MAGICO M6 State-of-Art floorstand speakes 22Hz-50kHz

MA 22 SF M6
NZ$ 315,000.00 pr (incl. GST)

We create industrial “works of art” that simply out-perform any custom or commercially available speaker system in the world.


Magico, the Leader in High-Performance Loudspeaker Design and Manufacture introduces the M6 which establishes a new pinnacle of engineering and design vision at Magico.

Since the release of the M-Project in 2014, Alon Wolf and his engineering team have worked to expand upon the ground breaking designs that were first introduced in the critically acclaimed product which included the application of carbon side panels.

The new M6 represents the culmination of such efforts and a major advance in loudspeaker design. The most compelling aspect is the six-sided, monocoque enclosure sculpted of 1⁄2” carbon fibre, leveraging the latest Aerospace materials and technologies. Similar to the external shell of an F-35 fighter jet, this method of construction increases the structural strength-to-weight ratio by a factor of 60, while reducing overall weight by 50% and yielding outer dimensions that are 30% smaller without compromising internal volume. The curved interior and exterior walls minimise internal standing waves and eliminate external diffractions.

Four massive aluminums billets are meticulously machined to produce a continuously curved exterior with no angles. A thick-machined aluminium inner baffle supports the drivers, while ten aluminium tension rods extend front to back to further stiffen the enclosure and eliminate the possibility of hardware loosening overtime.

The new M6 enclosure is completely sealed and, in its finished form, has nearly zero diffractions which allow sound waves propagated by the transducers to disperse naturally without obstruction. This creates a sound-field that replicates that of the recording space and allows the speaker to completely vanish in its environment.

A slight curvature in the machined front baffle enhances the seamless integration of all five drivers and provides an elegant appearance overall. The newly designed 3-point MPOD base provides a perfect coupling platform to the floor and supports the M6 as though it were floating in space.

A new reverse horn-shaped sub-enclosure made of proprietary carbon fiber composite houses the midrange driver and provides an extremely stiff, yet ideally damped, chamber that disperses internal standing waves without the need for copious internal damping materials.

TWEETER highlights

The new M6 also incorporates a more efficient version of the revolutionary tweeter found in the M-Project. A 28mm diamond-coated beryllium diaphragm with optimised geometry, created using state-of-the-art Finite Element Analysis modelling tools, brings the M6’s high-frequency reproduction one step closer to perfection. This was achieved by skillfully leveraging beryllium’s physical properties, making the tweeter closer to the theoretical ideal without gaining the extra weight normally associated with diamond’s specific gravity. This technology allowed Magico to increase the dome diameter to 28mm, improving many aspects of performance and allowing even greater power handling. Combined with a new motor system and new acoustically improved back chamber, the new M6 tweeter has the lowest distortion measurements of any high-frequency transducer.

MIDRANGE highlights

The M6’s new 6” midrange driver features Magico’s superior Graphene-based cone material which is 30% lighter and 300% stiffer than that of its predecessors. This driver utilizes an underhung neodymium-based motor system that leverages an extra-large magnet and a top-stabilising magnet to ensure a perfectly stabilised magnetic field of 1.7 Tesla in a 15mm air gap, culminating in a pure vented titanium voice coil. The latest 3D laser scanning techniques were used to allow for unparalleled precision in assembly, ensuring optimal behaviour in each driver’s frequency range while reducing non-pistonic motion and minimising distortion components. The midrange driver has +/-6mm of stabilised excursion capability at very high sensitivity, enabling 120dB (at one meter) of distortion-free playback in the midrange frequencies.

BASS highlights

Deep, powerful, and accurate bass frequencies result from three newly designed 10.5-inch Magico bass drivers that are produced with advanced manufacturing techniques using a new multi-wall carbon, Nanographene cone. Like the Q7 before it, a colossal effort was made to minimise eddy currents in the iron parts of the underhung motor system of the M6 bass drivers. Eddy currents are created by the voice coil movement and produce chaotic magnetic fields which work against the fixed magnetic field and thus create distortions. The best way to reduce these currents is to saturate the iron as much as possible. When the iron around the coil is totally saturated no induced flux can develop, i.e., no eddy currents. In order to do that a lot of design work, precision machining of the parts, and a huge radical neodymium SD magnet system is required. The results are near 90% saturated iron (industry standard is less than 20%). These are breakthrough characteristics that enable the voice coil to move without any electromagnetic obstructions (the inductance of the woofer is measured at 0.085mH). This powerful magnet structure controls a 5-inch pure titanium voice coil that has 1 inch of linear excursion and produces clean, undistorted sound pressure levels up to 120dB @ 50Hz/1-meter.

