{"id":39861,"date":"2025-03-24T10:03:21","date_gmt":"2025-03-24T08:03:21","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=39861"},"modified":"2025-05-26T20:08:21","modified_gmt":"2025-05-26T18:08:21","slug":"playback-designs-mpd-8-dream-dac","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/spdif-dac-reviews\/playback-designs-mpd-8-dream-dac\/","title":{"rendered":"Playback Designs MPD-8 Dream DAC"},"content":{"rendered":"

Review organized by Marc Loubeau \/ Prestige Audio Diffusion<\/a>
\nReview sample provided by Prestige Audio Diffusion<\/a>
\nRetail prices including VAT:
\nMPD-8: 30.990 euro (as reviewed)
\nMPD-8-AI (analog inputs): 35.990 euro
\nMPT-8: 23.990 euro
\nMPT-8 with Stream-X2 option: 27.580 euro (as reviewed)
\nUSB X4 Interface (converts USB to PLINK): 3.990 euro<\/h4>\n

This review will focus on the MPD-8 Dream DAC in combination with a range of sources, one of which will be the MPT-8 Transport with the Stream-X2 option and PLINK interface.<\/p>\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 Playback Designs MPS-X<\/a> review.<\/p>\n

Dream Series Design Philosophy<\/h3>\n

The from-ground-up new architecture is the result of multiple prototype generations over two years where the experience of digital and analog algorithms and circuit designs from Andreas Koch\u2019s and Bert Vogt\u2019s expertise, refined over many decades, has been combined and perfected to create a genuinely no-compromise, flexible, and programmable product platform that can deliver ultimate performance and can grow for many years as technology keeps evolving.<\/p>\n

Expandability<\/h3>\n

Playback Designs products are known for their expandable architecture. For instance, the MPS-5 SACD player received 20 free software and one hardware upgrade over its lifetime of ten years. The Dream Series has been architected with the same philosophy in mind: Software upgrades for performance improvements and also new features can be installed by the end user at no cost.<\/p>\n

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MPD-8 Description<\/h3>\n

Part of Playback Design’s Dream Series, the MPD-8, along with the MPD-8AI (with analog inputs), are the company’s highest-tier DACs. The DAC-8’s architecture is specifically designed to eliminate and isolate anything that might hurt its analog performance. For instance, left and right output channels are built on separate circuit boards powered by completely separate power supplies. For the audio sample clock, Playback Designs uses a proprietary generator designed to eliminate any correlated jitter that can negatively impact the sonic performance. All digital input signals are filtered, cleaned, and processed with Playback Designs\u2019 proprietary algorithms to keep any negative influences away from the hyper-sensitive DAC. Special care has been given to the design of the clock generator to make sure it is not exposed to any potentially harmful influences from external sources.<\/p>\n

The DAC features a Discrete architecture with Playback Designs\u2019 proprietary digital algorithms. The analog outputs can be set to fixed values of -6db, -3db, 0db, +3db, +6db, or to variable for fully analog volume control.<\/p>\n

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Compared to the Edelweiss series MPD-6 DAC<\/a> that I reviewed in 2023, the Dream Series MPD-8 DAC offers, among others, three regulated analog power supplies, each fed from its independent toroidal transformer, a separate power supply for the front panel display, a single clock source to drive every circuit from control processor, to signal processor, to digital input, to display, extensive mechanical shielding including with Mu-metal shielding, completely separated core D\/A and associated analog output circuitry, and a Double-Differential Discrete DAC (two completely separate circuits for each channel, instead of “regular” differential).<\/p>\n

The Dream Series DACs incorporate the same basic digital signal processing algorithms that already made Playback Designs\u2019 earlier products famous and well-liked worldwide. New frequency and time-based filters are working in concert to optimize performance during transients in the music signal – and the music signal is generally full of such transient signals.<\/p>\n

While the core DAC is built with discrete components (no off-the-shelf chip sets), just like all previous products by Playback Designs, the Dream Series DAC section is built with a much more elaborate architecture and layout, more precise and powerful components, and with strict separation between sensitive circuits and anything that could impact its performance negatively.<\/p>\n

The analog output stage of the DAC is designed with the finest components of 0.1% metal film resistors and film capacitors combined with the lowest noise precision impedance converters. This new design features a true double differential structure, which means that one audio channel is actually built out of four fully differential digital signals that are driven by a FPGA dedicated to the analog section only. Further, the data transfer from the digital board to this FPGA is also differential, without any galvanic ground connections.<\/p>\n

