Acoustic Sounds

McIntosh Labs

MP100

McIntosh MP100
By: Michael Fremer

September 27th, 2024

McIntosh's First Stand-Alone Phono Preamp Is A Real Smoothie

and it has a defeatable built-in analog to digital converter

Hard to believe, but McIntosh's recently introduced MP100 is the storied company's first stand-alone phono preamplifier. Though at $2000 it's not stratospherically priced, it delivers both an impressive features set and the suave sonic goods, feel and build quality you'd expect from McIntosh. and of course, you could even say it glows (green).

This is an accidental review, though shame on me for not asking for one to review sooner. It was on my list, but when the Thunderbolt cable stopped working—needed to connect my Lynx HiLo A/D, D/A converter to my computer —and I was having difficultly finding a replacement since Apple no longer supports the connection, I was without A/D and I needed it!

I called my friend Fernando at SkyFi Audio located a few miles from home (and within blocks of my previous home) and he offered to lend me this MP100, which I've kept for too long because after using it "in a pinch" I figured I might as well get the review out of the way, which turned out to be a very pleasurable task.

Features

The compact MP100 features separate single-ended moving magnet and moving coil inputs, a choice of six front panel selectable MM capacitance and six MC resistive load settings, a "mono" button, single ended RCA and balanced XLR outputs (available simultaneously) and a built-in 96k/24 bit A/D converter accessible via SPDIF RCA, optical and USB-A connections. The digital output has front panel selectable "high" and "low" settings plus a "clipping" LED that warns if you've overloaded the circuit. Digital outputs can be used to "rip" vinyl to files, or as a signal source for a digital preamplifier.

Rear panel layout is clean and McIntosh-chrome-y, just as the front panel is McIntosh glass-green. There's also a remote trigger and a pair of plated ground lugs. Push the stand-by button and the MP100 comes to life with that famous green glow (using LEDs) that sets audiophile hearts on fire.

Inside are separate MM and MC boards using close tolerance resistors and capacitors. Digital logic circuits drive electromagnetic input switches. A defeatable Auto-off feature puts the until in standby if it doesn't detect an incoming signal. Pressing and holding the "Digital Input" button until the trio of LEDs extinguish, turns off the digital output to preserve analog sonic purity. Let's call this "a taste of McIntosh" at a moderate price point.

Set-up and Use

To some degree the MP100 is aimed at vinyl "newbies" or those returning to the most robust physical format (have you heard that much of the 1990s music masters stored on hard drives, even under the best conditions at Universal's Iron Mountain storage facilities, can no longer be accessed?).

This is an easy to use phono preamp free of rear or bottom panel DIP switches and features sensible set and settable parameters. MM and MC gain are fixed at 40dB and 60dBs. With S/N ratios of 80dB (MM) and 78dB (MC) and maximum input signals of 80mV (MM) and 8mV (MC), the MP100 should be capable of handling whatever a buyer throws at it (using the correct input, or course). The pF capacitance and Ohm choices for MM and MC inputs also adequately cover loading for all but the obsessive, who are not candidates for the MP100 anyway (or at least they may think they are not).

I used the MP100's balanced XLR outputs. Computer connection to a MacIntosh from a McIntosh is seamless. I ran a good USB cable (a Wireworld Platinum Starlight from a few years back) from the MP100 into a recent MacBook Pro and the connection was automatic. Windows computers require a driver download covered in the instruction manual.

This brings up a question you'll need to ask yourself, which is "Do I need this digitization option?" because if you don't, you might be better off buying a $2000 phono preamp in which all of money spent designing and building it was devoted to maximizing analog performance. However, if you do wish to "rip" your vinyl to put onto a portable digital player, the MP100 makes it easy.

Smooth Sonic Sailing

I'm in the midst of an Audio-Technica AT-ART1000x "direct power" cartridge review (coils glued directly above stylus and magnetic gap directly above that) and while Audio-Technica ($5500) has slightly upped the output from the original's .2mV to .22mV, this is still low and a good test of the MP100. Looking at the S/N ratio I was pretty sure it would be a good match and it was, though for this low an output an additional 5dBs of gain might be useful. Still, I think the MP100 is best matched with a MC cartridge outputting .4 or .5mV. That said, if you already have a lower output MC, I think you'll be happy with this combination especially if you value "smoothness" with detail and the complete absence of negative sonic artifacts. In other words, the MP100 commits sins of omission not commission and even those are not particularly sinful.

