer that in two parts. First, nobody reading this magazine can be unaware that even moderately priced electronics have reached such a level of performance that the decision to purchase extremely expensive alternatives is as much a lifestyle choice as it is the pursuit of audio excellence per se.

That said, however, there are many consumers, including no few audiophiles, who like the idea of a unified electronics stack from a single manufacturer: preamp, amp, and source that are coordinated with respect to performance, features, and aesthetics. This arrangement virtually by definition ensures optimal matching, eliminates incompatibility, and, especially when styled as strikingly as those under review, makes for an impressive, if imposing display in a domestic setting. So in that context— and especially when you consider that most packaged (i.e., “lifestyle”) stacks don’t offer anything like this performance—the Evolution array, though undeniably expensive, certainly doesn’t strike me as unfairly priced with respect to its competition or its outstanding combination of design, build, parts, finish, and truly prodigious performance. It’s an investment that will make great music for the better part of a lifetime.

Design Features

There are too many features and functions to detail them all in a report of this relative brevity. I’ll summarize some of the more salient ones, but a visit to Simaudio’s Web site is recommended if you’re seriously contemplating a purchase (www.simaudio.com). All three pieces share dual-mono, fully balanced, differential circuitry, multiple toroidal power supplies, and rugged chassis, optimized for rigidity and low resonance, supported by polished coned feet. Simaudio rates the W 8 power amplifier at 250 watts/channel into 8 ohms, and claims 64-amp peak and 26-amp continuous current, a damping factor over 800, and unconditional stability into any load. It operates in Class A mode for the first five watts. A novel self-diagnostic system detects the presence of DC and automatically shuts the amplifier down until the DC is removed.

The Andromeda CD player, a Red Book-only unit, houses the transport, controls, and display in one chassis, the power supplies in the other (digital and analog, each has its own toroidal transformer). The transport is a Philips CD Pro 2 M mounted on Simaudio’s own gel-based Delta suspension. In line with those who believe front-loading trays compromise stability and thus sonics, the Andromeda loads through a drawer on the top of the chassis, with a clamp for improved stability (a clever touch is its slightly tacky contact surface, so that when the clamp is lifted, the CD comes with it). Upsampling is 24-bit/705.6kHz using a Burr-Brown DF1704 digital filter with 16x oversampling. Although an integral player, the transport and the DAC sections can be used separately, should you want to connect, say, a digital music server or drive an outboard DAC. In addition to the usual controls, the front panel sports an absolute polarity switch.

The entire Evolution stack can be controlled by a single handset, beautifully machined and contoured to fit comfortably in your grip. I have just two criticisms of the remote operation, both relating to the Andromeda: I’d prefer the polarity switch to be accessible from the handset and that random access was available at all. Since the designers wanted one handset for the whole Evolution series, they bizarrely left off functions that would pertain exclusively to the CD player. Any player out there using Philips’s RC-5 protocol that has the appropriate buttons on its handset will provide random access for the Andromeda, but the consumer will have to search out and purchase said remote. Pretty cheeky for an $11.5K player! In truth, for most CDs this isn’t much of an inconvenience, but if you’ve been comparing, as I have, recordings of Beethoven’s Diabelli variations, which can have as many 34 tracks, the lack of random selection is very annoying.

My only other complaint has to do with the manuals: all commendably thorough, well written, and easy to follow, but cheap in look and feel (e.g., Kinko-grade spiral binding). Why does it seem almost axiomatic in high-end audio that the more expensive the product, the cheesier the manuals? When consumers lay out this kind of money, they want—and surely deserve—manuals that suggest some sense of occasion, designed to the same high standards set by the products themselves. PS