{"id":34070,"date":"2023-03-31T14:12:32","date_gmt":"2023-03-31T12:12:32","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=34070"},"modified":"2025-01-27T12:17:42","modified_gmt":"2025-01-27T10:17:42","slug":"playback-designs-mpd-6","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/spdif-dac-reviews\/playback-designs-mpd-6\/","title":{"rendered":"Playback Designs MPD-6"},"content":{"rendered":"

Review organized by Marc Loubeau \/ Prestige Audio Diffusion<\/a>
\nReview sample provided by Prestige Audio Diffusion<\/a>
\nRetail prices including VAT:
\nMPD-6: 17.990 euro
\nStream-X2 option (UPnP & Roon Ready): 3.590 euro<\/h4>\n

About Playback Designs<\/h3>\n

For detailed information about founders Andreas Koch and Bert Vogt, the origin of Playback Designs, and the Edelweiss design philosophy, please see my earlier MPS-X review.<\/p>\n

\"\"<\/p>\n

MPD-6 Description<\/h3>\n

The Playback Designs MPD-6 is a discrete DAC with integrated analog<\/em> volume control. As part of the Edelweiss series, the\u00a0 MPD-6 has its roots in the Dream series from which it borrows key technologies and combines these with new ones to create a more compact and cost-effective package.<\/p>\n

The MPD-6 can be operated in two different ways. First, it can be used standalone. For this setup, the DAC has five digital inputs (USB, PLINK, AES\/EBU, Coax, and TosLink) to connect any digital source. The Playback Designs’ proprietary clock generator, jitter-eliminating, and buffering technology (PDFAS) clean up any digital input signal before subjecting it to the D\/A process.<\/p>\n

Second, the MPD-6 can be connected with the MPS-X digital source and streaming interface. In this mode, the MPS-X and MPD-6 are combined for the ultimate separation between digital and analog circuits and ultimate performance. In this mode, all the digital sources are no longer connected to the MPD-6 directly, but rather to the MPS-X digital interface which in turn is connected to the MPD-6 via the galvanically separated fiber optical PLINK interface. In this mode, all digital source signals actually pass the PDFAS clean-up and buffering mechanism twice: once in the MPS-X and a second time in the MPD-6. This results in even stronger clock signal integrity and sonic performance.<\/p>\n

Connectivity<\/h3>\n

The MPD-6 has the following digital inputs: USB (PCM up to 384kHz, DSD up to 11.2MHz) 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 PLINK for all native sample rates. The only digital output is via PLINK, which accepts all rates natively. Analog outputs are available in fully differential XLR and single-ended RCA. Optionally, the Stream-X2 module can be added to the MPD-6 to enable full streaming audio support.<\/p>\n

Stream-X2 Option<\/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. This option enables a wide range of Playback Designs components to include very high-quality streaming over an RJ45 network connection for Tidal, Qobuz, Deezer, vTuner, NAS, and importantly, Roon.<\/p>\n

Any DLNA\/UPnP-compatible app should work with the Stream-X2 option 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

The Stream-X2 option is also available for the Edelweiss series MPS-6 CD\/SACD player\/DAC, as well as for the Dream Series MPT-8 Transport and MPS-8 CD\/SACD player\/DAC. 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. This 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 standalone MPS-X in combination with an MPD-8.<\/p>\n

The MPD-6 unit as reviewed here is fitted with the Stream-X2 option.<\/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

Power Supply<\/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 and 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

\"\"<\/p>\n

The MPD-6 comes with a beautifully sculpted full-metal IR remote control handset.<\/em><\/p>\n

