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Configuration/Specifications
  • Design: 3-Way quasi-ribbon magnetic planar dipole panel
  • Frequency Response: 40 Hz – 22 kHz (± 3 dB)
  • Recommended Power: 100 - 250 W @ 8 Ohms
  • Sensitivity: 86 dB at 500 Hz (2.83 V/1 m)
  • Impedance: 4 Ohms
  • Woofer Size: not given
  • Tweeter Size: not given
  • Super-Tweeter Size: not given
  • Crossover: not given
  • Dimensions: 64.5” H x 19.25” W x 2” D
  • Weight (Each): ~42 lbs. (19 kg)
  • MSRP (Pair): $1,995
The Magnepan 1.7 is a quasi-ribbon magnetic planar dipole panel featuring separate tweeter and super-tweeter driver areas.

Magnepan Website

Setup and Placement Flexibility

Setting up the dipole 1.7's did not take terribly long because we were already well-attuned to the absolutely critical nature of setup symmetry for panels and dipoles in general. Especially critical are the toe-in angles and distances to the LP (Listening Position), although we have become exacting about all setup measurements for all speaker types. Still, getting the best sound from the panels took a number of successively smaller repositionings. We ended up with the 1.7's widely spaced and almost directly pointing at the listener's ears. Their center-to-center spacing was the widest of all the speakers in this evaluation group.

It is worth noting that with panels the setup angle relative to the listener becomes a matter of splitting degrees, or to be more accurate, or careful definition. Which part of the panel is pointed straight at what part of the LP? The center of the panel at the center of the seat back? The tweeter portion of the panel at the ear? The term "pointed at" ends up needing qualifiers, and eyeballing those angles never gets them close enough. Our laser distance meter doubled as a laser pointer and more than once an evaluator during setup was told to close his eyes while the laser beam aided the fine trimming of those angles relative to his head or ears. It sounds like obsessive behavior until you have heard for yourself the difference that such attention to detail can make. Comments by long-time Magnepan owners tend to confirm these findings.

One refinement to our LP captain's chair for critical listening and evaluating was the inclusion of a folded-up plush blanket draped over the back of the chair. It extended down to shoulder height and helped soften reflections off the chair back surface, reducing sensitivity of the sonics to head movement and closeness to the chair back. Without the blanket in place we were finding it difficult to get most speakers to sound "quite right" unless we leaned forward in an unnatural and uncomfortable position. (These effects are exaggerated with high-directivity speaker designs - dipoles, panels, etc.) I had absent-mindedly failed to notice that the blanket had slipped out of place when first sitting down to listen in detail with the 1.7's, and was leaning forward on Reasons Why wondering about the reasons why the soundstage would not settle down. Realizing the oversight and replacing the blanket relaxed that effect dramatically, making for a much more enjoyable session. The need for that blanket, or something to deal with those reflections, was reconfirmed.

Impressions

At our $1,000 speaker evaluation event in August, I was bitten by the planar speaker bug while listening to the smaller Magnepan MG 12/QR's. Perhaps my expectation level had gotten over-inflated for the 1.7's, but they did not grab me the way I thought they would. The separation and detail and clarity were all there, and I loved them for it, jotting "only Truth allowed here" in my notes. Cymbal clarity on Life is a One Way Ticket was absolutely wonderful. But the frequency response was just uneven enough to be distracting, and the SNAP of the MG 12/QR's was missing.

Frequency Response, Bass Extension

The 1.7's are very flat from 2 kHz to 10 kHz, and fairly flat from 350 Hz to 42 Hz with a strong peak at 48 Hz. The high-frequency range is joined to the low-frequency range by a 1-octave-wide peak at 1.2 kHz. The overall profile shows the highs recessed by 3 to 4 dB relative to the lows.



Room EQ Wizard MDAT file for download: View attachment Magnepan 1_7 for download.mdat

The tonality of the 1.7's seemed dark to me, which was surprising. The highs are flat, clear, clean, instruments and sounds are all well separated and detailed, but above that presence peak the response is held back enough to feel muted.

The tightly-packed "hill and valley" response seen between 150 and 500 Hz is characteristic of Magnepan's - with the MG 12/QR's this occurred through the low- and high-frequency ranges and they sounded very even - and is not a big concern, but with the 1.7's there was enough peakiness that they sounded uneven, almost coarse. This was first noticeable on the quieter Reasons Why track.

