That Was Then… Musical Fidelity X-LP
Musical Fidelity's X-LP heralded the rise of the affordable stand-alone phono stage.
Outboard phono stages haven’t always been a thing. Up until the late ’80s they were the preserve of obsessive high-end brands and those seeking the last percentage point of performance. Then CD took off, and vinyl sales fell off a cliff.
Amplifier manufacturers saw the potential for saving costs and decided to ditch the built-in phono sections in their products.
Those who still wanted to play their records had to find an alternative – and that led to the rise of the affordable stand-alone phono stage.
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If you’ve read the phono stage Group Test in our July issue you’ll notice Musical Fidelity’s LX2-LPS doing rather well.
It’s a well-built, sensibly featured product that also sounds remarkably sophisticated. We're not surprised. Musical Fidelity has long produced fine-sounding electronics, as the X-LP phono stage we reviewed back in July 1997 proves.
The company made more distinctive-looking products back then. The X-LP was built into a lovely cylindrical casing, a design used across the range (which also included preamplifiers, monobloc power amps and headphone amplifiers).
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Take a look at the specification sheet and there’s not much to differentiate the X-LP from its descendant – both can cope with moving-magnet and moving-coil cartridges, though the newer product allows for adjustment of cartridge loading (albeit in a rather clunky way).
Start listening to your music and the two have far more in common than the difference in appearance and the time gap might suggest. Both have a refined, spacious sound that’s packed with detail.
The LX2-LPS is cleaner sounding and more precise, perhaps, but the old-timer doesn’t lose out when it comes to the fluidity of dynamics or the ability to enthral the listener.
If you find a second-hand X-LP for a good price, don’t hesitate to take the plunge. You won’t regret it.
Simon Lucas is a technology journalist, with a strong emphasis on the audio/video side of consumer electronics and home entertainment, and has been since 2003. He worked for more than 14 years at What Hi-Fi?, the last six of which were spent as the editor of the magazine and website. Since then he's written for Wired, The Guardian, TechRadar, Stuff, GQ and many more besides.
In the course of his career he's developed a pretty deep understanding of the way both the publishing and the electronics industries function, as well as the sort of intimate knowledge of audio products (both specific and general) that can make people very wary of him at parties.