The Dream Series incorporates a very high-quality analog volume control developed and refined over many years. Even the volume control is laid out differentially.<\/p>\n

\"\"<\/p>\n

When looking at the inside photos, it is evident that the designers have not simply enclosed the MPD-6 electronics with minor changes in a more elaborate enclosure. Instead, the circuitry is entirely different and occupies nearly all available space. Due to the new layout, it was not possible to add the Stream-X2 board. Naturally, this board can be added to other components, the MPT-8 being the prime example.<\/p>\n

Chock-full: MPD-8 Dream DAC:<\/em><\/p>\n

\"\"<\/p>\n

Room to spare: Edelweiss MPD-6 DAC:<\/em><\/p>\n

\"\"<\/p>\n

The MPD-8 is equipped with a range of digital inputs to serve as a stand-alone DAC with any digital source. These inputs are automatically switched off internally if not selected to prevent any adverse effect of asynchronous data streams from reaching the DAC. Additionally, the user may deactivate any inputs that are not used to shorten the list of selectable inputs.<\/p>\n

\"\"<\/p>\n

Optional Analog Inputs<\/strong><\/p>\n

The MPD-8 can also be ordered as an MPD-8 AI version with analog inputs to complete its fully analog preamplifier functionality. Please note that upgrading an MPD-8 to an MPD-8AI is not possible as there are significant differences in the chassis between these two products.<\/p>\n

The MPD-8 AI is the same MPD-8 Dream DAC but with the addition of two analog inputs, one balanced and one single-ended. The MPD-8 AI helps to simplify the system setup as no external pre-amp is necessary. Any analog sources can be connected to the analog inputs of the MPD-8AI, which is then connected directly to the power amp. The MPD-8AI then handles volume control for all analog and digital sources in the system.<\/p>\n

Updated Analog Output Stage<\/strong><\/p>\n

Recently, the analog output stage for the MPD-8 and MPD-8AI has been upgraded with a selection of new components. The design is otherwise unchanged, and although the change results in a worthwhile improvement, the designers did not feel the change was significant enough to change the product to a Mk2 version. According to the manufacturer:<\/p>\n

“The overall performance has improved audibly. Higher volume listening is cleaner, the dynamics are punchier, and the sound stage seems even livelier than with the original MPD-8”.<\/em><\/p>\n

In short, the consensus is that if one likes the original, one will enjoy the updated version even more.<\/p>\n

Due to high demand by reviewers, the demo sample was not yet equipped with this new board, but any MPD-8 or MPD-8 AI delivered since September 2024 has been fitted with the upgraded analog output stage.<\/p>\n

Next: PLINK, and MPT-8 Description\u00a0<\/em><\/p>\n

<\/p>\n

PLINK and USB X4 Interface<\/strong><\/p>\n

The MPD-8 can interface directly with a wide range of digital sources, including Coaxial and Optical Toslink S\/PDIF, AES\/EBU, and USB. The DAC also offers two fiber optical PLINK inputs. An MPS-X<\/a>\u00a0 can be added to separate the USB source from the DAC, add streaming functionality, and provide a PLINK output. Alternatively, the more cost-effective and compact USB X4 Interface adds a PLINK output to any USB source to take optimal advantage of the MPD-8’s PLINK inputs.<\/p>\n

\"\"<\/p>\n

More about 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 uses an entirely different interface than Toslink. Instead of relying on an LED source, PLINK uses a high-quality, low-jitter, Laser ST fiber optic interface. This 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, further increasing robustness against jitter and allowing for extremely long cable lengths (up to 300m). 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

It’s worth noting that PLINK is compatible with NAGRA LINK, meaning that the MPS-X Network Transport is compatible with NAGRA DACs with 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 Transports in the NAGRA catalog.<\/p>\n

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MPT-8 Brief Description<\/h3>\n

The MPT-8 is primarily a CD \/ SACD Transport (with native mode DSD via PLINK). However, it is also designed as an ideal platform for the Stream-X2 option, making it a Universal Transport.<\/p>\n

The Stream-X2 option enables a wide range of Playback Designs components to include very high-quality streaming over an RJ45 network connection for local library- and cloud services, such as Tidal, Qobuz, Deezer, vTuner, NAS, and Roon. Any DLNA\/UPnP-compatible app will work with the Stream-X2 option, but the best ones are JPLAY<\/a> for iPad and Bubble UPnP for Android.<\/p>\n

