Digital Processor Reviews

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Sam Tellig  |  Jun 17, 2011  |  First Published: Mar 01, 2011  |  3 comments
The M1 DAC is by Musical Fidelity. At $699, it's a stunning bargain. Comparing it to $995 for the Digilog in 1989. Meanwhile, the M1 is far more versatile, way better built, and, if memory serves me right, sounds vastly better.

It appears that the way to sell a DAC in 2011 is to almost give it away, in real-dollar terms. Some people pay far more than this for a set of speaker cables, a pair of interconnects, even a power cord. The M1 DAC is a piece of kit that can transform your system. I kid you not.

John Atkinson  |  Jun 17, 2013  |  0 comments
For the past few years, one of Stereophile's go-to recommendations for affordable high-performance D/A processors has been the M1DAC from British company Musical Fidelity. The M1DAC was enthusiastically reviewed by Sam Tellig in March 2011, and I wrote about the most recent version in January 2013. "Purity of tone was exceptional," decided Mr. T., which I found to be accompanied by superb measured performance, all at a very reasonable price: $749.
Sam Tellig  |  Nov 06, 2009  |  First Published: May 06, 2009  |  2 comments
"The victor belongs to the spoils."—F. Scott Fitzgerald, The Beautiful and the Damned, 1922
Sam Tellig  |  Aug 13, 2012  |  First Published: Jan 01, 2012  |  13 comments
There's so much uncertainty and confusion surrounding computer audio and high-resolution downloads. Which hi-rez formats will win out? How do you store the downloads you've bought? (Easy. Don't buy them.) How do you access them? Will digital rights management (DRM) cramp your style, or data-storage fees for cloud computing crumple your wallet?
John Atkinson  |  Apr 25, 2011  |  3 comments
A computer is not optimized for the uninterrupted streaming of audio data. It has rapidly become established wisdom, therefore, that the optimal means of extracting audio data from a computer's USB port is to operate that port in what is called "asynchronous isochronous" mode. This lets the receiving device, such as a digital-to-analog converter (DAC), control the flow of data from the PC. In theory, asynchronous USB operation (not to be confused with the asynchronous sample-rate conversion used in some DACs) reduces jitter to unmeasurable levels, depending on the accuracy of the receiver's fixed-frequency oscillator, which is used to clock the data to the DAC. By contrast, in the alternative and almost ubiquitous USB operating mode, called "adaptive isochronous," while the sample rate of the output data, averaged over a longish period, will indeed be the specified 44.1 or 48kHz, there will be short-term fluctuations, or jitter, due to the oscillator having to change its frequency every millisecond to match the uncertain rate of data flow from the PC.
Sam Tellig, John Atkinson  |  Jul 18, 2014  |  First Published: Apr 01, 2014  |  14 comments
They can't sound very good—they're not big enough. As we all know, in hi-fi, big products mean big performance. Musical Fidelity's V90 series can't be any good. They don't cost enough. With your golden ears, you must pay through the nose.

The V90 components turn all this around. They are tiny. Inexpensive. Beautifully built.

John Atkinson  |  Feb 25, 1999  |  0 comments
The standalone digital/analog converter emerged as a product category in 1987 with the appearance of the Arcam Black Box and the Marantz CDA-94, closely followed by the PS Audio Link. The idea was that putting the sensitive D/A-conversion and analog stages in a separate enclosure with its own power supply would maximize the sound quality when compared with packing these circuits in the same box as the transport. However, it turned out that the routing of the digital data between transport and processor in the form of an S/PDIF- or AES/EBU-encoded bitstream could introduce word-clock jitterwhich undid much of the sonic advantages. (See "Bits is Bits" by Malcolm Hawksford and Chris Dunn, Stereophile, March 1996.)
Sam Tellig  |  May 30, 2005  |  First Published: Dec 01, 2004  |  0 comments
The X-DAC v3 replaces Musical Fidelity's Tri-Vista 21 DAC, which is no longer in production, although you might find some on dealer's shelves. The Tri-Vista 21 used two pairs of subminiature 5703 WB military tubes in the analog output stage. MF's Antony Michaelson called this Cold War tube, which is no longer made, a trivistor. The Tri-Vista 21 was last seen selling for $2395.
Wes Phillips  |  Feb 21, 2008  |  0 comments
How do I get myself into these things? Knowing that I use a Musical Fidelity X-DACV3 D/A processor in my office system and had just auditioned the Bel Canto e.One DAC3 that he'd reviewed in November, John Atkinson asked me to give Musical Fidelity's X-DACV8 a try. I say "asked," but the man does authorize my paychecks, so I acceded, knowing I was painting a giant bull's-eye on my back.
Jim Austin  |  Aug 27, 2019  |  26 comments
A DAC/preamp/headphone amp from Class A of Stereophile's list of Recommended Components, updated with streaming and network-server capabilities—and it still sells for less than $3000? If you believe that, I have a bridge I'd like to sell you. (Har, har!)

