{"id":34027,"date":"2023-03-05T17:23:39","date_gmt":"2023-03-05T15:23:39","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=34027"},"modified":"2023-07-17T09:51:54","modified_gmt":"2023-07-17T07:51:54","slug":"playback-designs-mps-x","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/network-player-reviews\/playback-designs-mps-x\/","title":{"rendered":"Playback Designs MPS-X"},"content":{"rendered":"

Review organized by Marc Loubeau \/ Prestige Audio Diffusion<\/a>
\nReview sample provided by Prestige Audio Diffusion<\/a>
\nRetail price including VAT: 13.990 euro<\/h4>\n

About Playback Designs<\/h3>\n

Founded by Andreas Koch and spearheaded by him and Dipl.-Ing. Bert Vogt, Playback Designs aims to produce the highest performance, highest resolution, jitter-free digital playback systems for the most discerning of listeners.<\/p>\n

Many people consider digital playback to be sonically inferior to analog playback, whether tape or vinyl. As Playback Designs puts it, many digital playback systems produce high frequencies that tend to sound processed or harsh, which is commonly referred to as \u201cdigititis\u201d or \u201cdigital hash\u201d. This is an unnatural sound that can cause listener fatigue and irritation during long listening sessions. Conversely, with analog, there tends to be a much more visceral experience. Listeners are less analytical and just accept and enjoy the musical experience more so with tape or vinyl playback.<\/p>\n

It is the company’s goal to match or better the areas where analog had superior advantages, without losing the benefits of great digital playback.<\/p>\n

Andreas Koch<\/h3>\n

Founder, CEO, and Engineer Andreas Koch is not only one of the foremost specialists in Digital but he’s also the developer of the Sonoma DSD recording, editing, and mixing system, an integral part of SACD production. He started his audio career working for Studer ReVox in Switzerland back in 1982. It was his task to build the world\u2019s first fully asynchronous digital audio sample rate converter, patent granted in 1984. Also, in 1984, he designed one of the first filter banks for digital audio. Some of the same ideas were used later in audio compression algorithms such as MP3, AC-3, and others. Next, he went to work with Dolby Labs in San Francisco. In 1986 he built the hardware for the very first incarnation of what is today the widely used AC-3 compression algorithm. In 1987 Studer ReVox in Switzerland required his return to manage the development of a professional DASH digital audio tape recorder.<\/p>\n

In 1993 Sony in Florida needed his services and Andreas oversaw product development for professional audio products and launched various mixing consoles. Sony asked Andreas to relocate to San Francisco in 1997 where he started and managed the development of the world\u2019s first 8-channel DSD recording\/editing\/mixing machine. \u201cSonoma\u201d is still used today in studios throughout the world and has been used for most SACD releases. Andreas designed all the digital parts of A\/D and D\/A converters that helped establish DSD as a superior-sounding audio format in SACD and also participated in all standardization committees for SACD in conjunction with Philips.<\/p>\n

In 2003 Andreas decided to go into business for himself as an independent contract engineer. For the next four years, he designed all of the digital componentry, algorithms, and architecture for EMM Labs digital audio products, both professional and audiophile. He designed and implemented various revolutionary algorithms for sample rate conversion (SRC) and also developed a discrete D\/A converter and unique architecture for clock management from digital audio transmission inputs. In 2008, he formed Playback Designs and launched an integrated SACD\/CD player with a variety of digital inputs that incorporates all the experience, knowledge, and algorithms gathered and developed over the last 25 years.<\/p>\n

Bert Vogt<\/h3>\n

All analog circuitry of the Playback Designs products is developed by Bert Vogt. After his medical studies, which gave him a deep insight into the human anatomy, including the functionality of the ear and its analyzing part that we call the brain, Bert received a diploma in electrical engineering. In 2004, he worked together with Andreas Koch for the first time during his semester as an intern, when he embarked on creating a digital format converter. After finishing his studies in 2005, Bert started building his own products, foremost the analog pre-amplifier Puralio, which he showed at the High-End show in Munich in 2007. As a lucky coincidence, Andreas Koch also visited this show and became enamored with the sound of the Puralio.<\/p>\n