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

BTW, the Edelweiss series MPS-X<\/a> Network Transport \/ Streamer is the standalone version of Stream-X2 board inside an Edelweiss series chassis ; plus PLINK interface.<\/p>\n

Contrary to the MPD-8’s single-clock system, the MPT-8 is designed to allow multiple clock generators. It incorporates extensive buffering, re-clocking, filtering, and cleaning of all digital sources to prevent inter-modulation effects from reaching the DAC. As the last step, the digital data is encoded in its native format onto a fiber optical carrier (PLINK) to be decoded to analog by the MPD-8 DAC.<\/p>\n

\"\"<\/p>\n

As the MPT-8 transport is a natural partner for the MPD-8 DAC, it makes perfect sense to review the two components together. However, the MPD-8 is also said to work formidably with any other digital source. Thus, I will assess it using various sources, including another CD transport, three different servers, and a network endpoint.<\/p>\n

Next: Review Context and Listening<\/em><\/p>\n

<\/p>\n

Review Context<\/h3>\n

The MPD-8 and MPT-8 were 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 Antipodes K50<\/a>, Grimm MU1<\/a> and Taiko Audio Extreme music servers, the Aqua Diva M2<\/a> CD transport, and the Aqua LinQ<\/a> network interface.<\/p>\n

All interlinks are Driade Flow Link Reference 808<\/a>, balanced and unbalanced, and the speaker cables are Driade Flow Reference 808<\/a>.<\/p>\n

For support, I use Artesania Exoteryc<\/a> racks and Aire<\/a> floor platforms with Carbon Fiber Linear Arms<\/a>, and HRS EXR<\/a> Stands and Floor Platforms.<\/p>\n

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Listening<\/h3>\n

The MPD-8 and MPT-8 I received are well-used demo units that did not require prolonged running in. Nevertheless, newly positioned components disconnected from the power often need a few hours or even days to get fully on song. Therefore, I usually allow components some time to acclimatize, often in a temporary location, on top of another audio component (which actually works very well with the super sturdy C1.2 DAC, by the way), or as in this case, with the MPT-8 stacked disrespectfully on top of the MPD-8, each powered with a Belden 19364 cable.<\/p>\n

\"\"<\/p>\n

I can rarely resist listening to new components right away, even if they are positioned and connected arguably insufficiently carefully. The urge was extra strong with the Playback Designs units, and I am glad I succumbed because this “first impression” listening session would turn out to be very special right from the start.<\/p>\n

With the MPD-8 and MPT-8, it was crystal clear from the very start that these components were absolutely magnificent. The combo instantly ticked the boxes for the main technical aspects such as resolution, transparency, linearity, and neutrality, scoring many points already during those first impressions. Moreover, the combo also nailed the specific technical aspects I personally find very important, such as control, tightness, articulation, transient attack, and overall expression. Without these, my enthusiasm is usually tempered again, but not this time. While disdainfully taking care of literally all the technical aspects and raking in points left and right, the combo also allowed the music to pour effortlessly into my soul with a level of liquidity, fluidity, and flow, typically only attained at the cost of some of the aforementioned technical aspects.<\/p>\n

Seriously, the MPD-8 and MPT-8 performed so musically engaging yet perfect in every conceivable technical parameter that I soon stopped taking notes and enjoyed the music. Only 10 minutes in, it felt like the verdict was already in, and I could have ended the practical side of the review right there and then.<\/p>\n

\"\"<\/p>\n

“Yup,” I admitted to myself, this is a digital front end I could switch to and not look back.<\/p>\n

Of course, there were still heaps of aspects to investigate and discover, such as discovering how the MPD-8 DAC performs using a range of servers and streamers, assessing the influence of PLINK, and, of course, using the DAC’s high-resolution analog volume control so that my analog preamp can be bypassed. The MPD-8 can be connected directly to the power amp.<\/p>\n

With the units having been switched on for a week and each given their own position on top of an HRS EXR top shelf, it was time to start assessing these beasts with the diligence they deserve.<\/p>\n

\"\"<\/p>\n

Using the MPD-8 with various servers<\/h3>\n

While using sources other than the MPT-8, it became clear that the MPD-8 DAC is hugely transparent to the source. It is an open window in the best sense of the phrase. This means it contributes very little of its own character and simply allows the source to showcase its particular strengths and perform at its best.<\/p>\n

