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The High Fidelity (basics) Audio Player aims to be a fast, simple java based alternative to Itunes. It has a similar interface and plays mp3, ogg, aac, mp4a audio files. Currently it is only tested on windows, but support for linux and OS X is.
What the extra heft on offer really means though is that the M2si can handle speakers that I’d be reluctant to suggest using with many similarly priced rivals. In the case of many of them, it leads to the same price disparity that I think is fairly unlikely in the context of most systems but in one specific instance, I think it has definite merit. The recently reviewed KEF LS50 Meta impressed in pretty much every aspect bar the demands it places on partnering equipment. Here is perhaps the most cost effective amp I’ve tested that can nullify that issue. As the KEFs have long since departed for another review, I dug my Acoustic Energy AE1 Classics out because they exhibit some of the same demands. The performance that the M2si extracted from them - again by driving them not powering them - was sufficient to suggest that the hypothesis has worth.
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And while there’s certainly nothing wrong with having a DAC or phono stage built into your integrated amp, chances are it will be easily bettered by an off-board unit. So it makes sense to put the money into the parts that you’ll actually use. Perhaps the only missing feature I would have liked to have seen is a headphone socket. Even if it didn’t have a dedicated amp, feeding a headphone jack from the power amp with a couple of dropping resistors costs very little. Thankfully the tape outputs can be used to feed an external headphone amp, and are a welcome inclusion in an age where many integrated amps are dropping line-level outputs entirely.
The A3/2's exemplary midrange performance combined with superb and continuous low-level dynamics to make it an excellent match for singer-songwriters. On "Hey, Sweet Man," from Madeline Peyroux's Dreamland (CD, Atlantic 82946-2), the vocalist's naturally breathy presence was perfectly captured with all subtle dynamic nuances intact, as was Marc Ribot's quirky dobro accompaniment.
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Let’s crunch a few numbers first to remind ourselves of the additional costs of what Musical Fidelity is incurring with their back to basics approach. Compared to the Leak Stereo 130, which is a laptop or even a NAS drive away from being a complete system, the M2si needs to be a proportionately smaller part of your budget for the same to apply. Add £100 to your budget and the Audiolab 6000A Play is ready to come out the box needing no source equipment at all to work. Your friendly reminder that both of these amps are seriously good as well.
Compared to some of the other models available for this price, it can seem absurdly minimalist, lacking many of the features we are coming to expect on stereo integrated designs. Against this, what you are offered in return is a power figure that seems utterly ridiculous for home use. In a world outside of playground Top Trumps, it seems like a blow dealt for nothing. That the new owners of Musical Fidelity have decided to resurrect it seems even more peculiar.
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The packaging is lavish and certainly gives a great impression with thick foam inserts supporting the amp which is covered by a drawstring felt bag. Included are an IEC cable, remote, documentation and cotton gloves to avoid leaving prints on the finish during installation. Though it has to be said that the paint finish of this casework should certainly be more durable than most.
Given that it costs £1,000 more than the rather better equipped M6si, this can seem a little parsimonious. The reason for this disparity is simple though, the M6 500i is a lot more amplifier (https://yacsssdm.ru/hack/?patch=8167). By way of hurried reference, the M6si is no shrinking violet in this regard. It will deliver a healthy 220 watts into 8 ohms which is pretty powerful by most normal standards. The M6 power amplifier will give you even more - 230 watts into the same 8 ohm load. The M6 500i makes them look a bit feeble though because it disposes of no less than 500 watts into an 8 ohm load.
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I try to stay above the idea that audio equipment has any gender focus to it but there’s little arguing that the M6 500i conveys a fairly masculine aesthetic. It is well made too, the volume control has a lovely heft to it and it feels immensely solid. The Pro-Ject takeover hasn’t resulted in the factory where the Musical Fidelity is built being changed and this one feels every bit as hefty as the sample I spent some time with in 2021. Only the remote lets the side down a little. It is also unchanged and feels a little lightweight and confusingly laid out.
The internal layout of the M8Xi is similar to the ‘smaller’ M6 500i. Internally, it is effectively two monoblocks and a preamp amp; all separately powered and given their own board space. The bottom of the internal space has a pair of toroids for the power amps which are placed vertically on the sides of the chassis backing on to the heatsinks. The preamp is class A biased and, like the M6 500i, uses a rotary encoder rather than a conventional pot to get the power down. This means that the M8xi has much more than a single rotation to go from mute to full which - when you consider the power available - is beneficial.
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Input switching is solid-state and thus totally silent. The volume is muted during the fraction of a second that it takes for the inputs to switch, and ramped quickly up to the previous state. This is a nice attention to detail which is barely noticeable but prevents sudden and potentially damaging noises if you’re switching between active sources at high volume. There is some low-level crosstalk between inputs with active sources, but it’s noticeable only at high volume.
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You can recognise all the components you would in a more conventionally rated amplifier but they’re all quite a bit bigger. Testimony to the materials used is that the Musical Fidelity tips the scales at 30kg which when taken against the size of the chassis gives it the density of a neutron star.
