Product Review - MSB Technology
Gold Link DAC III with P1000 Powerbase - January, 2002
Arvind Kohli
DAC Specifications:
MFR: DC - 22 kHz S/N: 125 dB THD+N: 100 dB Dynamic Range: 130 dB Channel Separation: 110 dB Size: 1 3/4" H x 17" W x 14" D Weight: 20 Pounds MSRP: $1,895 USA P1000 Powerbase Specifications: Size: 1 3/4" H x 17" W x 14" D Weight: 21 Pounds MSRP: $399 USA |
MSB Technology: http://www.msbtech.com |
Introduction
I want to start with a little audio
analogy, so bear with me. This is a point that many audiophiles I talk to agree
upon, and here is my attempt to summarize it: The audiophile pursuit is like
sliding down a hyperbola trying to get to the asymptote.
Well, if you don't remember, no
sweat, only your high school math teacher will be disappointed. A hyperbola
is a geometric line that curves towards a straight line called the asymptote
(diagram shown below).
Theoretically, the hyperbola touches the asymptote at infinity, but in reality
they never meet. They just keep getting closer. I think of the asymptote as
the audiophile ideal of being able to recreate the original sound event. Our
equipment, room, and recordings are the hyperbola trying to meet the ideal. I
think there will always be a measurable difference between the real event and
the reproduction, but we may be able to get it to the point where the human
ear may not be able to tell the difference.
Every once in a while, when listening to music, I repeat a passage in
disbelief because it sounds so very real. But for the vast majority of the
time, my ears are simply being pleasured. They are not being fooled. I find
one can make large
jumps towards the asymptote when one moves from entry-level to mid-fi
gear, or pop to audiophile recordings. But once you have better recordings and
a moderate setup, you start to find it difficult to achieve big improvements
anymore. You get to a point where spending considerable money yields a small
to zero noticeable improvement. But it is the cumulative effect of all these
refinements that bring us closer to the asymptote.
This is where refined components like outboard DACs, power conditioners, and
interconnects come into play. Refinements in these components cost a lot more
than the stock units supplied, and the improvement is modest in terms of
absolute audibility. Think of it as the last mile in the marathon to audio
nirvana, miniscule as a proportion of the total distance but exhaustive in
terms of what it takes to accomplish. However, many audiophiles are willing to
spend big bucks for that last mile, and that is what makes high-performance
audio/video an interesting industry.
Company profile
MSB Technology was founded in 1987 as
a partnership between Larry Gullman and Mark S. Brasfield. The two met at
SRI (Menlo Park, California) where they both worked. These were still the early days of the CD
player, and the early players on the market had mediocre-sounding DACs. Mark
Brasfield was tinkering with after market improvements to those units, and
when Larry joined forces with him, they launched their first product, a modified
Philips CD player. They named the company MSB as an acronym for the
engineering term ‘Most Significant Bit', but it also happened to be Mark's
initials.
The Philips mod was received well by reviewers and launched MSB on its
way to success. Larry later bought out Mark's interest in the company and is
currently the sole owner. He still credits Mark for the basic design
philosophy of the company; short signal paths, and fast power supplies. Larry also credits Mark for his tireless
work with the initial products, and testing the sonic impact on each change
in components.
MSB's design facilities are located in the Redwood forests in La Honda,
California. Only the Platinum products are made there. All other products are
assembled in Taiwan, at a facility exclusively contracted by MSB. Larry was
very insistent on this arrangement with an offshore contractor, to ensure
quality control and complete focus of their attention. This would yield the
best of both worlds, low offshore assembly costs and quality standards of the
design facility.
With refreshing honesty from a manufacturer, Larry admitted that a lot of
‘luck' is involved in the design phase. Given the design philosophy of the
company, there still are infinite combinations of component choices and
layouts. The design process at MSB involves a lot of listening sessions at a
nearby church, known as ‘ the church in the Redwoods'. Each listening session
sets off another round of changes in layout/components. Sometimes several
rounds may not yield any significant breakthrough, and in some cases there
is very rapid progress when listening sessions yield concrete results.
This is the ‘luck' he was referring to. In the case of the Gold Link, this
process took a full year. The MSB team also relies on a guitarist on
their staff to compare live performances and recordings, to evaluate prototype
designs for their fidelity.
Product Introduction
At one point sales were soft, and MSB
was losing a sales manager. This paused them to take a hard look at
the cost and process of introducing products to the market. This crisis led
them to conceive of the first Link DAC. It was to be a budget product, with
all the money on the inside and a sparse amount for cosmetics, advertising,
and
sales force. It was an instant success; they sold over 10,000 units and made MSB a household name with audiophiles. To this day those DACs are commonly
traded on the used market, a testament to the consumer's recognition of the
value of the upgrade ability and price/performance ratio of that model.
