Didn't we just have thread on this subject within the last couple of days? Now I don't see it, even going back 4 pages. Hmmm...
I'll repost a rehash of what I said before. The seven is derivative of the eight, and with the eight being a superlative effort at receiver design. So, if all else is equal in overall condition, I can't see why the Seven wouldn't be the keeper out of the two; IF you really have to sell one.
Now, from by own personal biases, I prefer the look of the 5000 series, largely for sentimental/other intangible reasons, to that of the Seven. But since the focus is really on sound and build quality (or should be, anyway) I still think the Seven gets the nod. And it is a aesthetically pleasing design, but I have a slight preference for the 5000/A/X nonetheless, for whatever that is worth (not much).
It would be a shame to unload a really nice 5000X though, these are gaining a serious following now and are probably more highly valued now (in dollar terms) than at any time since I began collecting 23 years ago. That's good if you want to sell, but not so good if you come to regret doing so later and decide to go in pursuit of another one.
They also sound great and are very - almost obscenely - well built units. The weight of a 5000X is much greater than you are expecting for its size when you go to move it. Of course so is the Seven, for that matter.
I don't own a seven, but have listened to one some time back so have had some exposure. Strikes me that it had slightly better source handling facilities than the 5000 series. The 5000's do have two tape loops, an auxiliary and a phono input (two phonos on the 5000X) so not sure how much else one needs in an ostensibly normal rig. The seven does add an additional processor loop (4 ch adapter) and also a midrange tone control. The larger meters on the tuner are a nice touch as well.
I'd keep them both, but that wasn't the question posed. So, I'll say keep the Seven, tough as it is for me to make that call.