All five drivers in the M6 are acoustically integrated using Magico’s exclusive Elliptical Symmetry Crossover topology that utilizes state-of-the-art components from Mundorf of Germany. The dividing network maximises frequency bandwidth while preserving phase linearity and minimising intermodulation distortion. Individual driver performance, and the loudspeaker in its final form, are tested and optimised for acoustical, mechanical, electromagnetic, and thermal behaviours using the latest state-of-the-art Finite Element Analysis simulation testing equipment.





Driver complement
     Tweeter: 1x 1.10″ Diamond-Coated Beryllium Dome
     Midrange: 1x 6” XG Nanographene Cone
     Bass: 1x 6” XG Nanographene Cone &  3x 10.5” XG Nanographene Cone

     Sensitivity: 91dB
     Impedance: 4 ohms
     Frequency Response: 22Hz – 50 kHz 
     Minimum Recommended power: 30 Watts 
Dimensions: 1430H x 660D x 510W mm 
Weight: 177kg ea


MAGICAL .....the ($US172k excl sales tax) M6 is the speaker I recommend.
Jonathan Valin 

SUMMARY: my job is to call ’em as I hear ’em, and the way I heard this one—throughout three days of close listening to my own recordings—left me feeling there’s a new sheriff in High-End Town......If you've got the dough and the Right Other Stuff (I was listening to a combo of CH Precision, Clearaudio and MIT—I won’t even guess its cost), and hanker for the very best that can currently be had, the $172k M6 is the speaker I recommend.

EXTENDED REVIEW: I’m going to start this blog by repeating some of what I wrote about Magico’s limited-edition, tenth-anniversary M Project loudspeaker, since Magico’s new M Series flagship, the M6, wouldn’t exist without it. After this, I will delve into how the M6 differs from its superb predecessor (and it differs quite significantly) and how those differences affect its presentation.

I might as well say at the start that the M6 is, IMO, the best loudspeaker that Magico has yet made—the most transparent, the most detailed, the most invisible, the most seamlessly of a piece, the most startlingly lifelike. It is also the best dynamic loudspeaker I’ve yet heard (and I’ve heard most of the competition, the Wilson WAMM Master Chronosonic being a big exception). At $172,000 the M6 is expensive—far more money than the fabulous $29,000 Magnepan MG30.7, which the M6 resembles sonically, exceeding it in most critical areas but also, arguably, not equaling it (or certainly differing from it) in a few others. Many of these differences come down to the differences between large unenclosed planars and smaller enclosed point sources, although the way that Magico has bridged the gap between boxed and boxless honestly has to be heard to be believed.

But we will come to that in time. In the nonce, if you’re in the market for the most realistic transducer that the high end currently has to offer, have enough space to house huge (four feet wide and seven feet tall), two-panel-per-side planars, but are relatively limited in what you can spend, then by all means go for the Maggie 30.7. If, on the other hand, money is no object and you want the most head-slappingly realistic speaker no-object money can buy, I would purchase the M6. 

The M Project 

So…let’s talk a little Magico history.
As you probably know, I’ve been following the progress of this skyrocket of a company from the moment I first heard the original Mini in 2006. Since then, Magico has gone from titanium-sandwich drivers, ring-radiator tweeters, and stacked-birch enclosures to nanotech carbon-fibre drivers, beryllium dome tweeters, and massive aluminium enclosures to what has become the current M Series platform of graphene carbon drivers, diamond-coated beryllium dome tweeters, and carbon-fiber-and-aluminium enclosures. What has stayed the same, however, is Wolf and Co.’s ongoing pursuit of perfection.

Of course, the first of many thorny issues with such a quest—which is certainly what Magico is on—is what is meant by “perfection.” For Magico the answer to this question is, and has always been, the lowering of distortions of every measurable kind. Every advance that the company has made has been accompanied by an audible reduction in noise (from drivers, crossovers, and cabinets) and a concomitant increase in resolution and transparency. For Magico, the perfect speaker would be no speaker (or no sense of one)—a pure, uncoloured conduit from source to listening room.

