Music Hall mmf-5 vs. Rega P3

Thanks to everyone here (err... make that MOST everyone) for good, reflective comments on how these 'tables sound, and how they are to live with.

I've not personally owned a P3, but am very familiar with it, it being such a mainstay in our circles. I however HAVE owned a Rega Planar 2, and more recently in past years, also the MMF-5, MMF-7, and the MMF-9 (not auditioned, but owned in my system for long stretches each). Though the MMF-7 would be the keeper of this lot, for me, I've enjoyed them all very much, in different ways.

Keeping with the subject of this thread though, the Rega P3 has always sounded more forward and aggressive to me (note that I intend all of these terms in a very subtle sense), and a little more bold. The MMF-5, which so impressed me for just how much it could do at its level, tended to sound a tad lighter, certainly more laid back in presentation, and perhaps in some ways, more musical than the Rega.

But I might have used the phrase "impressed me" inappropriately just now, in trying to describe what I want to say about these two 'tables. Because overall, that phrase always seemed more appropriate to the Rega. Listening to the P3 makes music "sound impressive" (in an audiophile way). Spinning wax on the Music Hall 5 on the other hand, music seems to come out more self-effacingly; but at the same time, for that very lack of self-centeredness, the little product itself leaves an impression on you, in afterthought.

The tonearm is really the P3's sine qua non - in sound character and build quality. Overall, I've always liked the touch and feel of the P3 a bit more than the MMF-5. Sturdier and more substantial. But I wouldn't be surprised either to learn that what the MMF-5 lacks in this department actually helps it in a way, by adding to its charm. It's that "you get so much for so little" quality the MMF-5 has, I guess some psychoanalysts would find a way to show how that biases my perception of what reaches my ears.

If you've managed to wade this far through all my rambling dreck, you'll realize I'm really saying that both 'tables can serve the music quite well in their own way. That's been my experience with them. The Rega lends itself more easily to upgrades and tweaks, if that sort of thing attracts you. However, one tweak I'd suggest for the MMF-5 is a mat upgrade to smooth out the "ringy" overhanging tone you sometimes get with the glass platter.

Keep on living music.

I started out in analog with the MMF-5. It was initially a fine introduction to analog. If you want to remain happy at this level , my suggestion is don't listen to the high end tables out there. The improvements you can make to upgrade the MMF 5 are not worth it compared to buying a better tt. I shelved my MMF 5 after listening to a few Amazon tables and Euro lab TT's . The comparison in sound is like comparing my Revel Studios to my old Bose 901's. I thought the Bose were great until I went out and saw the world. I don't know anything about Rega tt's, but my advice would be if you like what these entry level tt's do, live with them for awhile , then move up to a more serious table. Well worth it.

someone should point out that the rega costs alot more than the music hall. i like the music hall because one can spin the platter with a finger to get it moving; on the rega you don't want to touch it because the belt runs on it. i have upgraded the stylus to the 1042, which yields a big improvement. skip the 1022; it runs too low to the record. i got the special paper ringmat; it made it sound a little better. i think the build quality of the musichall is higher ( yes i had the rega for a while). one thing i really like about a (relatively) cheap setup is i can change out the stylus pretty often.. playing records would be a very expensive proposition if i had a high zoot cartridge.

how do i go about changing the dedicated interconnect? thanks

Every P3 I've heard sounds bright (although maybe it's the systems?). generally the MMFs are a little less $$ and more of a turn-key solution, like someone else mentioned. The rega arms are great, bu tI don't know about the rest of the table. But then again the project arms aren't as well respected as the regas and the MMFs aren't very upgradable.

I don't buy the "take the arm with you to another table" upgrade with the Regas. Sure if you do that, you are in essence left trying to sell an armless P2 or P3 on the market, and who wants to buy that table? Not many people as everyone wants the Rega arm! So in reality, what you should do with a REga is use it for a while, upgrade the cart, then buy an upgraded table, move the arm and cart to the new table and use it for a while. Then buy a better arm downt he road then sell the Rega on the used market as a complete TT+arm package. that would be better than trying to sell an armless Rega IMO. Whereas with a Music Hall, you're more or less stuck with a forklift upgrade (unless you're taking the cart with you).

The music hall can be tweaked a little. I believe LP gear sells an upgraded stylus and mat for the MMF2.1 and the MMF5 or MMF7 can use a different cart. You could also use a Michell record clamp (I do) {under $50} or defeat the suspension. I defeated my MMF2.1's suspenstion with 3 Dayton Audio cones from Parts Express (I couldn't afford the Mapleshade ones at the time, plus the mapleshade dealer hasn't talked with me in a while {What's up with that Tom??!?). I placed the three cones on the flat underside of the plinth thereby defeating the suspension in the stock feet. I place two in back, just under the motor and tone arm, and another one in right/front/middle to balance out the player. It works great I get a much wider/deeper soundstage that I did before. The effect is not subtle to me, but it is to my wife.

To summarize, for me it came down to the fact all of my auditions for the Regas sounded bright and the music halls did not. Personally I wanted the Rega to win as the project arm is a POS, but *meah*.

Aaron

Psychicanimal has real issues. I would just ignore anything he says.