Audiophilepure

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This seemed a little odd to me because, in my previous history with Paradigm monitors, they had an outstanding bottom end. Because I was somewhat perplexed, I moved to a different style of music, putting on Bob Marley’s Exodus, which is somewhat defined by the bass line. Once again, things just didn’t seem right.

After running through a variety of music I pushed the speaker back a little closer to the back wall in an attempt to boost up the bottom end. Although the bottom end was slightly better, the image stayed solid, so I kept them closer to the wall for the majority of my time with the Paradigms.”

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“Another striking quality of this speaker is its super-precise midband and treble. Whatever else it does well – and it does much with great distinction – you always keep coming back to the sheer focus that the UNO XD provides. For example, Ride’s ‘Leave Them All Behind’ [Going Blank Again; Reprise Records WPCP-4776] is a very dense bit of guitar-driven indie rock from the early ’90s. As a recording it’s very much of its time – super dry and crisp with lots of detail. It’s a great challenge for any hi-fi loudspeaker, because of the wall of distorted guitars that runs throughout the track, and the heavy compression.

Despite this, the speaker delivered a remarkably finely-etched sound, capturing every last strum of the backing guitar, and each rimshot and cymbal strike. Indeed instruments separated out from one another with great clarity, so one could hear a host of different things under that heavy, effects-laden backing guitar layer. This speaker practically unpacks the production before your very ears.”

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“Yes, this is quite an enthusiastic first impression write up. Magico A3 speakers managed to entrapped me with their character free nature into the instant and unplanned prolonged initial listening.

There are loudspeakers and there are THE high-end audio loudspeakers. Magico A3’s laboratory-like precision and stand out potent nature allows an extraordinary music voyage. Literary out of the box they were capable of painting the sonic canvas with what a grander portion reality than expected!”

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“Logic would suggest that, when I realized what the Yvettes were doing, I was listening to a simply recorded, live performance of acoustic music. Instead, it was a 1964 Norman Granz production, Oscar Peterson Trio + One, with trumpeter Clark Terry (LP, Mercury SR 60975). I was shirking my reviewer duties and just enjoying the music when I casually became aware of being in the recording space with the players. A few seconds later, the significance of this hit me. I’ve heard this album through umpteen different speakers, and my listening experiences with all of them varied widely except in one regard: My listening perspective was always of watching the session from somewhere in the control room, gazing out over the mixing board and through the window at the musicians playing in the studio proper. This time I was on the other side of the glass, hanging out with the musicians.”