I originally purchased the MU1 for its amazingly pure-sounding AES/EBU output. However, I found that while successive firmware updates had increased its resolution and refinement, they had also made it more sensitive to (or revealing of) the typical Roon downsides, which vary with every Roon update. As a result, I started experimenting with using the MU1 purely as a server, streaming to other endpoints.
The first candidate, of course, was the CH C1.2 DAC, which had me 100% convinced of its superlative performance via AES/EBU and streaming via UPnP. However, as with most DACs, the Roon Ready input was always less convincing. When using the Grimm server to stream to the CH DAC directly, the sound remains fluid and natural, with increased purity and delicacy compared to using the Grimm’s AES/EBU or S/PDIF output. However, it still lacks stature, conviction, and expression, essentially the typical Roon downsides, and this eventually led to the addition of the Aqua LinQ Network Interface.
The MPT-8, however, provides a fresh perspective. To be fair, the MU1’s digital output section is special in that it offers excellent resolution and transparency while remaining fluid and refined, avoiding sounding stereotypically digital. Come to think of it, it has some resemblance to classic Meridian CD players such as the 507 and 808. In any case, the MPT-8 retains all of the MU1’s “non-digital” qualities while further increasing the naturalness with improved purity, texture, deepened saturation, and an altogether more organic flow. Additionally, and this is what truly sets it apart for me, the MPT-8 sounds much more concrete, dynamic, and confident, successfully offsetting the undesired Roon signature.
As a relatively affordable but brilliant and almost endlessly expandable network interface, the Aqua LinQ has consistently provided the best streaming performance in my system. It reigned supreme until I reviewed the Playback Designs MPS-X, which performs even better in certain key aspects. For instance, the MPS-X sounds lusher and more liquid and refined. However, these benefits come at the expense of a reduction in incisiveness, solidity, and articulation. As such, I felt both interfaces offer a valid perspective.
The LinQ sounds best using UPnP or Squeezelite. Fortunately, Roon is compatible with Squeezelite. To that end, the software emulates a Squeeze server and can then stream directly to a Squeezebox or Squeeze-compatible product. Note that only one Squeeze server may be active at any time, so any hardware or software Squeeze servers must be switched off, or Roon will not work.
Using native Squeeze or Roon with Squeezelite to the Aqua LinQ sounds really great, and I’ve waxed lyrical about this in the LinQ Squeeze Module review. Alas, as much as I like the LinQ, the MPT-8 is in another league. It sounds significantly cleaner and purer and, at the same time, more natural. Whereas I usually need the LinQ for Roon to become acceptable, the MPT-8 achieves its superior rendition using native Roon RAAT!
What’s more, the MPT-8 achieves all the accolades so deserved by the MPS-X (using Stream-X2) and “simply” adds the aforementioned advances to them, resulting in the best Roon performance I have achieved in this system so far.
Regular readers know that I love the Roon interface and its extensive functionality, but ultimately prefer the clean and direct sound of UPnP. So, as the final experiment, let’s see how the MPT-8 performs compared with the Aqua LinQ using this protocol. With the Oladra in UPnP/MPD mode, controlled with the excellent JPLAY iOS app, the LinQ provides a familiar sound that is convincingly robust, tight, and concrete. However, it is also darker, rougher, and considerably less refined than the MPT-8 has achieved using Roon and Squeezelite.
Oh, boy, that pretty much set the stage already. Indeed, when streaming to the MPT-8 using UPnP, it further emphasizes its supremacy, effectively dethroning the LinQ as the best streaming endpoint. The MPT-8 outperforms it with massively increased airiness, spaciousness, and fluidity. Simultaneously and amazingly, the MPT-8 significantly increases resolution while remaining liquid and ultra-refined. To be clear, Roon still sounds slightly fuller and more relaxed, while UPnP sounds somewhat cleaner and more incisive. But at this level, I would argue that the format no longer matters much, as the MPT-8 is superior whether streaming from Roon or UPnP.
Conclusion
Do not assume the MPT-8 Dream Transport merely provides a beautiful enclosure for the Stream-X2 option with additional functionality and connectivity. While it certainly does these things, the MPT-8 dramatically enhances the performance of any source while also throwing in a superb CD transport.
The Dream Transport does not take its moniker lightly. By a massive margin, it is both the best Streaming Endpoint and CD Transport I have heard.
To fully do it justice, it receives the HFA Magnificent Masterpiece award.
Try out Roon for yourself
External Links
Manufacturer: Playback Designs
PRESTIGE AUDIO DIFFUSION
Distributor for France & Monaco / Belgium / Switzerland
Contact : Marc Loubeau
Tel : +33(0)6 49 89 68 88
Email: contact@prestigeaudio-diffusion.fr
Website: www.prestigeaudio-diffusion.fr
More About Playback Designs
Interview with Andreas Koch about the future of CD and SACD (feverSound.com)
DSD Seminar by Andreas Koch (blogspot.com)
Hi Christiaan,
thank you, great review as usual.
One question:
Only considering streaming from Qobuz, after this review which set-up (upstream to the DAC) provides the best performance when using MPD-8 as DAC?
