The volume control and its LED readout sit above the long
row of front mounted input buttons. The large knob controls a laser-trimmed
resistive (analogue) attenuator with 0.5dB increments. Rather scarily, the knob
must be rotated quite a few times before the display reads around 60 or more
and playback reaches a usable level. The first time, I thought the amp was not
working and I was nervous of what seemed like a high setting, but one soon gets
used to it. At least one can turn the volume way down for late night listening
without suddenly losing channel balance, which can happen with some old-style
analogue potentiometers. A remote handset provides mastery over playback volume
(including Mute) and also controls a Musical Fidelity CD player should you need
one. The M8 PRE and M8-500s power amplifier are priced at close on $13,300 for
the combination and, while that is a lot of money, I must say they really are
very nicely put together.
The M8 PRE and
M8-500s power amplifier combination
For listening, I wired the Musical Fidelit y pre and power
up to a Musical Fidelity V90 DAC fed via my Lenovo laptop with J. River Media
Center 19. Further listening was carried out later on with vinyl replay using a
Townshend Rock 7 with Origin Live Conqueror arm and Aladdin moving magnet
cartridge.
Via the laptop, the sound quality of this preamp/power amp
combo came across very much as I hoped and anticipated. The perceived
transparency clarity and control were extremely impressive and music was
delivered with a level of control and sure-footedness that is unusual.
Initially, I wondered whether the delivery was just a fraction cold, dry or
clinical, but, by virtue of the units warming up and running in, and trying many
tracks and pieces of music, I realised that this pre/power combination, once
run in and warmed up, is simply truthful. It merely transfers the source
material as-is. It does not appear to add any character of its own – or if it
does, it is vanishingly small.
It may sound like a cliché, but the M8 PRE and M8-500s sets
the music free to speak for itself. One can try and coin phases such as depth,
transparency, stereo imagery, control, smoothness, dynamics, precision,
crispness, attack, and drama, but they cannot attempt to convey the way music
seems to emerge effortlessly from a stable and silent background, without the
clutter of extraneous stuff that can confuse the ears and brain.
The M8 PRE Preamp
rear view
Yes, the amplifier is very powerful – more than enough for
most mortals – and bass is clean and tuneful, giving real power and depth when
required, but it is the amplifier’s ability to simply go with the flow that is
most impressive.
At the other end of the spectrum, cymbals and high hats are
crisp and dynamic, even on some old analogue recordings, where one might expect
something more muted, and massed or solo strings are sweet or ‘stringy’ as
recorded.
I played Kodaly’s Dances of Galenta [Linn Records/Scottish
Symphony Orchestra]. This CD layer rip may not quite match the sense of
occasion and space of the SACD recording from which it is derived, but Musical
Fidelit y’s rendition of it preserved the lush, expansive, sweet string sound
of the original. Reproduction was never harsh, but very transparent and
enjoyable. Playing Courtney Pine’s ‘Get Busy’ from his CD Closer To Home
[Island] highlighted the well-paced bass delivery of the Musical Fidelit y pre
and power combo, with the deep powerful driving bass rhythms on this track
conveyed brilliantly, while the rich reedy sound of his saxophone sat well in
the mix, together with studio-added reverberation.
M8 PRE Preamp and
remote control
However, don’t expect this Musical Fidelity pair to paper
over the cracks and smooth out rough old recordings, as if viewed by a soft
focus lens. This is no valve amp clone. If there is an artificial edge, or
roughness in the recording, it will be clear – just as surely as some subtle
hints of reverberation or layers in a mix, or noises you never heard so clearly
before. This combo will reproduce all and, of course, it is not always nice.
Honest, yes; euphonic, no. For example, Joni Mitchell’s LP Blue [Reprise],
recorded with the intention of capturing a raw edge: it still has it even in
the re-mastered version which I ripped to hard disc. Yes, it still sounds raw,
but the Musical Fidelity is honest to it – still a great classic album
nonetheless.
