John Scofield and Pat Metheny, “I Can See Your House from Here”, Tone Poet re-issue of a Blue Note original:
There is excellent deep space behind the speakers and placement of the individual parts of the drum kit is very impressive; you know where the snare, various toms, cymbals are within the space. Same with the guitars. Palpability of the drums in particular is completely on point. You can feel them which I didn’t quite expect, based upon my long ago experience with Maggies. The air around the instruments feels real, as well.
Although the notes of the electric bass are there, they aren’t as palpable in the way I would have hoped and I don’t feel the bass through my feet, as I usually can with dynamic speakers.
Body and bloom seem to me a defining characteristic of the best analog versus digital (if that is still a worthy comparison – for another day). The 2.7i’s are less about body and bloom than speakers I usually prefer. However, what they do with detail and space, and even timbre in the upper end make a tempting trade-off. Plenty of dynamic speakers cannot give me what I hear here. For example, the upper end harmonics on Steve Swallows’ electric bass are marvelously there, which gives us that dimension of his musical voice in an illuminating and satisfying way. Whether different electronics might warm things up is an interesting question. Another issue with the Magnepans is the space in which they live. In this rectangular room, they are close to a long wall, with lots of space to the sides. My sense is that they would do better in the shorter side of a room like this, which could give a more forward foundation for the bass and lower mids.
“Debussy – Iberia/Images”, conducted by Ataulfo Argenta, London ffss pressing, CS 6013:
This record is 65 years old. The way it mates with the Magnepan ribbon tweeters seems mind-boggling. I hear the space around the top end of the instruments as if the recording had been made weeks ago. Except, of course, we are listening to a mid-20th Century Swiss orchestra with something of a French sound. The instruments sound so alive. The air crackles with the thrill of the performance. I understand more than ever the musical charisma of the short-lived conductor Ataulfo Argenta. It is as if he and the musicians were discovering the joys of “Images” together. I have not heard this recording with quite this freshness before. The placement of the instruments for the listener is excellent. And, while I have felt in other listening that there could have been more warmth and bloom to the tone, I’m too enthralled now to notice that as an issue.
I recall from listening to Maggies some years ago that they seemed to be “made” for classical music and jazz. They certainly bring a great blossoming to this listening experience.
This Nonesuch reissue of “Ingenue” on vinyl is superb and plays to the strengths of the 2.7i’s. The top end comes across with superb delicacy. I know that the speakers blend ribbon tweeters with panels, but how and where they do so is completely invisible. To achieve the openness and presence I hear in this price range is a great achievement. This affects the reproduction of all of the instruments, in allowing us to hear realistic placement and body, but it is particularly satisfying with voices and stringed instruments.
“Bill Evans Trio at the Village Vanguard”, Mobile Fidelity UHQR:
The 2.7’s create a very believable image with excellent depth and good placement left-to-right. There is nice top end extension with not a hint of brightness. The double bass is somewhat lacking in energy. Wire brushes on the cymbals are quite believable with a real sense of air.
Art Blakely, “Live in Schevengen, 1958 (mono)”, The Lost Recordings:
The tenor saxophone has excellent tonality. The cut “Night in Tunisia” is particularly nice. The top end may lack a little air, but the high hat is very clear. The speakers do a great job of resolving the voices in the background. Bass is particularly good.
Listening (moderately priced system)
John Scofield and Pat Metheny, “I Can See Your House from Here”, Tone Poet re-issue of a Blue Note original:
There is excellent deep space behind the speakers and placement of the individual parts of the drum kit is very impressive; you know where the snare, various toms, cymbals are within the space. Same with the guitars. Palpability of the drums in particular is completely on point. You can feel them which I didn’t quite expect, based upon my long ago experience with Maggies. The air around the instruments feels real, as well.
Although the notes of the electric bass are there, they aren’t as palpable in the way I would have hoped and I don’t feel the bass through my feet, as I usually can with dynamic speakers.
Body and bloom seem to me a defining characteristic of the best analog versus digital (if that is still a worthy comparison – for another day). The 2.7i’s are less about body and bloom than speakers I usually prefer. However, what they do with detail and space, and even timbre in the upper end make a tempting trade-off. Plenty of dynamic speakers cannot give me what I hear here. For example, the upper end harmonics on Steve Swallows’ electric bass are marvelously there, which gives us that dimension of his musical voice in an illuminating and satisfying way. Whether different electronics might warm things up is an interesting question. Another issue with the Magnepans is the space in which they live. In this rectangular room, they are close to a long wall, with lots of space to the sides. My sense is that they would do better in the shorter side of a room like this, which could give a more forward foundation for the bass and lower mids.
“Debussy – Iberia/Images”, conducted by Ataulfo Argenta, London ffss pressing, CS 6013:
This record is 65 years old. The way it mates with the Magnepan ribbon tweeters seems mind-boggling. I hear the space around the top end of the instruments as if the recording had been made weeks ago. Except, of course, we are listening to a mid-20th Century Swiss orchestra with something of a French sound. The instruments sound so alive. The air crackles with the thrill of the performance. I understand more than ever the musical charisma of the short-lived conductor Ataulfo Argenta. It is as if he and the musicians were discovering the joys of “Images” together. I have not heard this recording with quite this freshness before. The placement of the instruments for the listener is excellent. And, while I have felt in other listening that there could have been more warmth and bloom to the tone, I’m too enthralled now to notice that as an issue.
I recall from listening to Maggies some years ago that they seemed to be “made” for classical music and jazz. They certainly bring a great blossoming to this listening experience.
k.d. lang, “Ingenue”, 25th anniversary issue, Nonesuch:
This Nonesuch reissue of “Ingenue” on vinyl is superb and plays to the strengths of the 2.7i’s. The top end comes across with superb delicacy. I know that the speakers blend ribbon tweeters with panels, but how and where they do so is completely invisible. To achieve the openness and presence I hear in this price range is a great achievement. This affects the reproduction of all of the instruments, in allowing us to hear realistic placement and body, but it is particularly satisfying with voices and stringed instruments.
“Bill Evans Trio at the Village Vanguard”, Mobile Fidelity UHQR:
The 2.7’s create a very believable image with excellent depth and good placement left-to-right. There is nice top end extension with not a hint of brightness. The double bass is somewhat lacking in energy. Wire brushes on the cymbals are quite believable with a real sense of air.
Art Blakely, “Live in Schevengen, 1958 (mono)”, The Lost Recordings:
The tenor saxophone has excellent tonality. The cut “Night in Tunisia” is particularly nice. The top end may lack a little air, but the high hat is very clear. The speakers do a great job of resolving the voices in the background. Bass is particularly good.