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    The Computer Audiophile

    By The Computer Audiophile •

    Musical Fidelity M1DAC, M1HPA, and V-Link Async USB Converter Review

    mufi-logo.pngThe year was 2005. I had just sold my first "real" audio system as I moved into an apartment before beginning law school. My Nelson Pass designed Adcom GFP-750, GFA-5802 and GCD-750 and B&W Nautilus 802 loudspeakers were of little use to me with neighbors inches away on all sides. Needing to scratch the audiophile itch I purchased a Lexicon RT-10 universal disc player, Musical Fidelity X-CAN v<sup>3</sup> and X-PSU v<sup>3</sup>, Sennheiser HD600s, and Grado RS-1 headphones. This small relatively inexpensive system was my first introduction to United Kingdom based Musical Fidelity. I enjoyed the whole system tremendously until I replaced it with a MacBook Pro and Benchmark DAC1 USB a couple years later. Near the end of 2010 the new Musical Fidelity North American distributor reintroduced me to the brand and sent the M1DAC, M1HPA, and V-Link here for review. These two M Series components combined with the V-Link asynchronous USB to S/PDIF converter are far better than my original X-v<sup>3</sup> Series system and in the same league as the one-piece powerhouses from Benchmark, Grace Design, and Lavry Engineering. A great feature of the Musical Fidelity system, that none of the aforementioned single units offer, is its modular approach separating the DAC, headphone pre/amplifier, and the asynchronous USB to S/PDIF converter. This flexibility combined with very good sound at a reasonable price should place these components on many reader's audition lists.

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    <b>The Pieces</b>

     

     

     

    <b>A</b>. M1DAC Digital to Analog Converter (MSRP $699)

     

    <img src="http://images.computeraudiophile.com/graphics/2011/0121/dac/M1DAC-paragraph.jpg" style="padding: 5pt 10pt 5pt 5pt;" align="left">Digital to analog conversion is nothing new to Musical Fidelity. The company has been designing and manufacturing DACs for 23 years. The new M1DAC is the newest member of the Musical Fidelity family. The ½ width M1DAC chassis has a plethora of digital inputs plus both balanced XLR and single ended RCA analog outputs. As every Computer Audiophile reader knows these features alone have nothing to do with sound quality but are a good start to a versatile system. The digital inputs consists of AES/EBU (XLR), electrical S/PDIF (Coaxial RCA), optical S/PDIF (TosLink), and USB. Sample rate support on these inputs is not equivalent across the board. The TosLink S/PDIF input supports music from 16 bit / 32 kHz up through 24 bit / 96 kHz while the built-in Adaptive USB input only supports 16 bit music from 32 kHz to 48 kHz. A nice feature of this USB input is its ability to support audio coming from an iPad using the iPad's <a href="http://images.computeraudiophile.com/graphics/2011/0121/dac/camera-kit.jpg" class="thickbox" rel="ipad-cam-conn">camera connector kit</a> and a USB cable. Audio input via AES/EBU and Coaxial S/PDIF is supported at all sample rates from 16 bit / 32 kHz through 24 bit / 192 kHz. Astute readers will notice the M1DAC does not have a 176.4 kHz indicator on the front panel. In the Usage Notes section below there are more details about 24/176.4 playback through the M1DAC. This sample rate support talk gives rise to the question of what "support" for a sample rate actually means, especially when the M1DAC upsamples all incoming audio to 24/192. In this case "support" means the DAC will lock on to the incoming digital signal, upsample it to 24/192 (ASRC), and convert it to an audible analog signal. Support for all relevant resolutions is very nice when using a playlist that contains music from 16/44.1 to 24/192. Without high frequency support the music simply stops. Using the M1DAC all playlists roll right on through from start to finish. Upsampling in the M1DAC is carried out through Asynchronous Sample Rate Conversion (ASRC). This is not the same as asynchronous USB transfer mode that is supported by the Musical Fidelity V-Link. Musical Fidelity's Antony Michaelson is a strong believer in ASRC and has done a very nice job of implementing this on the M1DAC.

     

     

     

    The front panel of the M1DAC has a nice incoming sample rate indicator. One beauty of this indicator is it enables the user to identify if his computer is outputting the sample rate of the music he is playing. This may sound trivial, but a massive number of audiophiles are sending their music through software sample rate conversion accidentally. Without an incoming sample rate indicator these users have no clue if something is amiss before the audio even leaves their computers. A sample rate indicator is certainly not a guarantee that one's music is entering the DAC bit transparently. Rather it's a step in the right direction that can identify at least one of the known issues associated with computer playback.

