Audiophilepure

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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.”

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“The best-sounding album I played during my first week with the LSX system was jazz guitarist Mary Halvorson’s Meltframe (16/44.1 FLAC, Firehouse 12/Tidal). The quality and character of timbre of Halvorson’s guitar convinced me that, after many experiments, I’d nailed the Desktop EQ/DSP settings in the Control app’s Expert section. On my desktop stage, the speakers’ octave-to-octave energy balance let instruments and humans sound quite natural. The vibrating body of Halvorson’s guitar took up residence behind my desk. My enjoyment of Meltframe put to rest any lingering questions I had about the LSX’s sound.

Fine detail and sharply focused images were the most conspicuous aspects of the LSX system’s sound. Soprano Dorothee Mields singing John Dowland’s “From Silent Night,” accompanied by viola da gambist Hille Perl and lutenist Lee Santana, from In Darkness Let Me Dwell (16/44.1 FLAC, Deutsche Harmonia Mundi/Tidal), sounded sweet, tuneful, and exceedingly spacious. All I could ask for was more strong energy in the mid-bass and a greater sense of macrodynamics. Lack of force and dynamic expression were the LSX system’s prime failings

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It’s not a completely clean bill of health, though. Those overproduced albums of the 1980s and early 1990s always sound syrupy, but can sound almost edgy here. James Taylor’s ‘That’s Why I’m Here’ from the album of the same name [Columbia] is a perfect example, as it’s all Yamaha DX7 synths backing an over-ripened James Taylor vocal. This particular recording might have been one of the progenitors of MP3, but the full 16/44 CD recording can easily show any brightness to the sound or spitchiness to the vocals, and both were displayed here. In truth, the vocal ‘spitch’ sound was minimal, and as much a function of the recording itself, but even with the treble set at -3dB, it never quite tamed that slight zing to the top end. I tried not to let the price get in the way of the review, but it’s here the price becomes an issue, in a good way. That zing would be unacceptable in many of those classic high-end designs that also sport Accutons, but here it’s just a function of a good middle-priced loudspeaker trying to make a well-balanced sound. It’s also the kind of zing that is only really noticeable if you have logged lots of hours with the more upmarket competition. Many will never notice. ”