The guiding philosophy of Magico’s indefatigable CEO and designer Alon Wolf is along the lines of ‘if you want it done properly. . . ’
This extends not only to the largely bespoke drivers but in particular to those famously inert cabinets, employing copious quantities of alloy, innovative scaffold-like internal bracing and constrained-layer damping.
A decade since the S3 was launched, and then surpassed by the MkII, this three-way has been reborn with trickledown tech from Magico’s flagship M9 loudspeaker
The latest version of Magico’s S3 speaker, which was first reviewed in these pages a decade ago [HFN Nov ’14], isn’t what you’d call a mild refresh. Just as the company’s MkII version was a major reworking of the original, so this new arrival has been comprehensively redesigned, drawing both on the technology of the flagship M9 model and the measurement abilities of Magico’s enhanced development tools. It’s yours for a couple of pounds short of £57,000 a pair in the five powder-coat M-Cast finishes Magico offers, or £66,000 in a choice of six high-gloss M-Coat shades, including the striking blue colourway pictured here.
Magico has wisely decided to ‘trickle down’ its Q series know-how into a new and mildly more affordable series: the S1 and S5 floorstanders. The latter is a good £11k shy of the similarly-proportioned Q3 [HFN Sep ’11] and yet it offers almost exactly the same sensitivity, an even flatter response but a measurably and palpably superior bass extension.
The S5’s body comprises three main sections – a thick alloy baffle plus two curved, 0. 5in-thick side extrusions that increase stiffness while minimising internal standing waves.
These super-compact loudspeakers are simply the tip of the iceberg for Germany's expansive Magnat brand whose ranges encompass the gamut of 'lifestyle' to 'purist'
Bigger is better' seems to be one of those unwritten rules of hi-fi that ensures every audio show is packed with speakers towering high above the audience. Unfortunately, out there in the real world most people don't have the space to wheel in a pair of Wilson Audio Alexx Vs [HFN Jan '22] or Focal Grande Utopias [HFN Dec '18]. So, in an age when tiny houses are proclaimed as the way to go, Magnat's Signature Edelstein might be the speakers that better fit the zeitgeist. But these are not especially low-cost petite models. As 'Edelstein', or gemstone in German, indicates, these particular Magnat boxes – priced at £949 – are positioned as small and luxurious.
A staple at the Hi-Fi Show Live, Magnepan's largest Magneplanar finally gets its first in-depth test
Back in the 1980s, when the UK hi-fi scene began, belatedly, to experience products from places more exotic than Glasgow, Bradford, Huntingdon, Maidstone and Salisbury – ones that didn't say 'Made in Japan' on them – the USA provided a stream of surprises, one of the most memorable being Magneplanar loudspeakers. For most audiophiles, isodynamic drivers were something you found in a left-field Wharfedale headphone of the early 1970s, yet here were full-range panel speakers using essentially the same technology.
After a long absence, Magnepan's iconic 'room screen' panel speakers are finally back in the UK
Firsts linger long in the memory. That first school, first car, first kiss. . .
Apogee follows the Stage with the hybrid Centaurus Major and Minor but has it made its ribbon technology more accessible
Feeling a bit like the boy who cried ‘Wolf!’, I still can’t help but regard this new range of speakers from Apogee as ‘ribbons for the masses’. But unlike the last models that inspired this sort of reaction – the Stages [p129]and Calipers – the new Centaurs really do make Apogees accessible to a wide range of consumers. And not only by virtue of their cost.
With its unique Manger Sound Transducer full-range driver, this high-end floorstander is as unconventional as it looks
It is refreshing to see that there's still a place for purple prose in press releases. While so many documents describing new products are rather dry, German company Manger does things differently. It talks about its 'technological masterpiece' opening up 'a new horizon' and of 'goose bumps' triggering emotions and 'touching the heart'. Such flowery fluff might sail over the heads of hardened hi-fi hacks, but it's hardly necessary because the £11,429 P2 needs no hype at all. In practice, it's an intriguing, thought-provoking design featuring transducer technology that's far from run-of-the-mill.