\"\"<\/p>\n

Separation<\/h3>\n

It is well known that the core D\/A circuitry and its associated analog output stage are among the most sensitive links in the digital playback chain. They are susceptible to influences from clocked circuits (such as processors and displays), power supplies, and external sources connected via (galvanically coupled) copper cables. Only the slightest modulation of the digital sample clock will result in jitter which in turn can contribute to what audiophiles often describe as “digital” sound. Often, these subtle disturbances, especially related to clock jitter, are hard or even impossible to measure. Tedious listening tests with prototype circuits can help the designer in optimizing the general architecture and detailed circuit design and this is exactly what the Playback Designs team did. The separation of circuits that allows the music to blossom is what connects the Edelweiss design philosophy with the Edelweiss flower. It blossoms in isolation, high up in altitude in a pure surrounding where it is one with nature and is free to grow into the symbol of beauty, purity, strength, and perfection.<\/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 known that two independent clock generators within the same product that are not coupled or synchronized in any way, will \u201ebeat against each other\u201c and create inter-modulation distortion. This doesn\u2018t matter so much for the display clock, but it does very much for the audio sample clock. Therefore, it is Playback Designs\u2018 strict design rule to only use one 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.<\/p>\n

The Edelweiss products use a single clock source to drive every circuit from the control processor to the signal processor, the digital input, and the display. The MPS-X is designed to allow multiple clock generators for the streamer, network bridge, etc. but it then re-clocks all digital signals through Playback Designs\u2018 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

The MPS-6 and MPD-6 also allow an internal streaming option (Stream-X2), but Playback Designs have taken great care to separate this source from the analog circuit to minimize any negative intermodulation effects. For the audio sample clock, the company uses a proprietary generator designed to eliminate any correlated jitter that can negatively impact the sonic performance. This is one of the most critical technologies in a DAC, and Playback Designs is constantly innovating new algorithms on the same basic concept that was started already 20 years ago.<\/p>\n

Digital processing and D-A Conversion<\/h3>\n

The Edelweiss Series DACs incorporate the same basic digital signal processing algorithms that made Playback Designs\u2018 earlier products famous all over the world. New frequency and time-based filters are working in concert to optimize performance during transients in the music signal, something the music signal is generally full of. According to Playback Designs, this helps bring out a level of performance of red-book CDs that is normally hidden when using conventional DAC chips and algorithms.<\/p>\n

\"\"<\/p>\n

Additionally, an apodizing filter is used which can remedy some of the side effects caused by the A\/D converter used in the studio during production. All PCM inputs are upsampled through this series of algorithms to a very high sample rate from where they are converted to DSD at an even higher sample rate. All DSD inputs are also upsampled to this intermediate sample rate. What follows is a proprietary digital process that further increases the bit rate of the signal to around 50MHz. To put this into perspective, most companies are upconverting 2, 4, or 8 times while Playback Designs are doing it 128 or 256 times.<\/p>\n

At that point, the sample rate is so high that conversion to analog becomes quite trivial. But the significant advantage of this is not only a drastic simplification of the analog part of the DAC but also the prevention of any non-linear distortions that are common with most other DAC structures.<\/p>\n

Discrete DAC<\/h3>\n

Relying on component manufacturers to solve signal processing challenges can end up in compromised performance. Therefore, Playback Designs embarked on a path to design a proprietary discrete solution. Standard chips for digital signal processing were considered not good enough and so the company uses gate arrays that can be programmed with their own discrete and proprietary algorithms.<\/p>\n

2D DAC Technology<\/h3>\n

As Playback Designs puts it, audio is represented in an y\/x-axis system: the (vertical) y-axis for amplitude and the (horizontal) x-axis for time, and digital audio was introduced mostly because of analog audio\u2019s sensitivity problems in the (vertical) y-axis. However, as Playback Designs recognizes, digital audio not only quantizes the y-axis, but it also does so on the x-axis.<\/p>\n

A typical state-of-the-art DAC converts between quantization levels in the digital y-axis and the analog y-axis and is completely transparent and open as to what happens on the x-axis (the time domain). As it follows, this lack of quantization on the x-axis forced us to treat digital audio signals as if they were analog. As end users, we use special cables, all kinds of mechanical devices for our CD players, power conditioners for digital audio, etc, in an attempt to shift the original problem from the y-axis to the x-axis, but the issues are still the same. Instead of interference or crosstalk, we now call it clock jitter.<\/p>\n

