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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.”