Once Andreas decided to start Playback Designs, he brought in Bert to design an analog output stage for what would become the Playback Designs 5 Series. During this process, Bert also re-designed the D\/A converter stage. With its discrete filtering and discrete output stage without any chips or OP-amps, Bert\u2019s analog circuitry fits well into the discrete architecture of the 5-series D\/A converter.<\/p>\n

Since 2005 Bert has been working also as Head of Electronic Development at ILA in J\u00fclich, a company developing solutions for optical volume flow measurement based on Laser Doppler Velocimetry and Particle Image Velocimetry. This specialized equipment requires challenging analog HF designs, digital FPGA systems, and board layout techniques. This unique experience helps Bert in the design of the PCB layouts for the analog and digital circuits for Playback Designs with optimal attention to signal integrity far above the audio range.<\/p>\n

As a side note,\u00a0Bert Vogt was previously known as Bert Gerlach. As he wittily mentioned on the Playback Designs FaceBook page<\/a>: “Hey, for those who wonder: Yes! I’ve married and now have another family name. So ‘Bert Gerlach’ becomes ‘Bert Vogt’. Everything else stays the same and audio quality is not affected;-)“<\/span><\/em><\/p>\n

Portfolio<\/h3>\n

There are currently two lines in the Playback Designs catalog: The Dream Series, which was introduced first, and the Edelweiss Series, which was introduced in the first part of 2022. The MPS-X reviewed here is part of the latter range.<\/p>\n

Edelweiss Series<\/h3>\n

There is an exceptionally beautiful and unique flower that stands out from any other flower. This is because it grows in isolation, high up in altitude where the air is pristine, in the Swiss Alps. The purity of the surroundings allows it to be one with nature and grow into a flower that has long been used as a symbol of beauty, purity, strength, and perfection. It is the Edelweiss – the national flower of Switzerland where the roots of Playback Designs are.<\/p>\n

The idea of separating and isolating each key element in a DAC design has been a key design goal in the Dream series, where many aspects were physically separated: analog from digital circuits, left channel from right channel, the power supply for digital from the power supply for analog, etc. With a lower target budget for the Edelweiss series than for the Dream series, Playback Designs was challenged to find technologies and architectures that could achieve similar results at a significantly lower cost.<\/p>\n

The Edelweiss series (6-series) borrows heavily from the Dream series but uses brand-new designs and technologies to still allow an \u201eEdelweiss-like\u201cpurity in places where physical separation and isolation are not possible.<\/p>\n

\"\"<\/p>\n

The Edelweiss components come with a beautifully sculpted full-metal IR remote control handset.<\/em><\/p>\n

\"\"<\/p>\n

Power Supplies<\/h3>\n

A critical part of any analog circuit is its power supply. All power supplies used in the Edelweiss Series products are proprietary-designed, built from the ground-up developments. Playback Designs applied the same principles again of separation by designing it with the lowest noise linear regulators, sparing no expense to achieve the highest performance and the most transient-friendly power for the analog output stage. The power supply is actually eight-in-one as it has 4×2 parallel circuits to help further separate individual power domains. It is driven by a transformer that is custom-built for Playback Designs with integrated Mu-metal shielding.<\/p>\n

Clock Generation and the influence of Displays<\/h3>\n

Most available displays are driven by internal processors or refreshing circuits with simple built-in clock generators that run freely at frequencies that are not related or coupled to any audio sample rate. It is also known that two independent clock generators within the same product if not coupled or synchronized, will “beat against each other\u201c and create inter-modulation distortion. This doesn\u2018t matter for the display clock, but for the audio sample clock, it does very much. Therefore, it is Playback Designs\u2018 strict design rule to only use a single clock generator in the most critical element, the DAC. But this drastically limits the choice for the front panel display. Where many competing products use fancy graphic color displays, Playback Designs products use simpler displays that can be driven with an external clock that allows being synchronized with the audio sample rate. The selected displays are nice and crisp and despite using small dot-matrix characters can be read from a large distance.<\/p>\n

The Edelweiss products use a single clock source to drive every circuit from the control processor, to signal processor, the digital input, and the display. The MPS-X is designed to allow multiple clock signals for the streamer, network bridge, etc. but it then re-clocks all digital signals through the proprietary high-precision clock generator before sending the signal out to the DAC via its fiber optical interface (PLINK). This prevents any inter-modulation effects from reaching the DAC and achieves the best possible separation between analog and digital circuits.<\/p>\n

