Using the M1S2’s internal M5 network player
Here is the description of the M5 Network Player from the Bricasti website:
The M5 is a dedicated DLNA and Roon Ready audio media renderer. Simple, raw data is served to the M5 over the network from your NAS or server and only then does data become rendered as a real-time audio stream to its SPDIF, AES or USB outputs, connecting to your D/A like our M1SE to do its magic. Many computer servers play dual roles as archival systems and players but not when you have a dedicated player like the M5. With the M5 dedicated player the audio rendering is in the M5, and close to its D/A destination for a pure, noise free experience that we believe is exceptional.
Is using the M1S2 with the built in Network Player a legitimate HiFi solution for a digital streaming front end? Yes, it is! The overall effect of simplifying the system by eliminating one component, the N20, had a similar effect as other times when I have pared away a DAC or preamp. The absolute resolution of the system took a step upward when the N20 and USB cable were eliminated. Here the M1S2 shined brightly, its capacity for ultra-refined and exceptionally resolving sound on display.
Without the N20, the M1S2 stepped down in terms of dynamic presence, as though the gain had been reduced. I am not sure how that would happen, given that the N20 was previously feeding the Bricasti, but that was my perception of the change. Perhaps that sensation was caused by the N20 offering more presence in the midrange and mid-bass, as discussed previously in reference to it sounding like the Pathos Classic One MkIII Integrated Amplifier. The M1S2 is more linear and controlled sounding, with no discernible additional emphasis on any part of the frequency spectrum. Those expecting bulbous bass or thick and chocolatey warmth might be disappointed. However, I thoroughly enjoyed the delicate balance and remarkable retrieval of minutia in the music.
The M1S2 as an integrated streamer/DAC was the cleanest and most delineated digital source I had used. As an integrated streamer it captures what I call studio sound: highly resolving, a more balanced frequency spectrum top to bottom, without being brittle or strident. I built my room to have the characteristics of a studio, to create an environment where it seems I am within feet of the performers. The M1S2 played into that goal by letting me hear deeply into the performance nearly as if I were wearing a pair of premium headphones but with a proper HiFi soundstage.
The beauty of the M1S2’s digital filters
The M1S2 offers 9 linear phase (labeled Linear 0-8) and 5 minimum phase (labeled Minimum 0-4) filters for nuanced treatment of the signal path. To avoid being wrapped up in second guessing what I was hearing, initially I concentrated on what I consider the baseline filters, Linear 0 and Minimum 0. One can toggle between all 13 filters real time with only a brief drop out in the music as the filter is enabled. Such real-time comparison is helpful to determine the filter that pleases with most music. I appreciate the flexibility of the playback with the M1S2 because, with certain combinations of equipment, cables, and speakers, one or the other filter fit my preferences better. In all the system combinations I built, my preference was split evenly between the two filters for use with particular speakers, which to me indicates that they are equally legitimate.
Here, in my reviewer’s shorthand, are some of my notes taken as I compared the two filters while listening to “Anastasis” by Dead Can Dance, “Come Back to Me” by Brian Culbertson, and “Kind and Generous” by Natalie Merchant, all as heard through the PureAudioProject Trio15 10” Coaxial Speakers. First, some impressions obtained while listening to these pieces of music with the Minimum 0 Filter:
“Anabasis”: Closer, less depth to soundstage; less ambient info and images pop more out of black background due to background being squelched — like power supply filters I’ve used; strips some micro dynamics in favor of contrast to background.
“Come Back to Me”: LF/bass very lively and impactful; sense of info gaps between acoustic envelope of notes, but punchier. Reminds me of the Gold Note PA-1175 MkII amp’s Damping Factor function and ability to contour several characteristics.
“Kind and Generous”: Preserves color and vibrancy.
Here are some notes from the same listening session with the same tracks, but with the Linear 0 filter engaged:
“Anabasis”: Like a lower powered tube amp and HE speakers; More spacey and indistinct, like a “hall” mode engaged; more generously appointed sound field, more happening deeper back; less punchy but more contiguous.
“Come Back to Me”: Recesses and levels the piece; less visceral.
“Kind and Generous”: Strips some color away, bleaches it somewhat.
