Musical Fidelity has announced the launch of its new M5xi and M6xi integrated stereo amplifiers.

Adding to the company’s established M-Series of hi-fi separates, each new model promises a combination of “high-end engineering with modern connectivity” to deliver “exceptional power, precision, and musical transparency”.

The M6xi is the more premium of the pair, so that’s where we’ll start. The new model is built around amplifier topology derived from Musical Fidelity’s Titan amp, configured internally as two independent mono power amps and a separate preamplifier delivering 210 watts of power into 8 ohms.

The M6xi's main transformer and power supply are housed within a metal enclosure, reducing electromagnetic interference to preserve audio purity and promising a more natural and transparent performance as a result.

The new amp features a built-in moving magnet / moving-coil phono stage with enhanced internal shielding, again to preserve sonic purity. There are also HDMI eARC, optical, coaxial and USB-C digital inputs on board, as well as four RCA line inputs, a balanced XLR input, a line output and a pre output.

Bluetooth is not on the menu, with Musical Fidelity eschewing the technology to focus as much as possible on pure sound-per-pound performance.

The more affordable M5xi amplifier’s topology is also derived from Musical Fidelity’s established Titan model, but it delivers a slightly lower power output of 140 watts into 8 ohms.

Again, the M5xi is constructed as two independent mono power amps with a separate preamp stage, while premium signal-path components promise “exceptional stability, authority and musical control”.

Like its bigger brother, the M5xi features a moving magnet / moving-coil phono stage equipped with enhanced internal shielding.

In terms of physical connections, the more affordable amp offers HDMI eARC, optical, coaxial and USB-C digital inputs, alongside four RCA line inputs, a line output and a pre output. As above, there is no Bluetooth available here, either.

Both amplifiers deploy a heavy metal chassis with a centrally mounted volume-dial placed front and centre, flanked by input/output selection buttons on either side.

Both amps are available now in silver or black finishes. The Musical Fidelity M5xi is priced at £2099 / €2290 / $2690, while the M6xi will set you back £2699 / €2990 / $3499.

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Musical Fidelity has launched the Nu-Vista Vinyl S phono stage, which is directly inspired by its flagship Nu-Vista Vinyl 2.

The Vinyl S adds a “price-appropriate source product” to the brand’s high-end Nu-Vista range, which includes the 600.2 and Nu-Vista 800.2 integrated amplifiers. Its £5499 price tag, however, means it still falls into the higher end of the market.

Like the Vinyl 2 (£9999 RRP), the Vinyl S features nuvistor tube phono technology but costs around half the price. Unlike its more expensive counterpart, however, the Vinyl S features a smaller chassis (48 x 13 x 40cm) and the front panel has been redesigned.

The front and side panels are built from extruded aluminium. According to Musical Fidelity, this makes the unit “immune against the effects of vibration from the environment”.

The Vinyl S phono stage is designed to work with a range of moving magnet and moving coil cartridges, with the standard RIAA equalisation curve available alongside the Decca and Colombia EQ curves to account for different vinyl records or musical tastes.

The phono stage offers a wide range of cartridge loading adjustments, including capacitance, impedance and two-step subsonic filter. You can adjust all these using the control dials on the front panel, or the newly designed slim remote control.

As for connections, it features two RCA and two balanced XLR inputs along with an RCA and XLR output, so it can slot into a wide range of hi-fi systems.

Thanks to Class A discrete transistor circuitry, the Vinyl S contains three gain stages, while the unit is fully balanced to ensure the integrity of the signal path throughout. The brand says this “results in minimal noise and distortion – allowing your music to remain true to the original reproduction”.

Musical Fidelity further says: “The Nu-Vista Vinyl S is a phono stage without limitation. Making use of the finest components, and employing them in a sophisticated, meticulously engineered manner, this device can deliver a truly engaging musical experience that perfectly complements a high-end audio system”.

The Musical Fidelity Nu-Vista Vinyl S is available in the UK now and comes in a Silver or Black finish. Both options are priced at £5499.

It's due to go on sale in the US and Australia soon and will be priced at $6999 and AU$12,000 respectively.

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Musical Fidelity's new stereo amplifier houses HDMI ARC and a built-in phono stage

Do you know when we reviewed the original Musical Fidelity B1 integrated amplifier? 1990.

Back then, we lauded it as “the very essence of a good budget amplifier”, and while we weren’t bowled over by the B1’s construction or feature set, the original model gained five stars in the sound department thanks to its powerful dynamics and boldly painted instrumental textures.

Like mullets or skinny jeans (apparently), the B1 is making a comeback in the shape of the newly imagined B1xi integrated stereo amplifier. It’s a spiritual successor inspired by the design principles of Musical Fidelity’s established amplifier but with one eye on modern users’ “diverse listening needs”.

Digging up the past is a dangerous thing, so has Musical Fidelity reinvented a classic, or in the world of hi-fi, are some things best left buried?

Build & design

Musical Fidelity’s reborn stereo amp isn’t a particularly subtle beast to behold, but it is as well-made as it needs to be at this price. The main chassis is constructed entirely of metal, including an extruded aluminium front panel, with many of the control knobs and dials also made using metal rather than plastic.

Regardless of whether it’s to your tastes, the B1xi is a sturdy unit that we find reasonably easy to use. The front panel’s array of physical buttons are easy to find and responsive to the touch, while the centrally mounted volume control knob has enough weight and resistance to feel satisfying in the hand. The small LEDs above each of the inputs tell you which one you have selected.

This is a well made amplifier for the money, and while there are few luxuries to be found, we wouldn’t expect many at this level. The provided plastic remote is similarly simple to use, even if, during our testing, the B1xi can be a touch temperamental regarding how responsive it is to the remote’s commands.

Features

Musical Fidelity’s Class A/B amp boasts 60 watts per channel into 8 ohms, which is a generous amount of power at this level, meaning it should be able to drive a wide range of speakers without too much of a problem.

The amplifier’s power supply is based around a toroidal transformer, and is claimed to have large power reserves in pursuit of the "purest sound quality". Musical Fidelity promises a warm, dynamic sound that’s designed to invoke the quality of a valve or tube amp thanks to the use of transistor amps in the fully discrete design.

The B1xi claims to use high-quality components throughout its design, with an internal layout optimised for enhanced performance. The preamplifier section has its own dedicated linear power supply (as does the digital input stage) for reducing interference, while a motor-driven analogue potentiometer controls the volume.

In a nod to those modern users, Musical Fidelity has furnished the B1xi with a wide range of connections.

On the analogue side, the B1xi has a moving magnet phono stage for plugging a turntable in directly. You’ll also find a 3.5mm auxiliary input, three line-level RCA inputs, and a stereo preamp output.

On the digital side, the integrated amp offers HDMI ARC, optical and coaxial inputs. The in-built DAC module supports native playback up to 24-bit/192kHz PCM files, but those with DSD files in their library will be left disappointed by the lack of compatibility.

That HDMI ARC is a big bonus for amplifying audio from your TV, while a USB-C port at the back can be used to power external devices, such as your smartphone.

You also get Bluetooth connectivity for beaming music to the amplifier from a compatible source, and while this isn’t the same as the two-way tech you’ll find on the rival Arcam A5+, we’re still pleased to find any form of Bluetooth at this mid-price level.

Pairing up a phone is easy, and we’re impressed with how stable and secure the connection is when we use an iPhone 15 to send our tunes to the integrated amp via Bluetooth.

Compatibility

We listen to the B1xi in a range of systems, from price-compatible products to more premium hi-fi systems, fully in the knowledge that it is designed to work with more affordable gear.

To hear how well the B1xi performs with more price-compatible fare, we pair it up with a set of the five-star Acoustic Energy AE300 Mk2 speakers (£649 / $1099 / AU$1580) and use the ever-dependable Cyrus CDi CD player (£999) as a source. We find that the Musical Fidelity amp feels comfortable at this level.

We also dig out our old favourites, the KEF LS50 Meta (tested at £1000 / $1499 / AU$2495), discovering that the B1xi is once again happy to play ball with these pricier standmounts, making the KEFs viable partners for the Musical Fidelity amp to work with.

Just for fun, we slot the B1xi into our reference system comprising the Naim Uniti Atom Headphone Edition music streamer (£2299 / $3799) and a pair of five-star Epos ES-7N standmounts (£1890 / $2850), discovering that the amplifier is even able to accommodate our open, revealing system.

This is clearly an amp that has a reasonably wide remit and is able to accommodate budget sources as well as more capable components when really pushed.

Sound

If we had to assign it a broad label, we’d say that the B1xi exhibits a punchy, solid character. Play Pearl Jam’s Dark Matter, for instance, and you’ll be struck by the heft and force of the song’s thumping opening salvo as full-bodied drums are joined by crunchy, full-scale guitar cranks.

The B1xi feels as though it’s in its element as it leans into the music and dishes out ample wallop with fulsome glee. We sense that this is an amp that’s happiest when it’s operating on the front foot, so that bold hip-hop workouts, thumping EDM tracks and riotous rock are particularly well-served by its assertive, sometimes bullish tendencies.

Detail levels are admirable, evidenced by the crisp, well-defined strings on Radiohead’s Burn The Witch. We’re extremely familiar with Thom Yorke’s voice by now (we’ve heard it enough), and we recognise the personality of the iconic frontman’s signature wail as the integrated brings out the raw drama of his increasingly urgent vocals.

The B1xi doesn’t struggle to produce a feeling of scale or power, either, with the scale of the overall presentation impressively ample as Burn The Witch builds to its nerve-shredding climax. It’s a track that starts out small and edgy, but thanks to the amp’s cinematic scope, the music is able to grow into something far more cinematic as the strings build and our anxiety is turned up to eleven.

The B1xi showcases competence when it comes to stereo imaging, too. More cinematic recordings blossom nicely to sound well-realised, with a wider, deeper soundstage than cheaper amps, such as the five-star Rotel A8 (£399 / $449 / AU$649), can muster.

Of course, we wouldn’t be doing our job if we didn’t see how Musical Fidelity’s contender stacked up against its price rivals, meaning it’s time to dig out the recently reviewed and new Award winner, the Arcam A5+ (£749 / $1200 / AU$1595), to see if the B1Xi can beat this impressive benchmark. It is here, crucially, that we remember how high the standard has been set.

Stay with us for a minute, but imagine we’re talking about food. The B1xi is a tasty burger, albeit a burger plucked from the ovens of a reputable fast food chain. The Arcam, however, is the full Gordon Ramsay – the bun is that bit crisper, the lettuce is a little fresher, and the addition of a metaphorical pickle and some golden fries just makes the whole experience feel a touch more gourmet.

Okay, maybe we’re stretching things with the burger analogies, yet it’s clear that the A5+ serves up a more rounded, musical meal. It’s clearer and more detailed, as evidenced by the clean, crisp delivery it brings to Burn The Witch and Massive Attack’s Risingson. It’s got a better sense of rhythm, too – the Arcam is snappy and propulsive, and it makes its rival sound slightly flat-footed and unsure of itself by comparison.

In truth, we wish the B1xi were a more nuanced, expressive performer. Max Richter’s sombre Never Goodbye sounds full-bodied and powerful, yet we don’t get the feeling of the Musical Fidelity amp removing its happy face and donning a more appropriately melancholic mask.

The sometimes unsubtle integrated amp paints music with a similarly broad brush, with a relatively uninspired handling of small scale dynamics reducing the drama of the music by flattening those emotive peaks and troughs.

For better or worse, these observations remain reasonably consistent no matter how we listen, and thanks to the B1xi’s decent range of features, there are numerous ways of doing so.

The built-in phono stage is of an admirable quality, making tracks such as Lukas Graham’s Happy Home and Bach’s Siciliano In G Minor sound full, composed and nicely detailed when played via the Rega Planar 3 RS Edition turntable (£999 / $1795 / AU$2199).

Again, a more engaging sense of dynamic handling wouldn’t go amiss, and if you’re serious about your vinyl, then we would suggest that you consider an outboard phono stage if you have a spinner that’s more high-end than this Rega, but for most users, the phono module in the B1xi will do just fine.

To hear how competent Musical Fidelity’s on-board DAC module is, we connect our trusty Cyrus CDi CD player to the amp’s optical input.

The performance remains consistent without a notable drop-off – Soundgarden’s Down On The Upside is reasonably detailed and has ample solidity as we move from track to track, whereas Hans Zimmer’s brooding The Dark Knight soundtrack benefits from the B1xi’s bold, cinematic delivery.

If that phono stage and DAC module are plus points, we can’t quite say the same when it comes to the amp’s front-mounted 6.3mm headphone port.

We’ve become familiar with the talents of the five-star Beyerdynamic DT 990 Pro X wired over-ears, though our test pair don’t quite sound themselves via the B1xi. It’s not a wholly bad showing, but the Beyerdynamics don’t have the same clarity or musicality as when fed by the five-star Arcam A5+.

Verdict

Judged on its own terms, the Musical Fidelity B1xi is a competent performer, showcasing a bold, assertive sound that’s complemented by a well-stocked feature set.

However, when listened to in the context of rivals in the same price range, with the likes of the superb Arcam A5+ leading the charge, it makes Musical Fidelity’s admirable effort a trickier sell.

Good as the B1xi is, if it were our money, we would be more tempted to spend a little extra and get the A5+ instead.

SCORES

• Sound 4
• Features 5
• Build 4

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We first glimpsed Musical Fidelity's revived B1 range at the Bristol Hi-Fi Show way back in cold, dreary February, which teased a stereo amplifier and a CD player.

Five months on, we now have confirmation that the B1xi integrated amplifier is now ready and available to buy at retailers, with confirmed prices and details.

The Musical Fidelity B1xi stereo amplifier aims to continue the original B1's legacy from the 1990s, packing in modern digital connectivity while still ensuring this decidedly hi-fi amplifier remains reliable and great-sounding as part of your system's core "for many years to come."

The new B1xi boasts a warm and dynamic sound that claims to invoke the quality of a valve (or tube) amplifier, thanks to transistor amps used in the fully discrete Class A/B design. The claimed power on offer is 60 watts per channel into 8 ohms, with toroidal transformers with large power reserves for "purest sound quality".

The amplifier features a "carefully tuned" moving magnet phono stage with high gain, three line-level RCA inputs, a 3.5mm line input, and a pair of variable RCA pre-outputs on the analogue side.

Digital connections are generously catered for, too, with HDMI ARC input, optical and coaxial all available through the built-in DAC (which supports up to 24-bit/192kHz native files).

Bluetooth streaming is also on the cards, along with a 6.3mm headphone jack.

However, Musical Fidelity is at pains to explain that this amplifier doesn't have any network streaming features.

The brand says that "built-in streaming can limit the amplifier’s lifespan, as when the playback technology is superseded," so it prefers to keep the sources separate – focusing instead on making this amplifier a well-made, good-sounding product so "your investment can last for decades."

The B1xi uses high-quality components throughout its design and the internal layout is optimised for audio performance. The preamplifier section has its own dedicated linear power supply (as does the digital input stage), ensuring there is minimal interference.

A motor-driven analogue potentiometer drives the volume control, too.

The Musical Fidelity B1xi amplifier is available to buy now in a single black finish for its all-metal construction.

It costs £699 / $879 / €799, which is very competitive pricing that undercuts the five-star Arcam A5 (£749) and Rega Brio Mk7 (£799) rivals, so we're excited to hear how this new B1 amplifier performs when we get a review sample in for testing.

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Musical Fidelity's M8x DAC is the latest addition to the brand's high-end M8 range (which includes the five-star M8xi integrated amplifier). It has been meticulously designed to deliver the highest performance a DAC and headphone amplifier can provide at this level.

The M8x DAC features a fully balanced design architecture, ultra-low jitter technology, the use of Class A discrete analogue amplification and high-resolution audio support – all to ensure it can deliver "exceptional audio quality" with as little noise and interference on the audio signal as possible.

Inside are two 32-bit ES9038Q2M DACs in a dual differential mode, which feeds the balanced output stage and the headphone amplifier. This allows Musical Fidelity to "extract the most musical detail while minimising noise and interference". The M8x DAC keeps the left and right channels fully independent too.

A proprietary clock design and Time Domain Jitter Eliminator technology ensures minimal distortion and very low jitter levels, while an ultra-low-noise regulator optimised for high-resolution audio is also used. High-resolution files up to 784kHz PCM and DSD256/512 (the latter via USB) are supported, and the M8x DAC can process MQA files through the USB and SP/DIF inputs (a step up from the M6x DAC). There are eight digital filters available for PCM file playback, and upsampling for PCM signals can be individually turned on and off.

A key element to the M8x DAC's performance is the use of a fully discrete design, with individual components in the output stage instead of integrated circuits or chips. Musical Fidelity's reasoning is two-fold: efficient, integrated chips don't tend to offer the "neutral, natural, dynamic or vivid" sound crucial for a Musical Fidelity product, compared with what's achievable from more traditional discrete designs that use thousands of individual elements (such as capacitors, resistors, transistors). The brand says: "That makes for an extended design process, but in our opinion results in the best sound for your money."

Additionally, Musical Fidelity says the M8x DAC will be easy to repair and maintain, as the individual discrete components can be serviced as they are always made, whereas the integrated chips (which are used in the M6x DAC) can get outdated or go out of production.

The headphone amplifier stage also uses a fully discrete and balanced design with Class A operation powering headphones with 30 ohm impedance or higher. The brand says the M8x is capable of driving both power hungry and low impedance headphones, down to 8 ohms. Connectors include a standard 6.3mm headphone jack and a 4-pin XLR for balanced headphones, delivering what Musical Fidelity calls a "breathtaking soundstage" through either output.

To round off the list of connections, the M8x DAC's digital inputs include three optical, one coaxial and one AES/EBU, while there are one pair of RCA and one pair of balanced XLR analogue outputs. The power supply for digital and analogue circuitry is also – you guessed it – isolated to prevent any high-frequency interference.

Visually, the M8x DAC matches the rest of the range (such as the recently released M8x Vinyl phono stage) with a thick extruded-aluminium chassis that acts as a Faraday cage to protect the internal circuits from external noise and vibrations. In the pursuit of least interference on the signal path, Musical Fidelity has also opted not to use a display or any wireless features. While many products these days have attempted to combine performance with convenience features (such as Rotel's new DX-3 DAC), Musical Fidelity is chasing the purest, cleanest audio signal delivery with its M8 products.

As expected, the Musical Fidelity M8x DAC doesn't come cheap. It's available to buy in the UK for £3599, while those in Australia can expect to pay AU$7200 when it's available in April.

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Musical Fidelity has announced the UK arrival of its latest integrated stereo amplifier. First exhibited at last year's High-End Munich showcase, the Nu-Vista 600.2 is a more affordable alternative to the high-end Nu-Vista 800.2 model, although "affordable" is a relative term here. If you consider its £7999 asking price to be little more than spare change, you've done pretty well in life.

Flippancy aside, the 600.2 model aims to offer reference-class sound quality in a slightly less bank-busting package, with the amp enjoying significant upgrades from the company's outgoing Nu-Vista 600 amplifier. A Class A tube amplifier which uses four nuvistor valves, the new model strives for a "sweet sound" with "huge power and transparency", packing in four output transistors per channel and delivering 160 watts per channel into 8 ohms

The output stage of the Nu-Vista couples each output device to its own supply capacitor which allows, says Musical Fidelity, for more immediate power access and lower impedance in the signal path, resulting in reduced distortion and a more transparent, faithful sound.

The Nu-Vista 600.2 offers six stereo inputs, including two balanced XLR and four line-level RCA options. There are also three stereo outputs: balanced XLR variable, variable RCA and fixed RCA.

Musical Fidelity promises an "uncompromisingly solid" construction for its latest amp. The front and side panels of the unit are constructed using extruded aluminium and designed to protect the internal circuitry from external electromagnetic fields. Thanks to its substantial 36kg weight, the chassis is also claimed to be resistant to further mechanical vibrations and interference – it was certainly hard to miss the unit when we saw the Nu-Vista 600.2 at Munich last year.

Sitting between the unit's large control knobs – one for selecting your source and the other for controlling the volume – is a front-mounted screen with various mode display options, including a VU-meter setting or input information. The new amp also comes equipped with its own aluminium remote control for selecting inputs, toggling mute, adjusting the volume and powering the unit on or off.

The Musical Fidelity Nu-Vista 600.2 is available in the UK now in a black or silver chassis finish, priced at £7999. If you're buying in Europe, the 600.2 will set you back €8999, a lower figure than its bigger brother's €11,990 / £10,999 price tag.

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Luxury Swiss audio brand Goldmund is back with more high-end hi-fi with prices to make your head spin and your wallet weep. The new Mimesis Excellence preamplifier is aimed squarely at "audiophiles seeking the pinnacle of sound quality", blending Goldmund's high-end technology and components with some of the most luxurious craftsmanship you'll likely find in the consumer market.

Central to Goldmund's latest preamplifier is the newly crafted Themis audio board, which employs mechanical shielding to block distortive electromagnetic emissions. Through the Themis (which is also modular), each channel processes audio separately, minimising noise and keeping the audio signal cleaner and clearer. Each channel also comes with its own advanced DAC and volume control, again seeking the purest sound at a range of volumes and minimising distortion in the process.  

The preamplifier houses a customised DAC capable of handling hi-res audio files, including up to DSD512. The amp's bespoke clock generation system promises the lowest levels of jitter possible from digital signal transmission. Fully separated left and right digital and analogue power supplies regulate power in two stages for greater stability and refinement.

Around the back of the preamp, you'll find an array of analogue and digital connectivity. Inputs include three pairs of line level RCA, two pairs of balanced XLR, two S/PDIF and two optical digital RCA connections. There are two pairs of analogue RCA and XLR outputs apiece.

Carsten Roth, Goldmund's CEO, says: "We are committed to pushing the boundaries of audio technology (and) the Mimesis Excellence preamplifier embodies our dedication to innovation and quality, delivering an unmatched listening experience for our customers". 

Goldmund aims its products squarely at the luxury end of the market, with the Telos 8800 power amp boasting a price tag of £350,000 and the Telos 2800 mono power amplifier setting you back a cool £250,000 / $140,000. 

The Mimesis Excellence preamp, then, looks like a bit of a steal (relatively, of course). Available in Goldmund's signature grey or matte black finish, the new preamplifier is priced in the bargain basement realm of £45,000 / $48,000 / AU$81,000. 

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Amazon Prime Day isn't for a couple of weeks yet, but no one told Richer Sounds. The hi-fi and TV retailer has slashed the price on two stunning five-star products from Musical Fidelity – the M2sCD CD player and the M2si amp.

The CD player is just £599 – that's £200 off the RRP. And the amp is £499 – a whopping £300 off. These are both Richer Sounds VIP Membership prices, but signing up is quick and easy, and more than worth it once you see the savings.

While they might be getting on a bit now, both of these devices are five-star performers. The M2sCD launched as Musical Fidelity's most affordable CD player, below the M3 and M6 models, and comes with a mains choke filter alongside its digital stream noise filter, a 24-bit Delta-Sigma dual differential DAC, and coaxial and optical digital outs as well as analogue RCA. It lacks any digital inputs.

Sonically, it's superb. It's a refined, musical listen, with plenty of agility and a fine sense of timing.

It's a similar story with the M2si – both devices are not what you would call feature laden, but in terms of sound quality they take some beating. The M2si is again solidly built, and aesthetically it pairs very nicely with the M2sCD. Its preamp section works in Class A mode for lower distortion, with a separate power feed to improve performance and reduce unwanted interaction with the power amplifier.

With 76W per channel into 8 ohms and up to 137W per channel into 4 ohms, it promises high sound levels with any price appropriate speaker. And that's what it delivers – its sound is large scale and full of authority and substance. There's plenty of refinement on show, and even the most complex arrangements don't make it sound stressed. Dynamic expression is a particular highlight, while its punch and power leave many similarly priced rivals in its wake.

With discounts this big, these are more tempting than ever. Buy them both, and you'll save a whopping £500. Why wait till Prime Day?

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The LS3/5A were never meant to be heard by the public. The iconic BBC speakers were born out of the broadcaster's research and development department in the 1970s, whose engineers were tasked with designing and creating broadcasting equipment that the BBC needed but couldn’t source from external suppliers. 

In this instance, they were after highly accurate small monitors that could be used in the limited space inside the outside broadcast vans.

The BBC decided that nothing commercially available at the time was good enough for their needs, so the engineering division invested in a huge amount of research to find out what makes a good sound in speakers. Various speaker models were tested in scale model sizes, and that's how the renowned LS3/5A came to be.

Until this point, the concept of a small hi-fi speaker didn’t exist. You’re looking at fairly large cabinets for your average speaker before the 70s; the LS3/5A were attempts to get very high-quality sound out of shoebox-small nearfield monitors. Many of history's successful small speakers, such as the Linn Kan, numerous Spendor models, Harbeth speakers and the Neat Petite, to give only a handful of examples, owe their existence to these original LS3/5A speakers.

The BBC never actually made these speakers themselves. The corporation licensed out the specifications to various manufacturers, including Rogers Hi-Fi, Falcon Acoustics, Chartwell, Goodmans, Stirling, KEF and Spendor, while other brands, such as Musical Fidelity’s versions that we have been able to listen to, are inspired by those original R&D specs.

BBC’s research & findings: what makes a good-sounding small speaker?

What were the principles that came out of the BBC’s sound research? Firstly, they discovered that making a very rigid cabinet wasn’t very good for sound. If you make a box that’s too rigid, the resonance frequency – i.e. the frequency at which the cabinet resonates – keeps rising, falling into the midrange area where you’re more likely to hear its effect. Instead, if you make a less rigid box that’s heavily damped, it will resonate at much lower, bass frequencies, where the human ear is far less sensitive.

So the BBC decided to use cabinets with thin flexible walls and damp them heavily inside to move the resonance frequencies to the lower bass. The original LS3/5 speaker designs started with 9mm walls but changed to the now standard 12mm walls made of birch ply. The result? A lovely midrange, with a slightly plump bass.

The front and back panels of these early designs were also fixed with screws rather than glue, and this allows for a small amount of flex, compared with the more rigid design when the baffle is glued on.

We move on to driver material. At the time, paper cones dominated driver designs in speakers, but the BBC wanted to use a material that also didn’t ring or resonate as much and could be damped down. New plastics such as Bextrene and polypropylene were invented during this time, and they had exactly the light and rigid properties that the Beebs' engineers were looking for. 

The drivers in the original LS3/5A were a 110mm Bextrene mid/bass driver and a 19mm Mylar tweeter dome. These were originally made by KEF (T27 unit for the tweeter, B110 for the mid/bass cone) but are no longer in production. These days, you can buy various close-to-original reproduced parts of the LS3/5A speaker sold by Falcon Acoustics – a hi-fi brand founded by Malcolm Jones, a senior engineer at KEF who worked on those original drivers used in the BBC’s LS3/5a. (Hints of KEF’s BBC link are still present in the naming convention of their speakers today, from the LS50 standmount to the LSX wireless speaker systems.) The result of using a damped Bextrene cone? A really smooth sound, but it came at the expense of the punch and attack you tend to get with paper cones.

Thirdly, the LS3/5A is a small box, about the size of a shoebox. It has a five-litre cabinet volume with a small driver. It does deliver bass, but not a huge amount of it. The engineers introduced a small hump in the frequency response, at around the 100Hz mark – it’s not too deep, but this was to highlight any low-frequency problems or hums during the recording or transmission of a broadcast. It’s why, when listening to the Musical Fidelity LS3/5A, we found the amount or impact of bass changing from song to song – it depends on whether the song hits that 100Hz bump. This effect also adds richness to the voices, and it’s why the midrange sounds so full and appealing on these speakers.

Remember, these speakers were originally designed to monitor broadcasts in mobile units, with accurate reproduction of human voices, in particular, being the focus. The LS3/5A were only ever meant to be used by internal studio professionals – not for music or at-home listening. The other advantage of having screwed-on front and back panels was that the BBC pros could unscrew the baffle and quickly change the driver or components in case anything was faulty.