Expandability<\/h3>\n

Playback Designs products have always employed an expandable architecture. For instance, the MPS-5 SACD player received 20 free software and one hardware upgrade over its 10-year lifetime. The Edelweiss Series have been architected with the same philosophy in mind: to be programmable and user-updateable to provide performance improvements and new features at no cost. As new algorithms and technologies become available the user can upload them into the product in the form of a firmware upgrade.<\/p>\n

However, with the increasingly fast-paced developments of high-resolution audio via downloads and internet streaming, it is inevitable that, at some point, hardware upgrades will become necessary. For this, all Edelweiss Series products are equipped with a high-speed fiber optical interface to transfer the music signal between devices called PLINK, a proprietary protocol that natively supports all PCM and DSD formats. More about this format can be read further below.<\/p>\n

New external accessory boxes can then be added to existing products to expand their capabilities with new features. New streaming protocols (Tidal, Qobuz, and others) as well as new encoding formats (MQA and others) are created every year. Some become successful, some disappear again. But with this modular approach of external hardware boxes, Playback Designs can quickly adapt and introduce new features to existing product lines, so they do not become obsolete for a long time. For instance, one can add the Stream-X2 option to an existing Playback Designs DAC or CD player to enable full streaming audio support.<\/p>\n

\"\"<\/p>\n

PLINK<\/h3>\n

PLINK is a variation on ST glass optical, specially adapted by Playback Designs to carry the delicate music signal from component to component whilst supporting all sample rates for PCM and DSD natively. PLINK is an optical format but it uses an entirely different interface than TOSLink. Instead of relying on a LED source, PLINK uses a high-quality, low-jitter, Laser ST fiber optic interface. This kind of interface is normally used for very high bandwidth communication links where receivers require an extremely low-jitter signal for reliable decoding. The music signal travels over PLINK using a much lower bandwidth protocol than the specified limit of the media, which further increases robustness against jitter. Cables for PLINK are specified for multimode, 62.5\/125\u00b5m.<\/p>\n

The first version of the PLINK interface was launched more than 15 years ago and supported DSD up to 5.6MHz. This version is called \u201cClassic\u201d and is implemented in the Playback Designs 5-series products and IPS-3 (unless they have been upgraded). As technology never sits still, the DSD sample rate has been expanded to 11.2MHz several years ago. Accordingly, Playback Designs also expanded the PLINK format and called it \u201cSonoma\u201d reminiscent of its Sonoma workstation origin.<\/p>\n

Interestingly, PLINK is compatible with NAGRA LINK. This means that the MPS-X Network Transport is compatible with NAGRA DACs that have a NAGRA Link input. And the same logic applies to the MPT-8 Transport. This is worth noting as there are currently no CD\/SACD or Streamer Transports in the NAGRA catalog.<\/p>\n

\"\"<\/p>\n

Sonoma Recorder<\/h3>\n

All Playback Designs devices are compatible with the proprietary Sonoma Recorder software for Windows. The Sonoma Recorder is a free software application for the Windows platform that allows you to record natively any digital audio being generated either by the Pinot A\/D Converter or being played through any Playback Designs DAC or indeed the MPS-X interface’s USB output. The software creates .wav (PCM), .dff (DSD), or .dsf (DSD) files that can then be played on the Playback Designs Syrah Server or any other player. This is a great way to digitize tapes or vinyl!<\/p>\n

Next: MPS-X Description<\/p>\n

<\/p>\n

MPS-X Description<\/h3>\n

The concept behind the MPS-X Interface is to connect digital sources such as computers, servers, network-attached storage, internet streaming services, and any other digital sources to it rather than directly to the sensitive circuits of a DAC.<\/p>\n

\"\"<\/p>\n

In fact, the MPS-X is based on the same very high-quality Stream-X2 board that is available as an internal option for MPD-6 \/ MPS-6 devices of the Edelweiss series but in a standalone chassis version that is designed to provide the best possible performance.<\/p>\n

This turns it into a full-fledged standalone Network Endpoint \/ Streamer compatible with streaming services such as Tidal, Qobuz, Deezer, and vTuner, as well as local storage solutions on a NAS via DLNA\/UPnP, and importantly, Roon.<\/span><\/p>\n