These impressions cover a wide range of attributes, so it should not be surprising that I enjoyed both settings but found one or the other more suitable for specific equipment and speakers. Readers should not take my descriptions out of context, such as thinking the M1S2 is not visceral or that it bleaches the music. These descriptions are only to thin slice the comparisons between the two filters, and it would be entirely inappropriate to apply them to the M1S2’s performance generally. The M1S2 is outstanding in resolution and detail retrieval, and the ability to adjust so many parameters put more distance performance-wise between the M1S2 and the other three DACs.
Margo Timmins, the lead vocalist of the Cowboy Junkies, sings “Hard to Build, Easy to Break.” It is a mark of excellence that both filter settings were equally appealing and neither broke the sound quality. As I worked through hundreds of review tracks, if vocals or instrumentals seemed too reticent, too laid back, in a matter of seconds I could opt for the Minimum 0 Filter. If I wanted a more relaxing presentation, I could dial it back and have it blend and extend with the Linear 0 Filter. Never did I have to worry that the outcome would be obtuse or unpalatable. Often, I would play a piece of music twice to appreciate the nuances of each filter. Whereas many DACs don’t quite get things sorted well, the M1S2 sorted things out well with either filter.
As described above, the Aurender N20 with the M1S2 acting as a DAC resulted in a fuller, weightier sound than the Bricasti as a streaming DAC. I wondered whether adjusting the Perlisten D212s Subwoofers might be able to assist the M1S2 to gain some heft. As these are smart subs with a full complement of bass shaping software and room correction, I adjusted their low pass frequency and output to complement the M1S2. It worked superbly well, supporting the bottom end with cleaner output under 45Hz. It added some warmth and presence to make the M1S2 seem more formidable, yet without obscuring the fine resolution.
The final run, sort of
I typically will not review a product that I cannot hold for a minimum of 3 months. I prefer a longer time frame because my reviewing method is more intensive, as I build many systems to assess the product. You might be disheartened to learn how many companies do not care to subject their product to such scrutiny. In my experience, about one third of them prefer a brief review period to keep the reviews pumping and the hype machine going.
The makers of premium components and speakers are often gracious about the review period and have a philosophy that the review should follow a proper timeline to allow the best assessment possible. Those companies usually tell me to take whatever time I need, which honors what is to me a superior reviewing methodology. I honor them by not playing games as a reviewer. I finish reviews I start and do not harbor equipment after the review. If a maker wants their product back, it is sent back.
My experience in this review with Bricasti has been first rate. Their DAC has been bulletproof and they have given me all the time I need to prove it. Because Bricasti was not knocking on my door, I built yet another system and deepened my understanding of how great the M1S2 is in terms of both flexibility in system building and performance. It occurred when I slid my least expensive and most finicky set of tower speakers into the system, the unique Kingsound King Tower omnidirectional speakers.
I have written before about the unusual circumstances by which these speakers came into my possession. I consider them to be a poor man’s MBL. The cylindrical tweeter atop and the upward firing midrange and woofer are tricky to work with. The upper midrange and treble of the King Tower in the right system can exceed, in resolution and openness, the dipole speakers I have used, including the Sound Lab and King Sound electrostatic speakers I have reviewed. The weakness of the King Tower is that the prodigious upper end can draw attention away from the midrange; the speaker can easily seem too hot. But not when I put the M1S2 to work on it!
The system I built for the King Tower was purist; the M1S2 running directly to the Kinki Studio EX-M1+ Integrated Amplifier using its Theater mode (amplifier only). Toggling between the Linear 0 and Minimum (Phase) 0, as I had done throughout the review, I sensed the DAC was close but not perfectly complementing the sound of the King Tower. I wanted less intensity atop, more midrange presence, and a touch more resolution in the bass. Could one of the other Filter settings bring that combo? Yes, the Linear 4 filter was ideal! Precisely the conditions I sought were applied to the signal, and thus to the speakers, making them flush with a well-balanced performance that I had never been able to achieve previously. The result was remarkable, as I had just swapped out the PureAudioProject Trio15 10” Coaxial Speakers, which have quite generous midrange due to their 10” midrange (coaxial) drivers. The King Tower magnified the precision of the M1S2 and with the Linear 4 filter the treble was softened and tucked into the lifted midrange.
