![]() I therefore used the fixed output for this audition, adjusting the volume on my EMM Labs Pre2 preamp instead. Routing the audio signal through the DAC’s volume-control circuitry thinly veiled the sound, making it less immediate and involving. The signal quality of the variable output, balanced or unbalanced, is well below that of the fixed output in resolution and dynamic range. But it’s not easy to adjust the volume in small increments from the remote control, and you can’t see what volume level you have set. Musical Fidelity does not make a big fuss about using the variable output to directly drive a power amp and neither should you-it works. The M6x DAC’s line outputs can be set to fixed or variable level. A conventional ¼″ jack is at hand on the front panel. Nothing unusual so far, but the specifications for channel separation (>130dB at 10kHz), signal-to-noise ratio (>120dB at 1kHz), harmonic distortion (115dB. The balanced output delivers 4V RMS, the unbalanced 2V RMS. ![]() The USB input supports resolutions up to 32-bit/768kHz PCM, DSD256 DoP, and native DSD512, while the other four support PCM up to 24/192. Input selection is implemented with two buttons (previous and next) on the unit and on the supplied remote control. The M6x is not a streaming DAC, but it accepts a range of digital inputs: two optical and one coaxial S/PDIF, USB, and AES/EBU. ![]() The M6x DAC employs the latest version of Musical Fidelity’s Super Silent power transformer, an encapsulated toroidal transformer with low core saturation, fed from an industrial-grade power socket with an EMI filter and a DC blocker. Key to extracting the best sound from Sabre chips is the implementation of the power supply. The latest incarnation in the M6 series, the M6x DAC features a pair of ES9038Q2M chips in dual-differential mode, for a dual-mono design. Priced at $2500 (all prices in USD), the M6x DAC replaces the M6sR, which itself replaced the M6s, one of the first DACs to use ESS Technology’s Sabre ESS 32-bit HyperStream II architecture. Perfect recordings for testing Musical Fidelity’s new, top-of-the-line M6x DAC. The Mozart was recorded in 1994 by none other than Tony Faulkner the Brahms, in 1996 by Anthony Howell. In both works, Michaelson is accompanied by four top-notch musicians: Adrian Levine, Colin Callow, Jeremy Williams, and Robert Bailey. Michaelson is a fine clarinetist I happen to own two unnumbered CDs from the Musical Fidelity label, each featuring his delectable performance of a clarinet quintet: Mozart’s on the one, Brahms’s on the other. In 2018 Michaelson sold Musical Fidelity to Audio Tuning Vertriebs GmbH, parent company of Pro-Ject Audio Systems, and returned to his first love, making music. Musical Fidelity grew and prospered for three decades. ![]() I did not listen to them and would tell my younger self, received wisdom is often wrong.” His tenacity paid off. In an interview on Musical Fidelity’s website, company founder Antony Michaelson recalls, “When I started the company, I was told by a lot of people that there was no room in the market for another amplifier brand. Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here. 2018-2019 EISA Awards Video Introduction. ![]()
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