Most Americans have heard that line before, but many may not know the story behind it—I didn't. George C. Parker, a real American person born in 1860, is famous for perpetrating audacious frauds, specifically sales of property he did not own and could not possibly have owned. He is reported to have sold the Statue of Liberty, Grant's Tomb, the original Madison Square Garden, the Metropolitan Museum of Art, and—most famously—the Brooklyn Bridge that last one twice a week for several years, at prices ranging from $75 to $5000. Or so some say.

Jim Austin  |  Oct 28, 2016  |  0 comments
When I moved to New York City about a year ago, I was prepared to dislike Brooklyn. Judging it by its reputation as the apotheosis of cool, I envisioned the borough full of good-looking people engaged in pointless acts of mindless, stylish conformity, from man-buns to single-origin pour-over coffee. (Anyone up for adult kickball?) As I've written before, about Portland, Maine—a hipster place much indebted to Brooklyn—I greatly prefer deeply committed idiosyncrasy to mindless conformity.
Herb Reichert  |  Aug 15, 2017  |  33 comments
In equipment reports, I use the phrase forward momentum to refer to something a little deeper and more encompassing than what's meant by that well-worn Brit-fi expression pace, rhythm, and timing (PRaT). Pace refers to the speed at which a piece of music is being played, and the accurate reproduction of that speed requires audio sources with good dynamic pitch stability. (Digital folk always lord it over LP clingers for digital's superior pitch stability.)
Art Dudley  |  Oct 25, 2018  |  18 comments
I've never aspired to owning a BMW 7-series, or a Martin D-45, or a Rolex Submariner: BMW's far less expensive 3-series models capture my imagination by bordering on the affordable, likewise Martin's D-18—and as long as I live, I'll never understand the appeal of expensive wristwatches. Bling's not my thing.

True to form, when I visited the Mytek display at High End 2018, in Munich, my attention was drawn to the brand-new Mytek Liberty DAC and its three-figure price: for $995, one could now own the equivalent of the original Mytek Brooklyn D/A processor, without that model's phono preamp—this according to the company's Adam Bielewicz, who served as my product-line guide on that sunny May day.

Jon Iverson  |  Jul 06, 2012  |  8 comments
Who wants only a digital-to-analog converter when you can have a DAC with benefits? How about if those benefits also come with some high-resolution attitude?

That's what I pondered while setting up the NAD M51 ($2000). Sure, it's a basic DAC, but it also has extras—like HDMI inputs, remote-controlled volume, a polarity switch, and one of my favorite features on any DAC: a display that tells you which sampling rate the thing is locked to.

John Atkinson  |  Apr 26, 2018  |  4 comments
When I asked NAD for a sample of their Masters Series M50.2 digital music player, which I reviewed in the December 2017 issue, they also sent me a Masters Series M32 DirectDigital integrated amplifier, which had also been introduced at the 2017 Consumer Electronics Show. Costing $3999, the M32 offers a continuous power output of >150W into 8 or 4 ohms. The M32 is the same size as the M50.2, and its smart-looking combination of matte black and gray-anodized aluminum panels make it look identical to the player, except for the black volume-control knob to the right of the front panel's four-color touchscreen, and the ¼" headphone jack at bottom left. It even has the same eight ventilation grilles inset in the black top panel.

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