Thank you
Matt
You mean which server? I will leave that to the reader to decide as they all have their unique characters, which I described in the MPD-8 review. The beauty of Qobuz is that you can also stream directly, without a server, directly from an app. This also sounds really good.
Hi Christiaan, I appreciate your review. I had a MPS-8 + Stream X2 and used it for some months with MPD-8, connected by P-Link. The sound was really impressive, better to all my previous digital set up. Listening to CD or SACD proved that PLAYBACK DESIGNS has realized a fantastic player at quite an expensive price but not stratospheric. Then I use TAIKO Extreme + MPD-8 with USB and the sound from Qobuz or server is much more open, more realistic in soundstage and dynamics increased to an unpredicted level of realness. I much recommend to use MPT-8 or MPS-8 with better feet than the original that use felt. Remove the 3 felts, use top rank cones + base and the sound will improve greatly.
Best
Hi PHP,
thanks for your info that Taiko Extreme outperforms MPS-8 + Stream X2.
I think you will not get a comment by Christiaan about Taiko since he works for this company.
ATB
Indeed, I cannot get into deeper comparisons between the Extreme and other servers, as that will pose a conflict of interest. This is why I rarely use the Extreme Server in my reviews.
Great review! I own an MPD-8 and previously owned a La Diva Mk. 2 CD transport but got rid of it because, while I found soundstage depth and layering to be excellent the height and width of the stage were of a significantly smaller scale than my previous (and rather boring Musical Fidelity transport). I’m curious what you noticed in comparing the soundstage (particularly the height and width) of the La Diva to the that MPT-8?
I think what you may be referring to as a high and wide stage is what I usually call an “aura” or “bubble”, a consistent feeling of a room-filling sound. This is not necessarily the same as a component accurately relaying the stereo- and phase information in the recording. To me, the Aqua La Diva M2 is every bit as wide, deep, and room-filling as the best players I heard, but only when this information is in the recording. I don’t recall finding the La Diva M2 to sound smaller than the PD MPT-8, although the latter clearly had more body and stature, providing a bolder and more impactful sound. However, I did find the original La Diva to have quite narrow imaging with less projection outside of the speakers, and with an overall less spacious feeling than most other players. On the other hand, it was also tighter and more accurate than most, and that usually has an inverse effect on the perception of space. Lastly, the way we experience soundstage also ties in quite heavily with the room acoustics, listening position, and speaker placement, making this, unfortunately, perhaps also a relative matter.
Hi Christiaan, Thanks for your reply! I don’t know if I am referring to the “aura” effect as you define it (because I’m not sure of that includes off-axis listening or not) but merely to the boundaries of the soundstage as one experiences them in a sitting in the sweet spot. The properties I’m talking about I think are the kind you mentioned there when describing there the original La Diva. You had also described the Tambaqui a while back in similar terms as producing a more “focussed” soundstage (horizontally) that sat more between the speakers rather than extending beyond them. In those terms, what I experienced was about the same from the mk 2. Indeed there are many variables at play including room acoustics, as you said. Seems you don’t have the same impression of the mk. 2. (that of a more “focussed” stage) after trying it in numerous system configurations. In my case I’ve had multiple transports in my system and the mk. 2 stood out as being on the side of the narrower and shorter soundstage.
Hi Ajay, Ok, interesting! Maybe I was generalizing. But indeed, I experience the La Diva M2 as much more spacious and free-flowing than the orginal La Diva, which does indeed image more or less similarly as the Tambaqui. In any case, the MPT-8 ranks at the top of my list.
Thanks, Christiaan! We all generalize about the characteristics of individual components even knowing that that is a tricky proposition because of system and room dependency factors. But I think some people have a sounder (even if not absolutely conclusive) basis for their generalizations than others. In your case you at least often get to try out components in many different configurations of systems which allows you to notice patterns which I can t so easily (because I have a much more limited array of equipment at my disposal). Interesting what you found with the mk. 2. Makes me cautious with respect to the MPT-8, though (given the soundstage width and height were not much different than with the mk. 2 in your tests). I suspect something else in my system is probably constraining the sound-staging in this regard.
Hi Ajay, thanks for the trust. Following what you said about the MF, I know that certain transports can sound extra-spacious, or perhaps even larger than life. Some of the classic CDM-1-based players come to mind, but invariably, these are also much less concrete and precise, and I do not consider these classic players reference-grade. But ultimately, as much as we want it to be an exact science, there is always a personal component to audio. We may perceive things differently, or just prefer different renditions. BTW, the MPT-8’s behavior can be influenced by the digital interconnect system, and it sounds significantly more liquid (as well as most free-flowing and subjectively more spacious) when using PLINK. Personal preferences aside, when you have an MPD-8, I would still think the MPT-8 is the ideal partner, and I would recommend trying to get a home audition so you can decide for yourself. If you do, I will be interested in hearing your thoughts!
Thanks, Christiaan! I will keep you posted on that. BTW, apparently the Muaical Fidelity transport utilizes the Sharp GH6C005B optical pickup mechanism — seemingly something relatively uncommon in the audiophile world. Still, it synergism’s well in my system — perhaps more because it compensates for other system limitations than because it’s such a great player. Have to agree that the La Diva mk 2 was more resolving, imaged better, etc.