Audiophilepure

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“And so, my reviews of European speaker companies continue. As much as I like the DALI Oberons, I was really impressed with the performance of the diminutive Menuet SEs. The quality of the gorgeous walnut finish was amazing and the sound from these little speakers was much bigger than anything I thought you could get from a speaker so small. When paired with a sub, you could easily have a 2.1 system that would make many people envious. DALI has proven that size is in the eye of the beholder and if saving space is as important to you as having excellent sound, the Menuets may be exactly what you are looking for.”

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On the plus side, those changes in mid/bass and cabinet size help the speakers produce an output of impressive scale and authority. Play Hans Zimmer’s Interstellar OST and the Bronze 100s render a huge sound underpinned by a good hefty slab of bass. They can play loudly too, retaining their composure even when pushed to high levels with demanding music such as this.

The Monitor Audios are also clear and manage to dig up a fair amount of detail. On a dense and demanding track, such as Where We’re Going, they do a good job of separating the various instrumental strands and keeping them easy to follow.

Switching to Melody Gardot’s The Absence shows off the Bronze’s even tonal balance and their impressive agility. They’re upfront, punchy and decently precise, and Gardot’s distinctive voice is well-projected and securely placed front and centre.”

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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.”