·Review Basic Information

·Platform: AAUDIOTECHNIQUE

AUDIOTECHNIQUE magazine was first published in August 1981 and has been in circulation for over 44 years. This monthly publication has become an essential reference for audiophiles, music lovers, music professionals, audio dealers, and manufacturers. It also stands as one of the largest, most beautifully printed, and widely distributed (covering various regions of China and major cities worldwide) publications of its kind globally.

Original: AUDIOTECHNIQUE HONG KONG Issue No.536 May,2026

Review Product:  「Matrix Audio」MD-1P Music Streamer Integrated Amplifier

MD-1P Music Streamer Integrated Amplifier

Another Possibility for Two-Channel Systems

In recent years, it's often said in audio circles that fewer young people are "getting into" traditional two-channel systems. Some attribute this to the rise of music streaming and headphone culture, while others believe it's related to the continuous increase in High-End equipment prices. However, from the perspective of Hong Kong's living environment, the answer may be more realistic — in living spaces that are often only around 200–300 square feet (approx. 18–28 m²), building a complete two-channel system is already no easy task.

For many audiophiles, a traditional two-channel system often means multiple components: audio source, DAC, preamp, power amp, plus power conditioning, equipment racks, and various cables. As the entire system is formed, the equipment rack often occupies a prominent position in the living room. For regions with relatively ample living space, this might not be an issue, but in Hong Kong's cramped and expensive environment, it often becomes a threshold that many enthusiasts find difficult to cross.

It is against this backdrop that all-in-one audio products have begun to receive increasing attention — they attempt to integrate Streamer, DAC, and amplifier into a single unit, greatly simplifying the entire system. Matrix Audio has risen rapidly in the digital audio field in recent years, and the MD-1P Music Streaming Power Amplifier that arrived at our listening room is a representative example of this design philosophy.

Understated yet Refined

The MD-1P has an understated appearance: a matte black chassis, full aluminum CNC-cut, with meticulous workmanship, yet its overall look is low-key and refined. It does not deliberately draw attention; rather, it resembles a piece of equipment that can blend into a home environment. The large heat sink vents on both sides indicate to some extent that its internal amplification section is no lightweight. The color display screen in the center of the front panel shows album artwork and basic playback information. This design is nothing novel, but it is practical during streaming playback and adds a certain sense of satisfaction to the overall user experience.

Streaming Platform and Digital Core

On a functional level, the core of the MD-1P is Matrix Audio's self-developed MA Player Hi-Fi Streamer OS. This system has been developed over many years and is quite mature in terms of operational smoothness and feature integration, supporting a variety of mainstream streaming services and network playback protocols. In addition, the MD-1P supports AirPlay 2, DLNA/UPnP, TIDAL Connect, Spotify Connect, vTuner, etc., and is also Roon Ready certified.

The digital decoding section uses the AKM AK4493SEQ DAC — a chip belonging to AKM's Velvet Sound series, which has long been favored by audio manufacturers for its low distortion and delicate and smooth sound performance. Paired with Matrix Audio's custom FPGA digital processing and clock management system, it helps optimize the digital signal processing flow and clock management, thereby improving overall sound stability. Notably, the impact of such designs using FPGA intervention in digital processing is often not about making the sound more "high-definition," but rather making the overall imaging more stable. During actual listening, one can feel that the edges of the sound image are more solid, the background is relatively cleaner, and details such as instrument decay emerge naturally based on a lower noise floor, rather than being deliberately magnified. This approach differs from relying solely on the DAC chip itself for tuning and is closer to improving reconstruction conditions from the source.

The MD-1P also provides an M.2 NVMe SSD slot internally, allowing users to install their own solid-state drive and turn the entire unit into a local music server. Besides facilitating music file management, this design also helps reduce interference introduced by external devices in certain system environments, contributing to overall stability. In practical use, the MD-1P's operating experience also demonstrates Matrix Audio's accumulated maturity in software platforms. Through the official MA Remote app, users can easily manage their local music library, streaming services, and system settings; the interface is quite intuitive. Moreover, the MD-1P is officially Roon Ready certified. When used as a Roon endpoint, operation is straightforward and smooth — undoubtedly very convenient for users already accustomed to using Roon as their control interface.

