Before approaching the digital domain, one must understand the analogue soul of Reynaud’s work. His loudspeakers, such as the legendary Twin and the later Bliss , were characterized by paper pulp cones, ferrofluid-free tweeters, and first-order crossover networks. This design choice prioritized phase linearity and transient speed over raw power handling. The result was a speaker that sounded “alive”—not in the exaggerated, hi-fi “etched” sense, but in a manner that mimicked the harmonic complexity of live instruments. The so-called “Magic” series (likely a reference to models like the Magic Stand or Magic Bookshelf ) embodied this ethos: a small, two-way monitor that disappeared acoustically, leaving only the performance. For Reynaud, the loudspeaker was a window, not a wall. By 2021, however, the source material feeding that window had changed irrevocably.
Centered at 1500 Hz to address mechanical resonances in passive components. Tweeter Diaphragms Jean-marie Reynaud Magic Cd Flac 2021
Centered at 10 kHz; ensures optimal break-in of delicate high-frequency components. Full System / Cables Before approaching the digital domain, one must understand
A. Dubois, L. Mercier, S. Nakamoto Laboratory for Applied Psychoacoustics & High-Fidelity Systems, Lyon, France The result was a speaker that sounded “alive”—not
Step-by-step instructions for for silent burn-in Comparing JMR to other tools like Densen DeMagic or IsoTek
Centered at 500 Hz to stabilize the junction between the spider, cone, and moving coil. Crossover Filters