New MSB Cascade DAC

[exupgh12]

That could be down to how resolving the system is that you heard it on. The system I heard was Magico M3s and it was not subtle.

Lee, I agree with Ron on this issue. After hearing both setups, I found no meaningful performance difference between the Premier with the Director versus the Premier equipped with the Pro ISL module but without the Director.

If I were considering an upgrade path for the Premier, I'd focus on finding a used Reference unit or, even better, move up to a Select 2 like @itay123 did. Or if one have the resources, go for the Cascade. other of those approaches would deliver more substantial improvements than the Director addition.

 

[Young Skywalker]

In my case, the value of the Digital Director was realised with the Network Renderer, an input module that swallows network noise and generates its own processing noise. The sonic difference was significant to me and that’s before one considers the vastly more advanced digital filtering that the additional DSP power the Director confers. What does that sound like? A reduction in hashness with less than stellar recordings, presumably due to the new digital filter. Greater resolution, manifesting as a greater perception of space (recorded ambience), and stronger dynamics, presumably due to a lower noise floor.

Would these benefits be the same with a traditional disc transport? I hope to find out some day when I can prioritise a CEC TL2N over mortgage repayments. Would the benefit be less with the Pro-USB module (which uses similar optical isolation as the Director) between music server and DAC or between music server and Digital Director? I would expect so.

Ultimately, I justified the Director’s purchase price by not spending similar money on a boutique music server.

What does my endgame digital look like? That would be an upgrade from Reference DAC and Reference Digital Director to Cascade DAC. Noting that I use the analog input switching and volume control portion of the DAC as my preamp.

 

[itay123]

Totally agree.
In my setup, the D.Director did absolute wonders, I have a highly transparent setup, and every small change is clearly audible.

At the time, I chose to invest in the D.Director rather than swap my DAC for a used Reference that was offered to me.
Looking back, I can confidently say that the Premier + D.Director combo brought me surprisingly close to Reference DAC-level performance.
Upgrading to a Reference DAC just didn’t feel worthwhile at that point.

That is… until my good friend, who also happens to be the MSB importer, got his hands on the Select 2.
Let’s just say, staying indifferent was no longer an option.
Yes, it cost almost twice as much as a brand-new Reference DAC, but the performance gap between the Select 2 and the Reference or Premier + director comboI had previously tested was simply glaring.
So much so that I seriously considered selling my beast of a Pilium preamp just to help fund it.and use the Select 2 vol control.

But in the end, combining my current pre (which is in a league of its own) with the Select 2 (updated both in hardware and software for 2025) was simply too good to pass up.
When a rare opportunity like that shows up, you don’t hesitate. You jump.

Bottom line?
If someone doesn’t hear the dramatic difference in their own setup, I’m sorry, but something in that chain clearly isn’t clicking.
And don’t even get me started on the ISL Pro connection, it’s a game changer, plain and simple.

 

[exupgh12]

In my case, the value of the Digital Director was realised with the Network Renderer, an input module that swallows network noise and generates its own processing noise. The sonic difference was significant to me and that’s before one considers the vastly more advanced digital filtering that the additional DSP power the Director confers. What does that sound like? A reduction in hashness with less than stellar recordings, presumably due to the new digital filter. Greater resolution, manifesting as a greater perception of space (recorded ambience), and stronger dynamics, presumably due to a lower noise floor.

I also have the Renderer module, and the sound difference between it and the Pro ISL module is quite noticeable—very much in line with what you’re describing when using the Director.

In my opinion, if someone is looking to upgrade from the MSB Premier DAC and stay within the MSB ecosystem, it’s better to go for the Reference or Select II, or Cascade DAC if you can afford, rather than adding the Director.

 

[MattK]

I went from the Reference DAC → Reference + Digital Director → Cascade with Bit Diffusion. Every step along the way brought clear improvements. It’s tough to quantify, but here’s how I’d describe the progression as someone who’s owned and lived with each of these in my system.

Reference DAC (after DCS Rossini Apex + Clock):

This move was the shift from hearing music to listening to music. The Rossini was excellent—no complaints about its technical ability to reproduce sound. But it always felt like an exercise in analysis, not an experience. It never gave me the emotional engagement or “live music” vibe. The Reference changed that.

Reference + Digital Director:

This upgrade made an immediate impact in A/B/A testing. The most noticeable change? Lower noise floor. Strings became more distinct from each other. Drums had more space between hits. The soundstage deepened. It was a meaningful improvement—no question—but in the context of total system cost, the leap didn’t feel like that much of a stretch. I’d do it again.

Enter the Cascade (with Bit Diffusion):

This is the most recent change. It came with Bit Diffusion, so I can’t separate the between with or without—just sharing my full experience as I received it. About 45 seconds into Shirley Horn – If You Go, I literally said, “What the literal F… is this?”. But nothing, nothing, has ever captured cymbals like this. The depth, the separation, the dynamics—it just pulls you into the music in a completely immersive way like I’ve not heard before.

I have a pretty revealing system. Not horn-level hyper-resolution, but I run larger Magicos in a glass-heavy, bright and reflecting room—basically, a setup where flaws don’t hide. And yet the Cascade is one of the most jaw-dropping additions I’ve experienced in 35 years in this hobby.

Just my $0.02

 

[Young Skywalker]

Great analysis, Matt. Now you have me wanting an upgrade from Reference DAC + Reference Director to Cascade, something that is not within the audio budget just yet. One can dream.