This said, not everyone has loved Magico’s ultra-transparent, ultra-neutral, ultra-low-distortion sound (or bought into its pursuit of measurements-based perfection). Let’s face it: One man’s neutral, low in distortion, and transparent is another’s cool, lean, and analytical. And cool, lean, and analytical is precisely the way some listeners have heard Magico Qs.

To be fair to their critics, Magicos in general are not warm, cuddly, forgiving speakers, like Raidhos or Wilsons. They appeal to listeners who value transparency to sources—or what others call “accuracy”—above all else. If a source is well recorded, Magico Q Series loudspeakers come as close to the real thing as any speakers on the market, now or in the past. If it is not, well, they tell you so—not in an overly insistent way, but nonetheless in a straightforward one.

I happen to like this kind of “just the facts, ma’am” honesty, but I’m in the minority. Most listeners, I think, prefer drama to documentary. They want a transducer that thrills them the way music—live or canned—thrills them, and could care less about how much coloration it takes to consistently deliver those goosebumps or how close the result comes to the sound of acoustic instruments in a real space. I call this (majority) group “as you like it” listeners, but it’s just as fair, and less faintly pejorative, to call them “musicality-first” ones.

In between the accuracy and musicality listeners is the absolute sound contingent, whose search for those recordings and components that best preserve the sound of real acoustic instruments in a real space was the ideal upon which TAS was founded. To an extent, both of the other streams feed into this central pool, albeit on a kind of a contingency basis. Accuracy-first listeners are searching for the recordings and equipment that deliver the most convincing semblance of the real thing, too, provided that they don’t also turn sow’s ears into silk purses by grossly coloring the sound. Though they may not have an overriding interest in acoustic instruments played in a real venue (i.e., in classical or acoustic pop and jazz), musicality-first listeners are also delighted when something sounds “real,” because when something sounds “real” (while at the same time sounding beautiful and exciting) it just adds to the thrill quotient.

It has been my contention that no listener is purely one of these three types: that a delight in accuracy, musicality, and realism are common to all listeners, although one of these three “biases” tends to predominate (or at least it does most of the time). The trouble is that it is next to impossible to find a single transducer that will please all three palettes in equal measure. So where does a lover of Béla Bartók, Ray Brown, and The Beatles go to get the essential piece-performance-venue-and-recording detail, the lifelike tone colour, weight, and transient response, the thrilling dynamic range, particularly in the bass, and sheer SPLs that each of these composers and musicians requires in significantly different proportions?

Until Magico’s introduction of its five-driver, three-way M Project loudspeaker in 2014, I didn’t think there was a single-transducer answer to that question. But the M Pro came close to being The One—or at least closer than the other dynamic loudspeakers I was then familiar with. Though Magico claimed that the M Project didn’t measure substantially differently than its other speakers—and on a global level this was clearly true—on a local level the differences between it and other Magicos were plain to hear.

Once mounted on its MPod feet (a must, BTW), the M Pro simply didn’t sound like its Q or S brethren—or at least it didn’t sound like them when it came to tonality. Oh, the M Pro had the same standard-setting (for dynamic drivers) low-level resolution of timbres and textures and the same lightning reflexes with transients as the Q Series speakers—and even lower distortion—but overall it was substantially fuller, richer, darker, and more powerful than the Qs, making for a presentation that was far more likely to appeal to musicality-first listeners, without entailing sacrifices that would limit its appeal to Magico’s traditional audience—the transparency-to-source and absolute sound crowds. Indeed, the M-Pro’s appeal to both of the latter was only increased, thanks to its denser and more lifelike tone colour.

What had changed? In two words, the box. The M Project was the first “statement” Magico (since the M5) that did not use an all-aluminium enclosure. It was also the first “statement” Magico with an aerodynamic shape.

How this was accomplished without sacrificing the resonance-canceling blend of mass, stiffness, and damping of the all-aluminium boxes involved a neat (and costly) bit of engineering. The M Project enclosure had a newly designed curved shape that tapered gradually from front to back, eliminating the parallel walls and sharp, potentially diffractive edges of Magico’s traditionally “squared-off” aluminium boxes. Instead of employing thick aluminium plates for sidewalls, the M Project used sidepieces of carbon fibre (one of the stiffest, strongest materials around). According to Magico, these curved carbon-fibre sidewalls minimised internal resonances and greatly reduced the amount of internal damping that was required.

