I have a problem with MoFi Electronics. It’s probably the brand that’s caused me the most head-scratching and system swapping over the last two years. It started back in 2023 when I tested its StudioDeck+ turntable. Sure, it wasn’t as ultimately accurate or transparent as my hi-end VPI and SME decks (that cost substantially more) but there was a musicality about it that just got me, and set me on a journey for better synergy in my own vinyl rig, ‘cos the MoFi had it in spades, leaving my longstanding spinners sounding a little sterile in comparison.
Then there are its speakers. I saved hard for my reference floorstanders over a number of years, pulled the trigger and was happy. But then I tested the SourcePoint 888, and the way these things do bass has now got me hankering for a pair permanently (or the upcoming V10) as my new reference. Hifi can be a cruel beast.
And anyone who tells you MoFi’s pick-ups are merely re-badged and re-bodied Audio-Technicas has clearly never compared the two, because the voicing is anything but, again it’s that musical tonality that sets the MoFi gear apart.
Two masters – MoFi’s retro styling with walnut wood really looks the part on the MasterDeck and matching MasterPhono. Plain black finishes are also available but why would you when the wood options look this good?
I’m now happy with my vinyl package, much happier than I was two years ago. So welcoming back another MoFi needs to be flagship territory to see how far this US brand can push the analogue envelope. And the MasterDeck turntable is the brand’s top model, retailing at £6,999 in basic guise or £7,999 with MoFi’s UltraGold moving-coil cartridge installed (with the latter costing £1,499 if bought separately, so a saving of five-hundred quid for the bundle). And while eight grand isn’t small beer by any means, it’s still considerably less than many rival brands’ top decks (even Rega’s reference is now in five figure territory).
Partnering this we also opted for the MasterPhono preamp for a full MoFi analogue front end, right from the stylus tip to the signal reaching my main amp.
Periphery belt-driven design and glowing power button means there’s plenty of visual drama when the MasterDeck is serving the sounds. We also opted for MoFi’s excellent Super Heavyweight Champion record weight at £499, although the standard (smaller) Super Heavyweight can be had for £249
All on deck
Starting with the turntable, it was penned by Allen Perkins of Spiral Groove fame following MoFi’s tried and tested approach of hiring some of the most renowned talent in the industry to design its dedicated products. This ensures they’re starting from an already established position of considerable experience (MoFi’s other designers reads like a who’s who of hifi).
And Allen’s influence sits right at the heart of the deck, with a Spiral Groove inverted bearing being used for its minimal friction, combined with precision and stability. On to this sits a 1.75″ (44mm) thick heavyweight (6.5kg) hybrid aluminium/delrin platter, chosen for its inertness. Its tapered edge is very easy on the eye being wider at its base and includes a precision groove for the on-brand orange round section belt to run within, making sure the platter rotates as it should. And if you need proof that it is doing just that, there’s a neat digital display that shows rotational speed once on the move.
MasterDeck’s controls include power and electronic speed select for 33/45/78rpm, plus a trim pot should it be needed
Speed is selected electronically via a rotary knob, and including the option of 78rpm is a considered touch. To ensure rotational accuracy, the MasterDeck employs a three-phase brushless DC motor that’s sensor-regulated by tracking magnets on the platter’s underside as it spins. There’s no dust cover, but you do get four Harmonic Resolution Systems feet which offer 5.5 degrees of ‘freedom’ to effectively ‘float’ the turntable for isolation.
Its tonearm is unique to this model, because in place of the 10″ beefy gimbal-bearing’d alloy wands on MoFi’s cheaper models is a 10″ dual-pivot design with carbon-fibre arm wand, featuring a removable headshell and Cardas internal wiring.
Tonearm pillar allows for a range of adjustments including azimuth, vertical tracking angle (VTA), overhang and anti-skate – with the latter using a thread and weight design
In practice the arm is easy to adjust, and the counterweight’s threaded design makes fine adjustments a doddle. I also love that the lever which raises/lowers the cartridge is a little longer than standard, making it easier to avoid the dreaded needle drop.
Of course you could fit your own pick-up should you want to, but with its Shibata stylus, boron cantilever and dual moving-coils you need to spend a pretty penny to better the UltraGold MC on paper, but this may also come down to personal taste.
MasterDeck’s tonearm sports a hybrid unipivot/gimbal bearing and caters for a wide range of cartridges outside of MoFi’s own
VUs at the ready
Whereas MoFi’s more affordable phono stages where conceived by the late Tim de Paravicini, the MasterPhono is the handiwork of analogue guru Peter Madnick, bringing with it a considerable spec sheet to warrant its £5,999 price tag.
The MasterPhono’s retro looks, complete with backlit analogue VU meters, combine with thoroughly modern internals
On the settings side there’s gain options at 40, 50, 60 and 70db for both moving-magnet (MM) and moving-coil (MC) pick ups, with ten load options and capacitance at 150pF (see the full spec below), plus a custom option, accessed via a set of RCAs on the unit’s rear panel. The sockets are great quality too, as you’d expect from a product in this price bracket.
There’s also future proofing built in via a discreet USB-C socket on its rear panel for upcoming features and software updates.
