When you look at the famous MMF 2.2 ($300 in black) at Musical Hall, it is easy to wonder how Thomas Edison, the inventor of the phonographer, behaved himself in 1877. He does not understand this immediately, of course. But we think he was shocked to discover that his invention of innovation has improved too little over these decades. Sure! There were lots of innovation, but the principle of the sound production from groves is still at the very heart of mediums (Wax cylinders giving way to shellac, then vinyl, for starters). Likewise, Johannes Brahms, one of the first men to speak about Edison's amazing new gizmo, will be shocked to hear that his violin concerto in D major, Op.77, is one of the classical repertoire's most widely played and recorded works – and still is so popular on disks? We will never know. We will never know. But what we know is that Edison has not only survived the revolution, but is also becoming increasingly famous. In the meantime, a raft of outstanding record-playing devices was placed on the market, and the Music Hall 2.2 offered an excellent example of this, certainly one of the finest input plates. We will tell you why and compare 2.2 with the offerings of rival manufacturers and with higher-end versions in the rising Music Hall line. Why The Hall of Music MMF 2.2?This is a lovely forum. Okay, we are glad to admit that the eye has elegance in it, but this turntable is very similar to some females, the kind that manages to quiet a room and look beautifully elegant without any pretension, coated in sumptuous black gloss (or red or white). The cartridge (music hall magic or tracker made from Goldring) is ordinary. This isn't complicated. This record player can not be placed into the 'Plug and Play' list, but only the tormenting and most incompetent among us are needed for the few important assembly steps and adaptations. It has vibration-damping feet that are flexible. If it doesn't seem like a largegie to be "adjustable," it can happen that your stand or shelf is not completely flat. It's a computer too good to try to fit books. A rotary plate must be perfect, time or interruption. It has a separately separated asynchronous engine and an alu-tone-shaped tonearm with a one-piece aluminum alloy and a solid MDF base for the wincher of us. The purpose of all is to make the music your only sound, and to ensure that all grooves can be plotted without mistake or distortion, especially in the sometimes distracting "interior grooves." Fundamentals and setupThe MMF 2.2 is a manual, belt-drive turntable that is completely manual – no automatic start-and-stop here. It does not have bells and whistles like 78s. It has no preamp, so you can't connect it to a computer. And while several turntables are primed for rolling out of the box, here it is important to assemble and tweak. The belt should be twisted around a squash and the boundary of the subplatform and the road transport screws should be cut. The board will be placed on top of the spindle, the counterweight attached to the tonearm, the tracking force set for the cartridge (the board is already assembled and the weight of the antiskate set. In its hinges, the customer also must swip the potato mask. All this is explained in depth in the turntable manual and training videos are available online. It's not hard, as we have said previously, so you can't mess too much. You'll know when the first record is spinned whether the stylus or anti-stylus power is wrong. In this respect, you can not be interested in choosing your desired (or pristine) album to play right off the chute — juste if your turntable settings are set correctly initially. CompetentThe turntables of Music Hall have been designed in the United States, but are made in the Czechoslovakian Republic as are those of another famous Austrian manufacturer, Pro-Ject. Debut III ($300) for Pro-JectThis clearly aims to contend head to head with the 2.2 and is a major seller, a common item among new vinylphiles. In gloss black, at least external (there is parts-sharing here) it is impossible to discern between 2.2 and 2.2. This comes with an OM-5e cartouche of Ortofon, a minor step up from the 2.2's cartouche, but most listeners do not note any big change. Pro-Ject is all well known, robust yet lightweight tonearm of carbon; again, at the present price point there would be no noticeable difference. Carbon DC ($400): pro ject debut:The perfect Ortofon 2 M Red stock cartouche comes with this. This reflects the price gap, along with any minor variation in materials and style. This Ortofon can gain more detail from recordings and the recordings sound weighter with deeper bass and with more variations in the high end of the harmonic spectrum, depending on corresponding components such as the amplifier and preamp. It's a heavy computer as well; if you like a more comfortable seat. Your 5.1 ($875) and 7.1 ($1 495) music hall is dance:These two are substantially more valuable, incorporating truly quality cartridges, a double plinth and more. Again, the law of diminished returns can easily be extended to the "normal" vinyl fan here. Without a high-quality amplifiers and/or pre-amplifiers (and speakers), you won't find a hundreds of dollars of difference in the sound of a album. Recall even this: more information can even mean that vinyl itself has defects, not just the music that wasn't shot very skilfully in the first place is imperdinate. RP1 ($445) RP1The Rega RP1, a common turntable from the British manufacturer, is closer to 2.2's price point (but very similar in looks again). It features an incredibly fine Rega cartouche and the well-known tonearm RB101. The two turntables have many parallels, but one exception. If configuration is a problem, it is important to make small changes to the Rega cartridge in a Rega weapon. The Test with AcidWe put Brahms in the photo at the beginning and then linked with a rather collectable recording of his concerto. We provide the LP with a mega audio CD (SACD) version of the same material (though with different packaging). Which gave us the opportunity to test the A-B recording on the MMF and the compact disk. Why this record in particular? Since recording and mastering processes emerged in 1963 as an art medium, and particular records at the time were practically treated as representing the state of the art of record making. It is one of them from what others remember as a golden age. It's a splendid portrayal of a great soloist and orchestral singer with a good stereo separation. If the record is played correctly, it is simple to decide the position of the players, both from left to right and from front to back. It's a great 'check' album, too. (Naturally, Heifetz is very straightforward and smoke-filled in the middle of things.) Quite early in the outset, a rapid and often surprising BOMP ba BOM is heard in the bass violins, an outstanding example of how a device treats a diverse music range (which indicates the difference between the loudest and quieter passages). The MMF has sparklingly treated and conducted the concerto's often jarringly complex repertoire effortlessly and without any sweat. Has this song been listening to like a full orchestra in the living room? We pray not, Jeez! Jeez! Yet with eyes closed, in a nice 10th-row seat at the symphony one could possibly see himself. In addition to providing surround sound, SACD was (unfortunately) advertised as something similar to insulation and the disk and LP sounded very comparable (unfortunately not as well). But the MMF made the Brahms a more vibrant and much weightier way amid a smidge of surface noise and Heifetz's fiddle sounded palpably genuine, particularly in the brilliant and challenging initial movements. The record player behaved beautifully, did not draw interest at all and was in no way upset. This reliably played music and with an aplomb run. Read More: Audio-Technica AT-LPW40WN Review VerdictAll who are searching for a new player in the MMF 2.2 price chain (perhaps their first true Hi-Fi plates) are incredibly fortunate to find rich players. Every penny, or more, is worth all the record players listed here.
But the MMF 2.2 alone is an outstanding, effective, silent device, which reproduces the music that it sounds beautifully. Unless you like amazing lookings, exotic styles and mystical emotions (including each of these qualities, along with the headaches), please styl elsewhere. But for $300, the appetite for your albums – and your ears – becomes tougher to conceive.
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