From research to reality: LS3/5A tech specs

The problem, if you can call it that, was that hi-fi enthusiasts who came upon the speakers really liked the way they sounded. Of the few models made available at the time, they quickly gained a reputation for their sonic talents, especially from such small speakers. And so it ignited not just a decades-long fascination with these original BBC speakers, but inspired many audio engineers to make their own small speakers – and they've never looked back since.

There are variations and versions of the LS3/5A models made, which is why you might find small differences in the specs of the LS3/5A speakers throughout the years.

But the essentials are: it’s a two-way closed-box design, with a 19mm tweeter and a 110mm mid/bass cone (although Falcon uses a 138mm cone), with a birch ply cabinet. The compact dimensions of the speaker measure 305mm x 190mm x 165mm (hwd). Early LS3/5A models were 15 ohm designs, while later ones were 11 ohm or 8 ohm designs. The frequency response measures 80Hz-20KHz (+/-3dB) and the crossover frequency is 3kHz. The weight of the speakers can range between 4.9kg to 5.5kg each today, while a variety of cabinet finishes are available depending on the manufacturer. 

The basic sonic character of the speakers, however, remains the same. 

It was this engineering research and subsequent speaker design that, in the UK at least, originated the idea of high quality small speakers that have been prevalent ever since. Small standmounters from PMC, Spendor, Linn, ATC, Epos, Wharfedale and many more can all trace their origins (and in many cases, the speaker engineer’s inspiration) back to the BBC, and while they don’t necessarily copy the same design principles as the BBC’s, we can find the fingerprints of the LS3/5A present in modern speakers. 

More recent examples include the Bowers & Wilkins 607 S3 (which have the near-exact-same compact dimensions) and the Neat Petite Classic (which prove you can have astonishing high-fidelity sound from tiny speakers).

Musical Fidelity LS3/5A: build & design

We haven’t been lucky enough to listen to the more reportedly faithful LS3/5A reproductions made by Rogers and Falcon Acoustics at any length of time, but we did spend several weeks with the new Musical Fidelity LS3/5A – not for a review, but for our own curiosity about what these LS3/5A-inspired speakers sound like. They were unveiled at High End Munich 2023 alongside the Musical Fidelity A1 integrated amplifier, a reimagined icon from the 80s. The speakers aren’t officially licensed by the BBC but are “manufactured according to the BBC R&D design 1976/29”
and adhere to the basic essential specifications we know so far. Ultimately, they are designed to deliver the original’s sonic signature. 

In person, it’s hard not to be charmed by the way these LS3/5A speakers look. The cabinet looks modest but is built and finished to a very high quality. It feels reassuringly solid and the finish in this particular Musical Fidelity edition is a rather lovely Palisander wood veneer, with darker black streaks running through the rich warm wood than a traditional Rosewood.

Contrasted against that are the functional drivers and utilitarian front panel. As with the originals, foam squares surround the tweeter to help damp reflections, while the velcro strips around the baffle edges are stapled on – and they’re not all entirely straight. The grilles that come with the speakers are plain enough and attach via velcro, but we leave them in the box during our time with them.

Next to the minimalist, sleek aesthetic of modern-day speakers where it’s practically a faux pas to see any fixings or bolts visible on the speaker’s fascia, the staples, foam and velcro of the LS3/5A are almost laughably workmanlike – but the speakers have their charm and we find ourselves endearing to them quickly.

The small footprint really is small. Measuring 30.5 x 19 x 16.5cm (hwd), the speakers can as easily be perched on desks and shelves as on dedicated speaker stands. As with most compact standmounters we test today, these speakers are easy to accommodate for small spaces, given time to run in and with care taken to position them well.

Musical Fidelity LS3/5A: sound quality

If the quality of the midrange, and how your hi-fi system reproduces and handles voices, is of utmost importance to you, then you might well fall in love with the LS3/5A. While not all-rounders and certainly flawed in some areas, they have a wonderfully natural way with voices. 

When we spoke to Andy Whittle of Rogers Hi-Fi in 2021, he said that the BBC speakers’ sound is “all about the vocal and the voicing. If it’s for an outside broadcast van and they are mixing, the vocals have to be 100 per cent spot on. If you get that right in the critical mid-band, the bass and top aren’t so critical. Get it right and you’re pretty much home and dry.” 

And that's exactly what we hear. The midrange is undoubtedly the star of the show here; voices, no matter in what song of what genre or recording quality, are delivered with a beautiful, natural quality that makes these speakers rather enchanting to listen to. 

Agnes Obel’s ethereal singing on her Aventine album shines through with delicacy and sweetness. Voices have character and texture; we cycle through Nick Cave, Taylor Swift, Bon Iver, Eminem, Portishead and more, and we don’t tire of listening to how well the LS3/5A relay every distinct voice. Play through some of our favourite piano tracks (classics such as Gnossienne No.1, Clair du Lune, or even Evanescence’s My Immortal), and the notes glide along in a tuneful manner that delivers the core essence of each track.

The speakers sound clear and smooth, with no harsh or bright edges, and they’re a dab hand at relaying the differences in recording eras and tone of the song. Compared with modern speaker standards, their timing isn’t entirely accurate and they prioritise frequency response over subtle, sweeping dynamics. But somehow, they don’t sound boring. 

Bassheads will undoubtedly miss the attack, scale and low-end prowess you don’t get with these petite speakers, but there’s a lovely quality to the sound it does deliver that keeps music-listening interesting.

That hump in the bass we mentioned before means it’s a lottery on when we'll hear an appropriately solid punch on songs. Outkast’s Ms Jackson was a limp bust; Eminem’s The Way I Am had surprising punch and intent. The bass on offer here is feather-light, but it is agile and nimble – Massive Attack's Angel isn’t anywhere near as deep and brooding as when heard through larger speakers, but it does make sense musically and hold our interest. 

Play heavy metal songs or Run the Jewels tracks, and we miss the slam and solidity that modern speakers are more capable of delivering. We expected the same when playing the Jurassic Park Theme, but, while we’d love to hear more low end authority and drive to the strings, those tuneful French horns, the way the orchestra flows as one, and the gist of the piece – they all come through rather sweetly through these LS3/5A speakers.

The integration between the drivers is decent, and while they won’t fill a very large room, they cope just fine with medium to small rooms. It’s a more focused spread of sound than wide open, but the imaging is very good.

There is just something about these speakers – they’re not the best in all areas of sound quality, but the areas that they are good in are worth the effort. Such is their talent with midrange, voices and piano (amongst other instruments) that their drawbacks didn’t stop us from listening.

Partnering with the right amplifier is key

We listened to these speakers in our dedicated, acoustically treated test rooms, and I was also able to take them home to see how they would fare in a much smaller, normal living room space. We had music playing from our Naim Uniti Atom Headphone Edition streamer and Cyrus CDi CD player, as well as the more modest WiiM Pro Plus streamer. 

Finding the perfect partnering amplifier that would complement the LS3/5A proved to be much trickier. We had a variety of stereo amplifiers in our test rooms at the time, so these speakers were plugged into our reference PMC Cor integrated, the Musical Fidelity A1, the limited edition Naim Nait 50, the Rega Brio and I also tried them with my mid-80s Mission Cyrus One amp at home. 

The ones that stood out are the A1 and Cyrus One pairings. Despite how small the speakers are and how low-powered the Musical Fidelity A1 amp is, we were confronted with a surprisingly authoritative sound. This combination was big and confident, full-bodied and smooth, even despite the speakers’ fairly low sensitivity. There’s not a lot of attack or drive, but this pairing leans into the easy-listening character of the LS3/5A in a pleasing manner.

Meanwhile, the Cyrus One is nimble and lightweight, articulate and precise with timing – and all these qualities complement the Musical Fidelity speakers’ richness well. The Cyrus does an admirable job of allowing the speakers’ strengths with midrange to shine, while bringing a touch of order, nimble bass and snappy timing to the pairing.

We thought that the Naim Nait 50’s enthusiastic, dynamic and lively character would work well with the LS3/5A, but – while their retro aesthetics look lovely together – they’re a mismatch in terms of personality. The LS3/5A struggle to keep pace with the Nait's boundless energy. We thought the Rega Brio might add some much-needed muscle and power to the speakers, but it drags down the delicate, light balance of the speakers – this pairing takes away what makes the midrange/voices sound so special. 

Ultimately, the pairing we liked most depended on our music tastes and the room the speakers were placed in. Our technical editor Ketan Bharadia preferred the Musical Fidelity A1 pairing for the fuller, more authoritative sound in a bigger room, while I preferred the Cyrus One partner for its speed, agility and clarity when used in a smaller room.

Our time with the Musical Fidelity LS3/5A speakers highlights just how important it is to match hi-fi products with the right partnering equipment – demoing and listening to different combinations to find the balance you like the most (and the compromise you’re happy to live with) will only give you a better picture of the strengths of our system.

If you have listened to any versions of the LS3/5A, do let us know what you thought about the sound, and if you own a pair, I'd love to know which amplifier you have partnered it with – let us know in the comments section below or on the forums.

Today’s small speakers are hugely capable designs that have been refined upon since the original BBC LS3/5A, but listening to the Musical Fidelity LS3/5A edition shows us exactly what it was that captured the engineers and audiophiles’ interest at the time. And despite knowing full well that there are better all-round and more accomplished speakers available now, we find the LS3/5A speakers have a particular charm that's difficult to ignore. If only they were going for cheaper retail prices (the Musical Fidelity pair costs £2349), I'd even consider buying a pair for myself...

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Rega’s Fono Mini A2D phono stage was never a looker, and this Mk2 version doesn’t change that much. Sure, its appearance is a little cleaner and the new glossy front panel fits in with the aesthetic of the brand’s current range better, but we doubt whether the new appearance will be the reason for any dramatic increase in sales.

But really, we don’t think that matters. The important part of this phono stage, the audio circuitry, remains unchanged, and while in most cases that would be a complaint, here we’re not unhappy that Rega has left well alone. You see, the Rega Fono Mini A2D has always been something of a star performer at this level and this Mk2 version continues to impress.

Build & design

Physically, this remains a small unassuming box. It barely takes up any more shelf space than a typical coaster. The technical side is as expected with a 47kOhm/100pF input loading, which are the standard values needed for moving magnet cartridges. Those with a higher quality moving coil cartridge should be looking much further up the food chain than this Rega to something like Musical Fidelity’s MX-VYNL.

Apart from the stereo RCAs that cover the input and output connections, you will find a grounding screw; we wish Rega had used a thumb screw for ease of use rather than one that requires a screwdriver. It would make connecting a turntable (other than one with a Rega arm) easier. On the Fono Mini’s front panel you will find the reason for the A2D in this product’s name: the USB (Type B) output with an accompanying level control. 

The digital output of the USB connection means that you can connect this Rega phono stage to your computer and turn the music signal from your records into a digital file. It is faff (and time-consuming) to digitise vinyl, but this phono stage makes it an easy thing to do provided you have the patience. The output level of records can be all over the place, so the level control fitted to the Fono Mini A2D allows the user to optimise volume levels to maximise the signal-to-noise ratio, though take care not to go high enough to induce overload distortion. As a starting point, something like Audacity recording software works well, and we have no problems recording numerous tracks from vinyl to our MacBook Pro. The quality of the recordings mirrors that of the Rega, and that’s a positive thing.

Sound

The Fono Mini A2D Mk2 would be ideal to add record player compatibility to KEF’s LSX II speaker system or as a proper step up on the disappointing phono stages built into otherwise excellent stereo systems such as the Elac Debut Connex DCB41 or Triangle AIO Twin. Moving up a level to proper separates hi-fi, listening to the Fono Mini A2D connected to a Rega Planar 2 or Pro-Ject Debut Carbon Evo turntable feeding likes of Cambridge Audio’s CXA61 amplifier and the Bowers & Wilkins 607 S3 standmounters would be a treat.

This is a frill-free performer in the sense that it concentrates on getting the basics right. It is a budget product and as such there are compromises in its sound, but Rega’s engineers have been careful in their choices. Listening to Beethoven’s 6th Symphony we find that the Fono Mini A2D Mk2 is good at delivering dynamic contrasts. It has a lively presentation, one that communicates the energy in the music well. Detail levels are good for the money, but the impressive thing is the musically cohesive way in which the Rega organises the information; it makes sense to us, and keeps us listening in a way that’s rare at this level.

Tonally, things are nicely balanced. We use both a Sumiko Rainier MM and Vertere’s Sabre MM cartridges during our testing and the Fono Mini A2D sounds balanced with both. It isn’t the sweetest of sounds or the most spacious but there is enough refinement to avoid things sounding wearing and plenty of insight to keep our interest. Mary J Blige’s No More Drama shows that the Fono Mini A2D maintains Rega’s tradition of surefooted rhythmic drive and punch, as well as shining a light on the phono stage’s ability to render vocal and instrumental textures well. Blige’s voice comes through with power and passion on the title track and we’re pleased with the amount of dynamic nuance and finesse this phono stage displays in general. Lows are punchy and articulate without dominating, and the overall composure when the music gets demanding is admirable.

Verdict

Sonically, this new version of the Fono Mini A2D is no step forward over its predecessor. Rega doesn’t claim to have made any changes to the audio circuitry so that conclusion shouldn’t come as a surprise to anyone. This new one looks just a little smarter and still sells for a competitive price. Its ability to convert the signal from vinyl into digital is handy, but for us it is the quality of the sound that continues to impress. Quite simply, we haven’t come across a better-sounding alternative at this entry level. 

SCORE

• Sound 5
• Build 4
• Features 5

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Musical Fidelity has announced two new products are coming to its revived flagship Nu-Vista range – the Nu-Vista DAC and Nu-Vista Vinyl 2 phono stage.

The company relaunched its Nu-Vista range at the beginning of 2023, introducing new high-end components such as the PRE pre-amplifier, PAM mono-block, PAS stereo power amp, and 800.2 integrated amp.  

The Nu-Vista DAC and Vinyl 2 units are both similarly high-end models, featuring the same large aluminium housing and clear control screens as others in the range. 

The Nu-Vista DAC is a high-end digital-to-analogue converter featuring a Class A nuvistor tube output stage. It features several input and output options which should accommodate a wide range of digital sources, including three optical inputs, one coaxial input, a USB port, and one AES/EBU input. It also includes two pairs of line-level outputs: XLR and RCA.

This new DAC uses two ES9038QM chips in dual differential mode for a true dual-mono design and supports up to 768kHz audio in PCM formats, DSD256 via DoP, and native DSD512 via USB. This means it should be more than able to handle virtually any hi-res digital file type out there. There’s also a Time Domain Jitter Eliminator on board which is said to keep jitter rates below 100 femtoseconds – quadrillionths of a second.

The Nu-Vista Vinyl 2 is Musical Fidelity’s flagship phono stage with a Class A nuvistor tube stage. It’s fully discrete and fully balanced, which the company claims should ensure that signal integrity is never compromised and remains true to how the music should be.

It features two pairs of balanced XLR and unbalanced RCA inputs, as well as balanced and unbalanced outputs. The Vinyl 2 offers adjustable settings for gain, capacitance, impedance, equalisation, and a two-step subsonic filter. Due to this level of flexibility, Musical Fidelity says that the Vinyl 2 is highly accurate with both MM and MC cartridges.

The Vinyl 2 also features three gain stages powered by Class A transistor circuitry. Audio signals from the phono preamp go to separate boards for each channel, which is said to guarantee the lowest levels of noise and distortion in the music.

The Musical Fidelity Nu-Vista DAC and Nu-Vista Vinyl 2 will both cost £9999 / €10,990  each and will be available from December 2023 in black or silver finishes.

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In some ways, the name of Musical Fidelity’s latest amplifier is a misnomer. The Nu-Vista vacuum tube was indeed a ‘New Vista’ electronic device when it was introduced by RCA in 1959, when it was physically smaller, more robust and exhibited higher performance than anything else available at the time... and indeed, in some applications, for the next 20 years. But it is now 2023. The Nu-Vista is not a new device, and why would Musical Fidelity use an old-fashioned vacuum tube anyway?

Well, it’s for the same reason that valve audio amplifiers have never gone out of production and valves are still used in most musical instrument amplifiers – sound quality. Put a valve in the signal path and music just sounds more musical. Where Musical Fidelity has been smarter than most is, firstly, where it uses valves, which is the input stage, rather than the output stage, because the inherently low voltages mean negligible component stress, in turn meaning that the valve’s life is essentially unlimited. The second smart move was to use Nu-Vistas as opposed to any other valve type because they have proven to not only have a long lifespan but also be exceptionally reliable throughout it, not to mention low noise.

But all of the above was true when Musical Fidelity introduced the original Nu-Vista 800 integrated amplifier back in 2015. If the same Nu-Vista valves are being used (which they are), why the need for a Nu-Vista 800.2 model? Why not just continue with the almost decade-old Nu-Vista 800, not least as it was one of Musical Fidelity’s best-selling amplifiers?

The answer, according to the company’s new owner, Heinz Lichtenegger (who purchased the company from his old friend, Antony Michaelson, who founded it), was that several of the 800’s most important components, including the unique “retro look” display, were discontinued. “We were therefore left with a choice,” he said. “Discontinue a popular amplifier or replace the original with an updated version as unchanged as possible from the original.” Looking at the Nu-Vista 800.2, we can’t exactly agree that it is ‘as unchanged as possible’ because it actually sports a host of changes, all of which offer improvements on the older model.

The most visually obvious change is to the front panel. The new large meters (which replace the previously too-small rectangular display) are absolutely fantastic, but the panel itself has been updated to a totally modern design too, the main difference being that you now can’t see the heat-sink finning that runs down either side of the chassis. This, in our minds, has massively improved the amplifier’s appearance.

Regarding the internals, Musical Fidelity says the two toroidal power transformers that supply the discrete left and right power amplifier sections have been rewound to have lower standing flux, making them less sensitive to mains DC offset noise. This has supposedly also reduced noise in the amplifier. The power supply circuitry itself has been revisited, though this was primarily to enable remote standby switching, which was always an odd omission in the original Nu-Vista 800.

A quick read of the Nu-Vista 800.2’s information brochure would seem to indicate that the 800.2 circuit now includes a locally decoupled output stage, where each output transistor (Musical Fidelity is still using the old Sanken STD03P/03N enhanced Darlington transistors with built-in drivers and temperature compensation it chose for the 800) is equipped with its own capacitor, and mounted very close to it in order to ensure a lower impedance path and thus better transient response and improved ripple filtering during high-current delivery. But a more careful reading of the brochure will reveal that all of this admittedly creative circuit topology was inherent in the 800’s design, so nothing has actually changed here at all.

Like its predecessor, the Nu-Vista 800.2 has five line-level inputs, four of which are unbalanced and use RCA terminals, and one that is balanced and uses XLR connectors. One of the unbalanced inputs (AUX1) can be switched to operate as a home theatre bypass input, the switching for which is done via the very sensible system of using a two-position analogue switch on the rear panel. This is so much better than any other method that we have to give Musical Fidelity bonus points for doing it this way. Other implementations of a home theatre mode we’ve seen leave open the possibility for someone who does not know how to use your amplifier to seriously damage your connected loudspeakers by selecting the mode accidentally. Because Musical Fidelity is using an analogue implementation, with the necessary switch hidden away on the rear panel, accidents like this cannot happen. Simple but brilliant!

As far as outputs are concerned, there are eight speaker terminals (four per channel), though these are internally linked and so, while it might appear that you can connect two pairs of speakers and have A/B speaker switching, you can in fact drive only one pair of loudspeakers. There’s also a line-level output (via RCA), allowing you to send an audio signal to a separate headphone amplifier in the absence of a headphone output on the Nu-Vista 800.2 itself (just as there wasn’t one on the original 800, something we thought might have been worth revisiting on an updated version). The 800.2’s pre-amplifier output could also be used to send signals to another amplifier in another room to enable multi-room operation, or for bi-amplifying a pair of stereo speakers in the same room.

The chunky (178 x 65 x 22mm), full-metal-cased infrared remote control that Musical Fidelity supplies as standard with the Nu-Vista 800.2 (many manufacturers make the remote an optional, added-cost item!) requires two AAA batteries, and while Musical Fidelity provides high-quality, Panasonic alkaline cells, we’d recommend using lithium ones instead.

To make this installation easier, Musical Fidelity does not screw the rear panel onto the remote but instead just tapes it in place and provides the six screws separately, along with a high-quality, Philips-head screwdriver and four tiny, 3M-branded silicon protective bumper feet to stop the metal remote from scratching whatever surface you put it on (or slipping off that surface if it happens to be sloping).

While we appreciate that not having to remove the screws speeds up the battery installation process, we found it very difficult to remove the adhesive tape that keeps the back of the remote in place during transport. Could we venture to suggest that instead of two pieces of tape, perhaps just a single piece right across the back of the remote would make the process easier? And why not fold one end of the tape over itself while you’re at it so that it’s easy to peel off? Or maybe just go low-tech and use a rubber band...

The remote has a lovely non-marking dulled aluminium finish, with its 10 buttons arranged very creatively – in two star-shaped groups of five as opposed to the usual boring grid pattern. Full marks to whoever at Musical Fidelity was responsible for this beautiful geometry! However, the lettering used to identify these buttons uses a paint that is almost (but not quite) the same shade as the colour of the remote itself, which looks ultra-classy but makes it difficult to read in less-than-perfect lighting conditions. (And while we’re having a minor gripe, the six screws that secure the rear panel would look better if they were silvered or stainless. They were rather jarringly black on ours.)

Despite at least two of the reviewers for Audio Esoterica being on record as saying that power output meters on an audio amplifier are nearly always inaccurate, mostly useless in helping assess whether the amp’s output is overpowering your loudspeakers, and ultimately just adding to the cost of the amplifier without adding any real value, we have to say (and to paraphrase Leonard Cohen) that when it comes to the Musical Fidelity Nu-Vista 800.2, “we’ll make an exception”. These are likely the most gorgeous meters we’ve seen on any amplifier, and having watched them for the last few months, we can’t imagine the 800.2 without them.

Unlike some other famous power output meters, which use ‘old’ technology, the two meters on this Musical Fidelity are not old-fashioned (or slow) mechanical meters but are instead solid-state. And unlike some other famous meters, where you get a colour choice of blue or blue (or off!), you can switch the Nu-Vista 800.2’s meters through multiple display formats, colours and illumination modes.

There was some disagreement at Audio Esoterica about the best display mode, but we can advise that Display 4 was nobody’s choice and Display 2 was the most popular. Illumination Mode 7, which is the default mode, was also a preferred choice by most, but as you may have already gathered, your ultimate choice between the seven options on offer will be a personal preference. Our advice, however, would be to choose an option that leaves ‘Base’ lighting circuitry on; otherwise, if you press ‘Mute’ without having a clear view of the Nu-Vista valves at the top rear of the amplifier, you won’t be able to ascertain (at least visually!) whether or not the amp is indeed muted. Leave this lighting on and it will glow red when the amplifier is muted and be obviously visible from anywhere in the listening room.

We should point out that there is an indicator on the front panel display that the amplifier is muted, which is that the dB display will be a different shade of grey to the one shown when it is operating normally, but the shading depends on which display format you’re using! This would initially seem difficult to work out, but it’s actually pretty easy because if the dB display is a different shade to the one showing the selected input immediately to the left, then the amplifier is muted.

Although the Nu-Vista 800.2 powers up and is ready to play music quite quickly (around 10 seconds or so and indicated by the LED light underneath the front panel turning from red to blue), Musical Fidelity says the Nu-Vista valves themselves, although operational from the get-go, will not “reach thermal equilibrium” or “deliver their best performance” for a further 15 minutes, at which point they will be surrounded by a blue glow of LEDs. (However, while the manual says ‘15 minutes’, it always took rather longer during our sessions. During warm-up, the LED for the Nu-Vista valves glows orange.)

Sound

We nearly always kick off our listening sessions at very high listening levels, primarily to ensure that the circuitry is at optimal temperature, despite the fact we always do a warm-up listen before commencing any critical listening. This approach also gives us a chance to evaluate the amount of power an amplifier can deliver to our very inefficient reference loudspeakers, and whether it can cope with their very low impedance at low frequencies.

Happily, we can report that the Nu-Vista 800.2 didn’t give us a moment’s doubt on either front. It was easily able to drive our loudspeakers to higher volume levels than we’d ever dream of using in any situation other than an equipment evaluation session, showing no difficulties at all partnered with our difficult-to-drive speakers. Indeed, we actually connected a second pair of speakers in parallel and drove both pairs simultaneously just to see if we could trick the protection circuitry into tripping – but the Nu-Vista 800.2 just continued powering on, acting and sounding exactly as if it was driving a single speaker pair.

A song that is often used for testing bass is Massive Attack’s Angel, yet it was one we hadn’t previously tried and so decided to give it a whirl. There’s certainly a surfeit of deep bass on this track, and the Nu-Vista 800.2 had no difficulty delivering all of it. Our issue was that the recording isn’t very clean, so although you can hear the depth of the bass it is difficult to quantify its purity. There’s also not much of an instrumental spread and the overall sound is in the grunge category. So we reverted to one of our old favourites, Age Of Consent from New Order’s album ‘Power, Corruption and Lies’. This is a nice clean recording and the Nu-Vista 800.2 demonstrated that in spades, delivering a lovely rendition, with the low frequencies just as they should be in terms of extension, power and purity.

From there it was but a short step to Rage Against The Machine’s self-titled debut album and the homage to deep bass that is spread across its 10 tracks. You know you’re in for a bass-fest right from the outset, with opener Bombtrack setting the scene with its fast, repeated bass riff accompanied by an octave phantom bass in the far background. A bit later, when the drums burst in followed by the rap vocal, we notice how that, despite what’s going on in the bass, the Nu-Vista 800.2 let us hear the diction of the vocal with superb clarity. Needless to say, it is not always this good!

The following track, Killing In The Name, reveals the perfection of the Nu-Vista 800.2’s deep bass delivery even more explicitly: listen to the incredible delivery of the transients, the way you can still hear the cymbals in the background, plus the superb channel separation so that sounds in the left channel stay there; there is zero leakage of sound to the right channel, or vice versa. At the same time, the central image is so tightly fixed centrestage that it’s like it was nailed there. Don’t forget to listen to Bullet In The Head right out to its close-out; it’s one of the best closers we’ve ever heard.

We tested the Nu-Vista 800.2’s midrange performance with the Sofie Von Otter/Elvis Costello collaboration titled ‘For The Stars’. Von Otter’s classically perfect mezzo-soprano voice is captured so superbly on every track that it’s impossible to pick a favourite, but her cover of Baby Plays Around is a standout, not least for its trumpet solo. Kate McGarrigal’s Go Leave is notable for the cello and piano sound behind Van Otter’s voice, too, though don’t miss Green Song either for the sound of bowed and plucked cello. 

The production on this album is superb, and we could hear that the Nu-Vista 800.2 not only delivered every single nuance perfectly but also added no noise at all to the music. And the silences were gloriously silent. The way the Musical Fidelity separates the musical elements of Rope was aural magic, while Broken Bicycles added extreme high frequencies for our appreciation.

However, to further evaluate how the Nu-Vista 800.2 handled the highs, we switched to Bonnie Rait’s album ‘Nick Of Time’, which has them by the handful. It also has a glorious selection of instrumental sounds, many played by guests such as Herbie Hancock (I Ain’t Gonna Let You Break My Heart Again) and Chuck Domanico (Cry On My Shoulder). Listen out too for David Crosby and Graham Nash! But it isn’t only the high frequencies that make this album fantastic testing material – it also has that warm, rich and full sound that was popular in the 1970s and 80s. And the amplifier delivers this richness like a complex tapestry.

Verdict

Gloriously smooth and musical sound quality, partly courtesy of trouble-free valves that are going to last forever (well, close to forever!); more power on tap than you are ever going to need, and which can be used to drive any loudspeakers you care to connect; and a sleek and impressive (albeit very heavy and sizeable!) chassis that just oozes class and is completed by a to-die-for front panel display that will be the envy of your friends. The Musical Fidelity Nu-Vista 800.2 is a simply superb all-rounder! 

Musical Fidelity is launching a brand new turntable, taking inspiration from its M1 record player from 2002. We can say from first-hand experience that the new M8xTT is quite the beast to behold (see photo above), and it combines modern-day materials, technologies and know-how with the engineering DNA that went into making the original M1.