In addition to its curved side plates, the massive aluminium front and rear baffles were milled into curves, while the equally massive (two-inch-thick) aluminium top and bottom plates were CNC-machined to have edgeless contours. In other words, the M Project enclosure was designed to have the lowest number of potentially diffractive surfaces of any statement Magico since the Mini and Mini II.

Judging from the sound, top to bottom, it was obvious that Magico M Pro’s new enclosure was a better idea. The phenomenal clarity in the bass and power range and the remarkable resolution in the midband and the treble owed more than a little to this cabinet, which was simply allowing the drivers to sound more “freestanding” and less like drivers in a box.

The M6

Like the M Project, the new M6 is a five-driver, three-way floorstanding loudspeaker with a sculpted carbon-fiber-and-aluminium box. While the driver complement is the same as that of the M Pro (one 28mm diamond-coated beryllium tweeter, one 6" graphene-carbon midrange, and three 10.5" nano-graphene woofers), the drivers themselves have been improved (I’ll have more to say about this in a moment). More importantly, the monocoque enclosure has been considerably improved, making for what Magico claims is its quietest cabinet ever. By using the purest carbon fiber for its sidewalls, milling the top and the bottom caps into even more diffraction-free curves and arches, and further smoothing all the joinery, Magico has created a seamless, almost egg-shaped, carbon-skinned-aluminium enclosure that, when sitting on Magico’s remarkable constrained-layer MPod feet, allows the drivers to propagate with audibly less interference, as if they were floating in free space. It is, in large part, this uncanny sense of “boxlessness” that makes the M6 sound so much like the Maggie 30.7, albeit a 30.7 with a fuller power range, less sting in the treble, and more realistic top-to-bottom power, punch, and three-dimensionality.

As noted, the M6 drivers have also been improved, particularly the 28mm diamond-coated beryllium tweeter, which is now powered by a new motor system and is seated in an acoustically improved back chamber. As good as the diamond-coated beryllium tweeter was in the M Pro (and it was better blended than all of Magico’s previous high-frequency drivers, save perhaps for the dual ring-radiator in the M5), this one is considerably more of a piece with the midrange, exhibiting phenomenal power handling on hard transients, like strong, repeated, unchoked, closely miked strikes on sizzle cymbal, without a trace of the bright metallic aggressiveness that previous Magico Be tweets have often shown, or of the forwardness that the great Maggie ribbon sometimes exhibits on hard treble-range transients, or of the presence/brilliance range suckout of Raidhos and certain Wilsons.

I imagine part of this superb blending of tweeter and midrange is also owed to the graphene-cone 6" midrange, which is now seated in a carbon-fibre back chamber, tapered to function like a reverse horn. While I’m not sure what all has been done to improve Magico’s three 10.5" nano-graphene woofers, which were already phenomenally fast, rich, detailed, extended, and powerful, I do know that Magico has worked hard to further reduce the eddy currents created by voice coil movement, which produce “chaotic magnetic fields that work against the fixed magnetic field of the driver’s motor and thus create distortions.”

As I said at the start, the net result of these changes is, IMO, the best big Magico yet—the least present (in the sense of box or driver colourations), the most transparent, the most delicately detailed and simultaneously powerful, the most realistic. To hear a great LP of a vocalist, like Dean Martin on the exceptional Analogue Recordings reissue of Dream With Dean, through the M6 is not just to hear a wonderful singer singing wonderful songs in wonderful sound. It is to hear Dean Martin, gone now almost 23 years, live again—there in front of you, standing in the studio he was recorded in, with that U47 hanging a few inches above his face. It is to bring back the past wholly intact.

The M6 is a non-discriminatory re-animator. It does this same horripilating “back from the past” trick with fiddles like Nadia Salerno-Sonnenberg’s Guanerius on Prokofiev’s firelight-on-frosted-windowpane First Violin Sonata [MusicMasters], grand pianos like Sandra Rivers’ gorgeous Baldwin on this same Prokofiev disc (Rivers’ sforzandosare simply phenomenal—translated by the M6s with goosebump-raisingly realistic power and absolutely no thinning of tone color), drums, bells, and other idiophones such as the big ensemble of percussionists who add their shifting colors and rhythmic accents to the Klangfarbenmelodie of Luigi Nono’s Polifonica—Monodia—Ritmica [Time], cellos and basses such as the choirs in Britten’s Four Sea Interludes [EMI] with their mournful ebb and flow punctuated by the bright sea-bird cries of flute and piccolo. The M6 even does this trick—though we had to send Alon Wolf out of the listening room to find out—at very loud level on hard-hitting rock ’n’ roll, reproducing the disco-vicious bass guitar, drum kit, and synth on Blondie’s Parallel Lines [Chrysalis] with the same magical realism it brought to acoustic instruments.