Almost all DACs available today deal with the y-axis only and rely on external devices for the x-axis, such as complicated master\/slave clock arrangements or external sync clock generators. According to Playback Designs, these devices are like band-aids on a wide-open wound deep inside the DAC. They help but do not truly resolve the problem at the source.<\/p>\n

The Playback Designs solution is a 2-dimensional DAC that not only works on the y-axis but also on the x-axis. With this, the aim is to separate the digital world completely from the analog world and in doing so render any digital cable, transmission format, storage media, and application completely irrelevant to the final sonic performance. The only analog problems that we still have then are clock jitter that was inherent in the source created during recording, and the need for separation of the power supplies for digital and analog. And this is where the MPD-6 comes in.<\/p>\n

Clock jitter from incoming digital audio signals can be described as an analog signal that gets mixed together with a quantized digital signal, which would be our ideal and constant sample rate clock. Before the start of any processing, these 2 components are brought into the same domain. The Playback Designs system quantizes the clock jitter into a digital signal, where it can be subtracted from the original sample rate while the latter is simultaneously converted to analog. Meanwhile, the DAC also works independently in the y-axis by using a set of unique algorithms in a completely discrete architecture. With this technology, all Playback Designs products separate their sensitive analog circuitry from the digital source and virtually eliminate any clock jitter caused by upstream cables and components.<\/p>\n

User-Updateable<\/h3>\n

The architecture in Playback Designs products is programmable and user updateable. As new algorithms and technologies become available the user can immediately upload them into the product in form of a firmware upgrade.<\/p>\n

Output Stage and Volume Control<\/h3>\n

The DAC’s analog output stage is designed with the finest components using 0.1% metal film resistors and film capacitors combined with the lowest noise precision impedance converters. The design for this was built from the ground up and features a true differential structure which means that one channel of audio is built out of two fully differential digital signals that are driven by an FPGA dedicated to the analog section only. The data transfer from the digital board to this FPGA is also differential and without any galvanic ground connections. Once again, the concept of separation and isolation is applied to the analog section of the DAC to achieve maximum performance.<\/p>\n

The Edelweiss Series incorporates a very high-quality analog<\/em> volume control which has been developed and refined over many years. This way, the output of the Edelweiss Series DAC can be adjusted to any level from zero to almost 25 volts peak in fine steps without compromising noise and distortion performance. This design is actually very similar to the Dream Series products, and if desired, the volume control can also be bypassed.<\/p>\n

Next: Review Context<\/p>\n

<\/p>\n

Review Context<\/h3>\n

The MPD-6 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>, and Taiko Audio Extreme music servers, 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

\"\"<\/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

This particular MPD-6 had already seen plenty of use meaning that it should require very little time to come on steam. And indeed, after letting it acclimatize for 2 days from the cold outside before connecting it to power and switching it on, it sounded fantastic right away.<\/p>\n

I started with the Grimm MU1 server as a source via a Jorma AES\/EBU<\/a> cable. While walking through the MPD-6’s available output level settings I found that the +3dB setting aligned it perfectly with the CH C1.2 DAC’s output, so I stuck with this. Note that different gain levels can result in a different sonic balance. I did not experiment with this on the MPD-6, but usually, the sound becomes more relaxed at lower levels and spicier at higher levels. This means there will be some room for subtly tweaking the MPD-6 either way.<\/p>\n

With the MPD-6 used at a fixed output level and feeding the CH L1 analog preamp, the music is presented in a beautiful mix of effortless liquidity and truly excellent resolution, not bettered by any other DAC that I used, including the C1.2. There’s an utter lack of hardness or edge combined with great finesse and absence of veiling, and one could say it really is rather “analog” in the way that it allows the music to pour from the speakers in a totally unforced manner, while also craftily avoiding sounding laidback or slow. Well-behaved and non-fatiguing, yes, but not polite.<\/p>\n