To do this, Musical Fidelity has given the new M8xTT an overhaul inside and out to up the ante in terms of performance and reliability. Its 10-inch tonearm is a completely new model developed especially for the M8xTT, while an ultra-low resonance design utilises a conical aluminium tonearm tube and a transparent acrylic bearing ring for an ultra-low resonance design.

That tonearm is fully adjustable and comes equipped with two damped counterweights, whereas the spinner's drive motor is connected to the platter via a silicon drive belt. The motor features automatic speed changing between 33.3 and 45rpm, with Musical Fidelity promising a turntable that "is capable of exceptional rotational stability" for your records. That's quite a claim for a belt-drive design.

This new monster spinner combines high-mass and isolation design principles, too, which Musical Fidelity claims produces an improved sound and technical performance.

The M8xTT’s dual-layer plinth is constructed from low-resonance acrylic and mounted on four height-adjustable magnetic feet, while the top layer houses the main bearing spindle and the tonearm mount for complete isolation from the stand-alone drive motor. The aim is for a turntable that eliminates the transfer of resonances from the surrounding environment and from within itself, once again offering better performance and enhanced sonic stability. You get both balanced XLR and standard RCA phono line level outputs, too.

What's inescapable about the M8xTT is how visually striking the 31.5kg player is to behold. We were treated to an initial look at the weighty, industrial-looking monster at the Bristol Hi-Fi Show 2023 earlier this year, and we can attest that it really is a sight to witness. Sporting that acrylic chassis alongside those gleaming aluminium pucks and tonearm, it's certainly the sort of audio centrepiece that makes a pretty bold statement.

The Musical Fidelity M8xTT will be available in late 2023 at a price of £8,249 / $9,999 / AU$18,000 (further prices pending). There's no cartridge included, but the tonearm will support cartridges ranging from 6 – 20g tracking weight. You can also purchase the turntable without the pre-mounted tonearm.

That pricing puts it right up against another high-end turntable, the Rega Naia, which costs even higher at £9999 without a cartridge. We'd be keen to see (and hear) how these two hi-fi heavyweights perform once we get review samples into our dedicated listening tooms.

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Goldmund has a new reference mono amplifier that it claims is the world's most powerful Class AB linear design. The Telos 8800 has a maximum output power of 1400 watts (at eight ohms), with a claimed total harmonic distortion of just one per cent. Talk about power on tap.

The Geneva-based high-end brand says that its new flagship model is a response to a "growing demand for increased capacity and power" and was designed to drive very low-impedance loudspeakers without compromising distortion levels. To that end, Goldmund increased the output power transistor stage over the previous T5500 NG model by implementing 16 transistors (four pairs per side) and made it more efficient by expanding the capacitor bank with eight huge (15,000uF) capacitors. Goldmund promises that its new MKP silver-metallised polypropylene film cap capacitor in the Mosfet output stage ensures stability even for demanding one-ohm loads.

A larger heatsink has, unsurprisingly, been incorporated into the design. Both of the power supply's sides have been designed as heatsinks, improving not only heat dissipation but also electrical conductivity. And that latter point is also why the Telos 8800 is physically narrow and uses all-gold metal terminals and screws.

Despite its slimness, this sleek grey or black monochrome block is a suitably hefty unit, weighing 265kg. And speaking of hefty, are you ready for the price? The Telos 8800 power amp will be priced at £350,000 each (£700,000 per pair) when it reaches the UK. The amplifier enjoyed its world premiere at the Hong Kong High-End Audio Visual Show earlier this week.

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We speak to the designer behind the new Musical Fidelity A1 amplifier

The A1 was not Musical Fidelity's first amplifier. In fact, the A1 followed a preamp, power amp and a premium-priced integrated. But its introduction in 1985 was instrumental in establishing the Musical Fidelity brand as a serious force in the market.

It carried a £189 price tag on release, and its natural rivals were the likes of the Cyrus Two and Nait 1. The A1 stood apart from both those excellent designs because of its Class A-biased circuitry and wonderfully distinctive casework. Being different is all very well, but there was real substance here too, thanks to a sound character that offered things nothing else at the price could emulate.

The A1’s circuit was designed by Tim de Paravicini, a legendary audio engineer who was best known for his valve amplifier designs and custom work in the recording industry. On a side note, Paravicini also founded the high-end EAR Yoshino brand. 

The decision to make the A1 a Class A design influenced everything that came afterwards. On paper, Class A operation is optimal for sound quality thanks to the minimal distortion it produces. The reason that the vast majority of high-quality amplifiers don’t use it though, is that it has issues with high power consumption and generates lots of heat. 

The need to dissipate that heat is what resulted in the A1’s iconic look, where the entire top panel is essentially the main heatsink for the output devices. How much heat does an original A1 produce? Even with the huge heatsink area this 25 watts per channel amplifier’s casework gets hot enough so that it is hard to touch it for more than a few seconds. That’s even when the surrounding temperature is a nice and steady 20-degrees centigrade. The situation would be even less palatable in warmer climates.

Aside from user comfort, the sheer heat produced by the A1 also presented difficulties for the internal circuitry. Generally speaking, heat is not a friend to electronic components, so great care has to be taken to specify components that can cope with the kind of internal temperatures that exist inside such hot casework. In those early years, Musical Fidelity didn’t leave a lot of leeway, using capacitors that were rated for 85 degrees rather than the alternative 105 degrees, leading to some reliability issues. Some early samples of the A1 work to this day, so it wasn’t a disaster, but there were enough failures to taint the A1’s reputation just a bit.

Yet this little amp looked and sounded so good that it still sold by the truckload. That first model proved successful enough both commercially and critically that MF expanded the A1 stable to include pricier integrateds, pre/powers and monoblocs. There was even another range of amplifiers that echoed the A1 styling, but ditched the Class A circuitry, so heat output wasn’t even an issue. Good as they were, those designs lacked the A1’s sonic magic, though.

Magic isn't a word we use lightly. Take a listen to an original A1 today and it is easy to understand why so many fell under its spell. Our serviced 1985 sample has been supplied by Musical Fidelity and is in great condition. 

There isn’t a remote control, of course. Such things were rare at that time, so you have to be totally hands-on with this product. We leave our sample powered up for around half an hour before we start listening and find out all about the downsides to A1 ownership. This thing really does get hot, reminding us of a small central heating radiator on full power. The temperature of the top panel is so uncomfortable that we find ourselves actively avoiding contact when we change the volume or switch inputs. Both of those rotary dials and the front panel in general feel notably cooler than that finned top panel.

The controls themselves have a nice action though. The input selector works with a pleasantly positive clunk and the front panel buttons have a pleasant solidity to them. 

We love the amplifier’s styling. Back in the Eighties there really was nothing else on the market that looked like this, and that remains the case even today. Our original A1 still feels well-made and nicely finished. Back when it was new, it would have seemed light years ahead of most of its rivals, many of which still had a ‘made in a shed’ feel about them.

A power output of 25 watts per channel wasn’t a lot, even back then, so it pays to put a bit of thought into the partnering speakers. High-sensitivity should be a priority, if you play at loud volumes or have a larger space to fill. Even then we still don’t think the A1 would be an ideal choice in such a context. But, in more modest spaces and at more reasonable levels, we think this amplifier will satisfy most requirements. 

In our time with the A1 we use a wide range of speakers from the Bowers & Wilkins 606 S2 Anniversary Edition to KEF LS50 Meta and a pair of Fyne Audio Vintage Classic X floorstanders. The Fynes may not seem like suitable partners, given that they cost £6499 / $11,000 / AU$16,995, but their unusually high 94dB/W/m sensitivity and expressive nature make them an excellent though atypical foil for the A1.

The original A1 turns in an utterly charming performance once up and running. Let’s get the negatives out of the way first. It isn’t the most neutral of amplfiers, having a determinedly smooth, full-bodied balance that is likeable but not particularly accurate. Detail levels are broadly on a par with a decent budget amplifier of today, so nothing special, and the bass, while weighty, is also pretty soft and lacks grip. 

Yet it remains a pleasure to listen to. There is a surprising amount of substance to the sound which gives instruments and voices a physical presence that most amplifiers, be they budget or mid-priced, still lack today. We love the A1’s fluidity as it tracks dynamic shifts, and the delicate way it renders low-level nuances. Some reviews of the time suggested that it sounded a lot like a valve amplifier, and we can understand those sentiments.

The A1 delivers a large-scale sound; its presentation is bold and confident enough to overshadow any of its sonic shortcomings for the right person. We love its coherence and its ability to present music as an experience to be savoured rather than as an exercise in analysis. This is as true of the built-in moving magnet/moving coil phono stage as it is of the line inputs. 

Don’t forget that in the ’80s, vinyl replay was still king. While it is true that CD was building momentum, we hadn’t yet got to the point where most enthusiasts had turned to the silver disc, so any amplifier with pretentions to greatness was always going to need a good phono stage. 

The switchable MM/MC phono circuit fitted to the A1 is certainly that. It isn't too noisy and retains the hugely appealing character of the line stages. We’re happier with how it sounds with our Goldring 2500 and Vertere Sabre moving magnet cartridges rather than the Ortofon Quintet Blue and Kiseki Purpleheart moving coils – but either way we get enjoyable results.

We are lucky enough to have a sample of Musical Fidelity’s new A1 amplifier on hand too. The company has tried to keep as close to the original design as possible given the tighter legal requirements in force today, but has still taken the chance to improve things where possible.

The new one’s casework is a little larger to give more heatsink area and the internal heat management is better thought-out. Some of the circuit's components are uprated to improve sound and are now specified to resist the ill effects of heat, while the power supply arrangement for the two power amplifier channels is more generous. Factor in an improved layout for the phono stage section and you have what is a carefully considered resurrection of the A1 that makes things notably better without diluting any of the original’s sonic character. It adds a remote control too, only for the volume level and mute, but it is welcome. The handset is a simple, nice-to-hold metal-cased unit that feels good to use.

Listen to the two generations side by side and you will find that Musical Fidelity has succeeded in improving an already great product. The current version sounds considerably cleaner and clearer than the original. Its bass is tauter and more tuneful without sacrificing anything in terms of weight and authority. The stereo imaging has improved too, with the amplifier now sounding even larger-scale and more spacious in how it presents a soundstage. Yet, all the original’s charm remains undimmed. This is still an organic and musical amplifier that makes us want to play more music. 

In our view, the A1 rightly deserves its classic status. If you are feeling a little brave you can still pick up an early one for not much money. It will likely give you plenty of enjoyment provided you are willing to put up with its quirks. But, we admit we would be more partial to the new one. 

It loses nothing to the original in terms of character but clearly performs to a higher standard, runs a touch cooler (though still very hot) and has a remote control. It allows you to enjoy everything about the classic product but with all the benefits of a new-build and official service backup. We’ve got to say, we’re tempted.

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Simon Quarry has worked at Musical Fidelity for more than 20 years and is the engineer responsible for resurrecting the company's A1 amplifier. It wasn't a simple job given the more restrictive legal requirements of today and the need to maintain the much-loved character of the mid-80s original.  We talk with Simon about his career, the various Musical Fidelity products he has worked on and what makes the A1 such a desirable amplifier.

What Hi-Fi?:  What is your job title and role at Musical Fidelity?

Simon Quarry: My job title is Audio Designer. In that role, I design and re-evaluate the analogue sections in Musical Fidelity products – both new and historical – and have a hand in the concept and design of casework, digital control, etc.

When did you start at the company, and what did you do before?

I joined Musical Fidelity in February 2001 when founder Antony Michaelson was in charge. I started as an IT assistant, as I'd spent my employed years up till then building custom-made IBM PCs and compatibles for various companies. Back then, I did audio electronics as a hobby, buying up many magazines and kits/bits from Maplin and from the Edgeware Road, while both were still active. 

My first task with Musical Fidelity was soldering up some CMYK to RGB boxes to test DVD-1 projector outputs for the US market. They all worked first time. I was then ushered into soldering up prototype CD-Pre main boards, which were quite complex but also worked well. The rest is history, as it is always said.

In 2018 I left to work on another project outside the hi-fi industry. But I returned to Musical Fidelity in 2019, not long after Heinz Lichtenegger and his Audio Tuning group purchased the company. After re-joining, my first project was the M8xi integrated amplifier and later the new Nu-Vista Series, which we began releasing earlier this year.

Of all the Musical Fidelity products you've worked on, which ones are you proudest of? 

The M5si was my first major project for the company. I paid close attention to the layout, especially in the power amplifier stages, and when it was first listened to by the whole department, we were amazed at its sound. My close second favourite was the M6500i; I also had quite a bit of influence in that design. 

Lastly, it is the KW250s, which was a 250W dual mono integrated including DAB/FM tuner, DAC, CD player and valve preamp stage. The KW250s was a single embodiment of all that Musical Fidelity had perfected over the years and in an exceedingly robust casework to boot. 

 Why bring back the A1?

By a quirk of fate, when I first joined Musical Fidelity, I spent my spare time studying the company's historical schematics and looking at the various units that came in for repair. I always admired the A1 design, but the opportunity rarely arose to consider reintroducing old designs in those years. Instead, it took Mr Lichtenegger and his irresistible passion for the A1 for us to start this project.

Heinz has described bringing back the A1 as fulfilling one of his hi-fi dreams. It impacted his life so strongly as a product and was one of his first major successes as a budding distributor in Austria. So, when he acquired the brand, this was always an idea in his head, and today we can do it. 

That's the "who", as for the "why", we have one reason; it proves that high-end sound doesn't have to cost the earth. It simply makes music like nothing else.

Did you ever consider making a modern version rather than a faithful remake? 

We did. In 2008 there was an A1 model we produced that was inspired by the original A1 aesthetically and technically. Still, it was based on different circuit layouts, resulting in a different sound type. That wasn't the intention this time around.

What do you think makes the A1 special?

A key aspect of the A1's unique appeal is the symmetrical top-and-bottom circuitry as well as its Class-A biased output stage that is not limited to its standing current. This approach means speakers that dip in impedance are still allowed yet more output current if required. At this point, as the output stage is already drawing substantial current, there are no switching artefacts to spoil the quality of the experience.

 What is Class A circuitry? Is it better?

This is where the output devices are not just slightly switched on. They are drawing full current all the time. This technique remains valid throughout the whole audio cycle too. Whether or not it is better is more for the individual to decide. You can see within the Musical Fidelity range, we even offer different solutions. A well-designed Class A amplifier like the A1 gives you wonderful musicality, and I would encourage anyone to try it.

What are the differences between the original 1980s A1 and the new one?

The brief was to remake the original with as few changes as possible. The new A1 design features properly rated main electrolytics, newer output devices and a better layout, particularly around the phono stage. We added a second power supply, so each power amplifier runs dual mono with its own separate supply for better power handling and channel separation.

The active volume control was deemed problematic, especially in amplifying channel mismatch in the potentiometer used, so it was abandoned for conventional volume control with its inherent better matching.

In all other aspects, it remains true to the original design, so the overall sound is not affected. The original layout also made sense and remained relatively unchanged save for making the layout of both channels completely identical.

The bigger outer case, which is now a full 440mm width, and the expanded internal design allow us more leeway to keep the operating temperature within safe limits.

How would you describe the sound of the new A1?

Smooth, warm, and detailed. I have had the prototype A1 happily playing on my test bench for the last ten months or so and it has been driving quite a few different speakers. It never ceases to seduce with its silky output and inviting but meticulous rendering of all my music from energetic to ambient.

The old A1 was famed for running on the edge as far as heat output was concerned. What have you done to improve this aspect with the new one?

The 2023 model has a bigger case and more ventilation, and we also opened the airflow inside. These changes allowed us to bias the amplifier a bit higher than some of the later originals while remaining within temperature constraints. 

What reference hi-fi system did you use when developing the design?

No other design was used, nor was it relevant. At the project beginning, an old, battered A1 was shipped to me, which I fixed to the original spec and used for guidance. We have used a variety of speakers throughout the testing phase, though, including our new LS3/5A design, and we've tested with different analogue and digital source devices.

What are your favourite test tracks?

I think you may regret asking this, and there is so much I listen to!

Set The Controls For The Heart Of The Sun by Pink Floyd

Owl Stretching Time by OTT

Low Desert Punk by Brant Bjork

The Man From Wales by Oresund Space Collective

Reflection by Tool

Tomorrow Never Knows by Electric Moon

This is a relatively low-powered amplifier. What speakers would you recommend to partner with it?

Due to the amp's 20W +/- rating, I had always thought that only high-efficiency 89dB/W + speakers would be most suitable. But I was proven wrong. A pair of our new LS3/5A (82dB/W) landed on my desk earlier this year and partnered excellently with the A1. Remember that this set-up was in an open, unpartitioned corner of the warehouse, so it certainly wasn't very enclosed.  

For larger listening rooms, The A1 and LS3/5s certainly filled the large and loud listening room at the Munich High End Show with no real problem. Therefore, I see no real issue with standard size and quieter spaces. BUT… if you really want every ounce of efficiency at headbanging levels, try a more sensitive speaker of your choice! 

What would you have changed about the design if you didn't have to be so faithful to the original?

I had some inner circuit ideas to change, but it would possibly have reverted to a more clinical modern version, not the old A1 sound at all. This would have been against the project's intention, which was to bring back an iconic product for a new generation of music lovers.

Do you think analogue amplifiers have improved significantly since the original was made? 

Yes, there has been much progress in understanding and application of components. Amplifiers themselves have come a long way, like this symmetrical circuit and the more standard LTP (Long Tailed Pair) circuits, all having ever better technical specifications, particularly at higher audio frequencies. Noise has also diminished due to inbuilt features in the circuitry not fully understood in the earlier years. 

However, a comparably nice sounding amplifier is not always technically superior, vis-a-vis the ongoing popularity of valve amplifiers (to which I am also partial). We must not ignore this fact and become involved in a race to the bottom for what could turn out to be sterile-sounding technical perfection – this performance destination is the antithesis of the A1 ethic.

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This review isn’t straightforward to write. Normally, we use a new product over an extended period of time, compare it to any natural rivals and then give our verdict. The problem with Musical Fidelity’s A1 is that it doesn’t have any obvious rivals. 

Sure, you could look at it as just a rather basic, low-powered all-analogue integrated amplifier, and judge it like that, but we think that’s missing the point. This is clearly not a normal proposition. It is a (mostly) faithful remake of what is arguably Musical Fidelity’s most iconic product, one that was first manufactured in 1985. The company’s intention was never to offer a modernised version apart from having to meet current legal requirements.

Judging such a design by strictly by modern standards doesn’t quite seem right. So, rightly or wrongly, we’ve chosen to bend our usual rulebook and partially view the A1 through the lens of someone that might consider owning an original classic A1 amplifier but doesn’t want to deal with the uncertainties and reliability issues that come with any second-hand amplifier that is decades old. Does this resurrected design scratch that particular itch? Perhaps just as importantly, we are keen to find out if it still has anything interesting to offer modern hi-fi fans.

Build & features

What made the A1 so unusual back in 1985, and continues to do so today, is that it uses an electrical circuit that is biased strongly in Class A. On paper such a design minimises distortion, so has obvious benefits for sound quality, but there are downsides too. Chief among these is that the circuit generates lots of heat. It is this issue that leads to the A1’s distinctive look, where the entire top plate is just a giant heatsink.

How hot does it get? We would liken it to a fully functioning central heating radiator. In the case of the new model, we could only leave our hand on the fluted top panel a couple of seconds before it becomes uncomfortable and that’s despite much of the development work that's gone into reducing that temperature.

To this end, the new generation’s casework is larger than before, so increasing the heatsink area and dissipating heat faster. Heat flow has been managed better inside the casework for the same reason. Electronics don’t tend to like excessive heat, and it is fair to say that early versions of the original amplifier gained a reputation for poor reliability because some of the internal components were under-specified. Musical Fidelity has avoided the same issues in this new version and improved its performance by updating components where necessary.

The company has been careful to stick to the original circuit for the most part. After all, if you mess with that too much it would be all too easy to dilute the model’s famed sonic character. But there are important differences. There are new output devices and the power supply arrangement has been improved, giving each power amplifier channel a separate and more generous feed. Despite the beefier power supply, the A1’s claimed output remains unchanged at 25 watts per channel. That is low by modern standards but it is backed up by a good chunk of current and the circuit’s ability to slide into Class B operation when the amplifier is pushed hard. The result is decently wide compatibility with a range of speakers.

Elsewhere, while the preamp circuit has remained mostly unchanged there is now an improved layout around the phono stage and a better-quality volume potentiometer, which is motorised to make remote control possible. Any form of remote control was a rare luxury back in the days of the original. The one fitted here only changes the volume level and includes a mute button. The small handset is as simple as they come but is metal-cased and feels nice in the hand.

In a rather unusual move, there is a front panel switch that bypasses one of the preamp’s gain stages, reducing the overall gain by 10dB. This is intended for use with modern high-output sources that don’t need so much amplification and makes it possible to optimise the volume potentiometer’s travel for a given system. In use, we also find small benefits in overall transparency when we activated that bypass.

Vinyl was king back in the ’80s, so a good quality phono stage was vital for any amplifier with aspirations of greatness at the time. The A1’s phono stage can handle both moving magnet and moving coil cartridges and is reasonably quiet in use. There is a good array of line-level connections from four inputs to a preamp output and the now rarely-seen tape loop. This should be enough for the kind of stereo systems this amplifier is likely to end up in.

How about digital inputs or Bluetooth? Musical Fidelity isn’t trying to design a modern amplifier here and adding these things would turn this product into something else entirely (in the company’s view). That said, a truly forward-looking take on the A1 formula would make for an intriguing proposition.

• We speak to the designer behind the new Musical Fidelity A1 amplifier

Sound

This integrated amplifier proves far more forgiving of speaker partnering than we expected. During our time with the product, we use our reference ATC SCM50,  KEF’s LS50 Meta and a pair of Bower & Wilkins 606 S2 Anniversary Edition along with a pair of Musical Fidelity’s new LS3/5A monitors. The A1/LS3/5A combination looks far from promising given the amp’s modest power output and the speaker’s low 82.5dB/W/m sensitivity, but in practice, the pairing performs surprisingly well. Generally, this integrated behaves gracefully when pushed very hard. The A1 stays surprisingly listenable even as its dynamics compress and its grip on the music wanes.

It only seems right to start our review process with records, given the age of the original design. We place Mary J Blige’s No More Drama onto the platter of our Technics SL-1000R/Vertere Sabre MM record player and sit back. We aren’t sure what to expect at this point. This is essentially a mildly upgraded version of what used to be a budget amplifier in 1985. Its price on introduction was £189 (around $265 and AU$397), but this new one costs way more at £1499 / $1699 / AU$3000 and goes up against premium modern rivals that have benefitted from decades of advances in electronics.

It turns out we need not have worried. The A1 holds its own, principally by not even trying to sound like everything else. It echoes the original (a sample of which we have on hand) by sounding wonderfully expressive and fluid in a way that eludes most modern alternatives. There is more smoothness, warmth and physicality to the sound than is typically the fashion these days too. It could hardly be described as neutral but we like it anyway.

As we listen to Blige’s Family Affair we note that the new A1’s presentation is cleaner, more dynamic and better controlled in the bass than before. While not as precise or emphatic as Naim’s Nait XS 3 when it comes to delivering rhythmic drive and punch, the A1 still gets our feet tapping. This is a fun listen. It is a bold and confident rendering with a beguiling midrange that allows Mary J’s vocals to brim with passion.

We’re happy with the Musical Fidelity’s control and composure as long as the volume levels aren’t pushed too hard. Stay within the amplifier’s usable, but relatively modest, limits and you will find that it gives a large-scale sound that’s hugely appealing for its solidity.

We try the A1’s moving coil option by swapping out the Vertere Sabre moving magnet cartridge for an Ortofon Quintet Blue MC. The MC option proves decent, letting the Ortofon’s character and talents come through. The phono circuit isn’t the most transparent we’ve heard but is pretty competitive for the money.

We switch to Dvořák’s New World Symphony from our reference Naim ND555/555 PS DR music streamer and the A1 continues to please. It generates an expansive and nicely layered soundstage that stretches beyond our speakers, and that image remains pretty stable even when the music gets demanding. We like the richly-textured way this amplifier paints instruments and its ability to convey subtle changes in dynamic intensity without forcing the issue. Larger-scale dynamic shifts are still delivered with conviction though, but more conventional rivals pull ahead when it comes to outright punch and attack.

Verdict

If you are looking for the last word in analysis then this isn’t the amplifier for you. Absolute detail levels and insight are pretty good, perhaps even surprisingly so given the age of the design, but newer rivals, even something much cheaper like Cambridge Audio’s CXA81, manage to tell us more about the recording. Detail resolution is clearly the area that has progressed the most through the decades. But look at the bigger picture and you will find that the A1 remains good at conveying the energy and intent behind the music. It may not give you every last drop of information in the recording but you won’t be left in any doubt about the emotions you are meant to feel.

This clearly isn’t an amplifier for everyone. The fact that it runs so hot (and uses lots of power while doing so) will be an issue for some. The A1’s relatively low power output could be another issue. But it is hard to have anything but admiration for Musical Fidelity for bringing back such a classic amplifier in such a faithful way. 

This is a truly charming product, and we love the way it looks. If you want a taste of a classic hi-fi product but with the reassurance and reliability of buying new, dive right in.

SCORES

• Sound 4
• Build 4
• Features 3

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Class A, Class A/B and Class D designs: what does it mean for amplifiers?

Musical Fidelity has officially announced the availability of the highly anticipated reproduction of its classic 80’s A1 integrated amplifier. 

The original A1 helped to establish Musical Fidelity as an established brand and a major name in the market. It was considered a budget amplifier back in the ‘80s; the new A1 will launch at £1499, so that’s no longer the case.

We had our first glimpse of the new A1 amplifier at High End Munich 2023 back in May. Our first impressions were positive. We described the amp, in our brief listen to it, as having “bold and full-bodied sound; one that's richer, smoother and more easy-going than is typically the fashion today.”

The electrical layout of the new A1 stays faithful to the original, using completely discrete, fully symmetrical pure Class A technology. The low-noise pre-amp circuit is the same as the original’s, with only a few modern touches to bring it into the present. This includes a ‘Direct’ control, which allows users to bypass the gain stage before audio reaches the volume control and applies roughly 10dB less gain – perfect for more modern, high-gain sources and devices. The power supply has also been updated for each channel.

Visually, the new A1 is identical in design to its predecessor, but it now comes in a slightly bigger case to deal with the amount of heat that the pure Class A amplification generates. 

The original was known for getting pretty hot; the new case should help dissipate heat better and comply with current regulations. A handy new remote for adjusting volume only is also a new addition.

On the connectivity front, the new A1 features five RCA stereo inputs, fixed-level and variable outputs, along with a built-in phono stage which is compatible with both moving-magnet and moving-coil cartridges. 

In terms of power, the A1 delivers 25W of power to an 8-ohm load – fairly low compared with a number of modern amplifiers. However, the A1 is also capable of sliding into Class B operation for moments where extra current draw is required. 

The new Musical Fidelity A1 amplifier is available now for £1499 / $1699 / €1599 in a black finish. We currently have a review sample of the new unit in our listening rooms (as well as an original A1), so keep your eyes peeled for the official review very soon.

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Class A, A/B , and D amplification – what's it all about?

If you have read an amplifier review or looked at the specifications for an amp, the chances are that you have come across a term such as 'Class A/B'. In fact, this is just one of a number of different amplifier classes, the most common being Class A, Class A/B and Class D.

Most amplifiers have the same basic building blocks in their electronic design. They typically use transistors as the core amplification component along with a supporting cast of resistors, capacitors, inductors, wires and transformers to make the whole thing work. But it is the amount of current that flows through the main output devices (the output transistors) when there is no input signal that defines the class of the amplifier.

This single engineering decision sets the product’s basic parameters. It decides the power output, the amount of energy the amp consumes, the level of heat generated and even the minimum size the product can be.

Class A amplification

A transistor needs a certain amount of bias current flowing through it to actually work. In a Class A circuit the level of that current is always set to maximum. If that amplifier design is working at full volume then the bulk of that energy is used to drive the speakers. (Note that no amplifier is 100% efficient, so there is always some wastage of the input energy, but that isn’t significant in what we are describing here.)

