Audiophilepure

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“A final test of the MMGi’s came when I sought to re-create an event recently experienced in New York City. A month before this review was submitted, my significant other and I were treated to the Joe Lovano Nonet performing just a few feet from our ears in the claustrophobic cellar of Max Gordon’s iconic Village Vanguard. With ten musicians — five saxes (including the leader), trumpet, trombone and rhythm cutting loose on tunes inspired by the late, great Tadd Dameron, the sound came close to overpowering the room. It was hair-raising, but in a good way. Nothing went unheard, including the occasional subway train.”

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“The charms of the Manger crept up on me almost subconsciously. I found myself giving the p1 priority over other speakers I had in the listening queue. Like the Fleetwood Mac hit that urges you to “Go Your Own Way,” so, too, does the Manger p1. Rather than seeking to become the center of attention like so many high-fliers in this industry, the p1 defies high-end orthodoxy by standing back and putting the emphasis squarely where it should be—on the music. It opened a window onto the live event like few other floorstanders in its segment. In sum, I would urge every upstanding music lover to make a date to have a serious listen to the marvelously involving Manger. There’s really nothing else quite like it.”

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“If you think film sound is slumming, it isn’t. I’m a huge fan of film scores, and the best experiences I had with the TADs with large-scale music, such as symphony orchestras or elaborate electronic compositions, were when I played soundtracks from a film’s original Blu-ray, not the separate release of the score on CD. For more on this subject I highly recommend Score, a superb documentary on BD about film scores, their composers, and how they’re recorded. The final orchestral flourish on that release, appropriately titled “Finale,” sounded spectacular through the TADs when supported by the Revel center and sub. My only frustration is that this selection isn’t credited in more detail—I can’t tell you what film it comes from.