In addition to sounding delicate and free-flowing, the MPD-6’s beautifully-dosed tonal shading and delicate smoothness make it far from analytical, let alone clinical. Nevertheless, it is very fast and expressive and highly resolving. This is where it stands out from more traditional “strictly neutral” DACs such as the Denafrips Terminator Plus<\/a> or the Aqua Formula xHD. But then, these DACs could rightfully be said to lean over to the slender and analytical side, the Denafrips certainly more so than the Aque. When also taking the CH C1.2 DAC into consideration, which I regard as extremely neutral after the C1 to C1.2 upgrade, I would say the MPD-6 is actually also very neutral, verging only very slightly on the sweet and relaxed side, although I hasten to add that I would not classify it as warm per se. Or, at least, not in the typical sense where this denominator is assumed to be accompanied to mean a little thick, slow, rounded, rolled off, or dynamically restrained. None of this applies to the MPD-6.<\/p>\n

\"\"<\/p>\n

More specifically, when compared using balanced interlinks via the CH L1 preamp, the MPD-6 is easily just as transparent and highly resolving as the twice-as-costly C1.2 DAC. And even if it is not quite as explicit or immediate in its overall delivery as the admittedly rather direct Swiss DAC, the MPD-6’s bass is very nearly as articulate. Which is to say, quite the opposite of slow, thick, or mushy. Meanwhile, I’ll add that the C1.2 may offer a more exacting and explicit rendition that I personally happen to be fond of, I know this is not for everyone. And the other side is that it also sounds less liquid, less expansive, and comparatively relatively matter-of-fact.<\/p>\n

But all audiophile parameters aside, the MPD-6’s main raison d’etre is of course not being a reviewer’s file inspection tool. Rather, it is in having the rare capability of presenting fine detail, and expression, and in presenting all of the music’s intent in a very natural, fluid, and unforced manner that promotes long listening sessions. Indeed, just as analog does so well.<\/p>\n

Over the course of my several listening sessions, the MPD-6’s main quality that lingered in my head most of all was that it rendered itself invisible while making the message of the music the prime priority. With this DAC, it is very easy to just relax and enjoy the music.<\/p>\n

\"\"<\/p>\n

Power Cables<\/h3>\n

When used in combination with the CH L1 preamp, I found that the MPD-6 works superbly well when powered with the same cable that I use for the CH C1.2 DAC, which is the tight and fast-sounding GigaWatt LC-2 EVO<\/a>. These cables are perfect for my taste when the MPD-6 is used as a DAC with a fixed analog output level into the CH L1 preamp. But when connected directly to the A1.5 power amp, the MPD-6 also sounded superb with the GigaWatt PowerSync ULTRA<\/a> which sounds fuller and richer and a little less spritely and direct but otherwise remains spot-on neutral. If an extra touch of delicacy and fluidity is desired, the Final Touch Audio Elara<\/a> brings it. This does slightly reduce the purity and immediacy but adds a naturalness and magic that is highly alluring.<\/p>\n

\"\"<\/p>\n

Ultimately, the MPD-6 leaves the cable choice entirely to the user. It’s predominantly a matter of deciding which cable best personifies the user’s personal taste and much less so a matter of system synergy.<\/p>\n

\"\"<\/p>\n

Stream-X2 input<\/h3>\n

So far, I’ve listened to the MPD-6 only using the Grimm MU1 via AES\/EBU. But as I already know from reviewing the MPS-X digital interface, the MPD-6 DAC has a very neat trick up its sleeve that comes in the shape of the Stream-X2 option as detailed further up.<\/p>\n

For my initial assessment of the MPD-6’s Stream-X2 performance, once again, I used the Grimm MU1, the only difference being that it connects to the MPD-6 via RJ45 and an Ethernet switch, rather than via AES\/EBU.<\/p>\n

The MPD-6’s Stream-X2 input is easily activated in the Roon settings but after I hit play, there was no sound. As it turns out, the MPD-6 does not automatically switch to the streaming input as some other Roon-Ready endpoints do. The C1.2 does this and I always thought this was a Roon requirement. But maybe it’s optional. Anyway, it’s no big deal, and I’ll just select it manually. To my delight, the MPD-6 is highly responsive to remote control demands. If I rapidly click three times in a row, the input also changes three positions. Sounds logical, but for so many products, this is not the reality. All too often, I have to force myself to click slowly to allow the component to keep up.<\/p>\n