I went from the Reference DAC → Reference + Digital Director → Cascade with Bit Diffusion. Every step along the way brought clear improvements. It’s tough to quantify, but here’s how I’d describe the progression as someone who’s owned and lived with each of these in my system.

Reference DAC (after DCS Rossini Apex + Clock):

This move was the shift from hearing music to listening to music. The Rossini was excellent—no complaints about its technical ability to reproduce sound. But it always felt like an exercise in analysis, not an experience. It never gave me the emotional engagement or “live music” vibe. The Reference changed that.

Reference + Digital Director:

This upgrade made an immediate impact in A/B/A testing. The most noticeable change? Lower noise floor. Strings became more distinct from each other. Drums had more space between hits. The soundstage deepened. It was a meaningful improvement—no question—but in the context of total system cost, the leap didn’t feel like that much of a stretch. I’d do it again.

Enter the Cascade (with Bit Diffusion):

This is the most recent change. It came with Bit Diffusion, so I can’t separate the between with or without—just sharing my full experience as I received it. About 45 seconds into Shirley Horn – Let It Go, I literally said, “What the literal F… is this?” I own that album on vinyl—original pressing, later pressing, you name it. But nothing, nothing, has ever captured cymbals like this. The depth, the separation, the dynamics—it just pulls you into the music in a completely immersive way like I’ve not heard before.

I have a pretty revealing system. Not horn-level hyper-resolution, but I run larger Magicos in a glass-heavy, bright and reflecting room—basically, a setup where flaws don’t hide. And yet the Cascade is one of the most jaw-dropping additions I’ve experienced in 35 years in this hobby.

Just my $0.02

 

[ationg]

Cascade is excellent but I am not sure it sounds as good as analog yet, in my experience.

 

[gds7368]

Cascade is excellent but I am not sure it sounds as good as analog yet, in my experience.

In my system I haven't found anything that beats a good analog recording on LP. But with the Cascade, I finally have been able to find digital that *can* sound better than an LP. When I have my audio friends over we often put on the CD, streamed digital track, and vinyl and cue it up to the same song and toggle through the 3 at the same time. Digital can finally beat vinyl on my Cascade, which was never the case with my prior Select2 in my system. One example off the top of my head is the recent remastered release of Talking Heads "Stop Making Sense" where the digital version on Cascade beats the LP.

 

[rau]

In my system I haven't found anything that beats a good analog recording on LP. But with the Cascade, I finally have been able to find digital that *can* sound better than an LP. When I have my audio friends over we often put on the CD, streamed digital track, and vinyl and cue it up to the same song and toggle through the 3 at the same time. Digital can finally beat vinyl on my Cascade, which was never the case with my prior Select2 in my system. One example off the top of my head is the recent remastered release of Talking Heads "Stop Making Sense" where the digital version on Cascade beats the LP.

If it originally digitally recorded, it should be better to hear the file!

 

[ationg]

In my system I haven't found anything that beats a good analog recording on LP. But with the Cascade, I finally have been able to find digital that *can* sound better than an LP. When I have my audio friends over we often put on the CD, streamed digital track, and vinyl and cue it up to the same song and toggle through the 3 at the same time. Digital can finally beat vinyl on my Cascade, which was never the case with my prior Select2 in my system. One example off the top of my head is the recent remastered release of Talking Heads "Stop Making Sense" where the digital version on Cascade beats the LP.

Could you please describe in what ways your Cascade sounds better than your vinyl? Much appreciated.

 

[gds7368]

If it originally digitally recorded, it should be better to hear the file!

Makes sense! I have found digitally recorded music where the LP wins, such as Rufus Du Sol "Solace" where the LP beats the digital transfer ... but the CD (which I don't have) certainly could be the overall winner.

 

[gds7368]

Could you please describe in what ways your Cascade sounds better than your vinyl? Much appreciated.

I can try! While I usually find vinyl more natural - especially when the recording was originally done in analog - there are definitely times when my digital setup sounds better. Some high-quality digital recordings or well-transferred analog masters offer superior clarity, dynamics, or detail compared to their vinyl counterparts. Played back-to-back, I typically prefer the ease and naturalness of vinyl, but I’ve reached a point where I can play digital, relax, and no longer feel the need to check whether I own the vinyl version.

For me, the format is secondary to the experience. What I’m after is what @Ron Resnick describes as suspension of disbelief - a sense that the musicians are right there in the room with me. It's about soundstage, tone, realism, and emotional connection. When digital delivers that better than vinyl, I embrace it without hesitation. I used to be 100% vinyl, and now I'm much closer to 50/50.

 

[ationg]

I can try! While I usually find vinyl more natural - especially when the recording was originally done in analog - there are definitely times when my digital setup sounds better. Some high-quality digital recordings or well-transferred analog masters offer superior clarity, dynamics, or detail compared to their vinyl counterparts. Played back-to-back, I typically prefer the ease and naturalness of vinyl, but I’ve reached a point where I can play digital, relax, and no longer feel the need to check whether I own the vinyl version.

For me, the format is secondary to the experience. What I’m after is what @Ron Resnick describes as suspension of disbelief - a sense that the musicians are right there in the room with me. It's about soundstage, tone, realism, and emotional connection. When digital delivers that better than vinyl, I embrace it without hesitation. I used to be 100% vinyl, and now I'm much closer to 50/50.

Thanks a lot for your explanation. I fully agree Cascade is excellent.