     

     

     

    Powering the M1DAC is a high quality linear power supply with choke filtration on the input. This conditions the signal and increases overall performance. The M1DAC houses an IEC 60320 C14 male power inlet that accepts an IEC 60320 C13 female connector (<a href="http://en.wikipedia.org/wiki/IEC_connector#C13_and_C14_connectors">example</a>)<a href="http://en.wikipedia.org/wiki/IEC_connector#C13_and_C14_connectors"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a>. In other words the M1DAC uses a regular detachable power cable that can interchanged with any number of high-end or low-end cables should the user so chose.

     

     

     

    USB Input on M1DAC

    Audio Class Specific Audio Data Format

    Audio Stream Format Type Desc.

    <ul>

    <li>Format Type: 1 PCM</li>

    <li>Number Of Channels: 2 <b>STEREO</b></li>

    <li>Sub Frame Size: 2</li>

    <li>Bit Resolution: <b>16</b></li>

    <li>Sample Frequency Type: 0x03 (Discrete)</li>

    <li>Sample Frequency: <b>32000 Hz</b></li>

    <li>Sample Frequency: <b>44100 Hz</b></li>

    <li>Sample Frequency: <b>48000 Hz</b></li>

    Endpoint 0x02 - Isochronous Output

    <li>Address: 0x02 (OUT)</li>

    <li>Attributes: 0x09 (Isochronous <b>adaptive</b> data endpoint)</li>

    <li>Max Packet Size: 192</li>

    <li>Polling Interval: 1 ms</li>

    </ul>

     

     

     

     

     

    <center><a href="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-front-sample.png" class="thickbox" rel="M1DAC"><img src="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-front-sample-thumb.png"></a>   <a href="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-front.png" class="thickbox" rel="M1DAC"><img src="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-front-thumb.png"></a>   <a href="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-left-front.png" class="thickbox" rel="M1DAC"><img src="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-left-front-thumb.png"></a>   <a href="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-rear-angle.png" class="thickbox" rel="M1DAC"><img src="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-rear-angle-thumb.png"></a>   <a href="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-rear.png" class="thickbox" rel="M1DAC"><img src="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-rear-thumb.png"></a>   <a href="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-right-front.png" class="thickbox" rel="M1DAC"><img src="http://images.computeraudiophile.com/graphics/2011/0121/dac/dac-right-front-thumb.png"></a></center>  

     

     

     

     

     

     

     

    <b>B</b>. M1HPA Headphone Amplifier (MSRP $799)

     

     

     

    <img src="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-paragraph.jpg" style="padding: 5pt 10pt 5pt 5pt;" align="left">The new M1HPA pure Class A headphone amplifier from Musical Fidelity is sophisticatedly simple and understated. The M1HPA resides in the same ½ width sized chassis as the M1DAC. The unit is more than a headphone amplifier but not a jack of all trades / master of none. First let me get one gripe out of the way. The M1HPA has an Adaptive USB input identical to the M1DAC. This input on both units is equally underwhelming in terms of performance. Using the V-Link or a different input on the M1DAC solves this issue entirely.

     

     

     

    Readers who attended CES this month in Las Vegas may have seen the Musical Fidelity pure Class A <a href="http://www.musicalfidelity.com/products/AMS-Series/AMS100/AMS100.asp">AMS100</a><a href="http://www.musicalfidelity.com/products/AMS-Series/AMS100/AMS100.asp"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a> stereo amplifier paired with the Verity Audio Lohengrin II loudspeakers. This amp is a monster that sounds as good as it looks. In an adjacent room five steps away Musical Fidelity displayed the M1HPA and M1DAC with V-Link. The two systems couldn't <u>appear</u> more antithetical in size, cost, and performance. Fortunately size and cost are not directly proportional to performance. The 7.5 lbs. M1HPA headphone amp contains the same pure Class A technology that's in the 240 lbs. AMS100 stereo amp. The performance benefit of this pure Class A circuitry is terrific whether connected to $80,000 loudspeakers or my pair of Sennheiser HD600 headphones. The often overlooked output impedance of the M1HPA is below a single ohm. This allows the unit to drive nearly any headphone with excellent linearity and low distortion. According to Musical Fidelity a majority of headphone amplifiers have a much higher output impedance subjecting them to less linearity and greater distortion.

     

     

     

    In addition to the headphone amplifier capability the M1HPA can operate as a very nice preamplifier. Sophisticated simplicity repeatedly comes to mind when using this unit. A single pair of RCA analog line in, line out, and pre outs contributes to the understated look of the M1HPA. Readers should not let this lack of input options fool them into thinking this unit isn't capable of high performance. More inputs can equal more issues. Many computer audiophiles only have one analog source anyway and that's the analog feed from a DAC. In addition to using the headphone amp on the M1HPA I setup the unit as the preamp in my main system. I connected the <i>d</i>CS Debussy analog output to the analog input of the M1HPA and the M1HPA's pre out to my McIntosh MC275 amplifier. The M1HPA fit in this system wonderfully without adding easily audible coloration. My only wish was for a remote volume control. I also use the complete Musical Fidelity system, M1DAC, M1HPA, and V-Link, paired with my amplifier and loudspeakers with much success. Well design, high performing components don't have to cost an arm and a leg. Musical Fidelity's M Series with V-Link is one great example.