Any DLNA\/UPnP-compatible app should work with the MPS-X but the best ones are the M-Connect Control HD app for iPad and Bubble UPnP for Android. With these apps, one can stream local library music as well as online streaming services such as Qobuz and Tidal. Alas, it seems Qobuz Connect is not supported as I did not succeed in streaming to the MPS-X directly from the Qobuz app.<\/p>\n

Arguably the best user interface is provided by Roon which also supports both local libraries and streaming service music playback, which is then streamed to the MPS-X via Roon’s own RAAT protocol.<\/p>\n

Isolation<\/h3>\n

The MPS-X takes a three-pronged approach to achieve ideal isolation and the best possible performance. First, it employs PLINK, a high-quality proprietary fiber optical link to carry the music signal to the DAC with full galvanic separation. Second, it makes use of proprietary PDFAS clocking technology to buffer all digital inputs to dramatically reduce any clock jitter. While all the Playback Designs products have this technology already built in, adding a second layer in the MPS-X is said to further increase the performance. Lastly, the MPS-X’s separate chassis provides physical isolation and is fitted with a high-quality linear power supply.<\/p>\n

The MPS-X has the same sophisticated clock generator and jitter filter built in as any other Playback Designs product. So, by connecting your digital sources to the MPS-X and connecting the MPS-X via PLINK to the Playback Designs DAC, the audio signal is filtered (without altering bits), buffered, and cleaned twice. Once by the MPS-X and once by the DAC, in both cases separated by a high-quality fiber optical link, PLINK.<\/p>\n

\"\"<\/p>\n

Connectivity<\/h3>\n

The MPS-X has the following digital inputs: USB (PCM up to 384kHz, DSD up to 11.2MHz), PLINK for all native sample rates, AES\/EBU (PCM up to 192kHz, DSD via DoP), S\/PDIF on Coax (PCM up to 192kHz, DSD via DoP), TOSLink (PCM up to 96kHz), and optionally, Streaming via RJ45 (Tidal, Qobuz, Deezer, vTuner, NAS, Roon). There are three digital outputs: PLINK, AES\/EBU, and S\/PDIF on Coax.<\/p>\n

\"\"<\/p>\n

Stream-X2 extra info<\/h3>\n

Stream-X2 is the successor of the older Stream-IF interface that was limited to 192kHz \/ DSD1x, whereas Stream-X2 supports sample rates up to 384kHz for PCM and 4x for DSD.<\/p>\n

In addition to the MPS-X Interface, the Stream-X2 option is also available for the Edelweiss series MPD-6 DAC and MPS-6 CD\/SACD player\/DAC, as well as for the Dream Series MPT-8 Transport and MPS-8 CD\/SACD player\/DAC.<\/p>\n

The MPD-8 DAC is not able to be fitted with the internal Stream-X2 option. In that case, the Stream-X2 option must be installed into the MPT-8 Transport which should then ideally be connected to an MPD-8 using the proprietary PLINK.\u00a0This will then transform the MPT-8 Transport into a universal CD\/SACD\/Streaming transport, capable of sending native DSD through PLINK. <\/u><\/u>Alternatively, if one does not mind non-matched casing quality and colors, one can also use the MPS-X in combination with an MPD-8.<\/p>\n

\"\"<\/p>\n

Review Context<\/h3>\n

The MPS-X was listened to in the main system<\/a> that consists of the CH Precision C1.2<\/a> DAC, CH Precision L1<\/a> preamplifier, CH Precision A1.5<\/a> power amp, and Magico S1 MkII speakers. Digital sources include the\u00a0Grimm MU1<\/a>, Antipodes K50<\/a> Music Servers (both running Roon), the Taiko Audio Extreme music server, and the Aqua LinQ<\/a> network interface. Full disclosure: to avoid a conflict of interest as I also work for Taiko Audio, I will not be writing about the Extreme Music Server.<\/p>\n

All interlinks are Driade Flow Link Reference 808<\/a>, both balanced and unbalanced. The speaker cables are the Mad Scientist Black Magic<\/a>.<\/p>\n

The core components are placed on Artesania Exoteryc<\/a> racks with Carbon Fiber Linear Arms<\/a>. The MU1, as well as most review components, are placed on Artesania Aire<\/a> Floor Platforms (also with Carbon Fiber Linear arms) which are basically identical-sounding lower versions of the Exoteryc rack. On top of the floor platforms, I tend to use Artesania KSH2 Krion shelves<\/a> so that review components can be used with their own feet, as well as a selection of after-market feet.<\/p>\n