Amplifiers are rarely used at full volume, though. In that instance any energy not used to work the speakers becomes heat, and there lies the issue for Class A designs. Class A operation ensures that the transistor is working in its most linear operating region, so sound distortion levels are minimal, but the flip side is huge power consumption and the generation of lots of heat. That heat has to be managed, so suitably large heatsinks have to be specified to keep the circuit within the correct operating limits – and that makes the amplifier physically large. 

So Class A designs are, on paper, the best solution for sound quality but have many practical issues, so much so that such designs are relatively rare.

Class A/B amplification

The compromise solution is Class A/B operation, and it is a good one. The vast majority of traditional analogue amplifier products on the market work in this way. This type of design allows a certain level of bias current to flow through the output transistor to turn it on, but not much more. The amount of current depends on the engineer, but it is somewhat of a sliding scale from the absolute minimum needed for the transistor to switch on to levels that head towards those of true class A operation. 

Many amps work in Class A for the first few watts before settling into Class A/B for higher efforts. Remember, the higher the bias current, the more heat the product generates, and with that comes the need for larger heatsinks.

Class D amplification

While Class A and Class A/B circuits are very closely related, those of the Class D persuasion are rather different. The ‘D’ doesn’t stand for ‘Digital’, in fact, none of the letters used to identify the classes of an amplifier actually stand for anything specific. Without going too far into the details, a Class D design takes an analogue input and turns it into a PWM (Pulse Width Modulation) signal where the peak of the signal results in the widest pulse and the trough, the narrowest. Class D amplifiers always have an output filter to take out the high-frequency noise generated by the conversion process. The quality of this filter has a great bearing on the overall sonic performance.

The major plus point of Class D is that it is very energy efficient. A typical Class A design tends to be around 30% efficient. Class A/B roughly doubles that while Class D amplifiers almost triple it. That means proportionately lower power consumption and less heat. The reduced amount of heat lowers the heatsinking requirement considerably, allowing the manufacturer to make the product smaller (and lighter). The sheer efficiency also allows Class D amplifiers to deliver huge power outputs for their size.

These advantages mean that Class D designs have gained plenty of traction in recent years, but there are issues too. While there have been some fine-sounding Class D amplifiers – NAD’s excellent D 3020 V2 is a case in point, as is the Technics SU-R1000 high-end integrated – such examples remain relatively rare. Also, as a breed, these designs can be fussy about speaker partnering because of the way their output filter circuitry can react to the complex electrical load of a typical loudspeaker. The result can be an inconsistent performance between various systems. 

Still, given their many advantages, we expect an ever-increasing amount of hi-fi amplifiers to use such circuitry and have faith in the hi-fi industry’s engineers to push the base level of sound quality ever upwards. Will Class D ever fully take over the world of hi-fi? Only time will tell. We wouldn't bet against it.

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I had a first listen to the resurrected Musical Fidelity A1 integrated amplifier

Musical Fidelity continues the revitalisation of its range of high-end hi-fi products with the announcement of the Nu-Vista 800.2, its new flagship integrated amplifier. 

This sequel follows the releases of the PRE, PAS and PAM models in the Nu-Vista range earlier this year, with Musical Fidelity citing difficult to source components as the reason the original Nu-Vista 800 (launched in 2015) was due for an upgrade.

Enter the Nu-Vista 800.2. Musical Fidelity says that this new version stays true to the original design of the 800 amplifier, adding only refinements and technological advancements that the latest additions to 2023’s Nu-Vista series also received. 

The Nu-Vista 800.2 features four stereo RCA inputs as well as a stereo XLR input, allowing the amp to receive and handle any line-level analogue source. It also features both fixed and variable analogue outputs for wider system building. Additionally, there is a home-theatre bypass option for using the amp in a surround sound system.

The unit makes use of four 6S51N nuvistor valves in its pre-amplifier stage, which is then connected to separate amplifier stages. This is said to allow for ‘true stereo separation and a brilliantly deep sound scape’. The power amp stage is inspired by the iconic TITAN amplifier and is rated at 330W at 8 ohms, which should be more than enough to drive even the most demanding loudspeakers. 

The power-supply circuitry of the 800.2 has been upgraded from the previous model; the large transformers have been rewound to help achieve lower standing flux and improved noise characteristics. Musical Fidelity also promises new levels of low distortion in the 800.2.

Alongside the typical controls expected from a remote control, users are now able to power the unit up or switch it to standby using the remote, which is a nice quality-of-life feature to add. Sitting between the two oversized control knobs is a new larger display screen with a variety of different view options, including a classic VU-meter style. 

In terms of build quality, the 800.2 is said to be ‘uncompromisingly solid’, something you would definitely expect and want from a product in a range of this pedigree. The weight of the chassis is said to resist mechanical vibrations and airborne interference, while the front and side extruded aluminium panels ‘act as a Faraday cage’, protecting the unit from external electromagnetic fields. 

The Musical Fidelity Nu-Vista 800.2 integrated stereo amplifier will retail at £10,999 / €11,990 (other prices pending) and is available now in either black or silver finish.

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Musical Fidelity M3x DAC is the gateway to affordable high-end design

Musical Fidelity has introduced the M3x DAC as the new entry point into its high-end digital-to-analogue converter design.

Influenced by the next-model-up M6x DAC and promising to offer “near-M6 series performance at a more accessible [price]”, the M3x DAC is built around an upsampling Burr Brown SRC4392 chip which re-clocks all PCM audio signals and converts them into 24-bit and 192kHz. This figure also represents the upper PCM file limit of the DAC, which also supports native playback of DSD256.

The DAC feeds both RCA and balanced XLR outputs, both of which get their own output buffer. Musical Fidelity says the output stages deliver high-current drive and low noise, priding them on their “exceptionally” low distortion.

The design around it features Musical Fidelity's toroidal transformer (called ‘Super Silent Power Transformer’) – as seen too on the M6x – with industrial-grade power sockets that the company says have low electromagnetic radiation and is designed to eliminate interference and transformer hum. And a lot of care seems to have been taken with the circuit board, which the company says has a custom-tailored design and layout.

That’s all presented in a sleek steel chassis with an extruded aluminium front panel – similar to the M6x but with fewer labels and LED displays (for fewer inputs and filters) decorating its facade.

The Musical Fidelity M3x DAC will be available from July, priced at £1349.

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High End Munich is the Met Gala of events in the hi-fi industry's event calendar. Full of glitz, glamour (well, bar the press room) and big bucks being thrown about, it's the biggest hi-fi show in Europe that's only growing with each passing year.

From giant speakers and expensive headphones to extravagant turntables and electronics, around 800 brands showcased their enticing wares. 

This is by no means an exhaustive list; the corridors at the MOC Event Center in Munich held far too many treasures for us to ever go through in just two days, but the following is just a glimpse into the best hi-fi separates that got us excited.

From relatively affordable fare to resurrected originals to some high-end marvels, it also proves that the world of hi-fi separates is in rude health. 

Naim Nait 50

Naim started things off with a bang as the company revealed its special limited edition Nait 50 integrated amplifier. Our readers will most likely recognise the Nait 50's design – it's based on the iconic, much-loved Nait 1 (Naim's very first integrated amplifier from 1983) and features the same chrome bumper finish and half-width design of the original. Only 1973 units will be made, each costing £1,973 – the year Naim was founded, of course.

We'd love to hear what the Nait 50 sounds like, although we can imagine all 1973 units will be snapped up as collector's items very, very quickly.

Also unveiled was a five-strong Naim Classic 300 series of serious high-end separates, comprising the NSS 333 music streamer, the NAC 332 pre-amplifier, the NAP 350 monoblock power amplifier, the NVC TT phono stage and the NPX TT power supply.

Read more: Naim launches special anniversary edition Nait 50 amp – but you’ll have to move fast to get one

Naim Audio continues to celebrate its 50th in style with the release of 300 Series hi-fi separates

Musical Fidelity A1

In the same vein as Naim, Musical Fidelity surprised us with a remake of the also celebrated A1 amplifier from the 1980s. This, however, isn't a special edition or anniversary model; it will be in full production and likely cost under £1500. The new A1 looks near-identical to its original, with the much-needed addition of heat sinks to deal with the full Class A design – still a rather unique offering in the world of integrated amps.

We even got to hear a snippet of what the new A1 sounds like, and it left us wanting to hear more.

Read more: I had a first listen to the resurrected Musical Fidelity A1 integrated amplifier

Moon North Collection 891 & 861

We were treated to a sneak preview of Moon's new North Collection of hi-fi separates earlier this month, but this is the first time we've seen the flagship of the series. 

The 861 power amp behemoth and partnering 891 streaming preamp were on display at the High End Show, looking stately and impressing us with their power (300W into 8 ohms in the power amp) and price – about £25,000 each. Now we're talking.

Read more: The new Moon North Collection aims for high-end hi-fi heaven

Yamaha HA-L7A

Regular readers of What Hi-Fi? will have spotted Yamaha's HA-L7A before – it was on show at the inaugural Australian Hi-Fi Show in Sydney earlier this month, and our Oz-resident Becky Roberts told us we had to go check it out at Munich. We duly complied and sought it out. 

Details are still very much thin on the ground as the headphone amplifier doesn't launch until later in the year, but we know it's a built-from-the-ground-up design and its unique looks are due to the two toroidal transformers kept separate from the rest of the electronics.

Paired with the exceptional Yamaha YH-5000SE headphones (five stars, £4799), the headphone amp (still a prototype version) delivered a potent combination when we had a quick listen to some classical music and Slipknot. We can't wait to both get the full details and a review sample in to test properly.

Read our Yamaha YH-5000SE review

Chord Ultima Integrated

There are integrated amplifiers, and then there's Chord Electronics' Ultima Integrated amplifier. With its eye-catching space-age looks and glowing lights, it's hard to miss this amplifier. It's also Chord's first full-width integrated in years.

We hold the Ultima range in high regard, giving the Ultima Pre 3/Ultima 6 pre-power amp combination a five-star recommendation, so already have sky-high expectations for the integrated version of the same family. It boasts 125W of power (into 8 ohms) and "offers levels of performance not yet seen in any integrated amplifier" claims chief designer John Franks.

And it has a price tag to match its ambitions: at £8,500 it makes other integrated amps look positively mainstream.

Read more: Chord’s Ultima Integrated amp combines spaceship looks with out-of-this-world accuracy

Bluesound Node X

Here's something that's a little bit more real-world money. Canadian manufacturer Bluesound is celebrating its 10th anniversary and has splashed out on a special limited edition of its current Award-winning Node (2021) music streamer. The Node X doesn't just have a shiny new silver finish (that admittedly looks smart in the flesh) but it's also packed with new technology that promises a performance upgrade over its five-star standard model. 

Costing just £699 / USD $749 / AU$1299, the Bluesound Node X could be one of the best bargains at High End Munich.

Read more: Bluesound brings new tech and updated performance to its 10th-anniversary edition Node X streamer

iFi iCan Phantom headphone amplifier

Chances are you'll always come across a product or two (or more) that isn't officially launched yet but is getting its very first public outing at the show, fresh from the manufacturing oven, so to speak. 

One such product is the iFi iCan Phantom, the brand's new flagship headphone amplifier that will launch this summer and cost roughly £3,700. It's a quirky, distinctive design, catering to headphone fanatics with multiple connectors and an all-analogue stage (in valve and solid state flavours). The standout feature is the way it offers the specific voltage bias needed to drive electrostatic headphones. Want to know more? Read our first impressions for a full overview and many pictures. 

Read more: iFi's new iCan Phantom has a clever feature for electrostatic headphones fans, and I love it

Quad Platina Series amplifier & CD transport

Another surprise debut at the High End Show was new separates from Quad. The Quad Platina Series features a 200W integrated amplifier and a matching CD transport (both pictured above), with a music streamer also teased down the line. They look sleek and smart at first glance.

The brand has been fairly quiet in recent years, so a whole new set of hi-fi separates has more than piqued our interest. Stay tuned for more details as and when we get them later this year.

Read more: New Quad hi-fi separates and stereo speakers spotted at High End Munich 2023

Audiolab 9000N music streamer

We have slightly more details on the upcoming Audiolab 9000N music streamer, which we glimpsed alongside sister brands Wharfedale and Quad.

What we do know is that the 9000N will join the already revealed 9000 series (currently consisting of the 9000A amp and 9000CDT transport) as Audiolab's flagship music streamer. This has meant swapping out the PlayFi platform that's present across the 7000N and 6000N Play streamers for a more high-performance solution from high-end audio network connoisseurs Lumin.

No price confirmed yet, but we're expecting it to launch later this year.

Nagra Classic DAC II

Let's get back to some really high-end components, shall we? Swiss manufacturer Nagra has always been on our radar thanks to its obsessive attention to detail with its products – we reviewed the gorgeous Classic Preamp/Classic AMP combo (£25,500 in total) back in 2018 and are still in awe of its supreme build quality and stunning sound quality.

At Munich, we spotted its newest effort: a sequel to the Nagra Classic DAC. This new Classic DAC II uses the same digital engine as its flagship HD DAC X (a mere £55,500 / £65,000 / $114,995), supports all hi-res formats and the engineers have even focused on getting the best performance from traditional Red Book CD standard 16-bit/44kHz files. Have we mentioned that the Nagra Classic DAC II is the company's entry-level DAC? It's priced at €18,000 (around £15,500) and we truly envy those who are able to enjoy it in their system.

Read more: Nagra brings high-end Swiss engineering to its €18k 'entry-level' Classic DAC sequel

Thorens New Reference

Thorens is having quite the year. The German audio brand is celebrating its 140th year in existence and has had a busy Munich 2023 showing off three new products: a limited anniversary edition of the TD 124 DD turntable, new versions of its SoundWall dipole speakers (that first appeared four decades ago), and the one we're focusing on here: the New Reference turntable built around an innovative isolation system.

This turntable (a belt drive design) is unlike anything we've seen before, and the partnership with active vibration isolators manufacturer Seismion has resulted in a "fully active vibration isolation system" the likes of which has never been experienced in turntables before.

Price? It will definitely be in the realms beyond us mere mortals can afford, with rumours suggesting a six-figure sum. Oof.

Read more: Thorens marks 140 years with New Reference turntable built on innovative isolation system

Pathos Inpol Legacy

We started with an integrated amplifier, so let's end with an integrated, but one that looks markedly different from the modest Naim. We mean, look at it. Italian specialists Pathos have always had a flair for doing things a little differently (and in style), but this valve-based amp is simply on a whole other level.

The no-limits Pathos Inpol Legacy was already launched last year (at around €50,000), but this is the first time we've laid eyes on it in person, and images really don't do justice to its magnificence and magnitude. It's the size of a car engine and the build quality – from the customary heat sinks that spell out Pathos' name to the striking valves and wood finish on the front – is simply breathtaking. 

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I am standing at the back of Musical Fidelity's packed demo room at this year's High End Munich show and there is palpable excitement in the air. The brand's owner, Heinz Lichtenegger (of Pro-Ject turntable fame), is about to tell us all about the company's latest integrated amplifier, the A1.

Only it isn't really new. This fresh offering is a faithful remake of a design that helped to establish the Musical Fidelity brand as a real force in the market and the maker of some startlingly daring designs. 

What I'm looking at isn't identical to the 1985 original, but it is close enough for me to need both generations side by side to spot the differences. Do so and you would notice the 2023 version is a little bigger and includes vents in the casework to manage heat flow.

Putting the original's charismatic sound aside, the conversation always turns to heat when talking about this iconic product. That heat is a direct consequence of what has always made this amplifier stand apart from the competition: Class A operation. 

Class A is, in theory, the optimum way to get the best sound quality from transistor circuits. However, the problem is that such designs always run hot. Musical Fidelity's solution was to turn the A1's casework into a giant heatsink, and it worked to a certain extent. Even so, it is fair to say that the original amplifier still skirted on the edge of acceptability when it came to heat output.

It's not 1985 anymore, so the increase in case size (to dissipate more heat) and added ventilation (ditto) were essential. The claims are that the casework temperature has now dropped by a few degrees, which keeps the new A1 on the right side of acceptability and the law. Either way, whether we're talking about the original or the 2023 remake, this is an amplifier that needs plenty of ventilation. Housing an A1 in a closed cupboard is an absolute no-no.

The reincarnated version feels nicely made and the switches and control dials have a pleasant precision to them. It has a remote, unlike the hands-on original, but this only adjusts the volume level. 

The amplifier's power output is broadly unchanged at a claimed 28 watts per channel, so it makes sense to take care with speaker matching. Our demonstration was done with Musical Fidelity's new BBC-inspired LS3/5A design. This speaker's nominal impedance of 15 ohms means that it doesn't require much current, and that suits the new A1 perfectly. 

How does the new A1 sound? It is hard to make any firm judgement in a show environment, but the first impressions are certainly positive. I hear a bold and full-bodied sound; one that's richer, smoother and more easy-going than is typically the fashion today. The demo room was massive and packed with people, so it isn't fair to talk about dynamics, detail levels or rhythmic drive. Even so, the listening experience leaves me wanting to hear more and eager to try the little amplifier in the more familiar surroundings of our listening room (we have a review sample coming soon). 

At a suggested retail price of €1599, and a likely UK price below £1500, the new Musical Fidelity A1 is certainly a tempting proposition. The original used to be considered a budget amplifier back in the '80s, but that is no longer the case with this latest version. How much does that matter? Once again, more time is needed with the product before that can be decided. Regardless, it is still clear that this new A1 offers a chance to experience a lovely piece of hi-fi history. What value do you put on that?

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Musical Fidelity unveils two new loudspeakers based on the BBC’s original designs

Here's all the news and highlights from High End Munich 2023 show

As part of the recent retro-revival trend sweeping the world of hi-fi, Musical Fidelity has announced the release of two new speakers modelled on classic BBC original specs. The new Musical Fidelity LS3/5A is a two-way standmount loudspeaker built according to a BBC R&D design from 1976, while the weightier LS5/9 loudspeaker is made to replicate a similar speaker from 1983.

The shorter, squatter LS3/5A closed-box loudspeaker comes equipped with a 19mm tweeter dome and an 11cm woofer, with a claimed frequency response of 80Hz - 20KHz. The taller, slimmer LS5/9, meanwhile, features a 34mm tweeter, a 21cm mid/bass cone and a reported frequency response of 50Hz - 20KHz. It’s also much heftier than its retro sibling, weighing 12kg (per speaker) compared to the LS3/5A’s 4.9kg.

The LS3/5A cabinet is constructed from birch plywood with a Palisander veneer finish, while the LS5/9 also features birch plywood but with a light, cherry veneer instead.

The two designs are the result of different intended functions. The original BBC model on which the LS3/5A is based was initially made for being placed in smaller, space-restricted areas such as TV mobile control rooms, but became more popular broadly for music studios and within wider audiophile circles.

The LS5/9, based on another BBC R&D design, was developed to be a more versatile speaker that could, according to Musical Fidelity, “Fulfil the complete range of music genres from classical to pop music.”

This isn't the first time a pair of BBC-licensed speakers have been remade for a modern audience. A few years back, we spoke to Andy Whittle from Rogers Hi-Fi about his recent reinvigoration of the Beeb's products to their original specifications in the UK.

Musical Fidelity LS3/5A speaker is priced at £2,349 / €2,499 per pair. The LS5/9, meanwhile, is priced at £4,099 / €4,500 per pair. Both speakers will launch this summer. 

Both new speaker models will also be showcased at this week’s High End Munich show. There’s also a mystery third model teased to be unveiled at the show, which Musical Fidelity promises “draws inspiration from the past and is fully prepped for today’s audio consumer… a high-voltage device that is the perfect partner for… a pair of Musical Fidelity LS3/5A”. 

We’ve already got a few guesses as to what it could be, but we’re excited to see everything that Musical Fidelity, and the rest of the brands attending, have in store when we swing by High End Munich 2023 this week.

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It’s like it never went away, eh? After two enforced years off, the High End Munich show made a spirited comeback last May to reunite hi-fi enthusiasts and industry folk alike in a hearty celebration of high-end hi-fi. It seems like only yesterday the What Hi-Fi? team was ogling Dali’s Kore and Fyne’s Vintage speakers and trying to get hands-on with Pro-Ject’s Metallica turntable without cutting themselves... in between sipping steins and washing down Weisswurst, of course. And yet, it is now that time again. 

For these few days, High End Munich 2023 is hosting 800 brands and over 20,000 visitors within the walls of the MOC München as the event celebrates its 40th year.

Plenty of familiar names (and naturally not-so-familiar but brand-new products) are present, including Audio Research, Burmester, Chord Electronics, Copland, Dali, Dan D’Agostino, Focal, Fyne Audio, Naim Audio, Mark Levinson, Musical Fidelity, PMC, Sonus Faber and Wilson Benesch. We will save you from an 800-strong list of brands, but you can find a full list of exhibitors here, from market-leading manufacturers to more boutique brands from around the globe. 

What you can find right here is all the news on products that are being unveiled at the show, as it happens. We already had word about the affordable Yamaha components, a whole-new separates range from Moon and Thorens' greatest turntable triumph yet before the show doors even opened. But there has been plenty of reveals throughout, such as Musical Fidelity's new A1 amp, the limited edition Naim Nait 50, we spotted new Quad electronics and speakers, and much, much more...

High End Munich 2023 news and highlights - live!

12 of the best hi-fi separates at High End Munich 2023
Whether it's integrated amplifiers, turntables, music streamers or DACs, one thing the High End show has taught us is that the world of hi-fi separates is alive and well. We've rounded up our favourite new additions which include entries from the likes of Chord, Naim, Nagra, Yamaha and many more...
Read our best hi-fi separates highlights

8 of the best stereo speakers at High End Munich 2023
Our highlights of the best new speakers from the show veer between eye-wateringly expensive to actually within reach for us mere mortals. Our list covers eight stereo speakers that piqued our interest the most.
Read our best stereos speakers highlights

I had a first listen to the resurrected Musical Fidelity A1 integrated amplifier
Our technical editor got a first look and listen to Musical Fidelity's new A1 amp and it left him "wanting to hear more." The amp looks to be a faithful remake of the original 1985 design, but this reborn classic is a little bigger and has heat vents to accommodate its unique Class A design offering.
Read our first impressions of the Musical Fidelity A1 amp

Dali IO-12 wireless headphone hands-on review
We get our mitts on an early sample of Dali's new high-end wireless headphones which is set to go up against the formidable five-star Mark Levinson No. 5909. The IO-12 features speaker technology used in the Danish brand's flagship £70k Kore and newly launched £40k Epikore loudspeakers, so we have high hopes for its performance.
Read our Dali IO-12 hands-on review

Yamaha HA-L7A headphone amplifier hands-on review
We loved the recently launched high-end Yamaha YH-5000SE headphones and were excited by the news that Yamaha will be making a headphone amplifier to match. The unique-looking HA-L7A headphone amp isn't due to launch till later this year, but we got a first listen paired with the talented YH-50000SEs.
Read our Yamaha HA-L7A hands-on review

iFi's new iCan Phantom has a clever feature for electrostatic headphones fans, and I love it
The new flagship iCan Phantom headphone amplifier is a mad box of delights, with a distinctive design and novel solution catering to electrostatic headphone fans.
Read our first impressions on the iFi iCan Phantom

A new range of Wharfedale stereo speakers is coming in 2023
Details are very thin on the ground, but we spotted a brand new range of Wharfedale speakers at Munich. We’ve been reliably informed that Aura will feature five models including three standmounters and one floorstander and will arrive sometime around August or September.
Read our Wharfedale news

New Quad hi-fi separates and stereo speakers spotted at the show
Wandering around the corridors at the MOC will give you all sorts of sneak previews. We discovered Quad's brand new Platina Series of electronics (consisting of an integrated amplifier and matching CD player) as well as two new Revela speakers. No concrete details yet, but they are due to launch in Q4 this year. Stay tuned...
Read our Quad separates and speakers news

Nagra brings high-end Swiss engineering to its €18k 'entry-level' Classic DAC II
One brand's 'high-end' is another brand's 'entry-level'. Nagra's exceptional engineering expertise is trickled down to its Classic DAC II, a sequel that uses the same digital engine as its flagship DAC X. Guess how much that one costs.
Read the full Nagra Classic DAC II news

Thorens reveals TD 124 DD turntable for 140th anniversary; reinvents ‘SoundWall’ dipole speakers
Not content with showing off a magnificent New Reference turntable, Thorens has also released two surprising new products. The German company is certainly having a busy show...
Read the Thorens TD 124 DD and SoundWall news & New Reference news

McIntosh ML1 MKII are modern-retro reinventions of original 1970s speakers McIntosh's "new" ML1 MKII are just the latest example in a long line of brands taking a classic design and reinventing it for the 2020s. The long-delayed sequel to the '70s originals places modern engineering within classic American Walnut solid wood cabinets for that classic hi-fi feel. 
Read the full McIntosh ML1 MKII speakers news

Sonus Faber's Stradivari is a stunner - but it won't come cheap 
Italian manufacturer Sonus Faber revealed its second-generation Stradivari loudspeaker at this year’s High End, but it isn't going to come cheap. Retailing at a hefty £45,000, the enticing new speaker is a reimagined and enhanced version of the first Stradivari that entered the world in the early 2000s. If you've got the cash...
Read the full Sonus Faber Stradivari news 

HiFi Rose RS130 packs extensive streaming smarts into a stylish package
One of the quirkiest new products so far comes from South Korean audio manufacturer HiFi Rose. The company is showing off its all-new flagship streamer, the RS130, which it is confidently claiming to be the "ultimate digital audio source for any high-end hi-fi system".
Read the full HiFi Rose RS130 news

JBL remasters its retro-modern L100 Classic speakers for a second edition
Say hello to the new MkII editions of the L100 Classic and its smaller sibling L82. The two new models have had "significant internal upgrades" courtesy of the company's "Performance Package", which promises a significant step up in sound quality over the MK1 predecessors.
Read the full JBL Classics MkII news

The DSP9 loudspeaker is a bold new look for Meridian
Meridian has a new loudspeaker, but not just any loudspeaker – it's hailing the DSP9 as the start of a new chapter for the company. Why? It could be something to do with the new cabinet aesthetic which showcases the company's new design signature.
Read the full Meridian DSP9 loudspeaker news

PMC prodigy1 and 5 speakers aim to take studio-grade sound mainstream
PMC has distilled its 30+ years of its expert knowledge into a new prodigy speaker line – prodigy 1 standmounter and prodigy 5 floorstander – that brings many of its key flagship hi-fi and studio-grade speakers into a more affordable package.
Read the full PMC prodigy speakers news

Here's why Melco's £7k digital music library could actually be a bargain
In March, Melco launched the flagship N1-S38, and now it's followed it up with a cheaper model with the same audiophile credentials. The N5-H50 has the same ground-up design, platform, chassis, casework and mainboard as the £12,000 flagship, but costs over £4000 less. Bargain.
Read the full Melco digital music library news

T+A's streaming DAC finally launches a year late – here's why it was worth the wait
The PSD 3100 HV couldn't launch originally as planned because the processor for its streaming circuit board was cancelled. Instead of releasing it with a temporary fix, T+A decided to use a different chip and to integrate its own third-generation Streaming Architecture into the bargain. So while it might be late, it should be worth the wait.
Read the full T+A streaming DAC news

Chord’s Ultima amp combines spaceship looks with out-of-this-world accuracy
The new amp is Chord Electronics' first full-width integrated amplifier in years and, according to the British company, integrates the latest developments in low-distortion power supplies to deliver low noise and “outstanding amp operation”. 
Read the full Chord Electronics Ultima amplifier news

Dali's Epikore 11 floorstanders use trickle-down tech from its £70k flagship
The key technology inside the speaker is SMC Gen-2. First introduced on Kore last year, it's the next generation of the brand's magnet material technology found in the bass and midrange drivers as well as the crossover induction cores.
The Danish company has also launched its latest wireless headphones, which feature technology found in its high-end speakers, no less.
Read the full Dali Epikore speakers news and Dali IO-12 headphones news

Ruark has teased a potential Sonos rival
Ruark Audio has confirmed it will launch a mysterious new line of “100 Series” streaming devices at the High End Show in Munich, claiming they will offer an “evolutionary leap” in audio quality on the company’s previous offerings.
Read the full Ruark 100 Series teaser story

Burmester’s 232 integrated epitomises the modern amplifier
The 232 integrated amplifier – named after the year and month of its developmental breakthrough, February 2023 – epitomises the modern-day amplifier with everything from built-in network streaming and a futureproof-friendly modular design to a contemporary new aesthetic. Read the full Burmester 232 amplifier news

Yamaha trickles down 2000 Series tech to two affordable streaming amps
Yamaha is using the prestigious High End Munich show stage to reveal four affordable new products – the R-N1000A and R-N800A streaming amplifiers, and the NS-800A and NS-600A bookshelf speakers that have been designed to be their perfect partners to complete a neat and compact hi-fi set-up. Despite being several ranks down from Yamaha’s reference components, the network receivers adhere to the company’s strict engineering template.
Read the full Yamaha streaming amplifier and speakers news

Musical Fidelity unveils two loudspeakers based on the BBC’s original designs
Musical Fidelity is the latest brand to make loudspeakers based on the Beeb's original R&D specifications for the iconic LS3/5A and LS5/9 speakers.
Read the full Musical Fidelity speakers news

Cambridge Audio's Evo CD has finally been revealed - but there's a catch
Cambridge Audio has finally revealed the price and some specs for its long-awaited Evo CD transport, ending months of teased hints about its imminent arrival. Launching this month, the Evo CD is one of the more niche products we have seen this year...
Read the full Cambridge Evo CD news or our Evo CD hands-on review

Naim launches special anniversary edition Nait 50 integrated amplifier
The limited edition Nait 50 (only 1973 samples) to mark the brand's 50th year is made up of all-new internals but takes inspiration from the iconic Nait 1, Naim's first integrated amp, including the half-width form and chrome bumper.
Read the full Naim Nait 50 story

Naim Audio continues to celebrate its 50th in style with the release of 300 Series hi-fi separates
To mark the occasion, the British audio company has unveiled more hi-fi separates as part of the 300 Series, featuring: the NSS 333 music streamer, the NAC 332 pre-amplifier, the NAP 350 monoblock power amplifier, the NVC TT phono stage and the NPX TT power supply. 
Read the full Naim 300 Series news 

Astell & Kern's new music player and in-ears create a pricey portable system
For audiophiles who want their high-end audio to go, Astell & Kern has created a pricey portable proposition that promises to transform on-the-fly listening.
Read the full Astell & Kern A&futura SE300 and Aura news

Bluesound brings updated performance to 10th-anniversary Node X streamer
The Node X doesn't just have a 'unique' silver finish to mark the ten-year anniversary; it's also packed with new technology, designed to improve upon the standard Node that holds the current What Hi-Fi? Product of the Year Award for music streamers. 
Read the full Bluesound Node X news

QED’s Golden Anniversary XT speaker cable celebrates its 50th birthday
The new Golden Anniversary XT will join QED’s current five-star model, the capable Reference XT40i, and promises to deliver the sonic benefits of a high-end speaker cable at a relatively competitive price.
Read the full QED Golden Anniversary XT cable news

High End Munich 2023 preview: what to expect

The below was written and published pre-show to give readers an idea of what to expect from various attending brands at Munich.