     

     

     

    USB Input on M1HPA

    Audio Stream Format Type Desc.

    <ul>

    <li>Format Type: 1 PCM</li>

    <li>Number Of Channels: 2 <b>STEREO</b></li>

    <li>Sub Frame Size: 2</li>

    <li>Bit Resolution: <b>16</b></li>

    <li>Sample Frequency Type: 0x03 (Discrete)</li>

    <li>Sample Frequency: <b>32000 Hz</b></li>

    <li>Sample Frequency: <b>44100 Hz</b></li>

    <li>Sample Frequency: <b>48000 Hz</b></li>

    Endpoint 0x02 - Isochronous Output

    <li>Address: 0x02 (OUT)</li>

    <li>Attributes: 0x09 (Isochronous <b>adaptive</b> data endpoint)</li>

    <li>Max Packet Size: 192</li>

    <li>Polling Interval: 1 ms</li>

    </ul>

     

     

     

     

     

    <center><a href="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-front-angle.png" class="thickbox" rel="M1HPA"><img src="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-front-angle-thumb.png"></a>   <a href="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-front-vol.png" class="thickbox" rel="M1HPA"><img src="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-front-vol-thumb.png"></a>   <a href="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-front.png" class="thickbox" rel="M1HPA"><img src="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-front-thumb.png"></a>   <a href="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-rear-angle.png" class="thickbox" rel="M1HPA"><img src="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-rear-angle-thumb.png"></a>   <a href="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-rear.png" class="thickbox" rel="M1HPA"><img src="http://images.computeraudiophile.com/graphics/2011/0121/amp/M1HPA-rear-thumb.png"></a></center>  

     

     

     

     

     

     

     

    <b>C</b>. V-Link Asynchronous USB to S/PDIF converter (MSRP $169)

     

    <img src="http://images.computeraudiophile.com/graphics/2011/0121/v-link/v-link-paragraph.jpg" style="padding: 5pt 10pt 5pt 5pt;" align="left">Musical Fidelity's new V-Link asynchronous USB to S/PDIF converter is the newest product in the V Series lineup. I've long been a fan of MF's small size, small price, large performance products and the V-Link is no exception. In fact it's my favorite small component Musical Fidelity has ever made. The V-Link is designed to connect a computer with an available USB port to a digital to analog converter with an available electrical Coaxial S/PDIF or optical TosLink input. The unit is then powered by the computer's USB interface. There are other products on the market that transfer music from a USB port to an S/PDIF port but the pool of devices that use asynchronous USB transfer mode, support up through 24 bit / 96 kHz high resolution music, don't require additional software installation, and cost as little as $169 is currently very small.

     

     

     

    The V-Link asynchronous design is based on the TAS1020B USB controller. This in-house, ground-up converter design and specific async USB implementation are exclusive to Musical Fidelity. The V-Link was designed with a high precision clock that sits nearly on top of the critical internal components. Two fixed oscillators, one for rates based on 44.1 kHz and the other for rates based on 48 kHz is also the hallmark of a smart design. MF set its sights on designing this converter "right" and hit its target dead center. The V-Link requires absolutely no manual software or device driver installation. This is a big deal. No matter how often manufacturers suggest that software installation isn't an issue, they never seem to provide evidence supporting that claim. A few minutes spent browsing the Computer Audiophile forum should provide enough information to the contrary. Every audio device I know of that requires software installation to function has had issues with that software. Period. I'll even provide evidence so readers can check for themselves. Simply browse the websites of any manufacturer that offers a product requiring software/device drivers. Look for the software download section or for information about obtaining this software. Take note of how many updates there have been to each software package. There is a reason for new software versions beyond 1.0. If something isn't broke don't fix it. If something is broke …

     

     

     

    In previous product reviews and forum comments I've discussed the importance of galvanic isolation<sup>[1]</sup> between the computer and audio system. Without this isolation audio systems are prone to significant amounts of electrical garbage flowing from a commodity powered computer. Galvanic isolation is not a 100% must have feature of a converter, but purchasing a unit without this <u>may</u> be problematic in some systems. The new V-Link is somewhat "ambidextrous" when it comes to isolation from a computer. The electrical Coaxial S/PDIF output is not isolated and the optical TosLink S/PDIF output is isolated by the nature of the optical connection. Like the <a href="http://en.wikipedia.org/wiki/The_Burger_King">Creepy King</a><a href="http://en.wikipedia.org/wiki/The_Burger_King"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a> says, "Have it your way." Isolated or not each user can identify the connection type that works best in his system.

