·Review Basic Information

·Author: Tom Lai

Tom Lai is widely recognized as an "iconic figure" in the Hi-Fi community. He currently serves as the Editor-in-Chief of New Audiophile magazine and is one of its founders. With decades of experience in high-fidelity audio commentary, music art research, and global audio technology history, he has personally witnessed three technological revolutions: vinyl, CD, and digital streaming.

Original: https://mp.weixin.qq.com/s/Elg5pGKH2rX2nUiwoNGb8A

Review Product:  Matrix Audio MS-1c Music Streamer

Matrix Audio MS-1c Music Streamer

Feature-Rich, High-Performing, and Premium Sound

Feature-Rich, because its operation is smart; High-Performing means the performance is robust; within the price range of ¥30,000 RMB, the sound performance of the Matrix Audio flagship classic edition MS-1c Music Streamer is absolutely top-tier!

I've often said that streamers is an area where domestic brands have truly overtaken foreign competitors. It's not that imported products are bad, but their prices are high, and Western usage habits differ greatly from ours. Domestic products are more user-friendly to us. More importantly, Chinese streamers have baffled foreigners with their incredibly low prices. They never imagined that small streamers/DACs from brands like SMSL or TOPPING could be bought casually in large stores like candy, with specs ranking high on "ladder charts." However, as we move into higher-end territory, competition intensifies. Consumers demand not only specifications but also design, user experience, feature completeness, and especially sound quality. Matrix Audio is one of the few domestic brands that has firmly established itself overseas, competing head-to-head with international first-tier brands and earning widespread acclaim. This article introduces the flagship classic edition MS-1c Music Streamer. I'll analyze it from three perspectives: operation, functionality, and sound—let's see how capable it really is.

Matrix Design Language: Matrix Audio believes that streamers should not only sound good but also look good.

Matrix Audio's first major evolution came with the M Series, including the flagship music streamer MS-1, preamplifier MP-1, and power amplifier MA-1, presenting a complete vision of Matrix Audio's understanding of Hi-Fi. This was also the first application of Matrix Audio's new Matrix Design language. The creative industrial design fully embodies Matrix Audio's minimalist philosophy. A simple hexahedron is covered with hundreds of circular holes of varying sizes and depths, arranged in arrays, creating a dynamic flow between points, lines, and surfaces—like rhythmic beats dancing across the plane. Industrial design, once overlooked by domestic audio brands, has now become the eye-catching highlight of the Matrix Audio M Series. Every touchable part undergoes multiple precision CNC processes and surface treatments, delivering a delicate matte texture that exudes elegance. The chassis craftsmanship of the M Series rivals that of top Swiss audio equipment.

This design element was subsequently applied to most new products, such as the NT-1, TT-1 Digital Audio Transport, ND-1 Audio DAC, SS-1 Pro Audio Grade Network Switch, SC-1 Audio Grade Reference Clock, SI-1 Audio Grade Network Isolator, NA-1 Headphone Amplifier, MD-1P Music Streamer Integrated Amplifier, TS-1 Music Streamer, etc., giving them high brand recognition. Thanks to increased production output, the latest MS-1c Music Streamer achieves cost reductions that are directly passed on to consumers. From the M Series to the N Series, Matrix Audio has transformed into a tech company covering all areas of digital audio—everything except speakers. Based on its model number, the MS-1c is a derivative of the flagship M Series. What are the differences from the flagship MS-1?

The MS-1c simplifies the power supply compared to the flagship, but the basic architecture remains largely the same.

First, the price is halved—from over ¥60,000 for the MS-1 to under ¥30,000 for the MS-1c, making everyone happy. The MS-1 remains the full-featured flagship platform: streamer, transport, DAC, ADC, phono stage, and preamp (optional) all in one. The MS-1c removes redundant inputs, analog preamp, and discrete power supply, positioning itself as an all-in-one for direct connection to active speakers while also accommodating external High-End DACs. It retains the M Series pedigree and sonic character but emphasizes cost-effectiveness.

Digital and analog sections have independent power supplies, with a dedicated linear power supply for analog circuits and multiple LDOs for precise voltage regulation, providing clean and stable power for the analog stage.

The MS-1 uses dual independent transformers for completely separate digital/analog power supplies, plus multiple ultra-low-noise dedicated linear regulators. Left and right channel boards are separated, each using a discrete parallel DAC architecture with AK4191 (digital filtering, delta-sigma modulation, oversampling—converting PCM/DSD to 1-bit bitstream) + AK4499EX (resistor array D/A conversion, current output), fully balanced direct output. While the MS-1c also employs two independent power systems, but uses a switching power supply for the digital section and a linear supply for the analog section, still achieving physical isolation between digital and analog circuits. It supports PCM up to 32-bit/768kHz and DSD up to 512/24.58MHz, achieving an SNR of up to 126dB, ultra-high dynamic range, and an extremely low noise floor.