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With a very forward speaker, this might be an issue for the most part, it feels really well judged. The stunningly bleak Nocturnal Sunshine by the band of the same name is given a slightly human quality that really helps the level of listener engagement without drastically altering the tonal balance. This is helped once again by the power output. All too often I write something like ‘pushed hard, it hardens up’ but the reality of life with 500 watts at your disposal is that pushing the M6 500i hard enough to see that happen is going to need an enormous room, a very hefty pair of speakers indeed and no neighbours.
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Though weighing only 9/2KG the M2si certainly is a hefty thing and is of an all-metal construction with a wrap-around top panel hiding unsightly fasteners beneath. Both components are available in black or silver finishes. The front fascia has a slight bevel running along the top and bottom and is dominated by the large metal volume knob and neat rows of buttons for inputs and power. That’s it. There are no tone or balance controls; a few blue LEDs are all you get for a display. Around back are a pair of speaker terminals comprising 4 mm binding posts, able to accept banana plugs, bare wire or spades. The six inputs are on unbalanced RCA jacks, with with a switch accompanying the AUX1 input to toggle the HT function.
Low end aside, the sound remains pleasingly neutral across the frequency spectrum with a slight tuning towards pace and excitement rather than absolute accuracy. The sound you’ll get from the M2si depends largely on your speakers and room, rather than the character of the amp itself. There’s plenty of detail and noise levels are low, with background noise only becoming evident at the top of the volume scale which it is highly unlikely you will ever reach. Detail is excellent at the top end and through the mids, and respectable at the low end though it does become a bit vague and blurred especially if you’re pushing larger drivers.
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All three were outstanding performers; preferring one over the others will ultimately be a function of the user's listening biases, musical tastes, and associated gear. In my view, each of the three outperformed any integrated amplifier I heard that was on the market five years ago, regardless of price.
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This is an urgent little speaker, demanding on amps and prone to sounding edgy if they aren’t up to the job. Connected to the M6 500i, they are able to deliver their speed and sheer musical joy but the forwardness is gone from the mix. They slam through Feral Roots by Rival Sons with everything I love about them clear as day but pretty much all their downsides nullified.
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This begs the same question as before; why? The philosophy behind this enormous power output lies in the idea of dynamic peaks. For the majority of time an amp is playing into a pair of speakers under normal domestic listening conditions, the power required for playback is not high. There are dynamic points in the music though that will make spontaneous demands for more amplifier power. The argument with these Musical Fidelity (https://yacsssdm.ru/hack/?patch=7771) designs is not that you’ll be routinely chucking 550 watts at your speakers but that, when these peaks appear, the power in reserve and ready to go just like that is beyond any realistic requirements the music might have, which ensures you are adequately covered off.
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The tape input is not a traditional tape monitor function, rather an input like any other which just happens to have an associated line-level output. It’s still a welcome feature to find on a modern integrated, many of which are sadly omitting line-level outputs. Power is via a standard C13 IEC socket.
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On "Ordinary Love," from Sade's Love Deluxe (CD, Epic 53178), the bass synthesizer runs were a bit fat and rounded, and the slightly relaxed quality of the guitar and drum-machine rimshots combined in a presentation that was slightly less than punchy. However, on "Feel No Pain," from the same album, the synths and drum machines were programmed to different patches—the A3/2 delivered this tune in a manner driving, energetic, and dramatic.
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In delivering the bass with a consistent assurance, the M2si uses it as a foundation for its other good work. In some regards, the most impressive aspect of what it does is how often the same notes and descriptive phrases also occur in the notes for the M8xi. This is never going to feel as utterly composed as its monstrous big brother but there is the same sense of unburstable power in reserve that lends the presentation a composure that is sometimes absent elsewhere. It isn’t that its rivals lack composure so much as the M2si just has more of it.
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I’ve thoroughly enjoyed spending time with this Musical Fidelity (https://yacsssdm.ru/hack/?patch=4264) pairing. The M2si is a fine demonstration of what a reformed brand can produce from the get-go. Modern manufacturing, fresh engineering expertise and no doubt some considerable investment have produced a fine pairing indeed.
These comprise the M6si integrated amplifier and an M6 Pre and power amp as well as a CD player and standalone DAC. The most notable thing that you will note when looking at the amplifier (have a peek at these guys) specifications between the M6si and M6 Pre and then the M6 500i is that they don’t make a huge amount of sense on paper. For £2,499, the M6 Si has a phono stage that supports moving magnet and moving coil phono cartridges and a USB input that can handle digital files up to 24/96. The Preamp is similarly equipped.
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There’s a degree of timelessness to it as well that it that might be useful in the years to come. This isn’t an achingly fashionable design right ‘now’ but this does mean that it’s unlikely to be achingly unfashionable in the years to come too. Finally, and no less importantly, the M2si is very well made. There’s enough care and attention combined with quality of materials used to ensure that you can feel some appreciation of where your money has gone.
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The audio signal path remains entirely analogue through the volume control which uses a laser trimmed attenuator, essentially a very fancy controller incorporating high precision SMD resistors laser trimmed to extraordinarily high tolerances, resulting in a stepped attenuator with superb tracking and channel balance but also low noise and distortion. A variable gain control block varies the gain based on a control voltage, giving a logarithmic volume control with excellent performance and load driving ability at any volume level.