Astell & Kern
A one-stop shop for hi-res portable music players, Astell & Kern will offer visitors the opportunity to experience its increasingly vast lineup of award-winning players and headphone amps – including the first opportunity to see recent launches, such as the new SE300, SR35 and SP3000 players, the PA10 headphone amp, and high-end Aura and Odysssey in-ear headphones. Also, a special invitation-only event on the Saturday (20th) will give attendees the chance to meet GRAMMY-award-winning jazz guitarist and composer Al Di Meola, who is the brand ambassador of this year's High End show, at the Astell & Kern booth.
Hall 1, Booth E03

Audiovector
Danish speaker company Audiovector is looking forward to showing off its reference R8 Arreté speakers, a step up from the R6 Arreté we awarded five stars to last year and called "exceptional musical performers". The R8 is a beautiful-looking speaker that we have little doubt sounds as good as it looks.
Atrium 4.2, F203

Avantgarde Acoustic
It wouldn't be the Munich High End Show without some horn action, and offering a slice of it will be Germany's Avantgarde Acoustic, who is set to demo two new third-generation models, the reference Duo GT and 'entry-level' Duo SD (hopefully in the stunning orange finish we recently saw at the Australian Hi-Fi Show, pictured below).
Atrium 4.1, E123/E124

Bluesound
Celebrating its 10th anniversary, Canadian brand Bluesound will be showing off its new Node X music streamer – a limited-run anniversary edition of the Award-winning Node (2021), with upgraded components and a special silver finish. You can find them sharing space in the Dali rooms with NAD and PSB.
Atrium 3.1, D107

Cambridge Audio 
Cambridge won't be short on space at Munich, exhibiting both inside and outside of the show halls – which is just as well considering it isn't short of products to display and demo. While the High End show will likely host the company's highest-end Edge range, we wouldn't be surprised if its newest streamers, the AXN10 and MXN10, had a presence too. The British brand will launch something new in Munich, too, and visitors will also get the first chance to see a new product that is set to be revealed before the show.
Hall 3, Booth P04 & Hall 4, Entry Halle 4

Campfire Audio
Campfire Audio's full range of IEMs will be at the show – including the Andromeda ‘Emerald Sea’, Solaris ‘Stelar Horizon’ and Trifecta ‘Astral Plane’ models as well as the Orbit true wireless earbuds. So if you're in the market for a high-end pair of in-ears and are taken by the company's distinct-looking designs, the High End show will be a good opportunity to get your ears on a pair.

Chord Electronics
Chord Electronics usually has something up its sleeve for High End Munich, and this year is no different. The British hi-fi brand has not one but two new products to unveil at High End. We don't know what they are (or do we...?), but we can reveal that they come from separate product ranges and, according to a company spokesperson, "will create an even broader choice for audiophiles to build hi-fi systems around".
Atrium 3.1, C122

Clarisys Audio
Clarisy Audio's $34k Minuet have been showing visitors to America's Florida Audio Expo and Axpona the potential of full-range ribbon speakers over the past weeks, and now it's time for Europe to hear what the Swiss company's ribbons can do. The company's flagship model, the Auditorium, will be on demo during the weekend.
Atrium 4.1, Room E107

Dali
One of Denmark's biggest and most beloved hi-fi brands will be celebrating its 40th anniversary year at High End in Munich this year with something special. Or should we say somethings – two new products showcasing the company's 'commitment to high performance audio while celebrating their heritage' will be revealed. Going by that snippet of info and the teaser image (below), we are expecting a new high-end speaker that could well be a homage to a Dali classic.
Atrium 3.1, D107/D108

dCS
High End Munich will be as good a chance as any to experience the dCS Rossini Apex (the most capable digital-to-analogue converter we've ever reviewed, no less) and Vivaldi Apex, which launched last year and are built around the British company's latest, and hugely impressive, Apex Ring DAC platform.
Atrium 4.2, F209 & Hall 1, C13

FiiO
FiiO will be flying the flag for portable hi-fi with its well-equipped M15S portable music player demoed alongside its just-announced FT3, its first-ever pair of open-back headphones. “The M15S and FT3 bring high-end home hi-fi and portable hi-fi together for a combined cost of half of rival players,” says FiiO PR spokesperson Richard Melville.

Final
Final won't only be showcasing its current headphones range, which includes the D8000 Pro Limited Edition headphones, the new A5000 IEMs and the flagship ZE8000 true wireless earbuds; it will also be announcing a new product exclusively. "Expect to learn about the key technology behind this upcoming release and see a prototype with early access for those attending," says the Japanese brand.
Hall 4, S01

Fischer & Fischer
German speaker brand Fischer & Fischer will be presenting a "selection" of speakers within its 12-strong catalogue, which stands out for its use of natural slate cabinets. These will be powered by electronics from Accustic Arts and use power supply components and speaker cables from Mudra Akustik and SilverCom.
Atrium 4, F104

Focal, Naim Audio
Both Focal and Naim have come racing out of the blocks this year, the French speaker company with new entry-level Theva and mid-tier Vestia speaker ranges and the British electronics brand with its 50th-anniversary-celebrating Classics series. And there's more to come next month as Naim's anniversary celebrations continue. Focal and Naim will hold a press conference on the Thursday (18th) of the show to unveil more new product. Will we finally get a new Naim Nait, as featured in our 2023 wishlist? Fingers crossed.
Atrium 4.1, F111

Fyne Audio
The Scottish speaker brand will almost certainly continue touring its Vintage Fifteen and Vintage Five speakers, part of a series that was first previewed at last year's Munich show, and which launched at the Bristol Show in February.  
Atrium 4.1, E116 & Hall 3, K02/L03

Goldring
Analogue audio specialists Goldring will be showing off its new E Series flagship: the E4 moving magnet cartridge. It sits above our current Award-winner, the Goldring E3, and is billed as the ultimate cost-effective way to upgrade your budget or midrange turntable.
Atrium 4.1, F110

JBL
JBL will have its entire new Classic Series of hi-fi electronics displayed at Munich. First unveiled at CES 2023, visitors will get to feast their eyes on the CD350 Classic CD player, MP350 Classic music streamer, SA550 Classic integrated amplifier, and JBL’s first turntable, the TT350 Classic. Also being exhibited is the new 4329P Studio Monitor all-in-one speaker system and the snazzy Spinner BT wireless turntable. Look out for sister-brands Arcam, Mark Levinson and Revel at the show, too.
Atrium 4.1, F106

Melco
In March, Japanese digital audio specialist Melco introduced an all-new flagship digital library, the N1-S38, that saw the first built-from-the-ground-up design from the company in eight years. A new SSD-based platform, new set of system electronics, new power supplies, new chassis and casework. At Munich, Melco will be presenting the world debut of a brand-new product that expands on that next-generation audio technology.
Atrium 4.1, F107

Meridian
Meridian will be launching the "latest acoustic and visual masterpiece" from its Extreme Engineering Programme, which represents the pinnacle of Meridian innovation and engineering and was created to 're-imagine every element of Meridian’s product platforms'. The first fruit of that labour was the 2021-released DSP8000 XE speaker (which will be demoed in the Audio Reference room in Atrium 3.1, Room D111), and the new product – whatever it may be! – embodies the latest innovative technologies developed in the programme.
Atrium 3.1, C112

Moon
Moon's just-announced North collection of components will make its debut in Munich ahead of its October-December release. The term 'collection' is quite fitting in this instance, with North actually comprising six products across three price-spanning tiers (components are priced between £11,000/$11,000 and £25,000/$25,000 each), featuring Moon's latest "ground-breaking" technologies, as satisfying a number of connectivity options as is expected these days, and a unique BRM-1 remote control.
Atrium 3.1, C120

Musical Fidelity
Here's a nice surprise: Musical Fidelity will be showcasing not one, but two loudspeakers. The Musical Fidelity LS3/5A and LS5/9 speakers are, you guessed it, manufactured according to the original BBC R&D designs from the '70s and '80s. We've also been teased another new product that will be unveiled at Munich, one that "draws inspiration from the past and is fully prepped for today’s audio consumer. Expect a high-voltage device that is the perfect partner for, say, a pair of Musical Fidelity LS3/5A…"
Atrium 4.1, F114

NAD
When NAD announced its retro-modern C 3050 LE streaming amplifier in October, it stated that its 50th-anniversary celebrations last year would go all the way through to around the Munich High End Show, which was where the idea to create NAD Electronics first germinated back in 1972. Sure enough, the C 3050 will be on show, along with a brand new Masters M66 DAC and network streaming preamplifier, and the affordable CS1 add-on streaming solution.
Atrium 3.1, D107

Piega
Swiss high-end speaker company Piega has sent out a 'save the date' for its press event, where its CEO, Manuel Greiner, will introduce an all-new high-end loudspeaker design called... well, we don't know yet. We don't know a lot actually, but we can say that they are a reimagining of one of the brand's top-end speakers, complete with everything we have come to expect from a Piega speaker, such as an aluminium cabinet and an array of coaxial mid/tweeter ribbon drivers.
Atrium 4.1, E117

PMC
PMC looks set to launch new loudspeakers on the Thursday (18th) if its mysterious teaser on social media is anything to go by. The new models can, PMC says, trace back their lineage to the company's QB1 flagship studio monitors: "Many of the technologies that were developed for QB1, such as Laminair, have been trickled down into the new models."
Atrium 3.1, D106

The new models are born out of the 30 plus years of research, development, measurement and listening that have gone into the creation of speakers that get as close as possible to what is being played and recorded. They can trace their lineage back to the PMC QB1 flagship studio monitors. Many of the technologies that were developed for QB1, such as Laminair, have been trickled down into the new models, so users really can ‘bring the studio home’.
Atrium 3.1, D106

ProAc
ProAc will be back at the High End show for the first time since 2019, with a stand and listening booth offering visitors the chance to hear its premium speakers. ProAc blessed the Bristol Show in February with demonstrations of its K1 standmounters and flagship K10, so we expect those impressive K-Series models to be winging their way to Munich too.
Hall 3, Stand M11

PSB
Joining Bluesound and NAD is fellow Canadian brand PSB, who will be exhibiting the Alpha iQ – an all-in-one wireless speaker system complete with the BluOS network streaming platform built in. The compact bookshelf speaker system supports hi-res audio up to 24-bit/192kHz and is versatile with its support of Tidal Connect, Spotify Connect, AirPlay 2, Bluetooth and more.
Atrium 3.1, D107

Q Acoustics
Munich will mark one of the first outings for Q Acoustics' brand-new, five-strong 5000 Series, which was announced earlier this month and promises to revolutionise mid/bass driver performance with its C3 Continuous Curved Cone technology. This, the British speaker brand says, delivers the best of both worlds: the bass performance of a straight conic cone and the high/mid-range frequency control of a flared cone.  
Atrium 4.1, F110

QED
QED is one of a handful of hi-fi brands turning 50 this year, and it's not doing so without celebration. The British cable company has just announced its fittingly named Golden Anniversary XT speaker cable, which utilises a hybrid oxygen-free copper and Ultra-Pure Ohno Continuous Cast Copper blend for an improved signal path to give “outstanding signal retention” at “a fraction of the price” (£27 / €35 / $40 per metre). The cable will have its first outing in Munich.
Atrium 4.1, F110

Qobuz 
Endorsing the value of hi-res audio streaming, French music service Qobuz will host two listening sessions on the Saturday (20th), where visitors will be treated to a live hi-res presentation of German jazz drummer and composer Wolfgang Haffner's latest album in his very presence. (Registration is required - more info coming soon). Visitors to the show can also participate in an on-site giveaway that includes products from iFi, Triangle, Octavio and Yamaha, plus Qobuz vouchers.
Hall 2, G14

Sennheiser
The High End Show is where the German headphones manufacturer will officially kick off its latest pilot initiative – Custom Comfort Tips. As the programme's name suggests, this will offer attending journalists and creators the opportunity to have their ears scanned for custom eartips to made for them. This project is becoming available to German customers and – fingers crossed – will eventually be rolled out to all customers purchasing Sennheiser IE Series wired earbuds. 

Sennheiser's broad audiophile catalogue will be on display and demonstration, including the most recent newcomers, the IE 200 in-ears and HD 660S2 over-ears.
Hall 1, D02/E07

Sonus Faber
An almost impossible brand to walk past at shows, Sonus Faber will be hopping across the borders armed with its recently announced high-end Homage speakers – and, fingers crossed, a 40th-anniversary surprise or two. Watch this space.

Tannoy
Visitors to Munich will be able to see and hear the first new speakers from legendary Tannoy in seven years, ahead of their summer launch. The Stirling III LZ Special Edition (pictured above) are modern reworkings of the British company's III LZ from the 1960s, and among the latest examples of the speaker industry paying homage to classic designs in recent years.
Hall 4, U04

Thorens
"The result of our strive for the perfect rendition of music recordings" is how Thorens describes its New Reference turntable (pictured above), which will be spinning away at Munich. The deck is apparently the first of its kind to have been designed from scratch together with a fully active vibration isolation system, which has been possible through a collaboration between Thorens and German company Seismion, who is renowned for its active vibration isolators. Thorens claims that even tiny vibrations in the range of nanometer down to pico meter are still efficiently isolated by this system. This sounds like quite a technological feat!
Hall 3, M06

Yamaha
Remember the super-high-end, special-edition YH-5000SE orthodynamic headphones Yamaha released some months ago? Well, those outstanding open-back over-ears now have a headphone amplifier partner – or rather, they will when it launches near the end of the year. Munich Show attendees will have one of the first chances to hear a pre-production version of the HA-L7A amp fresh out of Japan, naturally paired with the 5000SE (set-up pictured above). A must-visit for head-fi fans. (Bookings required.)
Atrium 4.2, F207

MORE:

See what went down during High End Munich 2022

7 crucial mistakes to avoid when setting up your hi-fi system

Bowers’ iconic Nautilus speakers get fabulous facelift for their 30th anniversary

Rega reveals 50th Anniversary Edition of the superb Planar 3 turntable

It’s going to be a great year for hi-fi. I can feel it in my bones. 

After a handful of years blighted for various reasons, there’s a sudden influx of new hi-fi separates from numerous audio brands coming to the market this year. And I couldn’t be happier. 

While the last few years saw many hi-fi manufacturers move towards more lifestyle-friendly all-in-one designs (and rightly so), 2023 started with a big splash for fans of separate boxes for each hi-fi element: Naim and JBL both announced a whole new range of hi-fi electronics at CES 2023 in January.

For Naim, that was the premium-priced NSC 222 streaming preamp, NAP 250 power amp and NPX 300 power supply. The NAP 250 in particular has been a long time coming – it’s the sixth generation of Naim’s long-running amplifier that’s never been out of production since 1975, and one that has been received favourably and to huge success in every generation (we gave it five stars in 2008). For JBL, it was a brand new step into the world of separates, with its Classic Series consisting of the SA550 integrated amp, MP350 hi-res music streamer, its first-ever turntable TT350, and a CD player, CD350. With a silver-walnut wood retro design, they look rather smart too.

JBL will no doubt have seen the fresh interest in vintage speakers getting revived with a modern twist – Mission and Wharfedale are key players here, along with JBL’s own L100 Classic speakers –  not to mention the ongoing vinyl popularity. But to go all-in on a full range of electronics speaks of a confidence in the hi-fi consumer market that has been missing in recent years.

And they’re not alone. Audiolab announced its flagship 9000 series (£1999 integrated amplifier and £999 CD transport) at the end of 2022 to be on sale in 2023, followed very swiftly with the announcement of the mid-tier 7000 series (£1099 integrated amplifier, £549 CD transport and music streamer) in January – both of which I saw at the Bristol Hi-Fi Show last weekend. Exposure also announced a new 3510 series of separates (integrated amp, pre/power and monoblocks), Cyrus said it will be reviving the popular Classic series (Classic PRE preamp £2595, Classic AMP integrated £1995 and a proposed BluOS-supported music streamer), and Musical Fidelity launched a re-engineered high-end NuVista range (all separates, all upwards of £20,000). 

And Leema Acoustics is back: the Welsh company piped up after a quiet few years to reveal its new Quantum range of electronics, consisting of the Electron CD player, Positron music streamer, Neutron DAC/preamp and Graviton power amplifier (roughly £1500 - £1750 each, I’m told). And there are even more that I can’t fit into this list.

Speaking of comebacks, the Bristol Hi-Fi Show was back on our calendar after a three-year absence and despite trepidation that the public might not be too keen to come back to the old show (now in its 34th year), it was a buzzing, extremely well-attended weekend. The first two days were absolutely rammed, with some demo rooms full to the brink and people trying to tiptoe above heads to see what was being played inside. Manufacturers I spoke to at the show (Dali, Leema, PMC, Rega, Wharfedale and more) were surprised and relieved at the reception, and pleased to see hi-fi fans back in their droves. 

2023 also marks the 50th anniversary of some of the most well-respected, venerated British hi-fi brands: Naim, Rega and Linn. Cable makers QED is also celebrating their 50th birthday, while Leema Acoustics is celebrating its 25th. No wonder everyone is bringing their A-game this year. 

• Bristol Hi-Fi Show 2023: pictures, news, highlights and latest products
• My top ten highlights from the Bristol Hi-Fi Show 2023

Why is all this exciting? Because as convenient and enjoyable as all-in-one systems, wireless speakers and the like are – in pure performance terms, they’re still not a patch on a set of good quality hi-fi separates. Quite simply, products that are dedicated to doing just one thing have an advantage over the ones juggling multiple tasks at once. And considering the pedigree of hi-fi brands involved in 2023’s launches, it’s impossible not to eagerly anticipate the quality of performance I might hear. I’ve only gotten into hi-fi (properly) over the past decade, but the stream of separate products – whether that’s a stereo amplifier, a pre/power stack, or just a CD player – I’ve heard during my time at What Hi-Fi? have stayed with me more than a wireless speaker ever could.

During the UK launch of the Classic series, Naim’s Jason Gould said: “We think if people have got better music in their houses, it's good for you. And you know what, it will broaden your musical horizons like you wouldn't imagine – because you're hearing things properly. You'll start listening to music you've never heard or bothered to spend the time and attention with.” 

Now, doesn’t that sound wonderful? If you love music and truly care about listening to it in the best quality you possibly can (and what your budget will allow) a system made of hi-fi separates will perform in a way that’s no coming back from.

But now it’s time to address the big elephant in the room: cost. There’s no getting around the high expense of some of these products. Naim’s new products start at £5700. JBL’s separates are between £799 to £1599, while Audiolab and Cyrus’ products are around the £1000 to £2000 mark each. That’s quite a bit to spend on one component and it all adds up – we still have to factor in source, speakers and cabling. If you’re starting on your hi-fi journey for the first time, it can be quite daunting on your bank balance.

Thankfully, there are a handful of budget products on the horizon offering a more value proposition, that I’m incredibly excited about. First up is the Mission 778X amplifier – the brand's first amplifier in nearly 40 years! Not only is it exciting to have a new stereo amplifier from an established brand after so long, but it’s also set to retail at a very appealing £549. 

Cambridge Audio’s new MXN10 streamer has also caught my eye with its smaller footprint and £449 price tag. Space-saving and wallet-friendly – that’s two boxes ticked already. Pro-Ject also launched a petite stereo amplifier with Bluetooth powers at £349, the Stereo Box S3 BT, that I’m keen to get my hands on, while Tangent’s Ampster budget range offers separates as low as £200. There is a dearth of quality products being launched at around £500 and below, so these budget products are talked about with as much enthusiasm as the higher-end models in the What Hi-Fi? office.

Hi-fi is still very much a luxury for many, but unlike the wider tech world that moves far too quickly, hi-fi tends to take its time to get it right. And it looks like brands have taken their rightful time with these new separates products. Hi-fi products are designed to last a good few years, too, and become part of your everyday life, letting you enjoy music in the best quality possible. Why wouldn’t you want to invest in that? 

My colleague Becky surmised that 2023 might be the year of better but smaller hi-fi and audio, and I largely think she’s right (truthfully, even I can only realistically fit half-width products in my home). Hi-fi separates will likely never reach the heyday of its 70s and 80s – but I think there’s every chance that we could see a blip - a good blip - this year, with full-size separates taking centre stage in our corner of the market. Tech giants like Apple and Sonos may be grabbing headlines, but I’m convinced that hi-fi separates will have a good go at it this year. 

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Although there is much debate over the origin of the phrase “last laugh”, it is a fact that the earliest recorded version of the various expressions that use it is found in the 1607 play ‘The Christmas Prince’ where one of the characters has the line, “He laugheth best that laugheth to the end”.

A modern-day character who is certainly laughing very loudly is Heinz Lichtenegger. When he first started building Pro-Ject turntables in 1991, at a time when CDs and their players were in ascendency, he was told by all and sundry that his new project was madness because vinyl was dead. Lichtenegger disagreed, believing that turntables would make a comeback if they were built correctly.

Three decades later, Lichtenegger is having the last laugh – not only were all the pundits wrong, but Pro-Ject now sells more turntables than any other single turntable manufacturer on the planet and also has more turntable models available for sale than any other turntable manufacturer ever had at any single point in its history… and that statistic includes the most famous names in turntable manufacture, such as the legendary Thorens (which Lichtenegger also now owns, along with Musical Fidelity).

Pro-Ject’s new X2 B turntable is based on the original X2 model that was released several years ago. The ‘B’ is the most significant difference between the two. The X2 had only RCA outputs where the left and right channels connect to the phono preamplifier via RCA cables. In such an arrangement, the left and right channels have one ‘positive’ wire and one ‘negative’ wire, though the two negatives are joined together so, effectively, there are only three connections: two ‘positive’ wires (one for each channel) and a single ‘negative’ wire that is shared between the two channels.

The X2 B has a special five-pin XLR connector whose five pins keep all the different signals separate: separate positive and negative wires for each of the two stereo channels, and a fifth connector for the ‘earth’ connection.

Design

Apart from the wiring, the X2 B is otherwise a standard belt-drive turntable, although when I say ‘standard’, I mean that it is built to the same high standard we have come to expect from Pro-Ject products over the last three decades.

It also isn’t quite ‘standard’ in that, in addition to the two speeds you’d expect to find on any modern turntable – 33.33 and 45rpm – the X2 B also offers the fairly unusual 78rpm speed. However, while you can easily switch between the typical 33.33 and 45rpm speeds using the press-button on the fascia of the turntable, you’ll have to partially disassemble the turntable to change the rubber drive belt in order to use the 78rpm speed.

And I really do mean change the rubber belt drive, because Pro-Ject supplies two different belts in the box. There’s a flat belt for the 33 and 45rpm speeds that runs around a drive pulley that is 16mm in diameter, and a second, round belt for 45 and 78 rpm speeds that runs around a pulley that is 30mm in diameter.

The drive pulley is made from aluminium – a much more robust material than the plastic pulley that’s mostly used for this purpose! – and fitted directly to the shaft of the drive motor. The motor itself is suspended in mid-air by a clever but rather Heath Robinson-like rubber band arrangement that isolates it from the plinth to prevent motor vibrations from affecting the sound quality.

This drive pulley and belt together drive a sub-platter on which sits a massively thick (30mm) acrylic platter that weighs 2kg. The mass of this platter helps to stabilise rotational speed to reduce wow and flutter, while its acrylic material means you will not get the unwanted resonances you hear from platters that are made of metal (either solid or alloyed). The surface of the acrylic is quite slippery, so in combination with the supplied felt/fibre platter mat, you can ‘slip-start’ your albums if you want to.

For this review I was provided with an advance sample of the X2 B that showed signs of a somewhat hasty production process, such as the 33/45/78 lettering on the plinth being a little lop-sided, with some small specks of paint missing. Also, the tonearm did not have the peg for the counterweight installed and, since the information on how to install it isn’t included with the instructions, I had to assume its position from looking at photographs. Finally, the counterweight was not supplied with the all-essential counterweight string, so I had to borrow one from one of my own turntables in order to get the X2 B up and running.

The reason for the hasty production was to ensure that Australian Hi-Fi magazine had an opportunity to review the Pro-Ject X2 B before the deadline for the judging for the 2022–2023 EISA Awards, as members of this publication are on the judging panel. I guess at this point I should say that Pro-Ject’s X2 B and Phono Box S3 B, which are together the subject of this review, were jointly judged ‘Best Product 2022–2023 Vinyl System’ by the expert reviewers of over 60 publications from 29 different countries who sit on the EISA Awards panel.

Needless to say (but I’ll say it anyway), all the Pro-Ject X2 B models that are now available in stores are supplied with absolutely everything you need to get the turntable up and running!

The X2 B uses a 9-inch (230mm effective length) tonearm made of both carbon and aluminium. According to Pro-Ject, the carbon is to give the tonearm its necessary rigidity, while the aluminium is chosen for damping. Unlike many tonearms, it does not have a removable headshell, making it difficult to swap between different phono cartridges, but Pro-Ject claims that this one-piece design “avoids vibrations caused by detachable headshells”.