     

    USB Input on V-Link

    Audio Class Specific Audio Data Format

    Audio Stream Format Type Desc.

    <ul>

    <li> Format Type: 1 PCM</li>

    <li>Number Of Channels: 2 <b>STEREO</b></li>

    <li>Sub Frame Size: 3</li>

    <li>Bit Resolution: <b>24</b></li>

    <li>Sample Frequency Type: 0x05 (Discrete)</li>

    <li>Sample Frequency: <b>32000 Hz</b></li>

    <li>Sample Frequency: <b>44100 Hz</b></li>

    <li>Sample Frequency: <b>48000 Hz</b></li>

    <li>Sample Frequency: <b> 88200 Hz</b></li>

    <li>Sample Frequency: <b>96000 Hz</b></li>

    Endpoint 0x01 - Isochronous Output

    <li>Address: 0x01 (OUT)</li>

    <li>Attributes: 0x05 (Isochronous <b>asynchronous</b> data endpoint)</li>

    <li>Max Packet Size: 582</li>

    <li>Polling Interval: 1 ms</li>

    </ul>

     

     

     

     

    1. Galvanic isolation is the principle of isolating functional sections of electrical systems preventing the moving of charge-carrying particles from one section to another, i.e. there is no electric current flowing directly from one section to the next. Energy and/or information can still be exchanged between the sections by other means, e.g. capacitance, induction, electromagnetic waves, optical, acoustic, or mechanical means. Galvanic isolation is used in situations where two or more electric circuits must communicate, but their grounds may be at different potentials. It is an effective method of breaking ground loops by preventing unwanted current from traveling between two units sharing a ground conductor. Galvanic isolation is also used for safety considerations, preventing accidental current from reaching the ground (the building floor) through a person's body.</font>

    <FONT SIZE="-2">Source - <a href="http://en.wikipedia.org/wiki/Galvanic_isolation">Wikipedia</a><a href="http://en.wikipedia.org/wiki/Galvanic_isolation"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a>

     

     

     

     

     

     

     

    <b>Usage Notes and Sound Quality</b>

     

    <a href="http://images.computeraudiophile.com/graphics/2011/0121/v-link/v-link.png" class="thickbox" rel="V-Link"><img src="http://images.computeraudiophile.com/graphics/2011/0121/v-link/v-link-thumb.png" style="padding: 5pt 10pt 5pt 5pt;" align="left"></a>Most of the review period I used a pair of Sennheiser HD600 headphones connected to the M1HPA. The V-Link connected my computer to the M1DAC which connected to the M1HPA via single ended Kimber Select RCA cables. This combination proved really resolving and pleasurable when listening over long periods. Music servers used were 1) MacBook Pro (5,5) running OS X 10.6.6 and Amarra 2.1.1 and 2) MacBook Pro (5,5) running Windows 7 Ultimate Edition 64-bit and J River 15. All music was stored locally on an OCZ Vertex Turbo Solid State Drive (SSD). I used a single AudioQuest Diamond USB cable throughout the entire review period. Using OS X and Amarra 2.1.1 I had no issues connecting to or playing music of all supported sample rates through the V-Link. In Windows 7 the best J River configuration was with the WASAPI - Event Style output mode and the hardware buffer set to 100 milliseconds. I was unsuccessful using Kernel Streaming with the V-Link.

     

     

     

    Over 90% of my listening was done via the V-Link's electrical Coaxial S/PDIF connection as opposed to optical TosLink S/PDIF. Using my MacBook Pro I heard no negative effects without the galvanic isolation an optical connection would have provided. I usually don't switch back and forth quickly between components or inputs on a component when conducting listening tests but the simplicity of the dual output V-Link and front panel M1DAC input switching button sucked me into the A/B game. The overall sound of the complete Musical Fidelity system was very good, especially for a three component total of $1,667. The sound when using the optical connection seemed a bit smoother compared to the electrical S/PDIF interface. However, I had a difficult time identifying the specific input whence conducting a blind A/B listening test. This is a good thing because the sonic impact of the TosLInk interface is usually detrimental because of much higher jitter than a coaxial connection. Users requiring the galvanic isolation provided by an optical connection shouldn't fear the V-Link's optical output combined with the M1DAC's optical input. Musical Fidelity's Asynchronous Sample Rate Conversion plays a major role in bringing the sound of both S/PDIF interfaces to nearly identical levels. Comparing the Musical Fidelity modular system to my Benchmark DAC1 PRE the major sonic difference is the Benchmark is much more forward and in one's face while the MF system is much more laid back and delicate sounding. I'm really looking forward to comparing the new Grace Design M903 to both the Benchmark and Musical Fidelity components. This is a very competitive segment of the market where wonderful sound can be had for a very reasonable price.