I was stunned that filters I had previously sensed to be less influential were with this speaker consequential! My conclusion in this matter is that with more capable, well-rounded speakers the incremental steps of the Filter function may not sway a person as much as if they are employed to assist an idiosyncratic speaker design. The M1S2 was making itself rather valuable at this point, for it was not only performing the tasks of three upscale components — DAC, streamer, and preamplifier — but doing so with a battery of filters that kept the quality but offered additional tonal templates for unique system challenges.
Two superb Bricasti digital source solutions
As I worked on this review, I still had a sense of incompleteness regarding the discovery phase of the review. I had assessed the performance of the M1S2’s operation as a DAC (sans network player) in comparison to other DACs, but how could I assess the performance of the embedded M5 Network Player? A straightforward answer presented itself in requesting an M5 to conduct comparisons. Within two weeks of chatting with Brian Zolner, an M5 was sitting in my room, looking like an infant version of the larger DAC. Built with the same precision, the M5 was a diminutive yet impressive piece of kit. It is simple in its singularity of function, rendering a network stream of digital data and outputting it to a DAC. The network (Ethernet) port is its only input.
The M5 is Bricasti’s answer to multiple site playback using their technology without buying multiple DACs. A person can hook up as many M5 units as they desire on the same network and get superb sound at their location. Since it does not have additional inputs, it can only accommodate a LAN (Local Area Network, i.e., Ethernet) connection. I used my upstairs computer to run both Roon and Audirvāna and used either my phone or tablet in the listening room to operate the M5, just as I had the M1S2. With the music interface, the owner can work with multiple music services simultaneously and switch between them seamlessly. Indeed, I was able to switch between Roon and Audirvāna at will and build a playlist on Audirvāna or Roon that incorporated music from Tidal and Qobuz.
The M5 has SPDIF, AES, and USB outputs. If the owner wishes, a WiFi dongle can be used with the USB output to connect wirelessly. According to Brian it will not yield the highest sound quality as opposed to a hard USB connection. Curiously, my preference for either AES or USB output was highly dependent upon the cable being used. I had heard some distinct differences between the AES output via an Iconoclast XLR Interconnect cable versus the Clarity Cable Supernatural USB. While the AES output was preferred between the two, it prompted further comparisons that led to a different conclusion.
I used five pieces of music in level-matched comparisons between the M5’s AES output and its USB output. The pieces of music were “I Can’t Stand the Rain” by Woong San, “I Still Haven’t Found” by U2, “Twist of Rit” by Lee Ritenour, “Take the ‘A’ Train” by Metropole Orchest, and “After All This” by Four80East. I played them all in the same order for each of the M5’s outputs. Previously, I had determined that the SPDIF output with Iconoclast’s RCA interconnect was outdone by the AES output with the equivalent Iconoclast XLR cable. Thus, the final comparison would be between the AES and USB outputs with the associated cables feeding the Exogal Comet DAC.
The Comet DAC is supposed to be agnostic due to conversion of all incoming signals to Exogal’s own algorithm. Turned out that it is not completely agnostic. At times such as this it has shown a performance elasticity not only between AES and USB inputs but between different USB cables! As I continued to build iterations of systems with the M5, I found that the Silnote Audio Orion-M1 Master Reference USB Cable bested the Clarity Cable Supernatural USB. Consequently, the cables used for comparison of the best output of the M5 were the Orion-M1 USB versus the Iconoclast XLR Interconnect acting as AES.
It may be heresy to Bricasti, but I heard a significant improvement across the board using the USB output versus the AES output. In this system, which featured the Legacy Audio i.V4 Ultra Amplifier and the custom Legacy Whisper DSW Clarity Edition Speakers, I preferred the USB output over the AES. How could that be? I have found that in several instances, the judgment of a company for or against a particular system setup is worth testing because there are times when the results do not follow the anticipated outcome.
Simply because any given interface is deemed less ideal at signal transmission does not mean that in every system it will be inferior. One must build the systems and conduct comparisons to learn which setup is superior. AES may typically outperform USB, but not always. Having conducted a review of two Aurender digital music servers featuring specially optimized USB outputs, I suspect their opinion of the suitability of the USB link would differ from Bricasti’s. Where does that leave the audiophile? In a position where comparisons must be made to determine the best outcome, which is why I base conclusions on system building, not theory or received wisdom.