The streaming input is also ready for work the instant it is selected. When the music plays, I’m pleasantly surprised by the consistency in presentation. Sometimes, streaming inputs can sound very different from regular digital inputs, just as USB can sound very different. But with the MPD-6, there’s just the tiniest difference, the bass being slightly tighter and the midrange slightly leaner, but otherwise, I’m hard-pressed to hear a difference, which is a great result!<\/p>\n

Antipodes K50<\/h3>\n

Besides the Grimm MU1, I also have the Antipodes K50 at hand which is not only handy for its wider range of outputs including USB but also offers a rather different sonic perspective.<\/p>\n

The change from the Grimm MU1 to the Antipodes K50 server whilst retaining the Jorma AES\/EBU cable feeding the MPD-6 brings a fuller, more deeply saturated tonality with an even higher degree of liquidity and an enriched organic feel, as well as slightly lower resolution and reduced transparency. To my content, all these observations are precisely what I expected based on many earlier comparisons between the Grimm and the Antipodes, which is a further testament to the MPD-6’s consistency.<\/p>\n

\"\"<\/p>\n

USB<\/h3>\n

As I mentioned, USB inputs tend to sound very different from other digital inputs. Basically, Asynchronous USB holds the promise of perfect timing because the DAC’s clock is fully in charge without having to extract the clock signal from the upstream source. In practice, however, the results vary. In large part, the success hinges on the implementation of the interface on both ends. But given the MPD-6’s track record so far I was kind of expecting the USB input to sound very good, and fortunately, it does indeed!<\/p>\n

When comparing the K50’s AES\/EBU output to its USB output via a Final Touch Audio Sinope<\/a> USB cable, the server largely maintains its rich and organic feel but with notably increased transparency, tightness, and articulation, as well as an increase in PRaT. At this point, I should note that the K50’s USB output does indeed usually sound different from its AES\/EBU output, and indeed, usually similar to what I heard now. However, what is very unusual, and indeed quite remarkable, is that the server’s tonal fullness and organic feel are retained.<\/p>\n

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

<\/p>\n

Adding MPS-X<\/h3>\n

Even though I was already highly enthusiastic about the MPS-X as a streaming endpoint, I was not prepared for the magnitude of improvement that it would bring when used between the K50’s AES\/EBU output and the MPD-6 via the glass PLINK connection. The server’s inherent pleasant sonic aspects, and more importantly, the music’s intent were fully preserved, but the increase in tightness, articulation, and pacing was absolutely massive!<\/p>\n

\"\"<\/p>\n

The music was already emotionally involving and highly engaging before, but now, the rhythm was propelled significantly more effectively with increased expression, leading to frantic toe-tapping on my behalf. To be clear, these were not just technical changes or details that are only interesting for die-hard audiophiles. The MPS-X quite simply allows the source component greater communication skills!<\/p>\n

After the success of routing the AES\/EBU signal via the MPS-X, I also tried the MPS-X’s USB input using the K50. As it turned out, the MPS-X also did wonderful things for the USB signal albeit slightly differently than for the AES\/EBU signal. As with the latter, the sound of the USB connection became slightly faster and more agile, but this time, it also became more liquid and ethereal. Effectively, it looks like the MPS-X brought USB and AES\/EBU closer together. The music now poured out of the speakers even more freely as it shed what apparently was still a small remnant of what I often hear as a slightly electronic or “controlled” nature of USB behavior compared to most other connection methods. And again just as with the AES\/EBU connection, the improvement came with exactly zero downsides, leaving me now 1000% convinced that the extra step via the MPS-X consistently provides better sound.<\/p>\n

In fact, the beneficial changes that the MPS-X brings are so immense that I wondered how the K50 + MPS-X would now compare to the standalone MU1.<\/p>\n