     

     

     

    At CES this year Musical Fidelity put on a very revealing demonstration of the V-Link. First music was played directly from a MacBook Pro to the input of the M1DAC and out to the rest of the system. Then the V-Link asynchronous USB converter was inserted and the same music played for the audience. It was pretty easy to hear how much improved the sound was when the V-Link was in place. The whole image tightened up immediately with the V-Link. I sat through the demo one additional time as I wanted to see the reaction of two people from a very large online retailer. These two people identified the same benefits I identified in the previous demo. Listening a second time for me was equally enjoyable and more revealing of the built-in M1DAC's shortcomings. Without the V-Link in place the sound was very sloppy, all over the place with no focus. This was easier to identify because I had previously heard how much better the V-Link can make the M1DAC sound. LIstening to the adaptive input followed by the much better asynchronous input then the adaptive input one more time made it much easier to recognize how subpar the adaptive USB interface can sound. The V-Link's superior asynchronous USB interface plays a major role in the sound quality of this Musical Fidelity system.

     

     

     

    More on 24/176.4 playback. During the review period I talked to John Quick the Musical Fidelity distributor for North America who is no stranger to computer audio. We've often discussed the merits of different USB approaches, FireWire, AES/EBU etcetera. John assured me the M1DAC fully supports playback of 24/176.4 even though there is no light on the front panel for this frequency. I'm satisfied that this is really the truth as I sent a couple Reference Recordings 24/176.4 HRx tracks to the M1DAC's coaxial input and the DAC did play each track without a hiccup. During playback the 24/192 light did illuminate, but considering the 24/176.4 input is upsampled to 24/192 at the DAC I'm not sure this light was meaningful. As long as the M1DAC locks on to the incoming signal all audio appears to be treated the same. On a similar note when I sent 24/192 tracks to the coaxial input the Upsampling indicator still illuminated. John Quick relayed to me that the sample rate converter circuit does not perform upsampling on 24/192 material but the playback of these high resolution tracks, "Will benefit from the Asynchronous Sample Rate Converter's break in clocking between the computer and the M1DAC."

     

     

     

    One final note: I'm still searching for that elusive 16 bit / 32 kHz content so I can illuminate the 32 kHz indicator on the M1DAC :~)

     

     

     

     

     

    <b>Conclusion</b>

     

    It has been nearly six years since I enjoyed a Musical Fidelity system as much as the M1DAC ($699), M1HPA ($799), and V-Link ($169). My old X-v<sup>3</sup> Series was great back in the day, but really no comparison to the this M / V system I've been using for a couple months. Musical Fidelity's Antony Michaelson has managed to squeeze every last ounce of engineering possible into the ½ width M Series chassis and the even smaller V-Link. At the same time the company has managed to keep the price down to a very reasonable $1,667 for the complete system. Plus, one doesn't even have to buy all three pieces to start a nice Musical Fidelity system or add to an existing audio system. The modular approach provides consumers with options. It's hard to argue against options. In an industry with six and seven figure audio systems it's hard to believe three zeros can be removed from the end of the price tag and still allow someone to put together a really good system. I applaud Musical Fidelity for producing such good sound at such good prices. I can easily recommend all three Musical Fidelity pieces and sleep very sound at night.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Product Information

     

     

    <ul>

    <li>Price - M1DAC ($699), M1HPA ($799), V-Link ($169)</li>

    <li> M1DAC Product Page - <a href="http://www.musicalfidelity.com/products/M1-Series/M1DAC/M1DAC.asp">Link</a><a href="http://www.musicalfidelity.com/products/M1-Series/M1DAC/M1DAC.asp"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a></li>

    <li> M1DAC Manual - <a href="http://files.computeraudiophile.com/2011/0121/M1DAC-manual.pdf">PDF Link</a></li>

    <li> M1HPA Product Page - <a href="http://www.musicalfidelity.com/products/M1-Series/M1HPA/M1HPA.asp">Link</a><a href="http://www.musicalfidelity.com/products/M1-Series/M1HPA/M1HPA.asp"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a></li>

    <li> M1HPA Manual - <a href="http://files.computeraudiophile.com/2011/0121/M1HPA-manual.pdf">PDF Link</a></li>

    <li>V-Link Product Page - <a href="http://www.musicalfidelity.com/products/V-Series/V-Series.asp">Link</a><a href="http://www.musicalfidelity.com/products/V-Series/V-Series.asp"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a></li>