The M Project was, IMO, the first Magico to add fully lifelike power-range beauty and muscle to Magico’s transparent and neutral palette, which made it the first Magico with equal appeal on every kind of music from rock to Rachmaninoff. The M6 takes this all-genre sonic appeal several steps closer to perfection. The M6 is not merely gorgeous and thrilling sounding, though it is both of these things (at times it reminded me a bit of one of Andy Payor’s superb Rockport speakers, albeit with better bass extension); it is also getting the harmonic/dynamic envelope more right than other Magicos I’ve heard. I assume this is because its “invisible” box is letting its improved drivers do their work more accurately. As a result, attacks, sustains, and decays are extremely naturally reproduced, with neither starting transient nor steady-state tone nor stopping transient being overemphasised by resonances added by the enclosure (or by the drivers themselves). This makes for an astonishingly beautiful, liquid, open, bloomy, and “organic” presentation, closer to the way instruments sound in life.

Although the M Project was (and is) no slouch at staging and imaging, the M6 also represents a significant advance in both areas—once again, I assume, because of its improved box and drivers. The way the percussion in the aforementioned Britten piece lit up Kingsway Hall, the way the string, wind, and brass choirs were embedded in ambience on the same music created a remarkable sense of being transported to a different venue whose dimensions extended front-to-back and side-to-side.


Having just come off the mind-boggling experience that is the Magnepan MG30.7, I wasn’t sure how I was going to react to yet another dynamic speaker in a cabinet. Once heard, the big Maggie’s boxless, “freed-up” presentation—with its lightning transient response, sensational resolution of musical detail, and uncannily natural tone color—is indelible. But the M6 matches it, strength for strength. Indeed, it exceeds it in the treble and the power range and the bass, where, as superb as they are, the MG30.7’s true ribbon and huge twin bass drivers are comparatively limited in power-handling and dynamic range (due to driver-excursion limits). While it is true that the M6 does not have quite the same lifelike size as the 30.7s on really big instruments (such as Clifford Curzon’s concert grand on the great Decca recording of the Brahms First Piano Concerto with Szell and the LSO [ORG]), it has much fuller low end and power-range colour and impact (startling impact on tuttis). Moreover, unlike the Maggies, the M6 doesn’t make smaller instruments or voices sound outsize or bring them forward in the mix or add excessive sting (once again due to excursion limits) to high-pitched instruments played very loudly. In sum, it is far more naturally robust and faithful-to-sources and, ultimately, realistic.

Of course, it is also far more expensive. And it has competition. I’m not going to go through a list of contenders, as I did with the M Pro, and what they have to offer that equals or is superior to the M6, and that is because (this time around) I don’t think any of them is superior to this Magico. But I understand that most of you: a) don’t have the money for this marvellous contraption; b) are already happily living with alternatives; and c) resent having your babies called ugly. Well, I’m with you. I don’t have the money either; I’m quite content with the Maggies; and it wasn’t easy to say that I think the M6s are a good deal better. However, my job is to call ’em as I hear ’em, and the way I heard this one—throughout three days of close listening to my own recordings—left me feeling there’s a new sheriff in High-End Town.

Obviously, I’ll have more to say about the M6 if and when I actually get them into my own listening room. But I kinda doubt the bottom line’s gonna change. If you've got the dough and the Right Other Stuff (I was listening to a combo of CH Precision, Clearaudio and MIT—I won’t even guess its cost), and hanker for the very best that can currently be had, the $172k M6 is the speaker I recommend.