Equipped with AKM AK4191+AK4499EX flagship DAC chips, achieving an SNR of up to 126dB, ultra-high dynamic range, and an extremely low noise floor.

The MS-1 uses two customized femtosecond clocks and can connect to an external 10MHz clock. The MS-1c omits the 10MHz clock input but retains the two customized femtosecond clocks, providing references for 44.1kHz and 48kHz sample rates and their multiples. Combined with a high-speed FPGA for frequency division and jitter elimination algorithms, it significantly reduces clock phase jitter, reconstructs data precision, and delivers superior airiness and layering.

The MS-1c adopts a dual femtosecond clock architecture. Two customized femtosecond clocks provide references for 44.1kHz and 48kHz sample rates and their multiples, paired with a high-speed FPGA for frequency division and jitter elimination, significantly reducing clock phase jitter.

Rear panel interfaces differ considerably. The MS-1c eliminates input ports. Outputs include RCA/XLR analog outputs, plus digital outputs: coaxial, optical, USB (can be used as a dedicated transport), and IIS-LVDS (via HDMI).

Equipped with optical, coaxial, and AES/EBU outputs, allowing connection to other DACs to expand system architecture.

To optimize midrange and maintain the warm sonic signature of the M Series, the MS-1c adds Swedish LUNDAHL precision audio transformers for signal coupling on the analog output.

Added two Swedish LUNDAHL precision audio transformers, imparting a warm, smooth, and full-bodied sound.

These C-core grain-oriented silicon steel transformers wound with permalloy shielding shells—though less expensive than the LL1585—deliver prominent, warm midrange with strong vocal presence, appropriate even-order harmonics that soften digital coldness and harshness, and natural, lingering overtones that prevent listener fatigue. Matrix Audio skillfully achieves excellent sound quality.

Operation is largely similar between the two models, both featuring the MA Player Hi-Fi Streamer OS, and support for Roon Ready, TIDAL Connect, Spotify Connect, Qobuz, Apple Music, etc. The MS-1c lacks stepped volume control and preamp circuitry; the original design prioritizes direct connection to active speakers. Matrix Audio's self-developed MA Player is based on Linux, stripped down without Android app background processes, and optimized for audio, resulting in lower power supply noise interference and shorter decoding paths. The MS-1c's large touchscreen is very straightforward, relying entirely on the MA Remote App for control. The display shows only basic information like cover art and sample rate, or can be set to a VU meter if desired.

MS-1c features the same MA Player Hi-Fi Streamer OS fully developed by Matrix Audio as the MS-1.

Unlike many domestic brands whose operations are primarily Android-based, Matrix Audio's MA Player natively integrates multiple streaming services and automatically categorizes NAS and local hard drive tracks (by artist, album, composer, label, etc.). The app allows direct switching of DAC digital filters, phase, and output modes. The advantage of Android is a friendly ecosystem, free installation of third-party apps, smartphone-like operation, and rapid firmware updates. However, Android's numerous background processes easily generate digital noise; under the same hardware configuration, power supply noise floor and purity are inferior to the pure Linux-based MA Player. Android-based streamers tend to sound lean and dry but lack midrange warmth and bass fullness.

Six preset digital filters offer different sound signatures.

Can the highly user-friendly MA Player replace Roon? In my opinion, for 80% of daily listening scenarios, it already can, eliminating the need for a paid Roon subscription. Moreover, accessing TIDAL, Qobuz, or Apple Music directly through MA Player—without Roon as an intermediary—shortens the streaming chain, reduces losses, and results in cleaner sound. Using Roon requires a computer or NUC as a Core server; MA Player handles decoding directly on the host, removing one layer of signal conversion. Even without Roon's built-in DSP upsampling/filtering, everyday playback sounds comparable or better. MA Player's library management is mature, with classification logic rivaling Roon's, supporting custom playlists, sample rate sorting, and format filtering. The only area where it falls short is multi-room systems: Roon can centrally manage multiple devices across zones, while MA Player controls only itself. But don't forget, the MS-1c is a fully certified Roon Ready endpoint, deeply integrating RAAT transmission protocol via firmware—not a third-party bridge or external Roon Bridge—so you can use it however you like.

The touchscreen displays limited information; main control is via the app.