Why might you want to swap between different phono cartridges anyway? One perfect example of why you might concerns the very cartridge that Pro-Ject supplies pre-fitted to the X2 B. It’s the excellent Ortofon Quintet Red moving-coil cartridge which Ortofon says is “an all-purpose cartridge that delivers open, dynamic sound with a slight touch of warmth”. But it’s the entry-level (£269 / $359 / AU$499 if purchased separately) model in a range that includes the Quintet Blue at £389 / $479 / AU$769 (which, according to the company, “adds more dynamics and resolution, sounds more open and reproduces more details”), the Quintet Bronze at £545 / $719 / AU$1099 (which “adds even more details and resolution but in a very evenhanded way that pays respect to all elements”), and the Quintet Black S at £725 / $999 / AU$1489 (“the best of everything, true to the groove with resolution and accurate insight into each recording”). There’s also a Quintet Mono (£389 / $503 / AU$719), which – you guessed it – is a true mono cartridge exclusively for playing mono microgroove vinyl records.

As for the reason Pro-Ject has pre-fitted the X2 B with a moving-coil cartridge rather than a moving-magnet cartridge, it is because all moving-coil cartridges have ‘balanced’ outputs, whereas the output of almost all moving-magnet cartridges is unbalanced as the ‘negative’ side of their two internal coils are tied to ground (earth).

Of this balanced connection technique, Pro-Ject says that it “does a better job than an RCA cable at removing the noise or ‘electrosmog’ that wireless networks and electronic devices create. This noise can be easily picked up and amplified when using a standard phono cable where a single wire carries the audio signal. Whereas in a balanced connection, the signal travels down two cores, one of which is inverted, and, when recombined, cancels out unwanted interference for improved signal-to-noise ratio.”

My review sample of the Pro-Ject X2 B came with the company’s premium walnut wood veneer, but three other painted finish options are available – a luxurious black, eight-layer, high gloss finish, and an eight-layer, hand-polished, satin paint finish in either black or white.

Phono Box S3 B

Pro-Ject proudly claims that its Phono Box S3 B is ‘Made in the EU’ and ‘Made in Europe’, which indeed it is. Far more interesting, however, is the badge on the back of the Phono Box S3 B that says ‘Made in Slovakia’. This is not quite accurate as the name of the country is actually ‘Republic of Slovakia’, but either way you may be interested to know that per capita Slovakia produces more motor vehicles than any other country in the world. And not just any motor vehicles either. It makes Porsche Cayennes and Coupes, Audi Q7s and Q8s, and Peugeot e208s, along with models for Seat and Skoda. All up, automotive production represents nearly 14 per cent of Slovakia’s GDP and almost half of the country’s industrial production (and industrial exports).

Just as the Pro-Ject X2 B is an evolution of a previous model in the company’s range, the Phono Box S3 B is as well, its predecessor being the Phono Box S3. However, the new version has a larger case than the older one, plus more features and, of course, balanced inputs and balanced outputs in addition to the usual unbalanced ones.

As you should be able to see from the accompanying image of the Phono Box S3 B on the pages before and previous, you can adjust the S3 B’s input impedance, capacitance and gain on the front panel to best suit whatever phono cartridge you are using. I personally think it was unnecessary to include the word ‘Loading’ before the ‘Ohms’ and ‘pF’ markings, but maybe that’s just me. That gripe aside, there are five different settings for input impedance (10 ohms, 50 ohms, 100 ohms, 1k ohms and 47k ohms) and four different settings for load capacitance (50pF, 150pF, 300pF and 400pF). There are four different settings for gain too: 40dB, 45dB, 60dB and 65dB.

Impedance, capacitance and gain settings are all selected electronically, via the small push-buttons at the right end of the front panel, and your selected setting is indicated by a small red LED. These buttons actually operate small relays that do the actual switching, so there’s a bit of a time lag when you are switching from one to the other. It’s only about one second for impedance and capacitance, but it’s a full four seconds when switching gain.

Rather cleverly, you can use different impedance, gain and capacitance settings for each of the S3 B’s two available inputs – balanced (XLR) and unbalanced (RCA). The unit itself will remember the different settings and apply them appropriately whenever you use the front panel push-button to select one or the other of the two.

Below the ‘Input’ button is a button labelled ‘Subsonic’ which, if pressed, will insert a low-frequency filter into the signal path to remove unwanted infra-sonic noise. The source of this noise could be turntable rumble (if you’re using a turntable that isn’t the Pro-Ject X2 B!) or it could be low-frequency noise accidentally recorded on the LP you’re playing (Decca was infamous for including the sound of trains on its albums because one of its studios was unfortunately close to one of the underground train lines), but the circuit is also handy for removing unwanted intermodulation effects caused by playing warped records. Given the usefulness of this circuit, it would’ve been nice for it to have been correctly labelled. As the meaning of the word ‘subsonic’ is technically ‘below the speed of sound’, ‘Infrasonic’, ‘Low Filter’ or, best of all, ‘HPF’ (High Pass Filter) would all have been better choices to identify this button.

Pro-Ject says that the gain stage of the new Phono Box S3 B uses a fully discrete layout and that “the amplifier section is built out of single components and doesn‘t use any integrated circuits”. It appears, however, that Pro-Ject does not count op-amps as ‘integrated circuits’ because it uses these in both the balanced and single-ended input stages. Pro-Ject uses what it calls a ‘semi-passive’ stage to apply RIAA equalisation. “By keeping the gain stage fully symmetrical, we can optimize the signal-to-noise ratios and keep interference to a minimum, giving the EQ section the best source to work its magic,” it says.

The rear panel of the Phono Box S3 B has the necessary unbalanced inputs (via RCA), as well as a balanced stereo input (via 5-pin mini-XLR connector). It also has unbalanced outputs (via RCA) and balanced outputs (via two standard full-sized three-pin XLR connectors). While it may seem that using full-sized XLR terminals for the inputs, rather than the mini-XLR connector, would have been a better idea, I personally think the mini connector was the best choice — not least because the X2 B turntable uses a mini-XLR connector out of necessity due to the limited space available on its output panel.

The remaining two facilities on the rear panel are a ground terminal, which could be necessary to reduce mains hum if you are using the unbalanced connections, and an 18V DC power socket, revealing that the Phono Box S3 B’s power is supplied by an external plug-pack power supply (rated at 500mA). The Pro-Ject X2 B is also powered by an external plug pack, but it’s a different voltage (15V DC) so you will need to be sure not to confuse the two and accidentally connect the wrong one! It would probably have been better if both models had used the same operating voltage.

Set-up

Setting up the Pro-Ject X2 B was straightforward and I was really pleased to find that you can easily adjust the tonearm to ensure both accurate azimuth and accurate vertical tracking angle (VTA) settings. Somewhat strangely, despite the fact the arm has the usual counterweight adjustment system for stylus downforce, I found it rather difficult to achieve the zero balance of the arm that’s necessary to set the downforce by rotating the counterweight. Because of this, I would suggest setting downforce using a stylus downforce gauge instead – either the small static one included with the turntable or an optionally available static or electronic one.

Despite those azimuth and VTA adjustments, you will not have to adjust these, or indeed the all essential angular cartridge alignment, because Pro-Ject has already done all this for you at its factory in Slovakia. However, it might be worth making some small marks on the headshell to note the exact position of the cartridge as, like all moving-coil cartridges, you are going to have to remove it when the stylus needs replacing, and if you have marks you will be able to reinstall the cartridge without the need for a cartridge alignment gauge. (And in the event you do need to buy a gauge, the absolutely excellent Pro-Ject Align-It cartridge alignment gauge carries a £105 / $159 / AU$399 RRP.)

Unlike moving-magnet cartridges, when the diamond stylus of a moving-coil cartridge becomes worn or damaged, you either have to a) have a new stylus fitted to your existing cartridge, or b) replace the entire cartridge. To have a specialist cartridge repair firm, such as Garrott Bros, replace the stylus on the Quintet Red will cost between $200 and $400 depending on the stylus profile you request (Elliptical, Shibata, Micro-Tracer etc).

I was also very pleased to discover that the tonearm latches to its rest magnetically, rather than just resting on it. This means there is no chance of the arm being accidentally bumped off the rest and potentially damaging your phono cartridge. The heavy bit of the magnetic system (the magnet) is on the rest; the light part of the magnetic system (a small steel disc) is attached to the tonearm.

The Pro-Ject X2 B’s platter speed always defaults to 33.33rpm whenever you turn it on, no matter what speed you were using when it was turned off. When you press the speed button to switch speeds, the LED on the button which normally glows continuously will flash for two seconds before resuming its continuous glow. Initially, I thought that this indicated that the platter had reached the correct speed, but the flashing is simply to indicate that you’ve pressed the button.

Obviously, you do have to set the Phono Box S3 B’s input impedance and gain to best suit the electrical characteristics of the Ortofon Quintet Red cartridge. (You don’t need to set capacitance for a low-output moving-coil cartridge — only when using moving-magnet cartridge or a high-output moving-coil cartridge.) Ortofon specifies the internal DC resistance of the Quintet Red at 7 ohms and recommends a load impedance of 20 ohms or more, so I used the closest available setting on the Pro-Ject S3 B — 50 ohms. As for gain, because the Quintet Red is a low-output moving-coil design, with an output of only 0.5mV (at 1kHz re a recorded velocity of 5cm/sec), I used the 60dB gain setting, but the general rule for correct gain is to use the lowest gain setting that is practical for whatever cartridge you’re using, as this will ensure the lowest noise from the Phono Box S3 B.

If you were using, say, a standard high-output moving-magnet cartridge (which you could, though that would kind of defeat the purpose of owning the X 2 B and the S3 B in the first place), you would use a load impedance of 47k ohms, a load capacitance of 147pF and a gain of 40dB.

With Pro-Ject talking up the benefits of balanced circuitry, and justifiably so, it’s pretty easy to overlook the fact that it’s actually just the icing on the cake, and if the cake itself isn’t tasty, then the best icing in the world isn’t going to compensate. By this I mean that I needed to evaluate the basic operation of the Pro-Ject X2 B before considering anything else. And the good news is that it’s all good news; the Pro-Ject X2 B is an outstandingly good turntable.

Performance

Platter speed, which I checked with my strobe was spot-on, being essentially perfect at 33.33rpm and only fractionally fast at 45rpm, so that not even someone with perfect pitch (which I certainly do not possess!) would be able to pick up the difference. I did not check the 78rpm speed – not least because I no longer own any 78s – but given the accuracy of the other rotation speeds I would reasonably assume that it too would be accurate.

To evaluate a turntable’s wow and flutter, I have amassed a dozen or so albums over the years that will reveal both, including Liszt’s 'Légende No 1 St François d’Assise', Satie’s 'Gymnopédies', Chopin’s 'Nocturne Op.27 No.1' and John Field’s 'Nocturne No.10 in E minor'. All of these will instantly reveal any deficiencies in a platter’s rotational accuracy, but very notably they are also enjoyable to listen to simply because they’re outstandingly good musical compositions.

If you’re a fan of Erik Satie, I need to say that if you do not already have it, you should obtain one of my favourite LPs of his works, one recorded by Dutch pianist Jeroen van Veen in two different versions, both of which are on a double-LP set pressed by Brilliant Classics titled ‘Erik Satie Slow Music: Gymnopedies, Gnossiennes and Other Works’. Van Veen achieves a sublime perfection that eludes most pianists. I suspect his success might be because he is not only also a composer but also considered by many experts to be one of the leading exponents of minimalism in the world today. These traits, along with him being a great pianist, are obviously what is required to make the music work! He certainly stretches the concept of slowness to the extreme on this set. One critic wrote of it that: “he creates an hallucinatory effect, a kind of minimal music avant la lettre.”

However, to cut to the chase, although I played all the previously mentioned albums on the Pro-Ject X 2 B, I did not hear any wowing or fluttering – the sound was rock-stable.

As for low-frequency noise (aka rumble), the fact that the Phono Box S3 B has a low-frequency filter makes it very easy to evaluate this, because it was simply a matter of switching the filter in and out and seeing if you can hear a difference in sound between the two settings. If you can, it would mean that the X 2 B was generating some low-frequency noise. When I tried this, I could hear absolutely no difference between the two settings, so there wasn’t any low-frequency noise to cut out in the first place.

Given the speed accuracy and the lack of wow or flutter or background noise, it was hardly any surprise at all that this Pro-Ject duo performed beautifully with every one of the dozens of LPs I played during the course of preparing this review, not only making easy work of reproducing the music on jazz LPs and others with recordings of small groups, but also when playing LPs of large-scale orchestral works, with the Ortofon Quintet Red and the Pro-Ject tonearm handling even the most complex groove walls with ease – even when there were crescendos in the inner grooves, close to the LP label.

Stereo separation was excellent and stereo imaging was beautifully fixed in space. I was particularly impressed with the delivery of ‘Dark Side of the Moon’. It clearly sounded better than the version I have on CD. I was even more impressed by the Pro-Jects’ performance with an old and very worn 1970 CBS pressing of Beethoven Sonatas (Moonlight, Appassionata, Pathétique) as performed by Glenn Gould. As with all his recordings, the sound of the piano is incredibly realistic – at least, it is if you are listening as a pianist as opposed to someone sitting in the audience.

I first checked performance at 45rpm with a Denon Reference Master recording of a solo harpsichord, and the result was truly stunning. There was phenomenal crispness and detail to the sound of the harpsichord. One of the more recent 45rpm pressings I used during my review was a fairly recent purchase to replace a much older 33rpm one – the Mobile Fidelity UltraDisc double LP of ‘Still Crazy After All These Years’, one of my favourite Paul Simon albums. The title track and 50 Ways to Leave Your Lover are two of the best tunes he ever wrote. (For the record, so to speak, ‘Hearts and Bones’ remains my favourite album of his, despite my very recent discovery that my most hated composer, Philip Glass, had a hand in one of the tracks.)

The way the combo reproduced the soft percussion underlying the vocal in the opening of the intro track was masterful, because the cymbal sound was immediately obvious, which it isn’t on lesser systems. The sound of Michael Brecker’s sax when he chimes in towards the end of the track is achingly beautiful and, pleasingly, was reproduced with perfect tonality by the Pro-Ject pair.

The sound of the piano that introduces My Little Town was delivered perfectly by the Pro-Jects too. You know it’s a real piano from the first instant, and the piano is about the most difficult instrument for any system to get right. The solidity of those deep, growly piano notes was almost visceral, as was the sound of the bass guitar when it joined in.

On the intro to 50 Ways, the Pro-Ject pair captured the background acoustic perfectly, so that I could hear the hollowness of it, which again is not captured on lesser systems. The syncopated percussion backing on this track is phenomenally good – not at all surprising given that it was supplied by Steve Gadd and Ralph McDonald – and the Pro-Jects got the rhythms and timings exactly.

Night Game proves Simon’s lyrical skill. After all, the concept of writing a song about a baseball pitcher dying mid-game would elude most lyricists. He proves his musical skill too by choosing Toots Thielemans to perform the harmonica solo. Kudos as well for choosing Phoebe Snow to join him on Gone at Last, and to the Pro-Ject pair for their timbral accuracy because you know it’s Snow from the moment she kicks off the second verse.

Verdict

If your main amplification has a balanced input, adding the Pro-Ject X2 B turntable and Pro-Ject Phono Box S3 B phono preamplifier to your system will mean you will for the first time be able to take advantage of the many advantages of balanced connections all the way from the phono cartridge to amplifier. Even with the benefit of hindsight, I can’t think why anyone hasn’t ever thought of this before. But it’s not just the fact that you’re able to enjoy balanced operation, it’s also the fact that with this duo you’re getting an outstanding moving-coil cartridge, an outstanding turntable and an outstanding phono stage. Tell me, what’s not to like?

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Musical Fidelity has added new all-analogue hi-fi separates to its premium Nu-Vista range. The new line has been designed to deliver the British audio brand's founding aim of delivering "real-life dynamic reproduction of music" and, when combining the separates, also promises to deliver "performance that sounds like a dream".

High claims indeed, but these are high-quality separates with price tags to match. The new range consists of the Nu-Vista PRE pre-amplifier, Nu-Vista PAS stereo power amplifier, and Nu-Vista PAM monobloc amplifier.

The all-analogue amplifiers have been designed from the ground up, featuring Nuvistor valves, fully balanced discrete circuitry, and extensive connectivity. Additionally, all products come with their own matching, separate power supply units to further optimise performance and reduce noise.

The Nu-Vista PRE and PAS both are Class A designs that use, for the first time, fully discrete balanced circuitry, with eight (four per channel) 6S51N Nuvistor valves in the buffer stage. The PRE also has a pair of mini power amps (outputting around 50W) operating in Class A, which claims to deliver strong driving capability and dynamic range, as well as help lower noise and distortion levels.

The PRE's volume control features a precision-matched stepped attenuator, allowing for stereo imaging to remain detailed and precise regardless of how low or high volume you're listening at. The pre-amp has 12 inputs in total: six line level RCA and six fully balanced XLR connections. RCA and XLR outputs come in fixed and variable options each, too. Additionally, the PRE has a +6dB gain boost button to help with system matching – it also cleverly remembers which input needs this feature.

The Nu-Vista PAS power amp has a high-power (300W into 8 ohms), low-distortion output stage with five thermally compensated output devices per channel, for more stable operation. It further takes inspiration from Musical Fidelity's iconic Titan amplifier by having separate capacitors for the bulk supply – one each for the output devices. The brand claims this reduces output impedance, thus improving dynamics.

The power amp features two line level RCA inputs, two balanced XLR inputs, and single fixed RCA and XLR outputs. 

All products come with an outboard power unit (PRE PSU and PAS PSU/PAM PSU) in a matching chassis. This keeps the AC mains power supply away from the main amp unit, thus removing interference from the main units' circuits. It's worth noting that the PSU units are similar in dimensions and weight to the main pre and power units (a hefty 25kg for the PRE, and even heftier 40kg for the PAS and PAM) so make sure there's ample space and support for each unit before you take the plunge. 

And finally, the PAM mono-block effectively separates the PAS power amp into two modules for those that want better channel separation. The PAM has a modified internal design thanks to the extra space, with a bridged output amplifier stage using two pairs of high-power, thermally compensated output devices. The result? More power (600W into 8 ohms), improved imaging and greater ability to drive speakers, says Musical Fidelity.

On top of that, the Nu-Vista range is claimed to have build quality befitting its five-figure price tags. Available in black or silver, the aluminium chassis also features dimmable VU meters on the front panel.

The new Nu-Vista series will start shipping "during the early part of 2023" and will only be available through "specially selected" retailers around the world.

The Nu-Vista PRE pre-amplifier will cost £20,499 ($23,930.50 / €22,000), the Nu-Vista PAS stereo power amplifier will cost £21,999 ($26,106 / €24,000) and Nu-Vista PAM mono-block amplifier is priced at £20,499 ($23,930.50 / €22,000) each.

There will be more models joining the Nu-Vista range throughout 2023 and 2024, so keep your eyes peeled.

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Bristol Hi-Fi Show 2023: all the details and what to expect

The Pro-Ject Debut Pro is a simply outstanding record player for the price. You don’t knock the Rega Planar 3, a deck that has basked in What Hi-Fi? Product of the Year glory for a decade and more, off its plinth without being extremely special indeed. 

A deck, though, is only one part of a system. Without partnering equipment it is, to all intents and purposes, useless. It makes sense investing in this turntable, then, only if you can partner it with appropriate kit that will help to prove its Product of the Year 2022 status.

It’s pretty clear from the number of boxes on display that we have gone for a full-on separates set-up here. Convenience, in the form of all-in-one systems, has its place of course, but to get the very best performance out of hi-fi kit, you need to use products that specialise in their own particular field.

• Pro-Ject Debut Pro vs Rega Planar 3: which mid-price turntable is better?

The system

Turntable: Pro-Ject Debut Pro (£699 / $999 / AU$1079)
Phono stage: Cambridge Audio Duo MC/MM (£199 / $299 / AU$699)
Floorstanding speakers: Dali Oberon 5 (£799 / $1499 / AU$1799)
Headphones: Grado SR80x (£99 / $125 / AU$179)
Integrated amplifier: Musical Fidelity M2si (£699/ $999 / AU$2200)

Total amount for this system: £2495 / $3921 / AU$5956

Integrated amplifier: Musical Fidelity M2si

And specialise this quintet certainly does. It’s a good thing that there is more to picking an amplifier than simply relying on a feature list. If that were the case, the Musical Fidelity M2si would be batting on a very sticky wicket. You will have gathered that we are prepared to forego much in the quest for superb sound; so the fact that this amp is lacking in the phono stage department is one that we are happy to work around. And it also fails on the headphone socket front…

No matter. It really doesn’t take long in our listening rooms to persuade us that the M2si is a terrific performer. This is a large-scale yet refined sound that copes with complex tracks with authority and ease. And, most importantly, we find it easy to keep track of individual instruments as well as luxuriate in a track as a whole.

• Read the full Musical Fidelity M2si review

Phono stage: Cambridge Audio Duo MC/MM

We have partnered the Pro-Ject deck with an integrated amplifier from Musical Fidelity that is so stripped back that it doesn’t have a phono stage; enter the wonderful Cambridge Audio Duo MC/MM, that will sit between the Debut Pro and the amp, boosting the signal to an acceptable level.

The Duo is so named because it deals with both moving-magnet and moving-coil cartridges (it has a sibling called the Solo that is moving-magnet only). For our purposes in this set-up, though, the duo of skills we most need from this little unit are that moving-magnet capability alongside its headphone amplifier, via which we can listen on our Grado headphones.

It’s a feature combination that makes this phono stage a five-star winner in our book – but only, of course, because it delivers on the promise of that impressive specification. Its presentation is spacious, detailed and dynamic, and is warm enough without ever allowing things to become too cloying. 

• Read the full Cambridge Audio Duo MC/MM review

Floorstanding speakers: Dali Oberon 5

We move on, then, to the two parts of this hi-fi system from which the sound actually emanates. We shall start with the loudspeakers, as listening to music as a shared experience is one of life’s greatest joys. The Dali Oberon 5 have won What Hi-Fi? Awards as both a stereo pair and as part of the mighty Oberon 5 5.1 home cinema speaker package – so they are clearly great all-rounders, able to turn their woofers and tweeters to all shapes, sizes and styles of music.

These are compact towers, just 83cm high, so accommodation shouldn’t be a great issue. Bear in mind, though, that they like to stand a little away from a back wall facing straight ahead – no toe-in towards the listener. And, of course, we have chosen them in this set-up because they are terrific performers. They are musical, naturally, but also responsive and, of supreme importance, huge fun to listen to. They have dynamic subtlety, rhythmic precision and transparency, and truly pull the listener in to the experience. 

It’s not all about fun: these are detailed performers, with low-end reach combining with crisp high frequencies that have plenty of bite without ever becoming brittle. They arrange the musical information in a composed and organised way, with edges of notes beautifully defined without ever sounding unnatural. The midrange is not ignored either– voices sound great in an expressive performance.

These speakers sound bigger than they are, and that power, combined with the sheer fun they convey in the music, means they are top performers at the price.

• Read the full Dali Oberon 5 review

Headphones: Grado SR80x

Thoughtful as we are, we have also provided you with options for the way in which you listen to your music. We have a top-value, top-performing pair of hi-fi headphones – the Grado SR80x – for when you want to keep things up close and (relatively) personal, and Dali’s wonderful Oberon 5 floorstanding speakers for when you feel like filling the room with sound.

Now before we get into waxing lyrical about the sound the Grado SR80x provide, we do need to issue a note of caution. These are classic Grado cans: great-sounding, but open-backed. Which means that everyone in the room will know precisely what you are listening to. But if that isn’t an issue for you, or you have incredibly understanding housemates, open-backed headphones are the way to go for the very best sound. 

We say in our full review of these on-ears: “The SR80x might be considered budget headphones, but their class-leading transparency means they can satisfyingly participate in a more sophisticated set-up.” Well, this is that set-up.

And the Grado headphones revel in showing just what great performers they are further up the chain. They are nimble-footed and expressive, with a degree of punch and panache that makes them born entertainers. They are fairly analytical in character – far from warm in tone – but that means they marry rather well with the mellow sound the Cambridge Audio Duo headphone amplifier supplies. In fact, their character is such that we find ourselves listening to whole albums during our testing. High praise indeed.

• Read the full Grado SR80x review

Verdict

That enticement to listen applies to this whole system. After all, what is music for if not to bring us joy and heightened emotion. In our book, that’s worth investing in – and with this considered set-up, you can be sure you're getting the best out of the mighty Pro-Ject Debut Pro, and indeed your record collection.

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The Rega Planar 3 goes head-to-head with the Pro-Ject Debut Pro

Musical Fidelity has unveiled a new multi-channel home cinema amplifier, the first of three new models for the brand, known for its stereo amps. The Musical Fidelity M6x 250.7 sits in the middle of the new line-up and offers seven channels of A/B amplification with a claimed average power of 250 watts per channel (4Ω) or 400 watts peak power.

Internally it boasts a modular amplifier layout, powered by a power transformer that the brand describes as "super-silent". Combined with a fanless chassis and a heatsink design, the amp has been conceived to perform without unwanted noise.

Musical Fidelity says that its modular approach yields a high dynamic range and detailed soundstage, with a signal-to-noise ratio of 105dB @ 1kHz / 200W and THD + N of 0.003 per cent with100 watts power output.

The M6x 250.7 can connect to a multi-channel pre-amplifier or AV receiver, with physical connections including balanced XLR and unbalanced RCA inputs for each channel as well as line-level RCA outputs per channel for bi-amplifying. The amp also sports isolated speaker output terminals, which are gold-plated; meanwhile, a trigger in-out means the amp can be powered on/off externally.

The Musical Fidelity M6x 250.7 is now available in the UK, priced at £3099 / AU$6400 (around US$3388), with 5-channel (expected at AU$5750) and 11-channel (AU$7400) versions of the same design forthcoming.

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A new addition to Musical Fidelity's MX range, the MX-Stream is a streaming system and network bridge that can connect to any hi-fi set up that has a DAC with a USB 2.0 audio input.

Ideal for adding online streaming and network capabilities to your existing hi-fi system, the MX-Stream is a compact, feature-packed unit that ensures "only the musical information is transported, with almost no jitter or noise interference".

The MX-Stream supports music streaming from Spotify, Tidal, Qobuz and internet radio, as well as being Roon Ready. It can access local files on NAS and USB drives, while UPnP and Bluetooth streaming is also available. Audio formats up to 32-bit/384kHz PCM and DSD256 are supported.

Inside, the digital audio circuitry has been customised and optimised to deliver the best performance with near-zero jitter. Each PCB inside has its own power supply unit and high-end voltage stabilisation components. An audio-optimised clock ensures the focus is entirely on bit-perfect audio performance, while every music file is passed through a 'detox' section that removes unwanted interference and noise.

Additional features include a USB Type-B input for connecting a computer/laptop, an HDMI input for attaching a screen, and there's a dedicated control app for Android and iOS devices.

The Musical Fidelity MX-Stream comes in black or silver chassis options, and will cost £859 (€999, $1099, AU$2000) when it's available in August 2022.

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Read our Musical Fidelity MX-VYNL review

If your music system includes a turntable, a phono preamp is a must-have component in the product chain. Also called a phono stage, it is essential for the playback of vinyl records.

A phono stage is what makes the music signal recorded in the vinyl groove audible through your amplifier and speakers – it raises the turntable's audio output and adds standardised equalisation for a tonally even presentation.

Many stereo amplifiers, turntables and active speakers now come with a phono stage built-in, but if they don't, you will need to buy a separate phono stage to complete your vinyl system and hear your records.

Upgrading your existing phono stage or opting for an external one is also a great way to upgrade your turntable system's sound beyond what's possible with the built-in versions. If you're thinking of giving your vinyl system a sonic lift, we recommend you consider a phono preamp upgrade first.

Phono stages can be compatible with moving magnet or moving coil cartridges – or even both. Check which type your turntable has before choosing a new phono stage.

You can check out our buying advice on choosing the right phono preamp for you, or scroll down to see our list of the best models we recommend, new and old, across all budgets and sizes.