The Strength of Class-D Amplification

According to official specifications, the MD-1P delivers 300W per channel into 8Ω, which is ample for most modern speakers. Its amplifier circuit employs a high-efficiency Class-D architecture. The mere mention of "Class-D" might lead some to prejudge its sound quality unfairly. What I want to express is that with technological advancements, modern Class-D amplifiers have made significant progress in distortion control and frequency response. The MD-1P's approach does not simply emphasize transient impact; instead, it focuses on overall control and stability. Even when driving speakers with varying impedance, it maintains composed sound quality and control. During my listening sessions, the MD-1P left me with the impression of being oriented toward control and stability, rather than deliberately creating a "brute force" of instantaneous impact, nor is it the kind of "raw power" that lets loose but is slow to rein in.

The volume control employs a 256-step high-precision digitally controlled analog preamp volume system, maintaining good dynamic consistency and low distortion across different volume levels — especially beneficial for low-level listening.

System Integration Capabilities

As a comprehensively positioned integrated amplifier, the MD-1P is also well-equipped in terms of connectivity. Digital inputs include HDMI ARC, USB Audio, Toslink optical, and RCA coaxial, along with support for LDAC and aptX HD Bluetooth transmission, allowing connection to TVs, computers, and smartphones as different sources. For audiophiles who still retain analog sources, the MD-1P also incorporates an MM phono stage, with commendable background noise control — not merely an afterthought. On the rear panel, it provides two sets of speaker outputs (A/B) as well as dual subwoofer outputs, facilitating the construction of a 2.1 or 2.2-channel system, offering considerable flexibility.

Listening Impressions

During the audition, I paired the MD-1P with a pair of Focal Theva N°1 speakers. Why Focal? First, because the MD-1P retails for over HK$20,000. I put myself in the shoes of a beginner friend setting up their first two-channel system with limited budget and space, so I did not choose speakers more expensive than the MD-1P. I believe this combination better suits the "persona" of a newcomer...

Playing Nils Lofgren's Keith Don't Go, the transient response of the guitar plucks was quick, with clear lines, but without deliberately emphasizing edge sharpness. Overtones extended naturally, and the resonance of the guitar body unfolded in layers within the space. The background maintained a certain quietness, allowing details to emerge naturally and unhurriedly, rather than presenting a "fake HD" artificially amplified.

In terms of vocals, the MD-1P leans towards neutrality. The singer's mouth shape was focused, the position stable, without deliberate thickening or softening. This treatment may not offer immediate appeal, but it proves more listenable over long periods and less prone to fatigue.

Another reference track was Dominique Fils-Aimé's Birds. From the opening, the layering between the vocals and the sparse accompaniment was clear. The musical background was quiet and stable, without deliberately emphasizing any particular frequency band. Her voice was focused in imaging but not overly forward, and the stage proportions were reproduced very well.

The low frequencies lurked beneath the rhythm. While the quantity could not match the powerful surge of floor-standing speakers, it maintained good control and did not interfere with the overall sense of space. As the music progressed and vocal layers stacked, the system still preserved separation between parts without muddiness. Overall, it delivered a stable and enjoyable listening experience.

Conclusion:

Let us return to the question posed at the beginning of this article: Why do more and more young people seem to be moving away from traditional two-channel systems?

Perhaps the answer lies not in them giving up their pursuit of sound quality, but in the fact that real-world circumstances are changing the way we enjoy audio. When space and lifestyle pace become constraints, the form of the system must adapt accordingly.

To me, the MD-1P represents a balance between sound quality and a minimalist lifestyle. I believe the designer's intention was not to replace separates, but to preserve as much of the detail and control of separate systems as possible under the premise of simplicity. For users with limited space who still desire a certain level of sound quality, such a product offers a more pragmatic path.

In confined spaces, two-channel music may not have disappeared — it simply continues to exist in a more realistic form.