In my experience of building many systems with a variety of equipment and cables, I have found exceptions to what are supposed to be universal principles of system setup. I always try all outputs and connections because no one — not me, not you, not even the manufacturer — knows what the outcome will be with any given set of components, cables, and speakers. I am happy that I conducted comparisons between AES and USB, because I demonstrated there will be instances where the USB output of the M5 will be preferred. I will take care not to hastily draw the opposite conclusion, that the USB output is fundamentally superior for all systems. With a particular combination of the M5’s output, digital link, and DAC, either one might be preferred. To optimize a system, one must try all available options. If you do not use all options, you do not know which will be preferred.
When I use the term preferred, it means the best sonic outcome. I do not prefer lower sound quality or accept diminishment of the parameters of better sound. In this instance, the USB output improved upon the AES output. How can that be? The conclusion I have drawn by building many systems for many years is that cables can have as much influence upon the sound quality of a system as the components! It may be that a standard generally transmits an audio signal more poorly than the others, but what about the digital link, the cable?
In a parallel finding to the results obtained in this review, I have found no universal superiority of XLR interconnects over RCA interconnects. Their performance seems to be highly component and cable dependent. Similarly, this set of comparisons suggests that between different digital cables, there exists a wide range of performance and it is in the audiophile’s best interest to try all options. I urge the serious audiophile who wishes to maximize a component’s performance to try no less than three cables, which in my instance would mean comparing three AES cables and three USB cables. Optimizing a system is a fair bit of work and can be a fair bit of expense, but there is no other way to achieve better performance.
Others have concluded similarly about the M5’s USB output, as the online discussion forums show a split between people saying the USB output is best versus others who say otherwise. I believe disparate results are a result of the wide performance spectrum pertaining to the M5’s three outputs and the associated cables used by audiophiles. The terrific news in all this is that in my use, the USB output becomes another fine option for owners of the M5 to optimize their system. It makes the M5 a win, win, win digital source (three “wins” for three fine digital outputs).
Returning to the question of what the Network Player (renderer) was contributing to the sound quality of the M1S2, I had previously concluded that the M1S2’s DAC was clearly superior to any of the DACs I had on hand. I wondered how much the sound quality would drop if I connected the M5 to one of those DACs, such as the Exogal Comet. But the sound quality did not drop. Instead, it was better! The diminutive, $2,500 M5 paired with a DAC that was thoroughly beaten by the M1S2 was now upstaging the larger, more expensive product. That almost never happens, and when it does happen there is some undiscovered technological reason.
Specifically, the dedicated M5 was splendidly resolving. A song I can’t stand but is superb as a test of a system’s resolution is Sara Jarosz’s “Green Lights.” The background vocals, synth effects, and brass (perhaps a tuba) are so enmeshed that it takes exceptional definition to separate them cleanly. After years of trying with fine systems, the musical elements of the piece were rendered cleanly, distinctly. It didn’t make the song any more pleasant, but it did show the stunning resolution of the M5. Tonally, the M5 was generous, not leaning toward the shrillness of many budget components. Tracks such as “I’m Just a Country Boy” by Don Williams, Marc Cohn’s “Ghost Train,” Jamison Ross’s “Don’t Go to Strangers,” and “The Light” by Dee Carstensen had uncommon depth and warmth. The M5 caused the performances to flow. Innately the groove of the performance, such as Randy Crawford’s “Forget Me Nots (Delaney’s Mix),” was conveyed to my soul and emotionally involved me.
I was mightily impressed by the little M5! To be sure of what I was experiencing, I tested it out against an Aurender A10 at my friend’s home. He was highly skeptical and would not have initiated such a comparison as it seemed illogical to him that removing the Aurender A10 next to his vintage Wadia DAC and introducing his home computer into the signal path could improve the sound. He is to be commended for trying it despite his disbelief. I did not steer him or make suggestions as to what he should hear when the home computer and M5 were placed into his rig. We started the comparison with a listening set of test selections as heard by his native system. Then we took his Aurender out of the system, added Qobuz and Audirvāna as test programs to his home computer, which was accessed through the network, and hooked up the input of the M5 from his computer and the output directly to the Wadia.