The MasterPhono offers three sets of inputs, with two for ‘standard’ MM, moving-iron (MI) and MC cartridges plus a set of inputs for low-impedance or current-source cartridges, spread over single-ended (RCA) and balanced (XLR) connections, meaning you can use the MasterPhono to serve three turntables at once. And with a handy remote included, you can flick between them from the comfort of your listening seat.
What I really welcome though is how all of this is accessible via the front panel’s rotary dials and push buttons. There’s no fiddling around with hidden dip-switches and reference charts. This is a phono stage that’s made for someone who likes to swap and tailor across multiple decks and pick-ups. And when you think about it, if you had to buy three hi-end phono stages rather than one that can serve three turntables simultaneously, the MoFi’s price tag starts to make more sense.
With many more sockets than your average phono stage, the MasterPhono caters for current-source pick-ups plus standard MM/MI/MC cartridges, with RCA and balanced options
Unboxing this pairing and they pass their first test with flying colours thanks to a passing “ooh they look nice” from my wife. And as a long-suffering reviewer’s other half, it generally takes considerable aesthetic skills to get beyong the standard “not more hifi…” retort.
Starting with the deck, there’a bit of work to do to get it up and running which involves installing the arm and platter (as the cartridge comes ready fitted). The arm is easy enough, simply pop it in its mounting hole, plug the interconnect cable into its base and do up the clamping grub screw once you’ve confirmed the arm height is correct.
MasterDeck rear view showing its PSU input, fed from a dedicated inline transformer
For the platter, a handy fabric strap is included that screws into dedicated holes under the centre spindle to ensure you lower it smoothly without damaging the bearing (and also for removing the platter should you need to). Once seated you need to pop the centre spindle on, via a trio of countersunk screws.
With the belt installed you now need to calibrate the deck upon first use, which is done via holding its main power button when plugging it in. This then gets the deck’s LED display reading ‘calibration’ while it does its thing for a minute or so, to ensure speed is stable (current speed then appears in the display). When in use the platter takes a little longer to get up to speed than some rival’s decks, but I’m putting this down to that sensor-regulated motor going the extra mile to get the speed bang on.
Aerial view of the MasterPhono reveals its split chassis, keeping signal and power circuits separated
Performance
Feeding a Rotel Michi X5 amp via balanced connections and driving Dynaudio Evoke 50 loudspeakers (with Nordost cabling throughout), the MoFi gear reveals itself to be a very accomplished package.
While the StudioDeck+ was musical and fluid sounding, the MasterDeck is a much more refined performer. Obviously the higher end cartridge and phono stage are playing a significant part too, which all combine for a killer combination of detail, drama and depth.
Repeat plays of Eleanor McEvoy’s Out There LP are a pure joy to listen to thanks to how the MoFi gear handles things. This album is a gem of a recording, with just the right balance of instrumentation without sounding over produced, and the MoFi analogue system brings out all of its charms. On Three Nights In November for example, the control of the kick-drum’s punch and clarity of the keyboards is hairs on the back of the neck stuff, because everything sounds in harmony. And the softness which is brought to McEvoy’s vocals is a lesson in striking the right tonal balance for exceptional realism.
MasterPhono remote is well made and offers useful features including mute, input select and display light controls – MoFi really has thought of everything
Got your number
That’s not to say that the MoFi’s are overly analytical though, as many hi-end decks are, which in my opinion can rob some recordings of what makes vinyl so appealing in the first place.
Take Dylan’s Pat Garrett & Billy The Kid soundtrack for example, and while the above attributes are plain to hear, there’s also an analogue warmth that’s overlaid by the Mofi gear, which makes this recording such a standout album in Bob’s back catalogue.
The rich reverb across the vocals on Knockin’ On Heaven’s Door is captured just right to pull you into the recording, which may sound obvious, but I’ve heard decks much more pricey than this get wrong footed on this track, with Bob sounding either too shouty and forward in the mix or overly blended with the backing vocals, making both mushy around the edges. The MoFi gear however lets Bob’s voice sit where it should, deeper in the mix yet with an exquisite sense of separation. It’s a sort of best of both worlds approach to vinyl, by majoring on accuracy but with an analogue richness that underlines why this format is still so loved by many.
Shot in low light reveals the MasterPhono in full vintage glow, and if it’s too much you can also switch the backlights off
Staying in the ’60s and ’70s singer/songwriter vein with some homegrown talent via Bill Fay’s criminally underrated self titled debut album of 1969 lets the MoFis get into full stride. There’s some complex instrumentation on this LP, with dynamic swings that trouble even the most stable cartridge and platter, but the MasterDeck remains in full control with granite grip.
On Methane River for example when the horns and strings kick in, the instrument separation is first class, whereas via some some rival decks (and cartridges) the instruments can collide in a chaotic fashion. But the MoFi rig is much more assertive, handling anything thrown at it with ease, while retaining the musicality of the performance. What more can you ask for?
In summary
MoFi has done it again. As reviewer’s gear these are a dream to live with, because while some hi-end turntable and phono stages operate like you need a degree in mechanical engineering and double physics, the MoFis have been designed with the user experience in mind. They also look a million dollars, with a retro charm that sets them apart from the competition.
More importantly though is what they do with the signals passing through them, as across these products MoFi has managed to retain that homogeneous musicality which the brand does so well, while also bringing with it levels of accuracy, transparency and realism. I better get saving (again).