...... Jonathan Valin 

Rarely my left and right brain hemispheres end up processing the data in a unison of: "shut up and take my money". Well, here you have it...
Matej Isak

SUMMARY: Magico M6s were designed from ground up as the 21st century, state of the art, cost no object loudspeakers, that challenges and call on duel every dynamic speaker out there. These speakers don't fall under any labeling or just being among most sophisticated and technically profoundly designed dynamic speakers on the market. They are without a doubt exactly that and more. A pinnacle of high-tech engineering, pushing the limits to the maximum.
I've heard many exotic, multimillion-dollar systems with all kinds of speakers as a part of these ultra high-end audio setups. They all had their pluses and minuses, but one particular 3 million custom horn speakers system was always hunting my inner, secluded impressions archetype data storage (a bit of Jung never hurts:) ) until this very weekend.
The ultimate, upper echelon horn like attributes (in the absence of even slightest sonic traits and handicaps) shouldn't be so profoundly connected with any dynamic speaker. Yet Magico M6 breaks these rules!
Yes, I'm admitting it. Even this initial and non-optimal presentation had boldly smacked my mindset.
Rarely my left and right brain hemispheres end up processing the data in a unison of: "shut up and take my money". Well, here you have it...

On my way back from Tuscany, I've planned to briefly stop at the  HIFI Tomasinni, Oderzo, Italy for a short listening session of the Magico M6 speakers, partnered with the full Nagra HD electronics including the very latest HD preamp. I've had the luxury to hear the prototype of the preamplifier at their factory last year, but the final version was even further refined, so it was a perfect chance to add this to the package. 

As both M6 speakers and Nagra HD have just arrived few hours in prior to my arrival, the setup was still in the warm-up phase when I've started listening. The sound has started to make sense over the time and had morphed from casually captivating listening into a higher level sensor triggering experience.

Friday night's pre-event initial evaluation was prolonged to the late hours. I've decided to stay overnight and spent some more time for the listening and talking with Alon Wolf. The mini event has ended with a dinner at Michelin star restaurant. An evening turned into the most vibrant experience with a lot of interesting, heated, intriguing and inspiring discussions.

The next day was a public event and Saturday had brought even more qualities to the sonic experience. While the listening room was not ideal, Magico M6's could still reveal quite a portion of their real potency and have projected a balanced sound without the typical dynamic speakers' constraints.

This is surely connected with the complete design approach, and most intimately with the speaker's enclosure. I'm a fan of sealed box design for many of the reasons (my Ubiq Audio SE reference speakers uses the same principle) and M6's have proven again, that such design delivers more than just non-overblown bass, easier room integration, better real-world objectivity etc. Sealed box sets so many constitutional things above of the level of doing it right. 

M6 speakers' side panels are made out of half-inch carbon fiber. That is neither cheap nor easy to produce. When we've played a loud track with a massive bass Alon asked me to put my hand on on the side panel. There were zero resonances emitted. I've couldn't sense no vibrations. Both carbon fiber monocoque and massive (bolted) aluminum parts are implemented in such way, that transfer unwanted resonances into other energies forms (a heat etc.).

I was always a silent fan of Magico Q7 speakers for quite a few reasons, that I won't go into the detail here, but yes, the mechanical, monumental structure is certainly one of them. The very first few songs played through the M6s quickly revealed the similar, but not exactly same DNA. M6 speakers radiate with their own design language, that brings a refreshing, but still minimalistic cues, translating into the imprint-less sound reproduction.

I could be wrong, but my mind quickly started to play around with what future might bring. Perhaps the new M7 of similar curves, but with Q7 gestalt. 


You won't find me overenthusiastic any time over the usual dome tweeters. Most of the dynamic speaker's designs push them too quickly into the not so pleasing distortion zone or even into much more problematic situations. This is where ribbons and compression drivers kick in as a possible remedy. Of course with their own set of problems, but definitely in the absence of basic dome tweeter problems, that are constantly overlooked by the industry at large.

I've written once or twice already, how distorted tweeter sound became a reference point even for the long-standing elders of a high-end audio. Sad but true. Have no illusion. It's a pandora box, not everyone is willing to open...

So I couldn't resist putting M6's highest tech claims on a race track. I've challenged Alon to play M6 speaker extremely loud and when my ego was satisfied I've asked him for the exact explanation of what is so obviously different about the M6's diamond-coated beryllium diaphragm, that firmly took my loudness torture.

The very reason for the M6s mighty handling of the loud music without getting into the distortion zone is connected with the optimized geometry, that was created with the help of state-of-the-art Finite Element Analysis modeling tools and with expertly leveraging of the beryllium's physical properties. This allows tweeter to operate closer to the ideal point and in absence of added weight normally associated with diamond's specific gravity. All new motor system as well the upgraded and improved back chamber delivers, what is claimed to be the lowest distortion measurements of any high-frequency transducer.

I can assure you, that diamond-coated beryllium sonic performance cannot be bottled within any existing norms. It was surprisingly intriguing to experience the highs with all the best attributes of ribbons, but with the addition of stand out point source potency. 