This is yet another strong asset and something that is not at all common. True, I have heard more DACs that are very neutral or very musical, but it is not very often that I find components that possess both in equal measure and without one undermining the other.<\/p>\n

With the Antipodes Oladra running MinimServer and connected via USB, the sound is spacious, smooth, liquid, and tonally well-saturated. The DAC relays all the Oladra’s qualities just as I know them, but it is even more engaging than it usually is with the C1.2 DAC. The MPD-8 may behave like an “open window”, but in the land of transparent components, there are still gradations, and the MPD-8 is most definitely more open and detailed than many others. However, it is also hugely delicate and fluid, making for a technically excellent yet profoundly moving and deliciously delicate presentation.<\/p>\n

Switching from USB to AES\/EBU, as always with this server, the sound becomes even smoother and more liquid, while remaining upbeat, musical, and engaging. However, this time, the difference is very subtle. In fact, I have not heard a more negligible difference between the Oladra’s two outputs before! Ultimately, USB remains slightly tighter and articulate, while AES\/EBU remains a little more organic. But, honestly, the difference is very far from obvious, which is excellent, as this allows using whichever interface is preferred or more convenient.<\/p>\n

With the Taiko Audio Extreme music server running Roon and connected via USB, the sound is again immediately recognizable as I know it to perform with the CH C1.2 DAC: similarly organic and tonally saturated as the Oladra, but even more full-bodied, robust, tonally dense, and timbrally realistic.<\/p>\n

With the Grimm Audio MU1 using Roon, the MPD-8 sounds beautifully clean, neutral, and linear. The sound remains fluid, although, coming from the Oladra and the Extreme, it is comparatively considerably leaner, as well as soberer and less richly saturated. This is, again, precisely how I know the server to perform, and I appreciate it for its transparency, either with my usual C1.2 DAC, or the MPD-8.<\/p>\n

With the C1.2 DAC, I tend to want to maximize its strong areas, such as tightness, control, and articulation, to which the MU1 caters well, but with the MPD-8, I find that I want to focus more on the emotional impact. Between the available servers, I felt the performance was more deeply moving and emotionally seductive with the Extreme and the Oladra.<\/p>\n

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Using the MPD-8 with the MPT-8<\/h3>\n

Playing a range of Red Book (44\/16) CDs with the MPT-8, connected via AES\/EBU, produces a tight, crisp, and controlled yet expressive delivery markedly different from the Extreme and Oladra. It’s not like the Grimm MU1, either, and more like somewhere in between. It has a hugely punchy, sure-footed, earthy, upbeat, direct, and energetic delivery. To some ears, perhaps the MPT-8’s disc transport might be felt to be a little on the matter-of-fact side, but I do not share that sentiment and counter that it is straightforward in being truthful to the source. Although it does not inject the sound with additional lushness or romance in the way that a classic CDM-1 or CDM-4-based CD transport would, its timbral density and tonal saturation keep it far from being clinical. I liked it a lot and felt that the MPT-8 playing CDs produced the best sound with the MPD-8 so far, outperforming the servers in terms of tension, jump factor, liveliness, and expression.<\/p>\n

The combo has an essential trick up their collective sleeves: PLINK! Connected via the standard optical fiber cable, the sound is gentler, smoother, and more fluid. Now, the combo even provided the strongest qualities that can typically be obtained by using classic Swing-Arm or belt-driven CD transports.<\/p>\n

The MPT-8 is also an SACD player, and I found that it plays these discs beautifully, illustrating precisely what is expected from the format compared to Red Book CD (PCM), which is higher resolution, increased delicacy and fluidity, and an altogether more continuous feel. In my experience, DSD playback is usually a little more light-footed than PCM, and the MPT-8 behaves similarly. However, it is definitely one of the most robust and incisive-sounding transports I heard. With the MPT-8 connected via AES, it sounds slightly fuller in the bass and perhaps slightly earthier, albeit arguably carrying more of a PCM nature. In other words, it becomes less DSD-esque. Via PLINK, the sound is more light-footed but just as nimble, as well as airier and more fluid. In other words, PLINK tends to enhance the DSD-typical qualities.<\/p>\n

