Phono Preamplifiers

Operationally the Nu-Vista Vinyl 2 is an absolute pleasure and MF's florid description of the unit's build quality as 'heroic' actually seems quite reasonable. It is supplied with both spiked feet (with surface-protecting 'cups') and flat feet with stick-on protection pads. A screwdriver, a set of self-adhesive pads for the remote, and even a pair of gloves are also included. These are all thoughtful touches.

Vinyl Smiles
With my Michell Gyro SE/SME V/Ortofon Cadenza Black connected to the XLR inputs and the output XLRs into my regular Yamaha C/M-5000 amplifiers, the Nu-Vista Vinyl 2 quickly established itself as one of those designs that brings a smile to your face while setting your feet a-tapping. That said, it only hits its stride after being on for about 20 minutes or so, which is actually about when the nuvistor illumination changes from yellow to blue to confirm the devices have reached thermal equilibrium.

In practice, this phono stage's sound is as substantial as its appearance suggests although, thankfully, a lot less metallic. It has a confidence and eagerness about its music-making, willing you to drop that stylus into the groove and get going. I've often found Musical Fidelity's designs to have an alluring sense of gusto about them, and this unit upholds the tradition.

A good portion of this is accounted for by the fact the Nu-Vista Vinyl 2 has a seriously impressive low end. Bass lines were tight and deep, with a superb amount of detail at all times. The bass guitar backing Sade on 'Why Can't We Live Together?' from her Diamond Life album [Epic Records EPC26044] was solid, vibrant and magnificently 'chewy'. This – coupled with the sharp, snappy percussion – drove the track along with real enthusiasm and pitch-perfect timing.

Digging Deep
At the other end of the spectrum the Nu-Vista Vinyl 2's top-end was delightful. Crisp, clean, open and precise, it missed nothing and brought a level of insight into performances that could be quite eye-opening at times. Michael Hedges' guitar work on 'Because It's There' [Live On The Double Planet; Windham Hill 37 1066-1] had me listening in awe as he strutted his stuff, with the Nu-Vista Vinyl 2 capturing every single pluck, scrape and twang with ease. Guitar strings seemed to be shimmering in the air right in front of me, and the impact of him using the instrument's body as percussion had me jumping in my seat. The Nu-Vista Vinyl 2 has abilities in terms of dynamics that are a rarity, even at this not inconsiderable price.

The open-sounding nature of Musical Fidelity's premier phono stage also made it easy to hear the differences between changes in load settings. It may seem odd, but I have encountered lesser units where switching between different MM capacitances, for example, can have you tying yourself in knots wondering if you're actually hearing any difference to the sound. With an Ortofon 2M Black MM [HFN Mar '11], the Nu-Vista Vinyl 2 made even the most subtle of changes obvious. It therefore becomes easy to really get the best from your chosen cartridge.

That's The Spirit
If I'm giving the impression the Nu-Vista Vinyl 2 is only fit for ebullient, big material, then rest assured this is not the case. Singer/guitarist Eric Bibb's 'Needed Time', from his Spirit And The Blues release [Opus 3 LP19401], brought the tempo and dynamics down, but the instrument and vocal detail remained exquisite. Bibbs' voice was smooth, passionate and soulful, and locked in a deep, wide space between my loudspeakers. Backing instruments and percussion kept their distance by just the right amount, and Olle Eriksson's double bass was rich and languid.

I did, however, find myself capitalising on the Nu-Vista Vinyl 2's strengths of weight and scale most often during my time with it. In terms of soundstaging, it offers an expansive instrumental 'footprint'. Nevertheless, if there is a single main performer, they are almost always placed firmly in the centre of the musical picture – it is the backing instruments that seem to expand around them, according to the nature of the recording.

All At Sea
This means that a smallscale band can easily appear to be sitting cosily close to you, giving a fine rendition of an intimate music venue or simple studio. On the other hand, the National Symphony Orchestra, conducted by Anthony Inglis and playing 'The Sea And Sinbad's Ship' from Rimsky-Korsakov's Scheherazade [Chasing The Dragon VALLP016], filled my listening room. As this big orchestral piece progressed over its ten minutes, each instrument was presented with realism, and the intensity of the performance via the Nu-Vista Vinyl 2 was simply thrilling.

Hi-Fi News Verdict
Musical Fidelity's preferred 'neutral, dynamic and vivid' sound is absolutely nailed by its Nu-Vista Vinyl 2. Those who already appreciate this presentation will love it, but I'll wager it will win many new fans, too. Adding in a superb range of facilities and Herculean build quality, the unit merits a recommendation that is as glowing as its illuminated nuvistors. Just double-check that your rack is big enough!