The Gold and Platinum models are designed to audiophile standards. The Platinum is
completely constructed in the La Honda facility, and the DAC is designed and
built in-house. The output of this DAC feeds straight to the jacks, with
no other components (op amps) in the path. These hand made ladder-style DACs
use resistors that switch in and out depending on the bits, and they generate
10 volts, so there is no need for an op amp. The Gold version, reviewed here,
uses Burr-Brown 1716 DAC chips and Linear Technology 1364 op amps.
As far as Larry is concerned, the Gold absolutely must be used with the
optional P1000 outboard power supply. The benefits are claimed to be in a more
stable image and improved bass response. I think this would be especially so
if your preamp has a low input impedance (e.g., 10 kOhms).
Setup
The DAC and the Powerbase are exactly
the same size and neither unit really gets very hot, so they can be easily
stacked together.
Burn-in was recommended at 100 hours so I ran the unit for 5 days straight
before doing any serious listening. I did not notice any change before or
after this period, but was not really looking for any either. MSB has listened
to these products for thousands of hours, so they know what is best for their
DACs. I did as I was instructed.
I had the analog outputs of the Gold Link III, the Panasonic A320, and the
vintage Kenwood feed into the preamp with identical interconnects. My intent
was to explore the difference, if any, between the outboard DAC and the one
built into the DVD and CD players. Mind you the Panasonic A320 is no slouch in
terms of its onboard DAC, so refer to our reviews of the preceding model the
Panasonic A310 during last year's DVD benchmark tests. Also keep in mind that DAC technology has vastly improved over the past 10 years, and benefits of the
technological advances have trickled down to budget players as well. So,
outboard DACs have their work cut out for them, if they are going to attempt
sounding better than what comes built-into most DVD players of today.
My primary listening room is 16' by 16' by 8'. For casual listening, the
speakers were placed so that there were 70” between the tweeters, and 128”
from the tweeters to the listening position. For critical listening sessions,
all three points were about 70” from each other, and well away from room
boundaries.
The Outside
The outside of the Gold Link is a slim
sheet metal case that looks unobtrusive and clean. I am glad that they
decided to be cost conscious on the outside, because I really don't care to pay a ton
of money for something I am going to put in a rack. It is amazing what
cosmetics can cost by the way. I once inquired about a brushed aluminum faceplate for an
amp and gagged at the $250 USD the service center quoted. Some of the big name
products can have front plates running close to $1,000 for the machining. The P1000 power
supply is cased in a matching finish and profile, so they can be stacked. The
P1000 can be used for any MSB product (other than Platinum), and they all have
the same finish and profile. Smart way to do business.
The front of the DAC also sports several LEDs to indicate power, inputs,
sampling rate, and options. Frankly, I found these to be too bright and even
annoying in a dark room. The front also did not have any controls. I wish the upsampling toggle on the back were moved to the front for easy comparison. But
in normal use I do not see why anyone would want to turn the option off. And,
after you have done the comparison of upsampling vs. no upsampling, you don't
need the toggle anyway, so what the heck. Leave it on the back.
The rear panel is furnished with one set of analog audio inputs for pass
through. The also is
a pair of RCA outputs. The digital inputs include a balanced AES/EBU, coax, and
optical Toslink.
The power connection is compatible with the supplied wall wart supply or the
optional P1000 power supply (wall warts convert 120V AC to low voltage DC).
Technicals
The Gold Link III can be thought of an upgraded version of the Link DAC III. It includes the upsampling, MSB network connections, balanced inputs, along with upgraded capacitors, resistors, and op amps (photo of inside chassis shown below), which brings the price of the base model Link up to $995. The Gold goes a couple of steps further and is designed with two DACs per channel, each with its own power supply. The theoretical advantage of multiple DACs per channel is a lower noise floor and thus a higher dynamic range, which MSB claims is an impressive 130 dB.
The Gold is furnished with its
balanced input sharing AES/EBU and a
proprietary MSB network connection. I really do not like manufacturers
designing proprietary connections that are not compatible with products from
other manufacturers. It is often a way of trying to make sure you only buy
their products. In this case, however, it is the only way you can get a 192k signal
into the DAC. As a consumer I would be happier if all connectors were able to
accept the 192k signal, but Larry pointed out that only the balanced connector
could handle the bandwidth. DVD manufacturers are not allowed to have 192k
outputs, due to the restrictions on their licenses. MSB offers a 192k
upsampling and output as an aftermarket upgrade to any CD/DVD player. This
would include an MSB network balanced digital output that would then feed
into the MSB DAC's balanced input jack. Hence, the need for the proprietary
connection. However, this really only refers to the electronic interface. The
AES/EBU jack itself is standard, and you can use any balanced cable you
prefer.
