Audiophilepure

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“These ears are a bit spoiled when it comes to high frequencies thanks to my long term reference Lansche 4.1 with its plasma tweeter. There is no finer tweeter that I’ve heard. No mass, just a ball of fire that expands and contracts creating sound. If that sounds like something out of science fiction, it kind of is. Its Achilles heel is found when the music gets way too loud. It compresses, and can cause failure. Typically, I’d have to spend time acclimating to a non-plasma tweeter. Even if well designed, my ears usually can hear what the tweeter is contributing. The M2!5 required no such adjustment period. The implementation of the dual compression mid band and treble drivers just lock in, and sound totally integrated. It is neither bright nor brittle. It doesn’t harden or compress at higher volume. It’s not super-fast sounding, nor is blunted. It just sails along and remains at the service of the music. Very well done.

When it comes to fleshing out a stage, the sense that an orchestra is in the room, and the scale in which it is spread across the space is uncanny. While I won’t slam any manufacturers by name, I will say another guest, a former French horn player for the Dallas Symphony, and rabid audio enthusiast, proclaimed the M2!5 trounced a very well known “modern” $110,000 speaker that he has been aspiring to own. He thought my description “constipated” described the much more expensive speaker perfectly compared to the M2!5. He also thought the M2!5 to be more enjoyable if not “better” than another contemporary $250,000 design that he is very familiar with. His wife, an accomplished classic pianist, reached the exact same conclusion.”

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“While the A3 may not sound quite as vivid as its progenitors, I think it takes the Magico sound a confident step forward. Consider “Film Credits,” the standout track of 32-year-old composer Ólafur Arnalds’s Living Room Songs (16/44.1 FLAC, Erased Tape/Tidal), recorded in the Icelander’s apartment. The string quartet played from left to right, and the recording’s raw, unfiltered sound was a joy to hear through the Magicos. The mournful first violin, to left of center, sounded sublime. There was texture and detail by the bucketful, yet the instrument sounded robust, locked in space, its aural image suspended effortlessly in space between the black monoliths. As mechanical as the A3 looks, its sound remained remarkably organic as the three other strings entered and I sat back, full of respect for the totality of its sound. If you want romance and coloration, find another speaker. Much like Alon Wolf, the A3 tells it like it is.”