In fact, the MP100's sonic demeanor was so pleasing and musically satisfying, though while I was fairly certain I knew what it didn't do, I felt the need to do a "shootout" with my reference $76K phono preamp to be certain. So yes, the MP100 does not produce the costly unit's dynamic slam or its intense spatiality and three-dimensionality, nor does it have the pristine high frequency attack or bottom end grip and weight, but what the MP100 does provide is precisely what people long living in the digital audio world might seriously crave or be in need of: smooth, supple, natural transients, harmonic richness, a strong sense of musical flow and a complete lack of digital artifacts—some more felt than heard—and the effortlessness that great analog playback provides (assuming the turntable and cartridge have been properly set-up!). And all of the things it does not do that the far, far more costly phono preamp does so well, the MP100 does too. It just provides it to a lesser degree. In other words, its top to bottom and front to back and side to side presentation is extremely well balanced and so the overall presentation is sensationally enjoyable.

I'm about to review we still can't say goodbye (Morningstar Music Productions no catalog number) a swell double LP Chet Atkins tribute set that exudes Chet love and avoids making the players the center of attention, which often happens and ruins tribute albums. Of course it was mostly recorded in Nashville and mastered by Ryan Smith at Sterling Nashville. The recording quality and production are befitting of Chet, meaning superb.

Imagining a new vinyl guy or gal listening to this record through the MP100 made the pleasing listen that much more pleasant. Side one would seal the deal for any vinyl first-timer. The record opens with Tommy Emmanuel and Michael Cleveland covering Emmanuel's "Mr. Guitar" in a quartet setting with bass and drums. The kick drum had pleasing weight, Emmanuel's acoustic guitar's transients were sufficiently sharp and the instrument's body well defined, and the fiddle's sheen pleased. There's an appropriately corny version of "Alley Cat" (look, Chet was often corny and his laid back style immediately obvious) performed by Ashley Campbell and Thor Jensen that needs suave rhythmic authority to swing and the MP100 delivered it. The side ends with a cover of "So Sad (To Watch Good Love Go Bad)" sung by Vince Gill and Bradley Walker (who Eric Clapton had discovered on the Internet). Eric Clapton remotely added three guitar parts. "They are in your room" vocal solidity on this recording is exceptional as I discovered playing it through the reference phono preamp. The MP100 delivered it too, while doing a credible job with all of the instrumentation.

This is an easy to use phono preamp free of rear or bottom panel DIP switches and features sensible set and settable parameters. MM and MC gain are fixed at 40dB and 60dBs. With S/N ratios of 80dB (MM) and 78dB (MC) and maximum input signals of 80mV (MM) and 8mV (MC), the MP100 should be capable of handling whatever a buyer throws at it (using the correct input, or course). The pF capacitance and Ohm choices for MM and MC inputs also adequately adequately cover loading.

Computer connection to a MacIntosh from a McIntosh is seamless. I ran a good USB cable (a Wireworld Platinum Starlight from a few years back) from the MP100 into a recent MacBook Pro and the connection was automatic. Windows computers require a driver download covered in the instruction manual. The 96/24 "rips" sounded fine, though honestly I didn't seriously evaluate them sonically beyond noting that they sounded close to (but not identical to) "live" when I played them back through the dCS Vivaldi One.

The last record I played before writing this was an Electric Recording Company reissue of a 1969 Decca release (SXL 6426) performed by cellist Mstislav Rostropovich and the composer Benjamin Britten on piano performing pieces by Schubert and British composer Frank Bridge. The uncredited engineers were Gordon Parry and Kenneth Wilkinson.

The recording is stunning with lush instrumental textures, and off the charts sustain generosity. It puts the two musicians and their instruments in a well-defined space that can make yours disappear. If you think ERCs are costly, try scoring an original. Six copies on Discogs start at $800. After enjoying this one through the big phono preamp, I'll close the review with this: the MP100 passed the audition! Any classical maven living in the digital world hearing this sonically nuanced, delicate performance would more than likely surrender and exclaim "game over!".

Conclusion

Surely you know more than few audiophile cynics who think of McIntosh as a branding exercise bathed in green lights. I know a few. Having reviewed a few multi-box, full function McIntosh vacuum tube-based home theater preamp/processors, I know better. But even this smartly designed and built in Binghamton, NY to a relatively low price point phono preamp produced sonics that I think would have those cynics conclude they were wrong. A few might be forced to eat their words and also say "game over!". I say "Well done McIntosh! I wonder what you could do designing a cost no object phono preamp!

