[gbeard]

Hi all,

Interesting thread. I'll weigh in on what little I know.

I had a MMF-5 here at my house for a month or so, breaking it in for a dealer. It was so much better than my old Technics it wasn't even funny. I was using a Creek OBH-8-SE phono stage. To me the sound was very CD-like (in the good way), extended treble and solid bass. I never could get it set up right though, and it really sounded bad on slightly damaged vinyl. In fairness, I am sure set-up was the issue, but I had to send it back before I got it right.

Subsequently, I purchased a used MMF-7. It has a warm and inviting sound. It is not quite as extended and detailed as the 5, but in my opinion, it bested the 5 by a wide margin in the all important enjoyment factor. I will say that some of that enjoyment may come from what I feel is the greatest bargain I have ever enjoyed in audio--the George Wright WPP100C phono stage. It is truly wonderful.

I have no opinion on the Scout, unfortunately for me I've never heard one. My dealer-bud has Kuzma tables, and I have heard the Stogi-S with a Glider, and it is head and shoulders above the MMF tables. It is quite a bit more expensive though.

One thing I think most of us can agree on--VINYL SOUNDS GREAT!

Just my stock portfolio ($.02)

Gary

 

[Zanth]

Oh...right right....sorry about the yidimsum..I actually do read what you write to me. I just had a brain fart or something.

 

[zowie]

Quote:

Originally posted by sberger and be aware that vinyl really isn't for everybody.

I don't agree at all. It may not be the preferable choice for some today, but vinyl was for everybody for decades, from preschool children to the most committed audiophiles. Almost every home in America had a record player.

 

[sberger]

Quote:

Originally posted by zowie I don't agree at all. It may not be the preferable choice for some today, but vinyl was for everybody for decades, from preschool children to the most committed audiophiles. Almost every home in America had a record player.

the key comment is "it may not be the preferable choice for some today". for all the reasons, and more, that i mentioned. frankly, i think most of those getting into vinyl these days are older, more patient, and understanding of requirements to do it right. i hear from enough music fanatics that the big reason they don't want to get back to vinyl is because of the noise, and the hassle. and whom am i to argue? you either get it, or you don't. and those that do are the benefactors of a truly fabulous audio medium.

 

[Tuberoller]

Hey Guys,

I love these discussions.I know we sometimes give one another **** about our gear or the vinyl hobby in general but I'm really glad to see so many of us involved in this hobby.I love my records and vinyl will ALWAYS be my preffered medium.I realize that it's not for everyone.I don't think I would want to see Joe Blow get back into vinyl.Right now it's guys like you and I who drive the hobby to new heights of excellence in terms of the quality of gear and music.If the average consumer were to find his way to this market I think we would see a new round of mediocrity.While I think analog is the domain of the audio enthusiast I also have to thank DJ's for keeping the records spinning.I never left analog but many of us did.It was the DJs who kept the pressing plants going until we came around.

 

[Hirsch]

I largely stopped listening to vinyl for awhile, as time pressures were great, and as I listened to music in other environments, I have yet to discover a truly good portable turntable

That said, I bought the Scout to give me the level of sound I wanted to bring me back into vinyl (my collection remains intact). So far, it's working. Although digital sound has gotten very good, it just doesn't have the magic that an analog setup can produce.

Although I've commented in another thread about how close an mp3 system came to the vinyl setup, for me, that extra 5-10% of performance is where the line between getting lost in the music and feeling just a little something is missing lies. If I'm on the wrong side of that line, a system becomes less satisfactory the longer I have to listen to it.

 

[FCJ]

Quote:

Originally posted by Hirsch Although digital sound has gotten very good, it just doesn't have the magic that an analog setup can produce.

I still laugh when I hear all the hoopla behind SACDs, and how they approximate the sound of vinyl. This is progress? We've had these benefits for at least 50 years. . . .

Anyway, digital can't touch analog in, to my ears, in soundstage, depth, and overall "realistic" presence. I was out of vinyl for a while, but I've come back over the past year. I have found a number of LPs that have never (and most likely will never) be released on CD, plus I find vinyl a great way to sample music that I would have never purchased on CD (opera, for example).

 

[zowie]

Quote:

Originally posted by Hirsch I largely stopped listening to vinyl for awhile, as time pressures were great, and as I listened to music in other environments, I have yet to discover a truly good portable turntable

Ha!

Have you tried a Sound Burger? If I ever get my hands on one, I'd like to see how it sounds with an upgraded cartridge and a tonearm wrap. Bet it can beat most PDCPs. It has line out.