    </ul>

     

     

     

     

     

     

     

     

     

     

    Associated Equipment:

     

     

     

    <a href="http://files.computeraudiophile.com/2010/0418/Brochure_Fidelio.pdf">Verity Audio Fidelio loudspeakers</a>, <a href="http://www.mcintoshlabs.com/products/mcintosh-mc275-vacuum-tube-power-amplifier.asp">McIntosh MC275 amplifier</a>, <a href="http://www.richardgrayspowercompany.com/products.aspx?type=accessories">Richard Gray's Power Company High Tension Wires</a>, <a href="http://www.berkeleyaudiodesign.com/">Berkeley Audio Design Alpha DAC</a>, <a href="http://www.computeraudiophile.com/content/Computer-Audiophile-Pocket-Server-CAPS">C.A.P.S. server</a>, <a href="http://www.dcsltd.co.uk/product/debussy-dac"><i>d</i>CS Debussy DAC</a>, <a href="http://www.audioquest.com">AudioQuest Diamond USB Cable</a>, <a href="http://www.kimber.com/products/interconnects/digital/usb/bbus/ag/">Kimber USB Ag</a>, <a href="http://www.benchmarkmedia.com/system1/digital-analog-converter/dac1-pre">Benchmark DAC1 PRE</a>, <a href="http://www.kimber.com/products/interconnects/analog/select/singleended/ks1011/">Kimber Select KS1011 Analog Cables</a>, <a href="http://www.kimber.com/products/interconnects/digital/select/ks2020/">Kimber Select KS2020 Digital Cable</a>, <a href="http://www.kimber.com/products/loudspeakercables/monocle/x/">Kimber Monocle X Loudspeaker Cable</a>, <a href="http://usa.asus.com/product.aspx?P_ID=SPZfqXDJvadmFPoh&templete=2">ASUS Xonar HDAV 1.3 Slim</a>, <a href="http://www.apple.com/ipad/">Apple iPad</a>, <a href="http://www.amarraaudio.com/">Sonic Studio's Amarra</a>.

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    Pale Rider

    Interesting. I guess I need to consider which of these options represents the best bet. Halide provides a guarantee, a proven product, and—while it is not necessarily superior—some design transparency in their software. <br />

    <br />

    P.S. Sorry, meant for this to be a reply.

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    sjsanford

    <cite>"I sent a couple Reference Recordings 24/176.4 HRx tracks to the M1DAC's coaxial input and the DAC did play each track without a hiccup. During playback the 24/192 light did illuminate, but considering the 24/176.4 input is upsampled to 24/192 at the DAC I'm not sure this light was meaningful. As long as the M1DAC locks on to the incoming signal all audio appears to be treated the same. On a similar note when I sent 24/192 tracks to the coaxial input the Upsampling indicator still illuminated." </cite><br />

    <br />

    Hi Chris - I was just re-reading this bit of your original post, and I also noticed the V-Link tops out at 96. Since you tested the M1 with 176 and 192 content, I was just curious - how did you get the higher-res content into the M1DAC?<br />

    <br />

    Cheers,<br />

    Steve

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    Audio_ELF

    So are you prepared to give an opinion on the $150 questions...<br />

    <br />

    For a price comparable DAC (let's say the M1DAC for sake of argument): (a) how much improvement does the Halide Bridge provide over the V-Link and (b) given a suitable computer, is the Xonar HDAV 1.3 Slim or STX a better option than the V-Link and/or Halide Bridge. <br />

    <br />

    Of course it will be an opinion and (Others)MMV with different DACs, etc. but it's a question, I think, worth asking. <br />

    <br />

    Eloise

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    magichenke

    Hi!<br />

    <br />

    I actually have about the same setup, m1 dac, m1 hpa but a hiface evo for usb to xlr.<br />

    <br />

    Currently I got hd650s but I have been looking at something better.<br />

    Question is, can I really benefit from Sennheiser's top of the line with this rather low end setup?<br />

    <br />

    Regards<br />

    Henrik

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    The Computer Audiophile

    <i>"How did you get the higher-res content into the M1DAC?"</i><br />

    <br />

    Hi Steve - I used a $900 WaveLink HS USB to S/PDIF converter for this material.

