Magnepan vs Martin Logan


Which ones are better in general terms and why? Thanks in advance for your comments. Joel
joel_chowfdf3
Joel, I have listened to the big maggies. They did sound nice and were driven by bryston 4bst. I did not get to compare them with the ML's, side by side. But I did end up buying the ML aerius i's. At the time I bought the aerius I's I also bought the 3bst. Then I discovered the bat vk200 amp which I bought to replace the 3bst. No regrets at all. I auditioned the bat 3i pre amp in home with my bat vk200. The surenergy of the 3i/200 was incredable. I know what people say about the Martins not being dynamic, but apparently they have not tried them w/the 3i/200 combo; very dynamic and pletty of power. I will be buying the 3i in the future and won't look back. All I can say is WOW. pete
Very good posts regarding this. Many years ago when I was shopping for new speakers I auditioned Maggies and loved them. Ended up with Martin Logan Sequels because of the better low end. Have had them now since 1988 --- gee, has it been that long?? WOW. Have had wonderful luck with MLs - both are great speakers - audition both and bring your own CDs to the store to check them out and buy what you feel sounds the best...

Regards.

Tom.
Both Maggies and Martins are fine speakers.

One of the lesser-known, perhaps more esoteric, kids on the block is Sound Lab. While best known for their world-class full-range electrostatics, Sound Lab makes a hybrid called the "Dynastat" for a bit under four grand. While conceptually similar to the Martins, there are a few differences - for one thing, the Dynastat's electrostatic element radiates over a 75 degree arc instead of a 30 degree arc and so gives you a wider sweet spot and a better energized reverberant field, at the expense of greater sidewall interaction. The Dynastats go pretty deep (27 Hz) as well, and the woofer-to-panel integration is in my opinion very good (because the panel's radiation pattern is more similar to the woofer's). The Dynastat also has an abundance of controls, useful for optimizing for different rooms, listening distances, systems, and preferences.

If by any chance you are in the price range of the Maggie 20.1's or Martin Prodigy's, then you might want to consider one of Sound Lab's full range electrostats.

You can check them all out at www.soundlab-speakers.com, or drop me a line with any questions you may have.

The InnerSound speakers mentioned by Angela100 are very dynamic and have superb imaging, but a very narrow sweet spot. I prefer the wider radiation pattern of the Dynastats, but it's very much a matter of personal taste. The InnerSounds are also equipped with a variety of useful controls.

All four of these lines - Maggies, Martins, InnerSounds, and Sound Labs - are in my opinon significantly more musical than virtually all box speakers in the same price range. They have different virtues and so appeal to different listeners, but if you love the boxless sound of planars, then from among their ranks you can probably find the speaker that's right for you.
In 1985, I auditioned four speakers:Acoustat2+2s,Maggie IIIas, ML Monoliths, and Apogee Scintillas. The MLs came
in dead last. The final two were Acoustats and Maggies
mainly due to pricing and their timbre/tonality/transparency
for piano and cello. I chose the Acoustats, the golden ear
of the family chose the Maggies. In 2001, I have looked
at three speaker systems: Maggie 3.6s, ML Prodigies, and
Avalon Eidolons. ML Prodigies were dead last with the
Maggies slightly less tonally correct/holographic soundstage than the Avalons Eidolons, but at 5 times the price. I have not auditioned the Sound Labs pure electrostats(being a pure electrostat means that they surely will be perfect). All
dipoles need gobs of clean power, I prefer my Spectral
DMA 200 or my pair of DMA 50s, to practically all others
including my ARC equipment. However, I have not heard
OTLs or Wolcotts. All 2001 auditions were with Spectral
gear. Tubes add warmth and the big debate is whether
warmth is natural or artificial enrichment of the music
being produced. If you have ever heard a live string quartet, and the cello is on, and the cellist is trying to chop wood, boy can it get steely and hard. Why add some
warmth to what is naturally harsh sounding to your audio
system.