Every model below has been rigorously tested by our experienced review team in our dedicated listening rooms, with the appropriate turntable and cartridge pairing at each price level (and with plenty of records being listened to), so you can trust our advice.

The quick list

The best phono preamp overall

We've continuously been impressed with Rega's excellent (and rather affordable) Fono MM range, so it was something of a relief that the latest model, which featured a brand-spanking new look, didn't sacrifice style for sound.

That same Rega DNA is still in there throughout the latest Fono MM Mk5 phono stage.

No, the changes aren't massive from the previous models, but what remains is the Fono MM's ability to knit music together confidently and cohesively.

When testing the phono preamp out with the Rega Planar 3/Elys and newer Planar 3 RS Edition turntable (it's a moving magnet-only model), we were once again struck by the unit's fast, punchy sound that gives your favourite tracks a real sense of weight and gusto.

Detail levels are great, too, uncovering new layers of musicality and subtle texture as it goes, especially with regard to vocals. From Beethoven to Bruce Springsteen, the Rega Fono MM is completely at home, and is "full of enthusiasm when it comes to thumping out the music’s dramatic dynamic shifts."

It's a significant step above the more budget Fono Mini A2D Mk2 (below), bringing greater power and detail retrieval. It's a terrific unit on its own and as an upgrade for your vinyl system.

Rega didn't exactly reinvent the wheel with the Mk5 model, but that's not necessarily a bad thing. That new case is certainly attractive enough, while that same agile, punchy performance gives you just the sound you're looking for if you like your music to have a bit of bite.

Read the full Rega Fono MM Mk5 review

The best budget phono preamp

If you're looking for the best budget phono stage currently on the market, Rega's Fono Mini A2D is a top contender.

This tiny, plain box was never much of a looker, and the Mk2 version is no different, with only a new glossy front panel and a neater appearance bringing it up to date with Rega's current amplifier range.

The most important part of this phono stage, the audio circuitry, remains unchanged from the original model we gave five stars to.

It features stereo RCA for input and output connections, and a USB-B output with an accompanying level control, for recording your vinyl records to your laptop as a digital file.

It's unusual to see this option on a phono stage, let alone at this budget level, but it's a fairly easy process to digitise vinyl, provided you have the time and good recording software.

We use Audacity and have no problems recording numerous tracks from vinyl to our MacBook Pro. The quality of the recordings mirrors that of the Fono Mini A2D's performance, and that’s a positive thing.

Sonically, it's as frill-free as it looks, but gets the basics right. It's a lively presentation, full of convincing and nuanced dynamic contrasts, with power and passion behind vocals.

While it's not the most refined or spacious sound, there's ample detail and insight to hold our interest.

We use both a Sumiko Rainier MM and Vertere’s Sabre MM cartridges during our testing and the Fono Mini A2D sounds balanced with both.

It has Rega's surefooted sense of rhythm and punch, plenty of low-end articulation and its overall composure when the music gets demanding is admirable.

What we find most impressive is the musically cohesive way that Rega organises and delivers all this information – for this price, there's no better alternative.

We imagine this phono stage to be an ideal go-between for, say, a KEF LSX II LT speaker system and a turntable, or if you wanted to upgrade your existing vinyl system.

Undoubtedly, it's a talented little device that delivers excellent performance for the money.

Read the full Rega Fono Mini A2D Mk2 review

The best phono preamp with headphone jack

With an offset volume dial, minimalist styling and mirrored rear labelling that's easy to read even if you're peering over the top of the unit, it's clear a lot of thought has gone into the Cambridge Audio Duo phono stage.

And no less attention has been paid to the audio quality.

The presentation is very good indeed, sounding engaging, cohesive and dynamic, with a good deal of detail and agile timing.

It doesn't quite match Rega's Fono MM for outright punch and rhythmic precision, and you'll find clearer detail and a bigger scale from the iFi Zen Phono 3, but it certainly holds its own verve with both MC and MM cartridges.

The bonus here is the inclusion of a built-in headphone amplifier with 6.3mm headphone jack, which is somewhat unusual but entirely welcome in a phono stage at this level.

It's a lovely way to upgrade your vinyl system or add a bit of modern flourish, meaning you can listen to music in peace or at night.

The smooth, full-bodied performance, coupled with the inclusion of a headphone amp, makes this stylish box certainly worthy of consideration.

If you want a simpler, MM-only phono preamp with no headphone socket, then the cheaper Cambridge Audio Alva Solo is an option.

But we think the Duo is a more versatile and long-lasting model that will work with a variety of affordable to mid-priced turntables and headphones.

Read the full Cambridge Audio Duo MC/MM review

The best mid-price phono preamp

A new What Hi-Fi? Award winner to make our list, the Graham Slee Reflex M is an unassuming but outstanding mid-priced MM phono stage that works a treat with your turntable system.

In design, it definitely falls into the category of minimalist. It is neatly made, but other than graphics on the front pane and the connections at the back, there is very little to distinguish this compact aluminium box.

The Reflex M works with moving magnet cartridges only, so you won’t find any features here beyond the phono input and output connections.

However, if you wanted to add on moving coil compatibility, Graham Slee offers an EXP Step-Up unit at additional cost, which works well.

Regardless of the cartridge and turntable you partner the Reflex M with, its sonic performance is hugely impressive.

Its generally even tonal balance leans towards the lean side, but the level of detail on offer is simply excellent, as is the way it renders subtleties such as instrumental textures and dynamic shading. Plus, it’s nice and quiet when in use.

During testing, we listened to Carmina Burana and the Reflex M’s wide dynamic range meant it had no issues tracking the recording’s demanding peaks, while its excellent organisation ensured such a chaotic piece of music made perfect sense.

However, we also played The Wailers’ Catch a Fire, where it aptly demonstrated its surefire handling of rhythms. Stir it Up, in particular, sounded wonderfully relaxed.

In our testing, we also found it “manages to deliver a wide and expansive soundstage that is as focused and precise as we have heard at this level”.

Quite simply, if you’re after a fantastic-sounding phono stage with no frills that simply gets the job done, you won’t find any better at this price point than the Reflex M.

Read the full Graham Slee Reflex M review

The best audiophile phono preamp

Phono stages tend to be, apart from the sleek Cambridge Audio Duo above, rather plain black boxes that are meant to be hidden away.

Musical Fidelity takes a different approach: this phono preamp is beautifully made, with a smartly machined front panel and nice-to-use controls.

Rather than use a series of dipswitches (as many rivals do), the MX-VYNL has a rather elegant control dial to manage the switch between moving coil and moving magnet inputs and their different loading requirements.

Alongside a standard single-ended phono input – something that will be used by the vast majority of decks around – it can also accept a balanced signal in the form of a mini XLR 5-pin connector.

Thankfully, convenience is far from the MX-VYNL's only strength – sound is wonderfully transparent and detailed, digging up low-level instrumental strands and sonic textures with ease.

We love the way it handles vocals. There's a fluidity that makes rivals seem mechanical by comparison, although it may not have the outright rhythmic cohesion found in the similarly-priced Rega Aria. But it doesn't exactly hold back when it comes to bite and attack.

It's a superb balance of attitude and refinement. If the rest of your system is up to scratch, the MX-VYNL is worth the investment.

Read the full Musical Fidelity MX-VYNL review

The best high-end phono preamp

Vertere already had a great phono stage on its hands, but this updated version manages to deliver significant performance gains, thanks to some careful housekeeping and honing of the circuit board and power supply.

The tidy little box remains the same; an orange power LED is the only addition to the design.

The new Phono-1 MkII L is a brilliant performer, with a useful selection of features and adjustments that should help you get the most from any cartridge.

Its detailed, musical delivery makes it a joy to listen to. We love the scale of performance and the way the Vertere delivers the seismic dynamic shifts of the recording with so much enthusiasm.

As with the previous generation (also an Award-winner), our main takeaway after hearing this phono stage is that it makes listening to music interesting and, where appropriate, fun. And what more could we ask from any hi-fi product?

If you’ve got an earlier version of the Phono-1, don’t worry about swapping it out for this new one. For new buyers, don’t hesitate to go for this version as it's a clear step up and worth the price hike (now around £1495 / $1895 / AU$2700).

Given a source and system of appropriate talent, it remains one of the finest phono stages we’ve heard at this higher price.

Read the full Vertere Phono-1 MkII L review

Also consider

• Moon 110LP v2: This might have recently been knocked off its perch as our best mid-price phono stage, but that doesn't mean it's not still a fantastic proposition. This well-made phono preamp works with both MC and MM cartridges, serving up a smooth, fluid and refined sound with a satisfying punch.
• Lindemann Limetree Phono II: This unobtrusive box might need to be partnered with the right equipment to get the best sound, but if you can find that perfect pairing, you've got an incredibly talented performer on your hands. What's especially notable at its £685 / $1075 price tag is how good it sounds with both MM and MC cartridges, although the Graham Slee at this price just performs that bit better.
• iFi Zen Phono 3: For its price and compact size, this model packs a lot in: MM and MC cartridge support, low-noise power supply, and a clean, refined, smooth and spacious sound. The MM-only Rega Fono MM Mk5 digs out more detail, has more energetic timing and dynamics and is more expressive overall, but the iFi is a decent and versatile alternative.
• Rega Aura: Rega's more affordable phono preamps are easy to recommend here, but even more accomplished is the brand's flagship high-end moving-coil offering. The impeccably built Aura MC phono stage costs £4000 and is fully adjustable, with terrific clarity and insight levels, impressive agility and expressive dynamics – it's hugely exciting to listen to.
• Vertere Calon: The price is prohibitive for most but performance like this never comes cheap. If you've got a turntable that requires the very best, and the rest of your system is of comparative quality, you won't find a better phono stage at enabling your records to reach their full sonic potential. The Calon is as expressive and musically cohesive as they come.

How to choose the best phono preamp for you

Which phono stage you need is entirely dependent on what your existing turntable system is, and your budget.

If you have a budget turntable, then an affordable phono stage that's simple to use and is compatible with your (most likely) moving magnet (MM) cartridge is the only parameter you need to consider.

If you're a hi-fi enthusiast with a more premium or high-end turntable, and you enjoy fine-tuning your system and swapping out different MM and moving coil (MC) cartridges like a mad scientist experimenting for the best sound quality, then you'll want a phono stage with plenty of flexible cartridge loading and gain adjustments to suit your matching high-end system, and more inputs.

Phono stages typically only have one set of inputs (for the turntable) and one set of outputs (to the amplifier). Even those on the entry-to-mid-level price range now increasingly let you switch between MM and MC cartridges – although beware that plenty still specialise in one type only.

High-end phono stages tend to be larger (separate power supply units and better components all take up space), while budget options have a smaller footprint. Compatibility trumps design in this category, although it's not hard to find nicely made boxes.

Ultimately, which phono stage you choose will depend on what's most appropriate for the turntable and cartridge you already have, so make sure you've got your deck's specifications handy. It's the same case if you're looking to upgrade your current vinyl set-up, although it's always worth looking at the next model up for future-proofing.

Of course, sound quality is the final decider: we'd recommend demoing your new phono preamp with your existing deck and system if possible, to ensure you get the best-sounding performance when spinning your vinyl records.

How we test phono preamps

We have dedicated, acoustically treated testing facilities in Reading and London, where our team of experienced, in-house reviewers test the majority of hi-fi and audio kit that passes through our door – including phono preamps (or phono stages).

Sound quality is key in forming our verdicts and star ratings. What Hi-Fi? is all about comparative testing, so we listen to every phono preamp we review against the current leader in its field and price point to gauge how it compares to the best-in-class competition.

We are lucky to be able to keep all What Hi-Fi? Award winners in our stockroom, so we can always truly compare new products against our current best-in-class products in each price band.

We are always impartial in our testing and ensure we hear every phono preamp at its optimum – with the matching turntable and appropriate cartridge(s) of course.

We'll use them in their best use case with different partnering source kit and speakers, as well as play plenty of different types of music and records through them. Here's a sample of the best vinyl records we use during testing.

We give phono stages ample time to run in and listen to them over days and weeks to get a full picture of how each model performs.

All review verdicts are agreed upon by the team as a whole rather than an individual reviewer, to eliminate any personal bias and to ensure we are consistent across all our reviews.

There's no input from PR companies or our sales team when it comes to the verdict, and What Hi-Fi? is proud of having delivered honest, unbiased reviews for nearly five decades.

You can read more about how we test and review products on What Hi-Fi? here.

FAQ

Recent updates

• January 2026: The Graham Slee Reflex M replaces the Moon 110LP v2 as our best mid-priced phono stage. The Moon and five-star Lindemann Limetree Phono II are added to the also consider section.
• July 2025: No new entries, but checked prices and mentioned the new Lindemann phono stage we have in for testing.
• May 2025: Added the Vertere Calon as an ultra high-end option to the list of 'also consider' entries.
• March 2025: Added a new 'also consider' entry, updated new phono stages being tested, and checked all prices.
• January 2025: Checked all information is correct and updated where necessary.
• November 2024: Labelled the current 2024 What Hi-Fi? Award winners, and added an update log.
• July 2024: Checked through current products, prices and advice to ensure accuracy and added hands-on photo gallery for the Cambridge Audio Duo.
• May 2024: Added an Also Consider section to offer additional choices to consider when buying.
• February 2024: Updated our advice and testing process, and added FAQ section to help buyers with the most asked questions about turntables.
• January 2024: Added Rega Fono Mini A2D Mk2 entry following its five-star review.
• November 2023: What Hi-Fi? Award-winning products are labelled after the 2023 Best Buys and Product of the Year announcements.

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The Musical Fidelity M3x Vinyl MM/MC phono stage is a first for Musical Fidelity in more than one way. First, it’s the first phono stage in the company’s M3 Series, which Musical Fidelity promotes using the catch-phrase “Great-looking, superb-sounding hi-fi doesn’t have to cost a fortune. Our M3 range offers an elegance of design, quality of build and standard of finish you’d associate with products costing twice as much.” 

The M3x Vinyl is also the first Musical Fidelity component to be built entirely in countries in the European Union. This is a significant switch that requires some explanation. 

When he started the company back in 1982, Anthony Michaelson built Musical Fidelity products exclusively in the United Kingdom. He later switched production of most of his products to Taiwan. However, in 2018 Michaelson sold Musical Fidelity to his good friend Heinz Lichtenegger, the owner of Pro-Ject, who with his wife Jozefína (who owns European Audio Team, also known as E.A.T.), have between them multiple high-tech manufacturing facilities in the EU. The M3x Vinyl is the first Musical Fidelity product to be built in one of these facilities.  

It remains to be seen whether Lichtenegger will start manufacturing other Musical Fidelity components in the EU. 

The M3x Vinyl is also almost the first phono stage Musical Fidelity has manufactured that does not use op-amps (operational amplifiers), instead using discrete components (separate resistors, capacitors, transistors and so on in the place of op-amps. This is rather the opposite of what’s happening in other hi-fi components, so we asked Musical Fidelity the reason for it.  

The answer, according to the company? “Countless hours of listening tests have shown us that even the very best op-amps do not tend to be so neutral, natural, dynamic or vivid – all of which are characteristics of the Musical Fidelity sound. For that reason, we’re rediscovering our passion for traditional, discrete designs.” 

• The best phono preamps we've reviewed

Musical Fidelity is not the first company to eliminate op-amps from its circuits. Marantz famously uses op-amp replacements it calls HDAMs and here in Australia, local high-end manufacturer Burson Audio builds what it calls ‘Supreme Sound’ op-amp replacements that it sells to other manufacturers as well as to DIY upgraders. 

Burson Audio’s Supreme Sound ‘op-amps’ are comprised entirely of discrete devices. Each one is about 40 times the size of its IC equivalent and comprises 24 matched FETS (Field Effect Transistors), 16 metal film 0.5% tolerance resistors, a pair of silver mica capacitors and a pair of variable resistors. This means that a manufacturer that replaces a single dual op-amp with discrete components will have to solder in (and make room for on the circuit board) 44 components. This means you’d need almost 900 discrete components to replace just 20 dual op-amps. 

But the M3x Vinyl wasn’t the first Musical Fidelity product to eliminate op-amps. It was the second.  

The first was the M6xVinyl phono pre-amplifier, a component that in many ways is very similar to the M3x, which we’ll discuss later on in this review. However Musical Fidelity hasn’t only removed op-amps from the M6x Vinyl, it has also removed all the active circuitry that’s usually used to provide RIAA equalisation and instead provides the all-essential RIAA equalisation using a completely passive circuit.  

What’s more, it’s divided this passive circuit into two different circuits. Musical Fidelity says its split passive EQ circuitry: “is more costly to design and implement but ensures the most accurate representation of the ideal EQ curve. Split passive equalisation allows for better impedance matching and less deviation from the ideal RIAA curve.” 

In order to understand what this all means, and why it’s so important, we need to delve a little more deeply into RIAA equalisation and the whys and wherefores of how it can be implemented – active or passively.

Passive vs. active RIAA EQ

The purpose of a phono stage – its raison d’etre, if you like – is to ‘correct’ the frequency response of the signal the diamond tip of your phono cartridge’s stylus is extracting from the LP’s groove. This comes about because in order to ‘store’ music on an LP the cutting engineer has to pre-attenuate the levels of the low frequencies and pre-boost the levels of the high frequencies. At the midway point (1kHz) there is no boost or cut. This is the 0dB point. 

As the music being recorded on the LP gets progressively lower in frequency, its level is progressively reduced until at 20Hz it is 19.3dB lower than the 0dB reference at 1kHz. 

The opposite happens with frequencies above 1kHz. The higher the frequency of the music being recorded, the more the audio signal is boosted until, at 20kHz, it’s boosted to +19.6dB. 

Because the levels of boost and cut applied are different for every different frequency, the overall effect is described as an ‘equalisation curve’, the most common of which is the RIAA curve, so-called because it was developed by the Record Industry Association of America. 

So in order to ensure the correct response is sent to your main amplifier and then to your speakers, a phono stage must provide an ‘inverse’ RIAA curve that restores all the frequencies to their correct levels, for example boosting the bass at 20Hz by 19.3dB and cutting the treble at 20kHz by 19.6dB. 

But what happens below 20Hz? If the RIAA equalisation boosts frequencies below 20Hz, this means that unwanted low-frequency sounds from your turntable (drive motors, bearing noise and so on) as well as from your LPs (record warp and sounds actually inadvertently recorded at the original recording session) would be made more audible. It is for this reason that in1976, Europe’s International Electrotechnical Commission (IEC), decided to authorise the RIAA replay curve to be modified in such a way as to reduce (attenuate) frequencies below 20Hz.  

It wasn’t an entirely popular solution to the problem of low-frequency noise, because the circuitry required introduced amplitude and phase errors into the frequency response above 20Hz, and the circuit’s action was so mild below 20Hz that it really didn’t do a lot to remove rumble, particularly if that rumble occurred between 10 and 20Hz.  

Most manufacturers decided a better option was to use a standard RIAA replay curve but provide a dedicated ‘rumble filter’ that provided far more attenuation at low frequencies than the IEC RIAA variant. 

As for the means of providing RIAA equalisation, the circuitry required to do this can be implemented in two different ways – actively or passively. Active RIAA equalisation involves using voltage gain and feedback loops that adjust the frequency response depending on the amounts of feedback returned to the input. One advantage of active equalisation is that exact component values in the circuit are not crucial and that left- and right-channel matching is largely unnecessary. One disadvantage is that, because it is active, the circuit is prone to input overloads. 

There’s also the problem that an active circuit must have a very high voltage gain in order to deliver the level of compensation required to boost low frequencies by 19.3dB as well as providing the additional gain necessary to bring the circuit’s output up to the necessary one or two volts required to feed the line input of a hi-fi amplifier (or pre-amp). 

The problem with gain is that the more of it you use, the more unstable a circuit becomes and the more phase shift you introduce. A solution circuit designers often use to get around these problems is to split the equalisation process into two, and use one active circuit to manage frequencies below 1kHz and another to manage the frequencies above. 

The alternative to active equalisation is passive equalisation, so-named because only ‘passive’, non-powered, components – resistors and capacitors – are used to create the RIAA equalisation required.  

The advantages of passive equalisation include that the input can’t be overloaded and because there is no feedback, the circuit is completely stable.  

However the disadvantage is that because the circuit is passive, no ‘gain’ is possible (this has to be done by a separate circuit) and the performance of a passive circuit will be affected by the phono cartridge’s own resistance and capacitance, as these effectively become part of the circuit itself.  

To get around most of these problems, designers of passive RIAA equalisation circuits usually take a leaf from the circuit’s active counterpart, and use two passive networks, one for frequencies below 1kHz and the other for frequencies above.

Features and facilities

The front panel of the M3x Vinyl phono stage pretty much gives away exactly what features it has inside it because they’re all printed right there on the panel itself.  

You can see that the unit will accommodate both moving-magnet (MM) and moving-coil (MC) cartridges but despite the provision of two push-buttons to select between them, there’s only a single phono input on the rear, so you can connect either the one or the other, but not both simultaneously.

If you are using a moving-magnet cartridge, the six push-buttons just to the right of the two MM/MC selector buttons allow you to choose what load capacitance will be presented to your cartridge: 50pF, 100pF, 200pF, 300pF 350pF or 400pF. Whichever of these load capacitance values you select, the value of the load impedance will remain fixed at 47kΩ. The gain of the MM section is fixed at 40dB.  

If you are using a moving-coil cartridge, the six push-buttons at the far right of the front panel allow you to choose the load impedance that will be presented to your cartridge: 25Ω, 80Ω, 100Ω, 400Ω 800Ω or 1.2kΩ.  The gain of the MC section is fixed at 60dB. 

Between the MM and MC load-setting buttons are two buttons, the left-most of which is labelled ‘IEC’ and the rightmost ‘+6dB’. What the IEC button does is switch the M3x Vinyl’s equalisation curve from being a standard RIAA curve to an IEC-RIAA curve. 

As for that ‘+6dB’ switch, it activates an additional amplifier stage that adds an extra 6dB of gain to increase the voltage at the M3xVinyl’s output terminals (which, by the way, are standard unbalanced types, using RCA connectors). So activating this circuit will mean that moving-coil cartridge output voltages will be boosted by a total of 46dB (40dB + 6dB) and moving-coil cartridges by 66dB (60dB + 6dB). 

What the previous paragraph means in real life is that without the additional gain stage if your moving-magnet cartridge was delivering 5mV to the M3x Vinyl’s input terminals, you’d have 500mV at the output terminals. For a moving-coil cartridge delivering 0.5mV, you’d have 500mV at the M3xVinyl’s output terminals. 

If you press the +6dB button in, those output voltages would double, to 1000mV, or one volt (1V) for the same inputs noted previously. 

As explained earlier in this review, the more gain stages you introduce during the equalisation process, the more you increase the possibility of errors being introduced, so if you can achieve adequate volume levels from your loudspeakers without using the additional 6dB of gain on offer, my advice would be to leave it switched off. 

If you try to compare the ‘sound’ of the two gain settings by alternately pressing the button on and off, you should be warned in advance that this is a waste of your time, because the sound will always seem to improve when you switch to the +6dB setting. This is a trick your brain is playing on you, because given two otherwise identical sounds, the human ear will always prefer the louder one over the softer one. Why do you think rock bands sound so good at live concerts? 

As for the final button on the front panel, the ‘Power’ button, I’ve left that to last because it’s rather curious. It’s not an On/Off switch. It instead switches the M3x Vinyl between ‘On’ and ‘Standby’. The reason I say the switch is ‘rather curious’ is because Musical Fidelity’s promotional literature claims the M3x Vinyl is fitted with – and I quote verbatim – “a new proprietary power supply solution that has zero standby power consumption. Absolutely zero! It is a super green product and we are sure, there isn’t any other product in existence with an ecological standby function like this.”  

This statement is, of course impossible and, therefore, not true. 

The Musical Fidelity M3x Vinyl does draw power in its standby mode, but it draws it not from the mains power, but from a 3V CR2030 battery inside it. This battery ensures that whatever cartridge type, load and gain settings you were using when you switched the M3x Vinyl off will be restored when you next switch it on. 

Take a look inside the M3x Vinyl and you’ll not only see the battery, but also that the PCBs inside it take up so little space that Musical Fidelity could, theoretically, have made the chassis a good deal smaller than it is, but one reason for its physical size is that it enables the designers to position all the unit’s power supply components on a separate printed circuit board (PCB) and mount it as far away from the primary circuitry as possible.  

They’ve also used a totally shielded low-core saturation toroidal transformer to step down the 240V mains voltage to the amplifier’s rail voltage. Look inside very carefully and you’ll see that while Musical Fidelity hasn’t used any op-amps in the circuitry of the M3x Vinyl, the circuitry is not, as the company claims, “entirely discrete” because the PCBs do contain integrated circuits, including an STM32F030F4P6TR 32-bit 16kB 48MHz ARM micro-controller. 

Worthy of special mention is the all-essential turntable ground post fitted to the rear panel of the M3x Vinyl. It’s simply the best such terminal I have ever seen on any phono stage, or pre-amp or integrated amplifier. It’s a full-on brass screw fitting not unlike a speaker terminal. So much better than the horrible plastic/arrow prong terminals that are usually provided.

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Listening

If you use a high-quality phono cartridge, it is essential to also use a high-quality external phono stage if you’re to extract the best performance from it. The phono stages built into even the best high-end pre-amplifiers and integrated amplifiers simply won’t do it justice, most particularly if you’re using a moving-coil cartridge. 

I first listened to a brand-new LP I’ve just purchased, but one with which I was intimately familiar, having listened to earlier versions of it for more than two decades. That LP was the 45rpm version of ‘L. A. Woman’, by The Doors, pressed by Analogue Productions.  

It’s a part of a six-disc set which makes up The Doors’ six studio LP titles (the others being ‘The Doors’, ‘Strange Days’, ‘Waiting For The Sun’, ‘Soft Parade’, and ‘Morrison Hotel’). All were cut by the legendary Doug Sax using the original analog masters. According to Doors producer/engineer Bruce Botnick, in order to play the original tapes they had to be baked in an oven to make sure the layers didn’t stick before they could be replayed! 

Of course L.A. Woman has Love Her Madly on it which was a No 1 here in Australia, a No 3 in Canada and reached No 11 on Billboard’s Hot 100 chart when it was released as a single. But look past Love Her Madly and you have such unbelievably good tracks as Riders on the Storm, L’America, Been Down So Long, The Changeling and, of course, the title track. Game-changers of songs all. 

For my money, the outstanding musician on Love Her Madly is bass player Jerry Scheff, who once played bass for Elvis Presley. Listening via the Musical Fidelity M3x Vinyl I was able to appreciate even more how he manages to be totally inventive, with unusual bass lines that drive the song and create an underlying pulse, while all the time containing the song’s break-neck tempo (one of Scheff’s jobs was to make sure keys man Ray Manzarek didn’t play too fast!). 

The M3x Vinyl revealed the tone of his bass better than I’ve ever heard, and also delivered the best stereo image I’ve heard from this track, given that it was recorded wide, with instruments played mostly left and right, rather than spread across the sound-stage. 

The spacey intro to L.A. Woman was served up beautifully by the M3x Vinyl, which makes the bass and drums intro even more exciting, with the excitement increased even more by how well the M3x Vinyl handled the crisp drumming of John Densmore. I think Densmore was pretty excited to be working with Scheff because I think he lifted his playing to a level higher than I’d ever heard from him before. 

Listen particularly to the way his cymbals cut through the mix on this track: you won’t hear that using a lesser phono stage! Listen also to the repeated riff after the rhythm change at 3.02 and how the Musical Fidelity’s channel balance is so exact that you can hear the almost imperceptible difference in arrival times from left and right speakers. This is a level of detailing you just won’t hear from lesser phono stages. 

On Crawling King Snake (a cover of a John Lee Hooker classic) you can hear not only the restraint of Marc Benno’s guitar contribution, but also the unrestrained scream of Robby Krieger’s lead. But then listen to how purely and delicately the M3x Vinyl delivers the final light-hearted Krieger contributions. The contrast is educational. 

Morrison’s vocal on Riders on the Storm was also delivered marvellously well by the Musical Fidelity, and balanced perfectly against the ghostly background vocals. The sound of Manzarek’s Rhodes is also amazing, particularly in the upper octaves. 