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    Bwilson1

    I have had the M1 DAC for about a week now and I am happy with the purchase. It replaced a DacMagic.<br />

    <br />

    I think the biggest improvement is in soundstaging. I am hearing more depth (when present in the musical content) than with the Cambridge.<br />

    <br />

    I am also happy that it has a nice power supply. When I had voltage transients on my power line (such as the AC compressor kicking in or the washer/dryer) the DacMagic would lose lock momentarily with the Roku. I could not definitively prove it but my strong suspicion is the Wal Wart power supply.<br />

    <br />

    I think it is a good value for the price. <br />

    <br />

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    Mike Gillespie

    Just wondering: has any one had experience with Centrance's own AC powered Dac Mini, which gives you asychronous plus headphone amp with lots of power and quite a few different ins and outs. I've been very impressed with their USB powered Dacport ($400) and have been using it for about 3-4 hours a day for about 3 months now. I first used it just with my laptop when I was out and about and listened to headphones via asynch USB. Quality seems tremendous compared to even DACs like Benchmark or Bryston costing multiples more. To test it at home (and to save money and not have to buy another unit for the home), I simply insert the cigar sized USB Dacport into preset USB mini cable running from my Mac Mini -> Dacport -> then to a 1/4" male to RCA Left and right female adapter -> then RCA right and left to my integrated McIntosh 6600 or straight to my Sanders Magtech amp (for another system). Result is fantastic (I've A and B'd it with quite a few good CD players) and since I mostly use single source (AIFF files) I can skip the preamp completely and control the volume just with the volume control on the Dacport. Has anyone else tried this? Granted the Dacport is only 24/96 but my files are all 16/44 AIFF (about 4500 Cd's). The Dac Mini does I believe 24/192 through S/PDIF, and I'm sure sooner or later (and probably sooner) the Dacport will have 24/192 built in as well.

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    labjr

    I believe the DAC mini still uses adaptive and not asynchronous USB. They call it "Adaptiwave" Same as the DACport. Seems basically the same with added SPDIF input.

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    Mijbil

    I've been on a mirthless quest for a dac for my computer this last month - started out not wanting to spend too much, and went through the Nuforce Udac-2, the Beresford TC 7520, the HRT Music Streamer, and the Musical Fidelity V-Dac in increasing order of performance (though the HRT easily took the price for the best price/performance ratio, and if I was content to only have the USB input I probably would have stuck with that), but still not quite satisfied. I finally took a big breath (then exhaled) and sprung for the Music Hall 25.3 Dac - which I've been absolutely thrilled with. The level of detail and clarity is truly astonishing - which seems to be what others have found in it as well (Srajan at 6moons said it rivaled the Benchmark - I havent heard that one so can't say myself). As a tubemonkey I also enjoy the capacity to roll it's single 6922 tube. <br />

    <br />

    It's always very hard, if not impossible, to say what about a DAC is responsible for its various qualities. One would THINK the chipset, but I have had several DAC-specialist manufacturers tell me that they tried out dozens of chipsets in designing their products and could almost never tell any difference at all. But the one quality that the HRT and the Music Hall 25.3 share is that they both run USB asynchronously. (Although I have heard that there are actually two ways in which "asynchronous" can be applied in this context, one "true" (in the sense that it is more difficult and expensive to implement and has the real impact and performance; I think these two both run "truly" asynchronously, but I'm not certain about the Music Hall.) <br />

    <br />

    Anyways, I share this narative because I'm curious if anyone has heard the Music hall and the Musical FIdelity M1 and can speak to their comparisons? They, along with the slightly pricier PS Audio Digital Link III at $800, seem to be the main competitors in this mid-level price range, at least excluding the plethora of Chinese options, before one gets into the Brysons, Benchmarks, and the rest over $1K. I also wonder how the M1 compares to MF's own V-Dac.<br />

    <br />

    Cheers all.

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    labjr

    The HRT does Async USB. The Music Hall claims to do Asynchronous reclocking. I guess using an ASRC chip. Not the same. <br />

    <br />

    Music Hall seems like a good value. I don't care for Roy Hall's attitude though.

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    Elberoth

    Nice write up Chris. I would be interested in a detailed comparisons of the V-Link to both the HiFace, and the Halide Design USB-->SPDIF converters.<br />

    <br />

    Same goes for M1DAC --> rDAC.

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    Mijbil

    Hah - I hear you there. I was *shocked* at his rudeness and "bedside manner," truly shocked. Why does he even bother being the one to answer customer inquiries? <br />

    <br />

    Also - I have heard such good things about the m2tech hiface - that people even use it just to convert to S/PDIF and feed a USB-cable DAC, because it handles the USB signal so much better than most DACs (or at least most entry-level DACs - maybe this stops being the case at the higher-end, Benchmark, etc) - anyone have thoughts/experience with this?

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    labjr

    I haven't tried the hiface but from what I've read it's a good entry level Async USB to SPDIF converter. I think most who have tried it on the Benchmark SPDIF input prefer it to the Benchmark USB input. So I don't know if I'd believe everything about "Adaptiwave" on the CEntrance website.