\"\"<\/p>\n

Listening<\/h3>\n

Starting with a Qobuz source using UPnP directly via the M-Connect app on iPad and connected via Jorma AES\/EBU<\/a> cable to the CH Precision C1.2 DAC, the MPS-X sounds immediately convincing. It has a direct, rhythmic, fast, pure, and impactful sound, combined with deep tonal saturation and an enveloping soundstage. Its presentation is lively, crisp, and dynamic but far from being cool or dry. I know we’re “only” talking about a Streaming Endpoint, but still, the MPS-X is reminiscent of how great analog can<\/em> sound, albeit not the way that some people romanticize the medium, as warm, lush, or round. Rather, it’s like a turntable that is set up to achieve superlative transient behavior whilst still possessing seemingly endless decays.<\/p>\n

Somehow, the sound is precise and realistic yet very far from clinical. Depending on what is played, the music can actually be beautifully liquid and organic and with a very delicate touch. There is a very gentle innate sweetness which could probably better be described as a lack of edge, but without overlaying any kind of signature sound or turning over into adding romanticism. Importantly, there is no thickness in the bass and no blur whatsoever. It’s rather crafty, actually, how the MPS-X manages to present the music in an organic, human, and engaging manner without sounding unnaturally enriched, let alone colored.<\/p>\n

My admiration for the MPS-X grew even more when I heard the exact same Qobuz source relayed via Roon running on a Grimm MU1 server and streaming to the MPS-X. Almost in every single instance that I tried it before with other equipment, Roon sounds comparatively thickened in the bass and lower midrange, and somewhat sweet and friendly overall, compared to UPnP, MPD, or SqueezeLite. Even my CH C1.2 is not exempt from this, sounding really great with UPnP but less so when streaming to it via Roon’s RAAT protocol.<\/p>\n

This time, with the MPS-X, I was in for a surprise! Sure, Qobuz via Roon streaming to the MPS-X still sounds slightly different than direct UPnP from the M-Connect app, but really, the differences here are so small that they’re not worth obsessing over.<\/p>\n

\"\"<\/p>\n

The only other streaming endpoint that I heard do this trick of making Roon sound as crisp as UPnP is the Aqua LinQ. I should note that this streaming endpoint actually uses an intermediate HQPlayer server\/player solution and its associated NAA format to produce a sound that in practice does indeed yield a more consistent result than the usual Roon RAAT connections. And with the ongoing Roon and Grimm updates constantly changing the sound, I sometimes use the Grimm as a server only, streaming via HQPlayer to the LinQ as a player, in an effort to mitigate these differences.<\/p>\n

After being so impressed with the MPS-X, I switched back to the Grimm all by itself (currently running Roon 2.0, build 1211), to find that while it certainly did not sound bad, its presentation did not have the same level of crispness, directness, and overall impact, as when streaming to the MPS-X. This mirrored my experiences with the Aqua LinQ, so now I wondered, how exactly would the LinQ compare to the MPS-X?<\/p>\n

\"\"<\/p>\n

Both endpoints manage to make both UPnP and Roon sound great. The MPS-X sure is not lacking in speed, drive, or expression, but nevertheless, the Aqua LinQ is even more immediate and direct, and with certain beat-driven music styles, that can work really well. When I reviewed the LinQ at the time, I felt that it was dead-on neutral but after some recent system changes and renewed assessments, I now think it’s fair to say that it is slightly on the dry side. Just like the MPS-X, the LinQ avoids sounding clinical. But the LinQ’s immensely articulate, very direct, and super-focused sound does make it come across as slightly sober. The MPS-X simply excels in being liquid, free-flowing, and spacious, particularly possessing more distinct layering in the depth plane.<\/p>\n

With these two rather different presentations, each will no doubt appeal to its own audience. Given the significant price difference, though, it’s not really fair to compare these two products head-on. At its price point, I know of no other streaming endpoint that betters it. But budget allowing, there is simply no arguing the MPS-X’s superiority.<\/p>\n

