TAS - The Absolute Sound Magico S3 MkII review - The Magico S3 Mk II is now my loudspeaker reference.

ANDREW QUNIT'S SUMMARY: The S3 Mk II.... can easily be compared to speakers that cost three times as much. 

The Magicos, manifesting a degree of truthfulness that’s unusual with audio gear, communicated the joyfulness of collaborative music making in contrast to the solitary.

If you’re not careful, you may end up characterising the Magico S3 Mk II’s sound as analytical. That would be a mistake, as this is a word that carries a negative connotation in an audio context—analytical, as in cold, clinical, hyper-detailed, or even etched. That’s not what I hear with the new S3, and with other current Magicos. Rather, I hear them as revealing, in the sense of displaying fully the endless range of musical expression.

The soundstage was broad and continuous, and depth was more than satisfactory. In the third movement of Mahler’s Symphony No. 3, the off-stage “post horn” (actually a flugelhorn) really sounded like it was coming from a distant place, on Michael Tilson Thomas’s 2002 live recording. The sound of the instrument was soft, not because the soloist was playing softly but because he was far away. The S3 Mk IIs maintain their coherence when the music gets complex and loud, whether it’s the Finale to the Saint-Saëns Organ Symphony or one of Gordon Goodwin’s exuberant big band arrangements.

Bass was immensely satisfying in its impact, speed, and pitch definition. With organ recordings possessing prodigious low-frequency energy—Jean Guillou’s two-CD Franck set for Dorian, for instance—the S3 Mk IIs remained articulate when the deepest pedal stops were called into service, an especially impressive feat given that the recording has a great deal of room sound, having been recorded in a large Parisian cathedral. Lesser speakers, even those that claim low-end extension into the mid-20s (Hz), can render this challenging material as an undifferentiated rumble.