EDIT: I see there was previously a Sound Burger thead.

 

[msjjr]

If one were to get the Scout, what would be the ideal cartridge and phono stage?

Thanks.

 

[Zanth]

It seems the perfect combo of the moment is the JMW-9 arm with the Dynavector 10x4. Phonos are up in the air although good things have been said about the Rogue Magnum 66 SS or tube phono...the EAR 834P with Mazda tubes (French made) and a myriad of other phonos...even including the new Grado PH-1. This seems to e a killer combo and from all that I keep reading and hearing from people who have this combo...it leaves one listening rather than thinking about their next TT upgrade.

 

[Hirsch]

I use a Dynavector 10x Gold L, but would be shocked if this was THE cartridge. For the top, you need to go to the $1000+ (sometimes ++++++++++) cartridges, and also phono stages. A lot depends on what you're trying to accomplish within a given budget. I'm not a good source for info on current high end cartridges...too long since I've listened to the top of the vinyl heap.

 

[sberger]

Quote:

Originally posted by Zanth ...even including the new Grado PH-1. This seems to e a killer combo and from all that I keep reading and hearing from people who have this combo...it leaves one listening rather than thinking about their next TT upgrade.

im currently using the grado ph-1 with my mmf-7/benz glider combo. i had been using the phonemena, which offers a ton of flexiblility for loading. but decided on a whim to retry the grado after getting the benz, and im shocked at how warm and open it is compared to the phonomena...really a great stage, and used can probably be had for less than $500.

 

[drewski]

I currently use the Clearaudio Virtuoso wood with my scout. I know that MC's are supposed to be the way to go for high end, but this cartridge was recommended to me by several people- and I'm not disappointed at all! It's warm and detailed at the same time, handles transients effortlessly, and images like there's no tomorrow!

As for phono stages, I'm trying out some different phono stages with it, all solid state- the Acoustech PH-1, the Black Cube with PWX power supply, and a Musical Fidelity XLPS. The surprise of this test was the XLPS- I owned it, but never thought much of it until I had to compare with the Black Cube and the Acoustech- to my surprise, it actually compares well with the other two. In my short preview of the three, the Acoustech is the most dyanamic of the three, and is also the most neutral. The Black cube is the warmest sounding of the three and has more bottom end than the other two. The M.F. XLPS has the widest soundstage of the three, not as warm as the black cube, but a decent phono stage for $300!

I haven't had time to do a whole lot of listening lately, but from what I've heard so far, I could easily live with any of the three. I had borrowed a Audible Illusions M3A for a few days, but only had a few hours to listen to it. It sounded decent as well. I'm also supposed to borrow a Grado Ph-1, but Grado seems to be slow shipping out here these days! I'm not happy that I have to buy and sell phono stages to compare, but that seems to be the only way to be able to really determine what works best with my cartridge, interconnects, etc., etc.

Just for reference, I listen to mostly jazz (both instrumental and vocals), and some orchestral music.

 

[Zanth]

I'd be interested in some indepth comments concerning the Grado PH-1. It is rather inexpensive, small footprint and those are two keys for me. I want something that sounds really good but for not too much money. I mean...the EAR with those Mazda tubes would be nice...but so much money to shell out right away.

 

[sberger]

Quote:

Originally posted by Zanth I'd be interested in some indepth comments concerning the Grado PH-1. It is rather inexpensive, small footprint and those are two keys for me. I want something that sounds really good but for not too much money. I mean...the EAR with those Mazda tubes would be nice...but so much money to shell out right away.

as i said above, im very impressed with the ph-1. and if you go to gradolabs.com, you can see a few recent reviews. in particular is a review from this months "the absolute sound". here is a part of it...

Most outboard phono stages are sensitive to placement, and the Grado did hum ever so slightly until relocated well away from associated power supply transformers and system cables. Otherwise the PH-1 requires no special install considerations Which is a very good thing, because this is a very good phono preamplifier. Its sound is open, airy, and easy, with a large, expansive presentation. It can be delicate when required, and yet can scream with the loudest rock playback-check out Stevie Ray’s Voodoo Chile (Slight Return)” and Tin Pan Alley’ from Couldn't Stand The Weather (Epic). The PH-1 shares many attributes with the Statement Sonata; It’s holographic, laying out a convincing soundstage in all directions, including height (as heard in the Shostakovich No. 15); its warm, but not unnaturally so; and it brings a lovely quality to lower octaves, rendering them with texture, tonal refinement, and, when asked for, power.