Playback Designs MPD-6
Adding MPS-X
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!
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!
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.
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.
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.
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.
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.
Streaming via MPS-X
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.
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.
I just love it when audio components behave so consistently and when improvements are nothing but improvements, without any ifs or buts.
But before I forget, the MPD-6 has one more trick up its sleeve, and a rather important one at that!
Analog Volume Control
The MPD-6 incorporates a very high-quality analog 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.
When enabling volume control in the setup menu, the bottom display becomes active and shows the volume setting.
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 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.
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.
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.
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.
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.
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.
Feet
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.
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.
First, I tried a set of StillPoints Ultra SS (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.
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).
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.
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.
Conclusion
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.
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.
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.
In short, the MPD-6 comes highly recommended!
Try out Roon for yourself
External Links
Manufacturer: Playback Designs
PRESTIGE AUDIO DIFFUSION
Distributor for France & Monaco / Belgium / Switzerland
Contact : Marc Loubeau
Tel : +33(0)6 49 89 68 88
Email : contact@prestigeaudio-diffusion.fr
Two portfolios :
Prestige Audio Diffusion : www.prestigeaudio-diffusion.fr
Prestige Audio Selection : www.prestigeaudio-selection.fr
More About Playback Designs
Interview with Andreas Kock about the future of CD and SACD (feverSound.com)
DSD Seminar by Andreas Koch (blogspot.com)
I’ll be honest: I didn’t understand if -apart from the “zero compromise factor”, and “cost-no object”- the DAC with the network card inserted and also used as preamplifier, sounds “worse” and how much “worse” than the same but inserted in series with a preamplifier and an external streamer. I’m sorry but I just couldn’t understand the long digression full of acronyms.
(Mea culpa)
Hi Luca, I re-read the review from a reader’s perspective and can understand the confusion with so many acronyms. I have now made a few little changes and additions to help clarify the points that I am trying to make. I trust the review will now read better!
Thank you Christiaan!
I’ll follow you 🙂
christian, did you ever use the MPD-6’s streaming function alone and not downstream of a dedicated streamer? if so, how did it hold up?
seems part of the value prop in uber-items like this is if they can replace other boxes (like the analog preamp feature does). —does the MPD-6s streamer by itself perform well enough to preclude an external streamer?
Yes, I did! The MPD-6’s Stream-X2 option is truly great. It’s just that the addition of the MPS-X makes it even better.
if a MPD-6 owner would get the MPS-X, do you think an external streamer (like the Grimm or Aurender, etc) would still be needed if you’re only streaming Qobuz?
I would say in that case a server is superfluous, unless you want to use Roon.
In that case, I would consider a server to be superfluous, unless you want to use Roon.
Hi there, thoughtful question here looking for a thoughtful response.
1. Do you think MPS-X + MPD6 beats K50 + MPD8? Former forms a great marriage but at expense of using a worse core as likely customer will just use desktop computer core not connected to MPS-X. Latter set up has better core being used and better DAC but at expense of a worse connection to DAC (no PLINK)
2. Do you think MPS-X + MPD8 using a roon core off computer desktop (computer not connected to the MPD-X directly but just used as roon core) beats K50 + MPS-8?
I really dislike the fact that the K50 player section not being used while adding the MPS-X between the K50 and MPD-6 in your review so trying to pick your brain.
Thank you much in advance.
Hi Frank, I cannot answer any of these questions as I have not yet heard the MPD8. That said, you can always opt for the Antipodes K41 as a server-only solution if you’re not going to use the K50’s player section.
Hi Christiaan, After just writing you a question regarding the MM Tambaqui in connection with the Aqua La Diva M2, I decided to check if you had written about the Tambaqui and saw you have. Circuitously, I then ended up here!:) The back story is that I have been thinking about replacing my Tambaqui with an MPD-6. Curious how you think they compare, at a very high level, and which you would personally prefer for overall musicality.
The MPD-6 is on a different level than the Tambaqui. Especially in terms of musicality indeed. The Tambaqui is really great, certainly at its price, but the MPD-6 is simply better. As well it should at its elevated price. Please note that I have also reviewed the Tambaqui by itself.