The Gold Link will output 2V RMS at 0 dB and up to 4V RMS at max output. With
such generous output you can use a passive preamp (my personal preference)
with no reservations about the signal being too weak to drive the power amp.
The Gold Link also boasts very impressive specs of 130 dB of dynamic range,
125 dB S/N ratio, >110 dB of channel separation and upsampling at rates of 96 kHz
or 132 kHz. The factory preset is at 96k, but you can open the case and change
the jumpers to set it at 132k. I did not bother, but I think this would appeal
to those who also overclock the processors on their PCs.
The P1000 power supply (photo of inside chassis shown below) is an impressive monster in itself. It sports 27,200
microfarads of capacitance that is comparable to what you would find in a
high-end 100 wpc stereo power amp. The abundant reserves of power ensures the DAC can deliver the peak signals without running out of
current, although the
stock unit is fully capable of meeting all power needs of the DAC itself. At this
level of performance, you do not want to skimp on the power supply, and the
P1000 is engineered to satisfy even the most critical tech-head.
The Sound
The Gold Link III did bring me
closer to the asymptote. At first, I was having a difficult
time being able to tell the difference between the analog output of my DVD
player and the Gold Link III. But once I locked in on the difference, there is no
mistaking it. Keep in mind these differences are subtle and will be more
apparent with high performance systems and good recordings. These
differences were very obvious when compared to the analog output of my
vintage Kenwood CD changer, and modestly so when compared to my Panasonic A320.
One of the recordings I noticed a huge improvement in, is Happy-Go-Lucky local
(The Oscar Peterson Trio, "Night Train", Verve, 314 521 440-2). It is a remastered version of the 1962 recording. The cymbals on this album were
recorded point blank and sound very hot as a result, so your ears will beg for
mercy. The Gold Link III was able to tone down the sizzle without losing
finesse, and in fact, actually increased the audible detail. I could
now separate the layers of harmonics made by the cymbals instead of it all
sounding like a lump of harsh noise, as it did with the Panasonic A320. This
discovery perhaps was my happiest, since it makes many of my older jazz
recordings more enjoyable. I think it is a shame that those recordings could
never be done again. But at least we will have remastered versions that eke
out as much as is possible from the master tapes, and equipment like the Gold
Link III that makes the recordings more enjoyable.
But the real potential of the Gold Link III was revealed with newer, better
recordings that have been made with attention to the quality of recording
components and simplicity of setup. One of my favorite such tracks is
Yesterdays (Dave Brubeck, Night Shift, Telarc, CD-83351). There is a great
amount of detail in the resonance of the grand piano, and there literally are
layers and layers of sound, as each note and its reflections slowly decay, and
additional notes and reflection are layered on top. With the Gold Link III, it
was easy to feel the size and resonance of what must have been a grand piano.
Each note and every resonance was cleanly separated giving me a sense of the
beauty of the instrument and the genius playing it.
The MSB Gold Link III also distinguished itself from the built-in DAC on the
Panasonic A320 in terms of dynamics. On Locomotive (Thelonius Monk;
"Straight, No Chaser"; Columbia-Legacy; CK 64886), at about 0:52 into the song
the ‘blat' from the tenor sax should kick you in the pants. Imaging of the sax
should place Charlie Rouse a couple of feet inside and behind the right
speaker. This was one of those rare cases where I had to open my eyes to make
sure Mr. Rouse had indeed not materialized in my living room. It sounded as if
he was, and the image was rock solid. I had no doubts about exactly where he
would have been standing.
Conclusion
The rationale for buying an outboard
DAC is not a very obvious one, and will only appeal to those seeking the very
best they possibly can extract from their digital recordings with little
regard for cost. This is a purchase for those who are single-mindedly in
the pursuit of the best possible sound, and feel that every incremental increase in
quality is worth pursuing. The MSB Gold Link III delivers on that quest and certainly justifies the concept of an
outboard DAC for those seeking the last mile of fidelity today.
Associated Equipment:
Speakers: Dynaudio Contour 1.1; Triangle Titus XS; Monitor Audio GR10, Totem
Model 1 Signature, Silverline SR15
Amplifiers: Bryston 4B Pro; Krell KAV 250a; NAD 317 (Integrated)
Preamplifiers: PS Audio IV
Digital Source: Panasonic A320; Kenwood
Power Conditioner: PS Audio P300
Connectors: Self-designed.
- Arvind
Kohli -
© Copyright 2002 Secrets of Home Theater & High Fidelity
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