Audiophilepure

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“Naturally, such an inherently informative loudspeaker gives good dynamic range and soundstaging, but these elements are more ‘there’ than ‘directly noticeable’. Some systems are so dynamic they can make a piccolo sound like an atom bomb, but the Magico has more restraint. Not too much restraint though. It’s like the dynamic equivalent of the Han Solo ‘fly casual’ quote. Ultimately, there are few things the Magico A1 doesn’t do really well, and most of those are more to do with not trying to bend the laws of physics with respect to cabinet size. In other words, what it doesn’t do is be dishonest with the music.”

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“The sound was relaxed and clear. Best of all, the voices, especially the gravelly voice of Miles—as performed by Carl Lumbly—were there in all their textural and tonal glory. This positioning, only 6″ from the wall behind them, seemed to make the 50–300Hz octaves smoother, more correct-sounding and better integrated than they were on stands in my floor system. I’m not sure why I wasn’t getting similar room reinforcement when they were placed on the stands; maybe the difference comes from the different listening positions. In any case, this should be one of the key takeaways from this review: the XT 6 should sound spectacular on your bureau or desk.”

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“The KAYA 45 speakers are rated at 37 Hz bass extension (-6 dB) and this was more or less consistent with my measurements. So, as a “torture” test, I played a 40 Hz sine wave at 110 dB. The distortion measurement was only 4.57%. When it comes to bass distortion, we typically believe that 10% is when the distortion becomes audible. Also, for those who don’t have testing equipment, I can tell you that I get startled when running these tests because this is a much louder signal than you would be expected to hear during a normal listening session. It was very loud.”

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“Walk the halls at a hi-fi show and peer into the rooms. You’ll find numerous speaker brands using Accuton drivers all lined up on a front baffle. You could say to yourself, “Oh, another Accuton lineup, I know what that’s going to sound like.” But you really don’t. I’ve found huge sonic variations among such speakers, including ones I’ve reviewed and a few I haven’t but would like to.

Here, Von Schweikert opted to match Accuton woofers and midrange drivers with a Scan-Speak tweeter (modified in-house) and made them work and play well together to produce a rich, detailed, fully coherent, near–full-range speaker that was free of obvious sonic seams and never bored or engaged in a musical “cover up”: All the information is there, and it sounds great.”

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“The TD1.2 is the highest-performing, small, stand-mounted two-way loudspeaker I have heard—and I have heard some of the best. Its winning combination of exceptional overall resolution, expansive soundstaging, and musical swing in the form of lightning-fast and robust dynamics is just wonderful. This is a speaker for the two-way enthusiast who is willing to acquire the best of breed.

The Raidho TD1.2 appealed to my heart and head, to my musical soul and analytical reviewer self, and to my underdog-winning delight every time I heard it belt out stunning dynamic slam. Everyone who’s heard the speaker in my system loved it and marveled that such accuracy, lack of grain, and musical beauty came in such a small package. A marvel, indeed. Highly recommended.”

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“There were a few other musical occasions where more slam would have been desirable, but obviously these are smallish speakers—even with the Bass Extensions in place—so there’s only so much one can expect given their driver complement and enclosure dimensions. That said, with their horns and other clever design elements, the Bobby Ms deliver more immediacy and nimble speed of attack than you might expect from speakers of this size. Reasonably powerful amplification benefits them, too.

The SteinMusic High Line Bobby M offered such pleasing and smoothly natural musicality and impressive dispersion that at times it was easy to forget I was listening to loudspeakers—a rare event. Nothing felt forced or aggressive. Any type of music I threw at the system just came through full of detail, with microdynamics galore, but without sterility, artificial spotlighting, or emphases in certain frequency ranges. I just wanted to keep on listening. Time seemed to pass as ephemerally as the soundwaves. No fatigue, either. ”