Very interesting. Thank you for your take. That is pretty impressive. I was also looking at the MPD-8, which I suppose would be another level up from there and would really leave the Tambaqui behind. Would be interesting to hear your take on the MPD-8 at some point, if you’re able to get a unit for review.
It’s possible that I will review the MPD-8 at some point, but nothing has been planned for this yet.
Thank you! Will certainly enjoy reading to an MPD-8 review should you ever write one.
Hi Christiaan, Sorry, another question regarding the MPD-6 in contrast with the MM Tambaqui: Is there anything you can comment in regards to:
1) How these contrast with one another in terms of soundstage height, width, depth, and the like?
2) Do you recall a noticeable difference in how fatiguing the two DACs are? I know neither is considered particularly fatiguing but still I’m curious if there is a difference.
Thank you again!
Tambaqui is more concentrated, MPD-6 is more spacious. I feel neiter are fatigueing indeed but since Tambaqui is crisper and more direct, one might find the MPD-6 relatively less fatiugueing.
Thank you so much! I agree with your reaction to the Tambaqui.
Hi Christiaan,
Quick update: I purchased an MPD-8 to compare with my Tambaqui and I do see what you mean in this review (even though the review is of the MPD-6). Even not broken in the MPD-8 has superior musicality and makes the Tambaqui sound a bit analytic by comparison. That said, I have not even neared the suggested burn-in point of 500 hours, so I won’t say any more until that occurs. Question: While I have an Aqua La Diva M2 arriving next week, I am now wondering whether Playback’s own transport, the MPT-8 might not be a better pairing with the MPD-8 since the Tambaqui seems very likely to go. Do you have any experience with the MPT?
Hi Ajaj, nice feedback, thanks. Alas, I have not heard the MPT-8 transport. I do hold the Aqua La Diva M2 in very high esteem and I’m sure it would pair very well. Would the MPT-8 pair even better? I really do not know. One might suspect so for a family member and connected via PLINK but the only real way to know is to try it in practice. Another thing to consider might be whether the MPT-8 would work as well standalone as the Aqua in combination with another brand of DAC. I’m sure it would do universally well but this might be worth checking if and when you have an MPT-8 at hand.
Thanks, Christiaan, You are right that it’s best to test it out first hand. Let me see if I can get a unit to test. Seems they’re harder to readily get a hold of than the DACs, but I will see.
BTW, it is interesting how spot on your reviews are. I have been comparing using the MPD-8 with and without preamp. After I made this comparison and noted the effect, I came back your MPD-6 review and your conclusion is nearly identical to what I heard.
Thanks for the nice feedback, Ajay!
Hi Christiaan, I continue to break-in my new MPD-8. You wrote here, “ 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.”
Do you recall the voltage setting you used?
In the review, I noted: “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.”
In general, I always recommend trying all output voltage options and simply siding with the one that sounds best in any given combination.
Thanks, Christiaan! Whoops, sorry, not sure how I missed that. I am currently finding 0db is the best. Will continue testing.
Hi Christiaan. As a result of your excellent reviews I bought the Aequo Stella Actives and Tambaqui DAC. After your MPD-6 review I replaced the DAC with the MPD-6 with X Stream board. I agree with your comment that as nice as the Tambaqui is the MPD-6 is on a different level. Today’s question: I would appreciate your thoughts on how the Grimm MU2 compares to the MPD-6. Regards Nick
Hi Nick, that’s a tough one as I don’t have them side by side. But I *think* the MPD with X Stream Board might perhaps be a little more expressive and lively, whereas the MU2 might perhaps be smoother or lusher.
Thanks Christiaan, much appreciated.
Hello Christiaan: In the context of your hi-fi system – and you were forced to choose – am I right in thinking that you personally prefer the sound of the Playback Designs MPD-6 over that of the Grimm Audio MU2?
I would personally prefer the MPD-6.
Thank you, Christiaan. I very much appreciate your feedback.