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\n

Naturally, when a CD transport enters the arena, I must compare it to the Aqua La Diva M2<\/a>. The Diva M2 has a huge heart and is my favorite player at the price point. Its main fortes include fluidity, delicacy, refinement, air, and flow. Sure enough, connected via a Mogami 3080 Neglex AES\/EBU cable, it feels right at home with the Playback Designs components, providing a smooth, lush, and deliciously delicate sound. However, by now, the MPT-8’s transport has spoilt me with its vitality and expression. In comparison, the Aqua is a little rounder than strictly neutral and lacks a measure of control and impact in the low and mid-bass. Otherwise, though, the Aqua keeps up remarkably well, providing very similar measures of resolution, transparency, and, importantly, musicality. While I respect what the Diva M2 achieves at its comparatively modest price point, this is also a reminder of what more is possible at still higher tiers. The MPT-8 may cost more than three times as much, but it beautifully emphasizes the level of performance that Playback Designs have achieved with these components.<\/p>\n

Streaming<\/h3>\n<\/div>\n

The MPD-8’s USB input produces excellent results, as detailed further above, with performance that is close to the MPT-8 playing the physical CD. However, Roon always brings its own character, which is audible with a DAC as transparent as the MPD-8.<\/p>\n

This is where the MPT-8 and the PLINK connection come in. When streaming with Roon to the MPT-8 and relaying this to the MPD-8 via AES\/EBU, there is an unmistakable improvement in spontaneity, agility, and expression. When switching to PLINK, there is another jump in fluidity, delicacy, and overall naturalness. Playing this way, the Roon servers sound even purer and more expressive than when connected directly to the MPD-8 via USB. Speaking of which, the MPT-8 also has a USB input. This input produces an even crisper and more expressive rendition than the MPD-8 DAC’s USB input, which is more similar to Roon streaming and physical CD playback.<\/p>\n

There is a lot more to write about the MPT-8’s possibilities, but I will save that for a potential separate review. This review is already getting lengthy, and I should move on to the remaining MPD-8 tests. In any case, the MPT-8 clearly does not just provide additional functionality, but it also actively works to improve the signal. Or, more accurately, it actively works to prevent harmful noise from polluting the signal.<\/p>\n

Next: DAC comparisons, Analog Volume Control, and Conclusion<\/em><\/p>\n

<\/p>\n

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DAC Comparisons<\/h3>\n

Moving the MPD-8 from the HRS EXR rack to the Artesania Exoteryc rack (with Carbon Linear Arms), the sound becomes less dramatically impactful and robust but more fluid and transparent. Both renditions have their specific merits, but the Playback Designs components work equally well on both racks.<\/p>\n

Swapping the Belden power cable for a GigaWatt LC-2 EVO<\/a> works brilliantly, retaining everything the DAC does so well while providing a more balanced and linear behavior, resulting in a more convincingly realistic performance. With some components, the LC-2 EVO cable can inject a slight dryness, but it matches extraordinarily well with the MPD-8, just as it does with the CH Precision C1.2 DAC, where I use it as standard. Speaking of which… how would these two DACs compare?<\/p>\n

I was almost scared to try, as the MPD-8 was performing so effortlessly splendidly. So, I wondered if the CH would still keep up?<\/p>\n

The 0dB setting on the MPD-8 produced a much higher output than the CH, so I carefully matched the output levels. A setting of -6dB on the MPD-8 matched the C1.2’s fixed output. It was satisfying to note that the DAC’s performance barely changed when the output level was changed. The only discernible difference was that it sounded slightly more impactful with the higher settings. But no matter the setting, the pacing, dynamics, and resolution remained entirely unaltered.<\/p>\n

After playing the first notes (still using AES\/EBU), phew, I dared breathe again. Sure, the CH is a different animal, but the music still sounded solid, full-blooded, and emotionally gripping.<\/p>\n

Cable influences make comparing digital inputs a tricky matter. It’s known that no two cables sound the same, but I often found this true, even between Coaxial S\/PDIF and AES\/EBU cables of the same type by the same manufacturer. Nevertheless, over time, and across a wide range of components, I found a consistency in how the two compare and the MPD-8 performs entirely in line with my expectations. The Belden RG59 coax cable sounds bolder and more powerful in the bass but less transparent and refined than the Mogami, which I usually prefer, and in this case, too.<\/p>\n