Flagship of the ElectroMotion series, this hybrid electrostatic promises a taste of the range-topping Masterpiece loudspeakers at a more wallet-friendly price
The hi-fi market is replete with loudspeakers that look a little 'different', but few are as eye-catching as an electrostatic design where music appears to be coming almost from thin air. MartinLogan, the Kansas-based company established in the early 1980s, is one of the technology's best-known advocates. It began life with a 'static model, and even though its range has expanded since into conventional box-type speaker territory, its mantra remains 'wherever possible, we go electrostatic'.
The baby of MartinLogan's Motion range features a compact version of the brand's second-generation 'Folded Motion Tweeter' – this little box is full of big surprises!
How time flies: it's just over a decade since MartinLogan applied its expertise with hybrids to box-type systems instead of the usual electrostatic-panel-plus-cone-woofer which defined most of its models. Even though MartinLogan started out with a full-range ESL – the legendary CLS [HFN Feb '87] – its engineers swiftly excelled in the black arts of combining two speaker technologies, so the Motion range created a whole new field for them to plough. In this case, it's a cone woofer and a 'Generation 2 Folded Motion Tweeter', found here in the £1395-per-pair Motion B10 standmount model.
American marque's flagship Motion tower is a three-way that showcases driver upgrades and a bold new aesthetic
Although MartinLogan is known for its electrostatic loudspeakers, culminating in the flagship Neolith [HFN Jul '16], and 'static/moving-coil hybrids [HFN Jan '17, Feb '18 & Nov '21], the Kansas-based brand has, since 2003, ploughed another furrow with conventional cabinet models targeted at a wider audience. And since 2010, MartinLogan's Motion range, now headed by the Motion XT F200 reviewed here, has employed a tweeter technology the company says offers 'electrostatic-like high frequency detail'. There's a strong suggestion that the move from specialist brand to mass-market competitor hasn't extinguished ML's raison d'etre.
Purists will never yield on the topic of full-range electrostatic vs hybrid. The reality is that ESLs need to be huge if they’re to deliver deep bass and high SPLs. So mazel tov to those who can house and afford, say, big Sound Labs. For the rest of us, hybrids are a sane compromise.
Blown away by MartinLogan’s Spire earlier this year [see HFN, Apr ’09], I assumed that it would replace the Summit. Before the ink was dry, the Summit X was announced, and at a higher price point to ensure that the gap would prevent customer confusion. But in order to justify the cost difference, for a speaker not that much larger, its performance would have to be instantly, audibly superior. Luckily for ML, the Summit X may be the best hybrid the company has delivered to date.
The speaker with no sweet spot arrives on our shores, offering a sound that's as distinctive as its aesthetics
Few loudspeakers are as instantly recognisable as the 'Radialstrahlers' – directly translated 'radial emitters' – designed and built by German brand MBL. At every international hi-fi show their appearance draws crowds while the all-encompassing sound of those iconic 'melons' keeps visitors rooted to their seats. Am I giving away the punchline? Not really. Few seasoned audiophile travellers will not have heard these incredible music machines, but we have still waited a decade for them to reach these shores and be explored, inside and out, Hi-Fi News-style.
Launched 44 years ago, the original 770 loudspeaker with its polypropylene woofer and white baffle was nothing if not controversial. Will the reimagined 770 also make waves?
Hi-fi's 'subjective' revolution was just picking up steam when Mission's 770 shovelled a heap of coal on the fire in 1978. The move away from heavy plastics (Bextrene) was reflected in its polypropylene bass/mid driver while the light but rigid ply cabinet doffed its cap to earlier BBC-inspired designs. Its sound, meanwhile, provoked more column inches over the years than possibly any speaker since! The 770 received a very favourable review in Hi-Fi News [HFN Mar '79, 'Milestones' HFN Aug '12 and 'From the Vault' HFN Dec '15] but, writing elsewhere, a fledgling author by the name of Ken Kessler was, shall we say, less enthusiastic...