Specifications

Specifications:

Frequency Response

±0.3dB from 20Hz to 20,000Hz

Total Harmonic Distortion

0.005% maximum from 20Hz to 20,000Hz

Rated Output

2V Balanced 1V Unbalanced

Maximum Voltage Output

16V RMS Balanced 8V RMS Unbalanced

Sensitivity (for rated output)

MM - 10mV MC - 1mV

Signal To Noise Ratio (CEA490)

MM - 80dB MC - 78dB

Input Impedance

MM - 50, 100, 150, 200, 300, 400pF; 47K ohms MC - 25, 50, 100, 200, 400 or 1,000 ohms; 470pF

Maximum Input Signal

MM - 80mV MC - 8mV

Voltage Gain

MM - 40dB MC - 60dB

Output Impedance

200 ohms Balanced 100 ohms Unbalanced

Digital Output Sample Rates

Optical: PCM - 24Bit - 96kHz Coaxial: PCM - 24Bit - 96kHz USB: PCM - 24Bit - 96kHz

Power Control (Trigger)

Maximum Input and Output Signal 12VDC, 25mA

Power Requirements

100-240 Volts, 50/60Hz at 8 watts Standby Power, less than 0.5 watts

Overall Dimensions

Width is 11-1/2 inches (29.2cm)
Height is 3-25/32 inches (9.6cm) including feet Depth is 16-3/4 inches (42.5cm) including the Front Panel, Knobs and Cables

Weight

8.6 pounds (3.9 kg) net, 9.6 pounds (4.4 kg) in shipping carton

Shipping Carton Dimensions

Width is 16 inches (40.6cm) Height is 9 inches (22.8cm) Depth is 17 inches (43.1cm)

3 year limited warranty

Manufacturer Information

McIntosh Laboratory, Inc.

2 Chambers Street

Binghamton, NY 13903-2699

(P) +1-607-723-3512
(P) +1-800-538-6576

Comments

  • 2024-09-27 07:18:26 PM

    Ivan Bacon wrote:

    Thank you MF. I would love to see/read a master class, comprehensive tutorial, on how to set up and use phono preamps for all parameter of MM and MC as well as any other info one would need to optimize a Phono Preamp.

    It you have done so please point my to it.

    I appreciate your sharing of knowledge spreading the love of the vinyl format.

    Thank you very much for the statement "you might be better off buying a $2000 phono preamp in which all of money spent designing and building it was devoted to maximizing analog performance"

    P.S. You did repeat a couple of paragraphs from the set up and use section??

    • 2024-09-27 08:22:51 PM

      Michael Fremer wrote:

      Thanks for pointing that out! I had a log in issue and for safety's sake I copied what I'd written and when I pasted it into the review there was that 'residue' repeat, which I'll now remove. thanks!

  • 2024-09-27 08:08:15 PM

    Come on wrote:

    Good review as usual, saying it all (at least for those who are used to read between the lines) and being compatible for those who are not and enjoy a purely positive rating.

    A slight critique is: Referencing only to a comparison with a cost no object competition helps to even read something positive out of the test object being worse than this extreme (it’s on the one hand even relativized and finally expected). But a comparison with a comparably priced competitor would be more helpful imo.

    • 2024-09-27 08:20:53 PM

      Michael Fremer wrote:

      I wish I had another $2000 unit here to compare but I just needed the comparison to be sure of what I was hearing...

  • 2024-09-28 12:38:10 PM

    Tom wrote:

    Actually McIntosh did offer a more pricey tube based Phono stage, the MP1100 which was discontinued about a year ago. It was priced at $10K. I spoke with my local dealer about it and they suggested that it might not be a big enough upgrade over the internal phono section of my C22 to warrant the cost. I use the C22 in a second system and I feel while the internal McIntosh C22 phono is competent, it’s not the last word in resolution. I’m using a Pass XP17 with that system. I would still love to hear your opinion of the MP1100. Perhaps SKY-Fi Could loan you the one they have in stock.

  • 2024-09-28 04:57:38 PM

    Brian wrote:

    Thank you MF for this review. May I ask if you used any particular software on your Mac to capture the digital output from the pre-amp?