\"\"<\/p>\n

As mentioned, the two DAC giants do not sound the same. The C1.2 sounds more resolute and direct, and it has a more pristine quality with laser-like focus, but it is also drier and a little less fluid and refined. The MPD-8 is airier and more delicate, fluid, and liquid, and, per its name, it is dreamier<\/em>. There was hardly any difference in soundstage width, depth, or layering, nor was there a difference in how the DACs project music forward. Tonally and timbrally, the two DACs are both very neutral and equally convincingly realistic, with a similar level of saturation. Still, the MPD-8 is a little more natural, and the CH a little more neutral.<\/p>\n

\"\"<\/p>\n

The\u00a0Aqua Formula xHD<\/a> DAC has been a favorite for a long time and has consistently performed well in comparisons. However, when compared to the MPD-8, the Formula xHD can no longer keep up. In terms of resolution, control, and articulation, it performs similarly well, but its presentation feels simpler and more technical. It is drier, images less largely, and is quite a bit less fluid and refined.<\/p>\n

Oftentimes, when I encounter another great DAC, it is ultimately not as superb as the CH. But this time, the DAC under review most definitely performs at the same level, and in some areas, it is even better. Both DACs are simply fantastic, and it is predominantly a matter of taste.<\/p>\n

But of course, the pertinent question arises: which one do I prefer? Which of the two is “better,” or rather, “nicer”? As always, this depends on the listener. When fluidity, non-digital, “analog” sound matters most, the MPD-8 is the DAC to go for. When accuracy, precision, and the most revealing nature matter most, then the C1.2 is the DAC to go for. The C1.2 is the most technically accurate, but it is less magical. The MPD-8 is comparatively (not strictly) less crisp and direct but emotionally more satisfying.<\/p>\n

\"\"<\/p>\n

Analog Volume Control<\/h3>\n

The MPD-8 incorporates a very high-quality analog volume control. The volume control can also be bypassed, which is how I assessed the DAC so far. But now, it is time to see how the MPD-8 performs when driving the A1.5 power amp directly. When enabling volume control in the setup menu, the bottom display becomes active and shows the volume setting.<\/p>\n

Using an external preamplifier can be a bit of a balancing act. When used directly, the MPD-8 gains urgency, conviction, and density while giving up a portion of fluidity, refinement, and lushness. It becomes more chiseled, earthy, and realistic but arguably less airy and intimate, and it occurred to me that by becoming more earthy, neutral, and direct, the MPD-8’s sound has now become more like the CH DAC. I like this direct and exacting nature, but I should note that the sound is no longer as lush or magical as when the DAC is used in fixed output mode via the L1 preamp. This is only logical, given that the CH preamp costs as much as the MPD-8.<\/p>\n

Incidentally, I feel the same about the C1.2 DAC when used directly. This reflects additional qualities gained from using a superior preamp, rather than any shortcomings of the MPD-8.<\/p>\n

Of course, cost is a consideration, and unless an exceptionally high-quality preamp is used, the MPD-8’s built-in volume section will likely outperform it. I should also add that the volume control not only works very transparently, but it is also superbly uniform in its behavior. Unlike most DACs that use a digital<\/em> volume control, the MPD-8’s fully analog volume control provides a crisp, expressive, and “full-on” and present sound at any volume level.<\/p>\n

\"\"<\/p>\n

Conclusion<\/h2>\n

It is easy to become jaded when one has heard so many components as I have. At the same time, it is rare for review components to surprise me. But now and then, they do. And very rarely, a review component truly amazes me. This was the case with the Playback Designs MPD-8. It was crystal clear from the start that this was a magnificent DAC. It ticks all the boxes for the usual technical aspects, such as resolution, transparency, linearity, and neutrality, while also nailing the technical elements I find extra important, such as control, tightness, articulation, transient attack, and overall expression, and putting the cherry, whipped cream, and glazing on top by pouring the music effortlessly into my soul with delicious liquidity, fluidity, and flow.<\/p>\n

The MPD-8 is not just wholeheartedly recommended, but with this level of performance, it deserves a Magnificent Masterpiece award.<\/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: contact@prestigeaudio-diffusion.fr<\/a>
\nWebsite: www.prestigeaudio-diffusion.fr<\/a><\/p>\n

Read Also<\/h3>\n

Playback Designs MPT-8 Review<\/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

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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n LAiV Harmony uDAC <\/a>\r\n\r\n <\/div>\r\n
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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n SW1X DAC III and DAC III Balanced SP <\/a>\r\n\r\n <\/div>\r\n
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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Denafrips Ares 12th-1 <\/a>\r\n\r\n <\/div>\r\n
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