MA Player supports TIDAL Connect and Spotify Connect, similar to QQ Music's QPlay. Simply put, all three work by having the phone act solely as a remote control to send playback commands; audio data streams directly from the cloud to the streamer, bypassing the phone's audio processing. If the phone loses network, locks screen, or closes the app, the streamer continues playing uninterrupted, completely avoiding SRC degradation. Spotify Connect and TIDAL Connect are proprietary private cloud protocols (not based on UPnP/DLNA), optimized for HiRes/MQA. QPlay is Tencent's secondary extension of UPnP/DLNA; devices must pass QPlay certification. Matrix Audio's partnership with Tencent enables native QQ Music integration, perfectly circumventing the limitation of standard DLNA that cannot deliver QQ Music's premium master-quality audio, allowing high-sample-rate QQ Music content to shine. My recommendation: if conditions permit, use TIDAL Connect for classical and Western audiophile masters (Hi-Fi oriented); Spotify Connect for Western pop, rock, and indie music. For Chinese music, old Hong Kong/Taiwan songs, and domestic lossless, QPlay offers stability advantages, though I'm less convinced about QQ's 192kHz/24bit and spatial audio effects.

The MS-1c offers both wired Ethernet and Wi-Fi 6 wireless connectivity. Gigabit Ethernet is undoubtedly the best way to connect.

For me, the MS-1c's dual femtosecond clock frequency division and phase locking, combined with excellent jitter elimination and noise floor control, preserve subtle decays and instrument tails beautifully. I must praise MA Player again: casting songs from your phone, managing NAS/local libraries, or deep DSP via Roon—seamlessly switching between multiple playback methods—it's fantastic.

An NVMe SSD slot on the bottom allows installation of a SSD, with an independent ultra-low-noise power supply.

Ansermet's Royal Balletis a legendary RCA recording from the golden age, recorded at Kingsway Hall in London in 1957. It features deep bass, wide soundstage, and extreme dynamic contrasts, with audible tape hiss. I often use it to test resolution and spatial reconstruction. Starting with Nutcracker, the orchestral tutti instantly opens up hall depth. Violin sections, brass, and low strings are clearly delineated; especially the layered low-frequency cellos, with solid energy yet no bloat. The immense dynamic range perfectly captures the orchestra's crescendos and diminuendos, from whispered pianissimos to full orchestral climaxes. Tape noise is clearly audible, detail separation far exceeds many streamers at this price point.

Zhao Chuan's At Last I Have Lost You(1989, RockRecords) features rare jazz drumming in a pop song of that era, ideal for showcasing the LUNDAHL ransformer's strengths. Played through the MS-1c, the kick drum is full and rounded, with clear initial skin impact followed by cabinet resonance—low end with flesh, not flabby or diffuse. The elastic bass foundation supports piano and vocals without overwhelming Zhao's voice. Snare hits are crisp and impactful, revealing drum size even at high volumes. Crash cymbal metallic overtones decay slowly, crucial for the arrangement's atmosphere—often muddied by cheaper streamers. The MS-1c renders fine, velvety textures, with air friction between cymbal openings clearly audible, nearly matching the flagship MS-1.

All recordings from Japan's Three Blind Mice label featuring the Tsuyoshi Yamamoto Trio are superb. Close miking yields exaggerated separation and high presence. Piano, bass, and drums combine for transparent, lively sound with precise instrument placement. Piano overtones, bass string vibrations, and drum skin decays are benchmarks for testing layering and transient response. Piano keystrokes are warm and smooth with lingering overtones; bass strings are soft and thick; brush strokes on drum skins produce delicate air sounds around the ears. The dim, laid-back jazz atmosphere is fully realized, showcasing Three Blind Mice's hallmark warm tonality.

FIM's cello masterpiece Oh! That Cello tests instrument timbre, body resonance, bowing texture, air decay, and speed/transients. Teresa Perez's cello performances blend Chinese and Western pieces. The cello's body resonance seems magnified—woody, dense, and full. Bow scraping against strings reveals subtle roughness, fingerboard slides are palpable, and low-frequency extension is deep, wrapping the chest like velvet. In Evening Primrose, bamboo flute embellishments are clear without shrillness; cello is rich without being muddy; accompanying piano notes are warm and rounded; studio space reverberation is natural and expansive.

Connecting the USB interface to the CD drive allows CD playback and ripping to digital music files.

Finally, why is the Matrix Audio MS-1c so capable? Looking at the domestic streamer market, many products either stack chips without analog tuning, sounding cold and digital, or have strong tonal flavor but poor resolution and high-spec decoding. The MS-1c achieves digital solidity with maximum playability: Roon, UPnP, local SSD, USB DAC—multiple paths. The accessible MA Player is easy to use for beginners, while audiophiles can dive deep into output modes. Its musical inclusivity is unmatched. The LUNDAHL output transformers imbue older recordings, vocals, and strings with analog charm; handling large-scale symphonies and modern jazz equally well. It balances daily listening and critical evaluation. Feature-rich: the humanized software and OS. High-performing: flagship hardware fundamental. Premium sound: the unique musical flavor brought by LUNDAHL transformers. At its price point, the Matrix Audio MS-1c stands out as a highly competitive streamer with a distinct, compelling character.