After connecting the Grimm with the same type Jorma AES\/EBU cable to the MPD-6, and using the lightning-fast IR remote control, this was easily checked. Well, I’ll be… The Grimm was no longer more transparent or any more highly resolving than the Antipodes. In fact, what remained was only the difference in character, or rather, the overall presentation, the Antipodes sounding richer and more fulsome and the MU1 sounding leaner and more direct. Otherwise, the differences that existed prior were eliminated.<\/p>\n

Of course, this was not exactly fair as the Grimm was not allowed the same beneficial MPS-X treatment as the Antipodes. But imagine my increased surprise when the MU1 turned out to sound mostly the same through the MPS-X! I’ve repeated the comparison a few times, but sure enough, the Grimm’s comparatively leaner and more matter-of-fact sound remains whether it outputs to the MPS-X or directly to the MPD-6.<\/p>\n

I have a theory but I’m not sure if it holds water. It may be that the Grimm’s clock and\/or digital output section is more accurate than that of the Antipodes, which would mean that the MPS-X’s de-jittering and reclocking process has more impact on the latter than the former. In any case, while the two servers sound different, both work absolutely great when combined with either of the Playback Designs components. Especially when the MPS-X is added, any residual differences boil down to personal taste, and ultimately, may even be ignored.<\/p>\n

\"\"<\/p>\n

Streaming via MPS-X<\/h3>\n

As I had already found, the MPS-X is one heck of a streaming endpoint. One of the very best I have heard, in fact. But so far, that judgment was based solely on its AES\/EBU output into the CH Precision C1.2 DAC.<\/p>\n

So, what happens when using the MPS-X’s PLINK output into the MPD-6, compared to using the MPD-6’s own Stream-X2 input? Oh yes, you guessed it: we get the same invigorating increase in expression and pacing as heard with the digital sources via AES\/EBU.<\/p>\n

I just love it when audio components behave so consistently and when improvements are nothing but improvements, without any ifs or buts.<\/p>\n

But before I forget, the MPD-6 has one more trick up its sleeve, and a rather important one at that!<\/p>\n

\"\"<\/p>\n

Analog Volume Control<\/h3>\n

The MPD-6 incorporates a very high-quality analog<\/em> volume control which is actually very similar to the one used in the Dream Series products. If desired, the volume control can also be bypassed, and this is how I assessed the DAC so far. But now, it is time to see how the MPD-6 performs when driving the A1.5 power amp directly.<\/p>\n

When enabling volume control in the setup menu, the bottom display becomes active and shows the volume setting.<\/p>\n

With the CH L1 preamp out of the signal chain and the Driade interlinks connected directly between the MPD-6’s outputs and the CH Precision A1.5’s inputs, the DAC sounds different<\/em> but still impressive. Now, it’s even more articulate, agile, clean, fast, transparent, and expressive, but importantly, still fluid and very finely nuanced. However, on its own, the MPD-6 does not achieve the same level of refinement, tonal saturation, and free-flowing, room-filling liquidity as when partnered with the CH L1.<\/p>\n

When used standalone, the MPD-6 becomes even more neutral and arguably soberer and this is when I felt that it would probably work more synergistically with a different power cable.<\/p>\n

\"\"<\/p>\n

For the C1.2 DAC as well as the MPD-6, I use the tight and articulate Gigawatt LC-2 EVO power cable but for the L1 preamp, I use the fuller and richer-sounding GigaWatt PowerSync ULTRA. When treating the MPD-6 also to a PowerSync ULTRA, the absence of the L1 preamp does indeed work out differently and the MPD-6 re-balances out really nicely with a gentler naturalness and a very worthwhile increase in tonal richness and soundstage depth.<\/p>\n

It was when I made another power cable swap to the Final Touch Audio Elara that the MPD-6 on its own arguably sounded most like the C1.2+L1 combo. Well, not in all facets. For instance, this cable made it deviate in terms of bass precision and directness, among others. But in terms of naturalness, delicacy, and the overall balance between precision and fluidity, it brought the MPD-6 even closer.<\/p>\n