We listened to a portion of the first test track, then switched to the second track. Moments later, he voiced his opinion that the change made the system fundamentally better. He commented that he had never heard his speakers sound better. A few minutes later he was discussing with his wife how he intended to buy an M5. It had taken only a handful of minutes for the outcome to be finalized.
Recommendations
This review left me with a difficult decision in choosing between the M1S2 and the M5 as a source. I very much value the filters in the M1S2 but I have three DACs on hand, and frankly, I was getting an uncannily good result from the M5 and Exogal Comet, yes, even better than the integrated M1S2. I do not understand that result because clearly as a DAC the M1S2 was superior to the Comet when I tried both with the Aurender N20. One simply does not know what the outcome will be until the system is built.
The biggest reason I elected to buy the M5 rather than the M1S2 is that the latter would not fully satisfy my need as a reviewer for a discrete streaming or file playback source. If I bought the M1S2 with the built-in Network Player, it would be the only digital source I had, whereas a stand-alone M5 would allow me to build unlimited systems. In this instance with the Exogal Comet, I hit the jackpot and the sound quality edged out the M1S2. It showed me that the M5 is a superb choice to keep as a digital source and seems fundamentally superior to the digital front-end equipment I have used previously. As I have not used it with all the speakers on hand, I wonder if it will be able to compliment them as tonally perfectly as the M1S2. If not, I may need to retrace and get the integrated M1S2 to have access to the baker’s dozen of filters that so gloriously complemented every speaker.
Here, then, are my recommendations. If you are confident about your digital source but want an upgrade to the DAC, the M1S2 has premium sound with flexibility to enhance a wide variety of systems. If you desire a simpler setup that does not compromise on quality, the integrated version of the M1S2 is a superb choice. If you are a budget audiophile, I struggle to see how you would lose by trying the M5 Network Player. Its functionality is limited, but its performance relative to its price is exquisite.
It is rare that a company offers two components, two pathways to excellence, that offer legitimately premium sound for both budget listeners and upscale audiophiles. Kudos to Bricasti Design, an American manufacturer who deals in high quality experiences!
Associated Components:
Digital Source: Small Green Computer sonicTransporter and SONORE Signature Rendu SE with systemOptique; Wireworld Starlight CAT-8 Ethernet Cable
Analog Sources: Realistic LAB 400 Turntable with Schiit Audio Mani Phono; Nakamichi CR-1A Cassette Deck
Streaming Music Service: Tidal; Qobuz
Music Management: Roon; Audirvāna
DAC: COS Engineering D1 DAC Plus Pre-Amplifier; Eastern Electric Minimax DSD DAC Supreme with Burson, Dexa NewClassD or Sparkos Labs discrete opamps; Exogal Comet DAC and PLUS power supply
Preamp: Kinki Studio EX-M1+ Integrated Amp (preamplifier mode)
Amps: Legacy Audio i.V4 Ultra; Kinki Studio EX-M1+ Integrated (amplifier mode); Exogal Ion PowerDAC (used exclusively with Comet DAC)
Integrated: Kinki Studio EX-M1+
Speakers: Legacy Audio DSW Clarity Edition; Kings Audio King III electrostatic speakers; Pure Audio Project Trio15 10” Coaxial version and Horn1 version; PureAudioProject Quintet15 10” Coaxial version and Horn version; Kings Audio King Tower omnidirectional; Aspen Acoustics Grand Aspen; Wharfedale Opus 2-M2 Monitors
Subwoofers: Perlisten D212s Subwoofers
IC’s: Iconoclast RCA and XLR Generation 2 with Ultra-Pure Ohno Continuous Cast Copper conductors; TEO Liquid Splash-Rs and Splash-Rc; TEO Liquid Standard MkII; Clarity Cable Organic RCA
Speaker Cables: TEO Cable Standard Speaker; Snake River Audio Signature Series Speaker Cables;
Digital Cables: Clarity Cable Organic Digital; Snake River Audio Boomslang
USB: Clarity Cable Supernatural 1m
Power Cables: Clarity Cable Vortex; Snake River Audio Signature Series; Belden BAV Power Cord
Power Conditioning: Wireworld Matrix Power Cord Extender; Tice Audio Solo
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