I've done some of my homework on the way back home. The carbon fiber half inch side panel of M6's size would cost between $10-12.000 on the market. Let me only add the $1200 for the single giant woofer magnet. Without adding any other parts you can get an idea. At the end of the day, there is not so much $$$ left, that goes to this particular manufacture's pocket. I'm more than sure how this  comes as surprise to many of you...

Considering the prices being charged for some of the fancy veneer or color coated MDF speakers' enclosures, it really makes you wonder where the actual money goes. I'm not alone with a provoking idea of luxury furniture industry being more home to such creations. By no means, the sole combining of an ultra expensive parts will not get you an extreme performer. Yet, these Magicos proves, how an extreme concept combining the extreme parts can result in a formation of something special and positively exuberant.

My extended stay also allowed more in-depth discussions with Alon Wolf. Spending the quality time with iconic people from high-end audio industry and trying to understand their mood is one of my main endeavors during my travelings. Alon's outer facade might present him as a distant person presiding at the secluded throne. In reality, he's actually a great man with a clear and focused dedication. Yes, he's determined, straightforward and more than just passionate when it comes to the loudspeakers designing and manufacturing. The boldness is not always the most wanted thing and it surely won't please the crowd. Anyhow...

An enlivened discussions brought up many subjects and we have both shared our own critical views about our beloved and niche industry. We surely didn't (and won't) agree on each and every point, but interestingly we did share quite a few of the common views.

I'm always highly inspired by any high-end audio manufacturer/designer, that is in a full 24/7 operational momentum. Despite many claiming to act so, in reality only a few people's inner clocks ticks in such way. Genuine passion cannot be bought or faked. Over the years I've learned to just observe people, their behavior and their actions. The results or in our case the products always speak for themselves. More loudly than most people would want to...

We talked a lot about how time-consuming contemplation and push forward processes can be. My past ten+ years took away a lot of the beauty sleep :). Alon could instantly relate to the 3-4 hours (unhealthy) dosage of sleeping arrangement per day. Yes, the reality strikes. It takes much more than just ordinary pace to create something meaningful and without a painstaking pinpoint focus the very pursue of completing anything will often just remain a daydreaming.

This weekend was surely inspiring and educational. Learning how much efforts, time and funds went into the M6's creation reminded me about HD preamplifier project and my visit to Nagra last year. Coincidently the HD preamplifier was also a part of the listening system at the M6s Italian premiere and the HD preamp project was similar tour de force, but in the high-end audio electronic sub-universe.

Magico M6s were designed from ground up as the 21st century, state of the art, cost no object loudspeakers, that challenges and call on duel every dynamic speaker out there. These speakers don't fall under any labeling or just being among most sophisticated and technically profoundly designed dynamic speakers on the market. They are without a doubt exactly that and more. A pinnacle of high-tech engineering, pushing the limits to the maximum.

Even if you don't like the concept, the man, or the brand; Alon's take no prisoners, state-of-the-art, high tech approach resulted in a product, that pushes the boundaries of the sonic reproduction much further to the plane, that even yours truly found a bit more complicated and complex to transcribe it on the paper...

M6 can be pushed to extreme sonic pressures, where the distortions start to show up on the measurement equipment after 120dB threshold. By entering of the domain of zero-dot portion level of distortion we're suddenly stepping into the very realms of high-end audio amplifiers. That alone is provokingly different and meaningful for instant contemplation. 

I'll return to Italy to further explore Magico M6 speakers at Audio Natali very soon, but the initial sonic impact still lingers on.

I've heard many exotic, multimillion-dollar systems with all kinds of speakers as a part of these ultra high-end audio setups. They all had their pluses and minuses, but one particular 3 million custom horn speakers system was always hunting my inner, secluded impressions archetype data storage (a bit of Jung never hurts:) ) until this very weekend.

The ultimate, upper echelon horn like attributes (in the absence of even slightest sonic traits and handicaps) shouldn't be so profoundly connected with any dynamic speaker. Yet Magico M6 breaks these rules!

Yes, I'm admitting it. Even this initial and non-optimal presentation had boldly smacked my mindset.

Rarely my left and right brain hemispheres end up processing the data in a unison of: "shut up and take my money". Well, here you have it...
Matej Isak


Magico M6 Speakers @ High End Munich 2018 HiFi Show

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