It’s a masterpiece of engineering, considering the ‘studio’ and the equipment used, so the album is a real tribute to the skills and talents of Bruce Botnick as well as those of the band. I can never really listen to the lyric of Riders on the Storm without thinking how it was a portent of Morrison’s death just three months later. The lyric also reflects that it was not only the last track on the album, but also the last track Morrison would ever release. 

A real test for any phono cartridge – or any phono stage for that matter! – is the magical soundscape presented by the Alan Parsons Project’s album ‘I Robot’. I was absolutely captivated the minute the stylus dropped into the title track that kicks it off. The mezzo who sang the wordless lead vocal on this should have been given a credit. (Presumably it was Jaki Whitren, but it could also have been a member of the English Chorale). 

The vocalise is a bit reminiscent of Pink Floyd’s Great Gig in the Sky (it’s actually much better!), which is rather fascinating when you consider that Parsons was the engineer for Dark Side of the Moon. The vividness of the orchestral colouring on this track was reproduced blindingly well by the Musical Fidelity M3x Vinyl. 

I personally think this was Alan Parsons’ best album, mostly because it has more ‘best’ tracks than any other PP albums. those tracks being I Wouldn’t Want to be with You, Breakdown, and Some Other Time. I think his best-ever song is Eye in the Sky, but it and MammaGamma are the only good songs on his album of the same name (IMHO), so it misses out according to my personal criteria for ‘Best Album.’ (And yes, I know Alan Parsons Project is Alan Parsons and Eric Wolfson, so when I say one I mean both.) 

The Parsons link dictated that ‘Dark Side of the Moon’ just had to be the next album on my auditioning list, and once again, the opening track dictated the auditioning mood because the clarity of the sound from the M3x Vinyl was such that as those fake ‘heart’ beats pulsed from the speakers, I could feel my body melting back into my listening chair. 

Great sound has that ability to relax the soul, and the sound from the Musical Fidelity had me totally relaxed from the get-go. There’s an amazing amount going on in Speak to Me/Breathe, and I’m not only talking about the spoken contributions. Then in the following track, On the Run, listen to the pan that starts at 1.36 and then the panoply of effects that follows, and hear how the imaging ability of the M3xVinyl throws everything into stark relief. The breath sounds as the track closes out were rendered as well as I’ve ever heard them. Marvellous! 

As for Time, I was revelling in the hollowness of the acoustic: the echoed percussion was rendered with amazing precision. Money revealed yet again the M3x Vinyl’s amazing ability to separate the left and right channels while still maintaining a crisp stereo image. And on Us and Them I snapped to attention when I heard the sound of Dick Parry’s sax – the M3x Vinyl was working wonders with it, so it was a flawless performance, both sonically and musically. 

During every album that I played while I was preparing this review I experimented with the RIAA curve setting, switching back and forth between each and rather confoundingly, I found that I preferred the IEC-RIAA setting every time. I really wasn’t expecting this! And it wasn’t because it cut out rumble, because on all but one of the LPs I played there was no recorded rumble, and my system doesn’t have any rumble to remove anyway. The IEC-RIAA setting just sounded better to me, period. 

As for that single LP I played that did have rumble on it (‘The Buskers’ Album’) the IEC-RIAA setting completely eliminated the rumble recorded on this album whilst leaving the street and traffic noises untouched. In other words, a perfect outcome.

Final verdict

Musical Fidelity’s M3x Vinyl phono stage is certainly a one-trick pony, in that it only does one thing and accommodates only one phono cartridge, but as Paul Simon says in his song of that name, “it turns that trick with pride”.

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Full lab test results

Newport Test Labs first measured the frequency response of the Musical Fidelity M3x Vinyl phono stage’s moving-magnet input using RIAA equalisation, the result of which is shown in Graph 1. 

You can see that there’s a very slight ‘tilt’ to the overall response that would tend to emphasise the level of the lower frequencies and reduce the level of the very highest frequencies, but if you look at the vertical scale of this graph you’ll see that the top of it represents a +1dB increase and the bottom a 1dB decrease. This means that the response as shown is 20Hz to 20kHz ±0.13dB! This is not only outstandingly good, but also exceeds Musical Fidelity’s specification for it. 

The frequency response of the moving-magnet stage using the Musical Fidelity M3x Vinyl’s IEC-RIAA equalisation setting is shown as the red trace in Graph 2, with the black trace showing the original RIAA response from Graph 1. 

The vertical graph scale has had to be extended to accommodate the designed roll-off of the IEC curve, but you can see that the horizontal scale has also been extended down to 5Hz and out to 40kHz. With regard to the high-frequency extension, you can see that the M3x Vinyl’s response rolls off only very slightly from 20kHz, to be barely below reference at 40kHz. At the opposite end of the audio spectrum, the RIAA response is only 3.2dB down at 5Hz. 

As for the low-frequency response of the IEC-RIAA equalisation, you can see that it’s only 3.33dB down at 18Hz yet is 20dB down at 10Hz, a very steep slope that’s actually 18dB/octave and will effectively reduce all unwanted noise, as the designers of this filter intended. The introduction of the filter means the frequency response is a little high between 30Hz and 100Hz but we’re only talking about a lift of mostly less than 1dB, so it’s not significant. 

Channel separation was spectacularly good, with Newport Test Labs measuring it as 98dB at 1kHz. Channel balance at this same frequency was equally spectacular, at 0.074dB. Inter-channel phase was merely ‘very good’, at 0.02° at 1kHz. 

All these figures are several orders of magnitude more than will ever be required to bring out the best in any phono cartridge, most of which, for example, have difficulty delivering channel separation of even 30dB at 1kHz and it usually diminishes to around 10dB at the frequency extremes. Likewise, few cartridges manage a channel balance of any better than 1dB between left and right channels, putting the M3x Vinyl’s 0.074dB result firmly into ‘overkill’ territory. 

Graph 3 shows the Musical Fidelity M3xVinyl’s THD+N for a 5mV 1kHz test signal, with gain set for 0dB, which results in an output voltage of 500mV. 

You can see there’s a tiny second harmonic distortion component at –112dB (0.00025%) and an even-tinier third harmonic component at –115dB (0.00017%). The noise floor is dominated by mains frequency noise (the peak visible at the extreme left of the graph, at around –72dB) but most of the circuit noise is more than 100dB down out to 4kHz, then more than 120dB down for higher frequencies. This is an exceptionally quiet phono stage. 

Graph 4 shows the result when Newport Test Labs input the same test signal but switched the M3x Vinyl to its +6dB gain setting. Mains noise has decreased a little, the second harmonic distortion has dropped below the noise floor which is at a level of –116dB at that frequency, and the 3rd harmonic remains at practically the same level it was for the 0dB gain setting. 

Graph 5 shows CCIF-IMD for 0dB gain. You can see there are sidebands either side of the two test signals, but they’re both more than 100dB down (0.001%). There is an unwanted difference signal generated down at 1kHz, sitting at around –73dB (0.02238%). 

Graph 6 again shows CCIF-IMD, but this time with the M3xVinyl’s gain set to +6dB. This time, there’s more of a difference between the two gain settings, as you can see. The level of the 18kHz and 20kHz sidebands has increased to –86dB (0.00501%) and –89dB (0.00354%) respectively and there are two further sidebands at 17kHz and 21kHz, both of which are sitting down at around –117dB (0.00014%). The level of the 1kHz difference signal has increased to –58dB (0.12589%). 

All the distortion results mentioned so far are excellent results, but if you were thinking that one or two might be a touch high, remember that even the very best phono cartridges produce second harmonic distortion levels of around –30dB (3.1%) and third harmonic levels of around –40dB (1.0%) so these would completely swamp any distortion introduced by the M3xVinyl. Overall THD+N for the Musical Fidelity M3x Vinyl was measured by Newport Test Labs at 0.07%, as shown in the tabulated test result chart below. 

As you can see from the chart showing the results of the measurements made by Newport Test Labs, the M3x Vinyl’s signal-to-noise ratio was measured as 85dB A-weighted for a 500mV output for the moving-magnet input, and 75dB A-weighted for the same output level for the moving-coil input. These are both rather less than claimed by Musical Fidelity, which was likely referencing its specifications to a higher output level. 

Input sensitivities and gain were exactly as per Musical Fidelity’s specification, with 5mV required in order to deliver 500mV at the output for the moving-magnet input, and 0.5mV for the same output voltage when using the moving-coil input when using the M3x Vinyl’s 0dB gain setting. 

Newport Test Labs measured the Musical Fidelity M3x Vinyl’s maximum output voltage (before clipping) at 10.5 volts, slightly higher than claimed by Musical Fidelity. 

Musical Fidelity’s M3xVinyl phono stage performed perfectly on Newport Test Labs’ test bench. It delivered superior results across all parameters that were measured, delivering performance far higher than will ever be required for any application for which it might be employed. 

So you’re lucky enough to have the space, money and marital understanding to set up a surround sound system at home. Fantastic news! But what about that hi-fi system you already own and love? Or what if hi-fi sound is just as important to you as those surround sound movies?

The truth is that, when it comes to two-channel music, even the best AV amplifiers can’t hold a candle to the vast majority of stereo amps. And that's why the general consensus has always been that you need to decide whether your priority is stereo or surround sound, and sacrifice one for better performance with the other.

But there is a way you can have your cake and eat it. It’s not particularly difficult either, though it can be expensive if you’re starting from scratch. Read on for full instructions and a list of the best kit for the job.

What you need

The principle here is that you have two systems that meet in the middle, but don’t overly impact one another. That means you need two amplifiers; one for surround sound and another for stereo.

The surround amplifier (or receiver) needs to have pre-outs for the front-left and front-right speakers that bypass the unit’s own power amplification and output an analogue signal to the stereo amp. Pre-outs are pretty common on AV amps above £500 (we’ve listed some current models below).

In theory, a system such as this can be set up with any stereo amp that has standard RCA inputs, but ideally you want one that has a dedicated input for the task – one that bypasses the unit’s own volume control and other equaliser functions. On many amps this will be labelled as an AV input, but some also use proprietary names for the feature – ‘Main In’ on Onkyo amps, for example, and ‘Power Amp Direct’ on Pioneers. On Musical Fidelity amps, such as the M2si pictured below, the appropriate input is labelled 'HT'.

Why is this feature useful? By bypassing the stereo amp’s own volume control the AV amp is in complete control of the volume and has more control over sonic character. All volume controls add a small amount of distortion and affect transparency, too, so removing one is almost always a good thing.

If you’re set on using an amp that doesn’t have a dedicated AV input, you can do so by setting the volume control at the same level whenever you want to use it in tandem with your surround amp. That’s a more fiddly and less precise way of doing things, but it works just fine.

Of course, you also need speakers. Here, it makes sense to choose a surround package that includes front-left and front-right speakers with proper hi-fi credentials. There’s no point in going down this route if you’re only intending to use small satellite speakers. We’ve recommended some suitable packages below.

How to set everything up

Once you’ve got your AV amp and stereo amp, wiring is pretty straightforward. Simply plug your front-left and front-right speakers into the terminals on the stereo amp, and all of the other speakers (centre, sub, surrounds and height speakers, if using) into the relevant terminals on the AV amp. Then use standard analogue interconnects to connect the front-left and front-right pre-outs of the AV amp to the AV input of the stereo amp.

Now you need to calibrate the speakers using the AV amp’s built-in, mic-driven set-up. In most cases, you’ll need to tell the AV amp the speaker configuration you’re using, whether that’s 5.1 or 7.1, or even 7.1.4 (for Dolby Atmos), but with many amps you won’t need to specify that you’re using the pre-outs at all. On some AV receivers, particularly higher-end ones, you’ll find an option called something like “amp assign”. Use this to tell the AV amp that you’re using an external amp to power the front two speakers. Consult the manual if you’re not sure.

Once done, you can begin the automatic speaker calibration as normal, checking that the test sounds are coming out of all speakers as expected, and that there are no error messages that might indicate a mistake in the wiring or amp assignment.

At the end, you should have a perfectly balanced, volume-matched surround sound system, just as you would if all of the speakers were connected directly to the AV receiver. Now connect all video sources (Blu-ray player, Sky, PS5, video streamer, etc) to the AV amplifier as normal, and all two-channel music sources (turntable, CD player, music streamer, etc) to the stereo amp.

The benefits

The major benefit here is a big one: because all two-channel sources are connected to the stereo amp, which exclusively powers the front-left and front-right speakers, they completely bypass the surround components. This is pure, unadulterated hi-fi, but you also have a full surround sound system for a properly cinematic experience.

Also, in some cases, by using an external amplifier for two of your speakers, your AV receiver’s own internal amplifiers can be directed to power other speakers, opening up the option for a surround system with more speakers. The Denon AVC-X4700H, for example, has nine built-in amplifiers (plus two subwoofer outputs), which you can deploy in a maximum 7.2.2 configuration. Take responsibility for powering the front-left and front-right speakers away from it, though, and it can use those two ‘spare’ amplifiers to add two further Atmos speakers in a 7.2.4 arrangement. Nice.

The drawbacks

One issue with a system such as this is that, while the auto calibration of an AV receiver is designed to balance the volume and tonality of different speakers in a surround package – and will apply the same principle to the speakers being powered by the stereo amp – there are limits to what’s possible and some of the stereo amp’s character is likely to come through.

This can result in slight sonic inconsistencies between the speakers running through the stereo amp and those that aren’t, which you might notice (particularly across the front three). However, this can be minimised with judicious system matching and, for many, any slight flaw here is more than made up for by the purity of the hi-fi experience.

The other drawback is price. Stereo amplifiers with dedicated AV inputs actually start at reasonable prices (Onkyo's A-9130 is just currently just £330, for example), but you’re still talking about paying that on top of the price of an AV receiver. Some may argue that if you’ve got, say, £1500 to spend on an audio system, you should get the best AV receiver or stereo amp you can afford, rather than compromise on both.

But there aren’t many AV amplifiers out there that do a really good job with stereo music. And a two-channel hi-fi obviously can’t do surround sound at all. That’s why this best of both worlds approach is so appealing.

Verdict

If you’ve got the money, appetite and a little bit of patience, building a system that includes both an AV amp and a stereo amp makes all sorts of sense.

Convinced? Below you’ll find a list of current products that offer the necessary features from some of the biggest manufacturers in hi-fi and home cinema. Good luck...

The kit list

AV amplifiers with pre-outs that can be used to connect a stereo amp:

• Denon: AVC-X3700H, AVC-X4700H, AVC-X6700H, AVC-X8500H, AVC-X8500HA, AVC-A110
• Marantz: NR1510, NR1710, SR5014, SR6014, SR7013, SR8012
• Onkyo: TX-NR696, TX-RZ740, TX-RZ1100, TX-RZ3100, TX-RZ3400
• Pioneer: VSX-LX504, SC-LX701
• Yamaha: RX-V685, RX-A880, RX-A1080, RX-A2080, RX-A3080, RX-V6A, RX-A2A, RX-A4A, RX-A6A, RX-A8A

Stereo amps with inputs that bypass volume control:

• Arcam: SA10, SA20 and SA30
• Audiolab: 6000A and 8300A
• Cyrus: All current pre-amps and integrated amps (most affordable integrated is Cyrus One)
• Denon: PMA-2500NE
• Marantz: PM8006, Model 30, PM-KI Ruby, PM-10, PM-12SE
• Moon: Entire current range of amps, which starts with the Moon 240i
• Musical Fidelity: All current pre-amps and integrated amps (eg. M2si)
• Naim: All current (and many recent) pre-amps and integrated amps (eg. Nait 5si)
• Onkyo: A-9130, A-9150
• Pioneer: A-30, A-40AE, A-50DA, A-70DA
• Rega: Elicit-R, Aethos, Osiris
• Roksan: K3
• Yamaha: A-S1200, A-S2200, A-S3200

All-in-one music systems with option to bypass volume control:

• Arcam: SA30
• Audiolab: 6000A Play
• NAD: Masters M10
• Naim: Uniti Atom, Uniti Star, Uniti Nova

Some recommended surround packages with hi-fi-quality front speakers:

• Dali Spektor 2 5.1
• Dali Oberon 5 5.1
• Elac Debut 2.0 5.1 Home Theatre System
• Fyne Audio F302 AV
• JBL HDI 5.1
• KEF Q350 AV 5.1
• Mission QX-2 Home Cinema Package
• Monitor Audio Silver 200 AV12
• PMC Twenty 23 5.1
• Q Acoustics 3010i 5.1 Cinema Pack
• Q Acoustics 3050i 5.1 Cinema Pack

Phono stages are an easily overlooked link in the analogue hi-fi chain. They are usually either a hidden module inside an integrated or pre-amplifier, or a small, plain box tucked away on the hi-fi rack.

But after the record player, we think this is arguably the next most critical component in the signal path. Anyone who doubts that should listen to Musical Fidelity’s new MX-VYNL against some of its rivals in a suitably talented system.

Suitably talented? This is not the kind of product that makes any sense if your turntable isn’t spot-on. You simply won’t hear just how good this unit is without a suitably detailed and transparent source.

We think the likes of VPI’s Prime record player (£4200) is a good starting point, but would be happy to keep on using the MX-VYNL with decks up to double that price. This little box really is that good.

Build and features

Take it out of the packaging and you’ll find the MX-VYNL is beautifully made. It feels solid and features a smartly machined front panel with positive-feeling controls.

As befits a product at this level, there is provision to alter cartridge loading to optimise performance. Rather than use a series of dipswitches, as many rivals do, Musical Fidelity has a rather elegant control dial to manage the switch between moving coil and moving magnet inputs and their different loading requirements.

There are five different capacitance settings for moving magnet and no less than nine impedance values for moving coil.

MORE: How to set up your turntable

There’s also added flexibility in the form of a gain switch that increases sensitivity for lower output cartridges (of either type), should you need it. You can also swap between RIAA and IEC equalisation curves from the front panel.

Short of having remote switching – as the pricier Cyrus Phono Signature has – this is about as convenient a phono stage as we have come across.

Take a look inside and you’ll find that this is a fully-balanced electronic design. On paper this promises low noise levels and improved dynamics.

Alongside a standard single-ended phono input – something that will be used by the vast majority of decks around – the MX-VYNL can also accept a balanced signal in the form of a mini XLR 5-pin connector. There’s a small sliding switch under the connections to flick between the two.

MORE: Cyrus Phono Signature review

You’ll also find both single-ended and balanced output options. Having had a play with both, we settle on the balanced XLR output, as it sounds bolder and more precise than the already capable single-ended alternative.

The MX-VYNL takes up the same amount of shelf space as an A5 sheet of paper and has a wall-wart power supply.

It’s always good practice to keep the sensitive circuitry of the phono stage, its mains lead and the cables from the record player away from any conductors or components carrying high currents. This avoids hum and other distortions spoiling the sound.

Sound

It doesn’t more than a few seconds of Into My Arms by Nick Cave And The Bad Seeds to recognise that this phono stage is a terrific performer.

It’s wonderfully transparent and detailed, digging up low-level instrumental strands and sonic textures with ease.

We love the way it handles vocals, delivering Cave’s distinctive voice with all the solidity, presence and emotion it deserves. There’s an appealing fluidity to the MX’s sound that makes most of the competition sound a little mechanical in comparison.

MORE: Best phono preamps 2018

While not necessarily matching the rhythmic cohesion of a rival like Rega’s similarly-priced Aria, this Musical Fidelity still manages to convey the gentle rhythmic momentum of this track well, and pulls ahead in outright transparency and detail resolution.

We love the solidity of the piano notes and the way this phono amp captures the leading edges and the trailing decay so well.

We try Beethoven’s Ninth Symphony and are pleased with the MX-VYNL’s ability to float an expansive and precise soundstage.

The scale of the sound is impressive as is the way the Musical Fidelity responds to large dynamic shifts. There’s plenty of control and composure here and it’s not bought at the expense of excitement or enthusiasm.

MORE: Rega Aria review

Tonally there’s suggestion of richness in the bass and a general sweetening of the presentation, but none of it is taken to excess and mostly it just makes the phono stage forgiving of harsh or aggressive recordings.

Worried that the MX-VYNL might try to sanitise recordings too much, we put on Nirvana’s Nevermind and breathe a sigh of relief.

Sure, the sound is a little more rounded than the Rega Aria might deliver, but there’s still plenty in the way of bite and attack. We revel in the Musical Fidelity’s articulate nature and its ability to combine attitude with refinement. It’s a superb balancing act.

MORE: How to build the perfect hi-fi system

Verdict

It’s been a while since we’ve heard a Musical Fidelity product as capable as this one. The MX-VYNL is superbly made, nice to use and sounds lovely. Provided the rest of your system is up to scratch, this is one you can buy with confidence.

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The Merlin digital amplifier and streamer features two 24-bit/192kHz DACs along with twin, "high-grade" amplifier modules. These modules run as separate monoblocs in an effort to keep noise and distortion levels to a minimum.

Peak power from the amp into the Merlin loudspeakers is 50W per channel.

An integrated headphone amplifier is also available, based on Musical Fidelity's own V90 HPA.

Inputs include phono, asynchronous USB, Bluetooth aptX and a line input: digital or analogue.

The system also boasts a built-in analogue-to-digital converter (ADC) and a configurable output: analogue or digital, fixed or variable. This allows the Merlin system to be directly connected to a computer so that any of its inputs can be ripped to the hard drive - including your vinyl. This output also allows users connect to a subwoofer or active loudspeakers.

For the Round Table turntable, Musical Fidelity has used a polished, high-carbon tool steel bearing for longevity and "friction free" performance. An inert chassis and suspension system along with a high-quality pick up arm has also been used.

Finally, the Merlin 1 loudspeakers benefit from the company's "diffraction multiplier" system. This is said to allow the relatively small speakers to deliver a "huge but accurate stereo soundstage."

The speakers feature a multi-stepped front baffle, rather than the traditional flat front. This method, combined with a single wide-dispersion Balanced Mode Radiator (BMR) driver in each speaker, aims to produce a "real hi-fi sound quality".

Customers are able to mix and match colour choices. The speakers are available in red, silver or black, the Round Table turntable in red or black, while the Merlin amplifier is available only in a black finish.

The Musical Fidelity Merlin 1 system will be available later this month (December) for £1300.

MORE: Read all our Musical Fidelity news and reviews

It’s hard to pigeonhole products such as the Musical Fidelity M1 SDAC. Yes, as the name implies it’s a digital-to-analogue converter, but there’s more here.

The Musical Fidelity M1 SDAC is also a forward-looking device that recognises the fact that smartphones and tablets are viable music sources and should be celebrated rather than ignored.

To that end, it accepts higher-quality aptX Bluetooth signals, and makes a serious attempt to make them as listenable as possible.

Not that traditional hi-fi areas are ignored: this gizmo will also accept analogue signals from two line-level sources, deliver sound to a pair of headphones and drive a power amplifier directly.

So, for those that feel the need to put this product into a specific category: the M1 SDAC is a DAC/Bluetooth receiver and decently equipped preamp. Not bad going for £800, if it sounds good.

Musical Fidelity M1 SDAC: Tech specs

This is a nicely built unit. It’s finished well and has a clear enough display. That large control knob on the front panel governs the volume levels and once pushed enables a change in input.

We’d have been happier if it was a speed-sensitive volume control, though; this one is a little too slow to track big changes.

As with most modern DACs, high-resolution music streams are on the menu. The optical input is limited to 24-bit/96kHz (typical for most such devices), but the USB, coaxial and AES/EBU inputs will accept full-fat 24-bit/192kHz signals.

Many Windows-based PCs won’t stream 192kHz music through their USB output as standard, so Musical Fidelity provides USB driver software for Windows Vista, XP and 7 to make it possible. Any recent Mac should just stream the highest resolution files without issue.

Musical Fidelity M1 SDAC: Sound quality

Once we wire our MacBook to the M1 SDAC we’re pleased with the results: the results are good and solid through its asynchronous USB input. (This type of connection puts the DAC in charge of information flow – an arrangement that usually leads to a better sound.)

Listen to Nick Cave’s The Lyre of Orpheus and this DAC is right at home. The Musical Fidelity’s open, expressive presentation works beautifully here, with the passionate vocal part chiming through with real clarity. It’s a composed and fluid, avoiding the clinical, sometimes mechanical edge that some digital equipment still imparts.

That lovely midrange is underpinned by a deep, powerful low-frequency performance that gives the music a really firm foundation. That bass is rarely overplayed though, and has the speed and tunefulness to keep up when necessary.

Have a listen to higher resolution recordings such as Kate Bush’s 50 words for Snow or the Rolling Stones’ Gimme Shelter and the good news continues. The Musical Fidelity is transparent enough to show the sonic gains made by the increased resolution, and sounds notably more fluid with material such as this.

Musical Fidelity M1 SDAC vs. Audiolab M-DAC

However, despite all the good things the M1 SDAC does it’s not the most rhythmic of devices. It’s good enough at defining the individual notes of The Dead Weather’s 60 Feet Tall, but can’t convey the momentum of the song or the sense of rhythmic interplay as well as the £600 Audiolab M-DAC.

This shortcoming is less apparent when listening through the M1 SDAC’s optical input. Compared with USB there’s a loss of sonic punch and solidity, but a touch more enthusiasm when it comes to conveying timing information.

The Audiolab is still better in this respect though, and adds a little more dynamic punch to the proceedings too. Using the coaxial input mirrors these results.

Musical Fidelity M1 SDAC: Bluetooth

Move to Bluetooth and we’re impressed. Pairing is as easy as we hoped it would be, and the sound quality is decent.

In absolute terms, recordings sound less transparent than the wired alternatives, but the presentation is still good enough to allow us to enjoy The XX’s Coexist.

The production may be sparse but there’s plenty going on here with the complex rhythmic interplay between instruments and the beautifully recorded vocals.

There’s a good amount of detail on offer too, and it hangs together well. Bluetooth, particularly in aptX form, is a feature we wish more specialist manufacturers would include.

Move on to analogue sources and the M1 SDAC disappoints just a little, sounding smaller and less transparent than we hoped.

There’s still evidence of good detail retrieval and a fine handling of dynamics, but it doesn’t quite hold our attention as well as we’d like.

We think the headphone output is a good one, though. It sounds solid, meaty and in control and there’s a degree of stability and composure here that’s mighty pleasing.

Musical Fidelity S1 DAC: Verdict

There’s no denying that the M1 SDAC is a useful box. It’s thoughtfully conceived, and we’re particular fans of the Bluetooth capability (and detachable aerial).

It’s up against some mighty rivals though: Audiolab’s M-DAC might be a few years old now, but it’s cheaper at £600 and we think it delivers a more involving sound.

The Musical Fidelity counters with a more full-bodied sonic presentation, however, not to mention a more comprehensive specification that includes Bluetooth and analogue inputs. Overall, it’s well worth a look.

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On the way from Musical Fidelity is a new monobloc power amplifier based on the DNA of the company's outrageous £20,000 Titan amp, but in a somewhat more room- and wallet-friendly form.

Delivering 700W per channel into 8ohms, and 1300W into 4ohms, the M8-700 will sell for around £8000/pr when it goes on sale in March, and is said to deliver almost all the power of the Titan while having what the company calls 'a less challenging visual'.

(Just for reference, here's a reminder of that 'challenging visual'.)

Musical Fidelity's Antony Michaelson says that, while the Titan has been acclaimed by reviewers, '[it] is very large and very expensive. The size and price are a function of its massive power and amazing design and finish, but they can be a problem.'

Hence the M8-700, which has 'about 1.25 dB less power. Otherwise it is pure Titan'. The company claims extremely low distortion, at 0.001% at 1kHz, and still below 0.005% at 20kHz, while 'the distortion at 50 kHz (a ridiculous and unreasonable measurement, but revealing of the total amplifier performance nonetheless) is 0.02%.

'At 100 kHz, it is about 0.06%. These extraordinary measurements, and the extremely low high-frequency distortion, are highly significant sonically.'

The amplifier uses fully balanced circuitry, with both XLR and single-ended inputs and 'daisy-chain' outputs – should you fancy using a pair of them to biamp suitable speakers! –, and has two sets of speaker terminals to simplify biwiring.

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