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    findog3103

    One question about the V-Link: as my computer shows in Audio Midi setup that my USB is limited to 16/44, can the V-Link play my saved 24/96 files and send them to my dac at 24/96 using a program like Decibel?

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    HiRes

    Hi and thanks for a wonderful review.<br />

    I´m a newbie and bought my first "high-end" headphone rig, MF HPA + Denon D5000 + iMac.<br />

    I have a question about noise. I wonder if you could hear any noise from HPA when no music was on. I can clearly hear a background noise. My NuForce Icon has less noise.<br />

    Is my Denon D5000 to sensitive?

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    Krisbee

    Chris,<br />

    <br />

    Someone has just posted a pic of the new MF V-link internals elsewhere on the web. It appears NOT to have two fixed oscillators, just one. <br />

    <br />

    What's going on? Could review models have been different to the production run? Or was your article in error? Did you actually open yours up?<br />

    <br />

    I'm disappointed, I've been waiting on the V-Link for use with a Linux based setup. Maybe it makes no difference to the device's performance. But even cheaper Eny24HT s/cards have two fixed osciallators. Is it really the case that this design only needs one, or is this cutting a corner? <br />

    <br />

    It would be nice to clear this up. <br />

    <br />

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    Miska

    <cite>Someone has just posted a pic of the new MF V-link internals elsewhere on the web. It appears NOT to have two fixed oscillators, just one.</cite><br />

    <br />

    Maybe it's just using similar kind of dual-frequency oscillators I'm using on my own things...<br />

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    Krisbee

    Just looked again at the blurb on MF's site. It says: <br />

    <br />

    "The V-Link has been designed from the ground up to offer perfect and consistent performance. It will work with a huge range of computers and operating systems. Extreme attention has been paid to all the detailed programming to ensure rock solid consistency. The low jitter power supply feeds an ultra high precision clock which is positioned almost on top of (in PCB terms at least) the V-Link’s vital components. This achieves extremely short tracks and ultra accurate clocking."<br />

    <br />

    The sounds like one oscillator to me. As far as it being "ultra high precision" who knows? The wee tiny can doesn't look any different to what is on my cheapo Envy24HT s/card or something like the ESI Juli@.

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    Miska

    <cite>I apologize if I made it feel like I have some wrongly motives but I just want to point out stuff like 'each to their own'.</cite><br />

    <br />

    Any links to images? I could see if it looks like the ones I'm using.<br />

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    Mike Gillespie

    I owned Music Hall 25.3 with EAT tube (the one Roy Hall supposedly uses. Excellent DAC but then my friend and I A/B'd it directly using identical CD players and CD's as transport, identical cables to preamp etc. The differences were striking: much more detail of instruments with the W4S, bigger, clearer soundstage. Ditto when we A/B'd the new Emotiva $349 DAC against the W4S. W4S was better. To our surprise the Emotiva significantly outperformed the Music Hall 25.3 as well: again, more detail, better separation of instruments. Very apparent.

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    The Computer Audiophile

    Hi Guys - I had this review fact checked by Musical Fidelity before publishing. I will contact MuFi again to make sure the correct information is here on CA.

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    Krisbee

    Chris, <br />

    <br />

    Thanks for your interest. Your article had me thinking that judging the MF V-link might be a liitle like trying to decide on the digital out quality of a s/card like the ESI JULI@ which has two oscillators for the separate 44.1KHz and 48KHz frequency families against a s/card that derives all frequencies from one oscillator.<br />

    <br />

    But I see now that the MF V-link does not work like this. The TAS1020B USB stream controller at its heart appears to need just one 6MHz external clock. <br />

    <br />

    Others will be better placed than me to comment on the quality of the parts used in the MF V-Link.

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    The Computer Audiophile

    Hi Guys - I just heard back from Musical Fidelity. Here is the response. <br />

    <br />

    <br />

    <i>"There is only a single dedicated oscillator whose frequency is fixed to 44.1 or 48k based on what the USB receiver circuit sees; I must’ve missed this detail in reviewing your copy of the review in January"</I>

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    wushuliu

    FWIW, I've given the V-link a whirl between my PC and Audio-gd DAC19MK3 DAC w/ wireorld UV usb and lifatec optical out as well as cheap coaxial out. Maybe I didn't give it enough time but I found it's performance underwhelming compared to the modified Teralink X2 I've been using, or even the plain USB input of the dac. It wasn't terrible, but I have doubts that burn-in would improve it significantly (my burn-in belief is a component should sound good to begin with and only get better). Still, it was nice to have another confirmation on the performance on the Teralink X2 which I bought last year and kept after comparing w/ Hiface. I know Async is FOTM, but the $80 X2 (modifed can be bought for $108) delivers on 24/96 and refined analog sound quality.<br />

    <br />

    Just my .02

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