But ultimately, the MPD-6’s preamp section does not turn into the equivalent of a CH L1. Of course, there is no shame in a 32-K preamp beating a 16-K DAC’s built-in analog section. But used this way, the MPD-6 sounds so mightily impressive that one could argue whether or not the extra benefits are worth spending so much extra money on.<\/p>\n

At the core, the aim of any analog preamp should be for it to simply relay the signal as unaltered as possible. This, the MPD-6’s built-in analog volume control certainly does magnificently. It most definitely does not add any flavor to the sound nor does it detract very much. And for that alone, I must already rank it highly. And unlike many DACs, the resolution stays constant at any volume level. This is especially easy to hear in the treble which remains fluid and refined and free from dryness no matter the volume setting.<\/p>\n

\"\"<\/p>\n

Feet<\/h3>\n

The MPD-6 was predominantly reviewed using its own three felt-tipped feet. This works well with it placed on a variety of surfaces but as I would find later, the DAC is capable of scaling even greater heights. With an Artesania Exoteryc rack, the natural method of placement is on the rack’s integral feet that bypass the component’s feet. And indeed, this leads to the least mechanical, most organic sound.<\/p>\n

But when I tried a couple of aftermarket feet in combination with an Artesania KSH2 Krion shelf, I found that the MPD-6 is more sensitive to what it is placed on than the MPS-X. In this case, there is a significant benefit to be gained by placing the unit on top of well-matching specialist feet.<\/p>\n

\"\"<\/p>\n

First, I tried a set of StillPoints Ultra SS<\/a> (the newer V2 variant) which provided superlative tightness and articulation. However, they also made the DAC sound a little too clean and lean and all in all, unless the host system verges to the overly relaxed side, I would not recommend these feet with the MPD-6 or the MPS-X.<\/p>\n

Next, I tried Ansuz Darkz. These feet are available in four models, each of which steps up the game as you move up in the range. While all of them provide a well-chosen balance between flow and control, I suggest skipping the entry-level model C2T (Aluminum) for the MPD-6 and starting with the S2T (Stainless Steel).<\/p>\n

Like the StillPoints, Ansuz Darkz S2T also provided a serious uptick in the perceived resolution and transparency whilst also enhancing the bass articulation. But their clever design allows them to maintain a level of freedom in the horizontal plane which prevents them from tipping over into a technical, mechanical, static, constrained, or overly revealing sound.<\/p>\n

If the budget stretches, then the T2 (Titanium) and T2S (Titanium\/Zirconium\/Tungsten) provide undeniably further increased realism. The T2 allows the sound to move further away from being electronic or mechanical and makes everything that much more fascinating. The most costly T2S version does all the aforementioned while sounding tonally more saturated and providing even better separation between instruments within the soundstage.<\/p>\n

Conclusion<\/h2>\n

Put simply, the MPD-6 is a superb DAC. No matter which input you use, it combines excellent resolution, linearity, and transparency with amazing delicacy and refinement, and a touch of sweetness and it wraps this in a fantastically coherent yet enchantingly organic and wholly unforced presentation. In addition, it has a truly great analog volume control that neither drops the resolution at lower levels nor makes the DAC sound less musical and emotionally engaging, as is often the case when skipping a dedicated analog preamp.<\/p>\n

All the audiophile accolades aside, the very aspect of the MPD-6 that stuck with me most throughout my listening sessions, is that its main distinguishing quality is to render itself invisible while making the message of the music the prime priority. With this DAC, it is very easy to just relax and enjoy the music.<\/p>\n

As good as the MPD-6 is on its own, partnering it with the MPS-X and the proprietary PLINK connection provides a very significant further increase in terms of expression and realism. And as a bonus, the MPD-6 also sounds absolutely fantastic when driving a power amplifier directly.<\/p>\n

In short, the MPD-6 comes highly recommended!<\/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 Koch 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 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 K22 <\/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