But there’s a final important point to make. Although both products work suberbly well on their own and in different-brand systems, it should also be noted that each has further potential when used with same-brand products. The LinQ benefits when used with AQLink to connect to an Aqua DAC, and the exact same goes for the MPS-X and its PLINK connection. Especially the latter will become abundantly clear in my next review when I will combine the MPS-X with the MPD-6 DAC.<\/p>\n

\"\"<\/p>\n

Feet<\/h3>\n

Virtually all audio components are sensitive to what they are placed on. The MPS-X is no exception but I found that its 3 felt-covered feet work really well. As standard, just using its own feet and on a variety of surfaces, the MPS-X sounds just right to me and although you can indeed pull the unit’s balance in a different direction if you like, I would not insist on using aftermarket feet.<\/p>\n

If you do want to experiment, I recommend against non-damped hard couplers such as StillPoints<\/a>. I tried the Ultra SS V2 but these are simply too strong medicine for this application. On the other hand, I am not in favor of soft couplers either as they invariably affect the pacing and drive. Instead, I would recommend using hard-coupling feet that nevertheless allow a degree of freedom, such as Ansuz Darkz<\/a>.<\/p>\n

The inherent high quality of the MPS-X really deserves the best feet but I should warn that with Darkz, this can get rather expensive. As I found, the S2T Darkz provide probably the best value for money but there’s no way around it and the T2 and T2S simply provide an even more realistic delivery. But don’t worry if the budget does not stretch that far as the MPS-X already sounds fantastic just as it is, using its own feet.<\/p>\n

\"\"<\/p>\n

Power Cables<\/h3>\n

The MPS-X’s well-balanced and very neutral delivery allows it to be paired successfully with a very wide range of power cables. I found that it works superbly well even with a rather simple Belden 19364 power cable (with Bals schuko and Oyaide C-004 IEC). The GigaWatt PowerSync ULTRA also worked well, providing a smoother and richer, more liquid and more relaxed, yet still very neutral sound. But for my taste and in my system, I was most impressed with the sound when using a tight and fast-sounding GigaWatt LC-2 EVO<\/a>, which I also use for the C1.2 DAC and the Aqua LinQ. In any event, the MPS-X is clearly not fussy about power cables.<\/p>\n

Conclusion<\/h2>\n

Neutral, fast, lively, and expressive, yet finely nuanced, fluid, spacious, and gently svelte, the MPS-X offers the very best streaming audio performance that I have experienced so far. More importantly, it offers the same superb sound quality whether streaming from UPnP or using local or streaming Roon RAAT sources. The MPS-X significantly improves the sound of the two resident Music Servers whilst offering even more potential in the context of a Playback Designs system.<\/p>\n

Stay tuned as I dive deeper into the proprietary PLINK connection and will assess what the MPS-X can bring in addition to the Playback Designs MPD-6 DAC, in my next review.<\/p>\n

\"\"<\/p>\n

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

Try out Roon for yourself<\/h3>\n

Get Roon 1 month for free<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer: Playback Designs<\/a><\/p>\n

PRESTIGE AUDIO DIFFUSION
\nDistributor for France & Monaco \/ Belgium \/ Switzerland<\/p>\n

Contact : Marc Loubeau
\nTel\u00a0: +33(0)6 49 89 68 88
\nEmail\u00a0:\u00a0contact@prestigeaudio-diffusion.fr<\/a><\/p>\n

Two portfolios :
\nPrestige Audio Diffusion :\u00a0www.prestigeaudio-diffusion.fr<\/a>
\nPrestige Audio Selection : www.prestigeaudio-selection.fr<\/a><\/p>\n

More About Playback Designs<\/h3>\n

Interview with Andreas Kock about the future of CD and SACD (feverSound.com)<\/a><\/p>\n

DSD Seminar by Andreas Koch (blogspot.com)<\/a><\/p>\n

\r\n
Related Posts<\/div>\r\n
\r\n\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Playback Designs MPT-8 Dream Transport <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Playback Designs MPD-8 Dream DAC <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Wattson Audio Madison and Madison LE <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Melco E100A H80 8TB audiophile USB Drive <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Aqua LinQ Network Interface – Part 4 – Squeezelite <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n XACT S1 Music Server <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Melco N5-H50 <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Antipodes G4 Oladra <\/a>\r\n\r\n <\/div>\r\n \r\n <\/div>\r\n\r\n