    • 2024-10-01 04:57:27 AM

      Michael Fremer wrote:

      Vinyl studio from the U.K. it’s really good

  • 2024-09-28 05:21:35 PM

    Brad wrote:

    I bought one of these when you reviewed it years ago. https://www.analogplanet.com/content/68-years-later-mcintosh-launches-its-first-stand-alone-phono-preamplifier

    • 2024-10-01 05:00:14 AM

      Michael Fremer wrote:

      I forgot that I reviewed it in 2017!!! 7 years…

      • 2024-10-02 07:53:20 PM

        Roy Edelsack wrote:

        And I bought one from the greatly missed Stuart’s Audio in Westfield, NJ. But it was DOA. Got a replacement and it too was DOA. Finally switched to a similarly priced Moon 310 LP that I really enjoy. Maybe the Moon is a “shootout” candidate.

  • 2024-09-28 09:04:36 PM

    Mark Ward wrote:

    Sounds like that ERC reissue is very special. All those Britten and Rostropovich records are marvelous, with exceptional sound. (This one, however, has yet to join my collection). All the Decca/Londons recorded in the Snape Maltings concert hall are worth collecting - I think it has the best acoustic in the UK, and one of the best acoustics in the world.

    • 2024-09-28 10:40:40 PM

      Come on wrote:

      I think, related to the price of the ERC, the (often too fat and less transparent than the best alternatives sounding) Superanalogue and especially the usually better (than SA) sounding Analogphonic are (or were) valid alternatives to both, the ERC and the fist stamper original. Those in the know are aware anyway, that the expensive first stamper DECCAS are usually (not always) not the best sounding earliest pressings, but mostly restricted in dynamics and 3D due to (among others) the mostly much smaller used groove area than slightly later stampers. I’m happy with the Analogphonic, but would certainly be interested to read more comparisons of ERC with existing other reissues than pure non comparative reviews of their releases. They simply are too expensive and potentially questionable in some aspects of their production to be purely marketed instead of (also) questioned imo.

      • 2024-10-01 05:04:17 AM

        Michael Fremer wrote:

        A shoot out would be interesting but need to have the various pressings… did one of Martzy ERC vs 2 others and it was best.

        • 2024-10-01 10:50:17 AM

          Come on wrote:

          As far as I could research, there’s no parallel Martzy or other reissue on ERC and Analogphonic, but you compared one ERC Martzy recording to a Testament and another to a Coup D'Archet reissue and preferred the ERC tube cuts.

          I think ERC would always be worth meaningful comparisons and those are possible more often than done. The best example would be a Rollins/Way out west stereo shootout and you’d be the perfect man for this. If we’d certainly leave out the dreadful digitally sourced Craft box, then there’d still be the old AP 45 cut, the original, the Grundman/AP/Craft box (or the respective upcoming Grundman Craft single LP release) and you should definitely also include the old AP 33 Doug Sax tube cut as a second tube cut example. I’m sure you have all of those (or could acquire them easily).

          This would probably also make tube vs. solid state mastering chains better comparable in also more critical areas for tube systems (bass), than comparing classical solo, duo or classical recordings in general.

          Even if Way out west would be quite ideal for such a comparison, there’d still be some others in the field of jazz meanwhile with that number of parallel HQ reissues (Chet Baker/Chet, Coltrane/Giant steps, a few Bill Evans…).

          If there’s a will, there are quite some options to (positively) question ERC more than done. And I’m sure, the result will not only be just far from reflecting the price difference.

  • 2024-09-30 01:12:29 AM

    Paul Faughnan wrote:

    Lehmann Decade 2 box phono premp is about the same price. a proven winner!

    • 2024-10-01 05:01:56 AM

      Michael Fremer wrote:

      I think I reviewed that on this site…

  • 2024-10-02 08:25:56 PM

    Bruno Clerk wrote:

    Thank you Mr Fremer

    What caught my eye in this review is the possibility to convert the analog signal to digital. As an owner of a nice collection of classical live concerts recorded on tape, I'm looking for an "affordable" way to transfer some of these recordings to digital. The MP100 reviewed here wouldn't work for tha purpose given its maximum input signal, I guess. I use a Studer A807 for playback and I'm not sure about the output level. Would you have any suggestion for a good analog to digital converter or would you be kind enough to point me to a reliable source on the subject.

    Thanks!

  • 2024-10-08 12:40:15 AM

    Markus Zeffler wrote:

    I'm confused - I owned the MP100 for several years after reading your review in Analogue Planet. What's new about it?

    https://www.analogplanet.com/content/68-years-later-mcintosh-launches-its-first-stand-alone-phono-preamplifier

    • 2024-10-09 09:28:37 PM

      Markus Zeffler wrote:

      I read now in the comments somebody already noticed... 7 years ;)