The standup bass was handled evenly and tightly through Life is a One Way Ticket. The saxophone and cymbals were tactile, seemed live in the room. Next time you are in a music store, sneak a couple of medium-hard cymbal strikes with a proper drum stick and absorb the wonderful clarity and complexity of the tones produced. The 1.7's sounded just like that. And the piano tones on Breezin' Along with the Breeze had a "tinkle" that many speakers would have left out. Melody's voice through Baby I'm a Fool was super detailed and clean, as were the accompanying strings, and the standup bass was solid and tight.

Soundstage and Imaging

The soundstage was very good: wide, open, deep, and well-developed - the instrument separation was particularly strong, lots of air between the phantom sources - and imaging was quite good, very stable. Ain't it a Shame contains widely-spaced background synthesizers that reached the walls of the room. Dance to the Drummer Again also reached out to the walls. The matching between our panels was dead-on above 1 kHz, and enviable below it. Imaging from panel speakers in general is not as tight as with speakers using smaller radiating surfaces, but can still be very good and completely stable. We got roughly grapefruit-sized images for point-source recordings with the 1.7's and heard no signs of smearing or wandering.

Your Gold Teeth Too was a good track to illustrate the distinct separation between instruments. And almost in defiance of our understanding of psychoacoustics and low frequencies, the deep drum on Way Down Deep, even its lowest reaches, had a separate and distinct location in both the width and depth dimensions of the soundstage. Joan of Arc also contained percussion and cymbals that stood out in their clarity and distinctness.

Power Handling

I heard it first at the beginning of the Cincinnati Pops' Star Trek theme. The opening deep thumps were accompanied by a quick fuzz of distortion in the upper-mids of the horns and strings. It happened on each of the thumps. Sonnie heard the same thing during Way Down Deep. For the Star Trek passage, the volume level was set with the SPL varying mainly between 90 and 95 dB SPL (c-weighted, slow-averaged), occasionally peaking at 100 dB. This is about as loud as any of the evaluators likes to push the volume, and it does not get this loud very often, but we do want to be able to get there without fear of distortion.

Once you are aware of this "fuzzy-upper-mids-with-strong-bass" problem, you end up focused on it all the time. "It shouldn't be a problem on this track." "How loud can I play this one?" Our listening tastes require being able to crank the volume into the lower 90's (dB SPL) at will without having to fret about distortion on certain notes or ride the volume to avoid it.

In terms of power-handling capability, this was the only blemish in the 1.7's performance. They are low in efficiency, calling for plenty of high-current-capable power for higher volumes. We had plenty of clean power available, though, and even when pushed hard with complex music - minus the deepest bass - the 1.7's had no trouble keeping all the parts of the music clear and separate.

Performance Close to the Front Wall:

Close to the front wall, the 1.7's were easy to place. Their first location was where they stayed. At that distance from the LP, the aim was not as critical. The soundstage was very wide and imaging was solid, but - you guessed it - there was no depth of soundstage at all.

The 1.7's were definitely too high on the six-inch stage. They sounded much better for listeners on the elevated second row of seats.

For a brief experiment, we moved the 1.7's as close to the wall as their feet would allow. The imaging went completely soft and diffused.

Physical and Visual

Magnepan speakers do not look like loudspeakers at all to the inexperienced eye, but - when properly set up - more like a pair of decorative or acoustical treatment panels at really odd locations in a room. When one realizes they are speakers, they become attention-getters of a different kind. I like the way they look - simple, understated, big, and important all at the same time. At around 40 lbs. apiece, the 1.7's are manageable by a single person needing to move them around. They are quite impervious to curious little fingers and pet claws, functionally anyway. Gracie (Cedar Creek's feline mascot) would have no trouble fraying the attractive fabric outer covering with a few good claw sharpenings, and was banished from all speaker storage areas.

Overall Listening Experience

As we were finishing up our round of evaluation turns with the 1.7's, I turned to another evaluator and commented, "I really wanted to like them more than I did." Even with all that clarity and detail, the two factors that held back my listening joy with the 1.7's were the uneven tonality with its recessed highs and that occasional upper-mid fuzziness when a strong bass event came along. Another tweak or two on the angle might have fixed the recessed highs - but we surely did plenty of tweaking during our setup, so maybe not. (The measured response was the same from the less-exacting position near the front wall.) And a subwoofer to relieve the panels of having to deal with the lowest octaves of bass would no doubt fix the distortion problem - but our assumptions were firm, and we were evaluating all speakers in their right-out-of-the-box state, no mods, no subs, no special processing allowed.

In other hands, rooms, or conditions, the essence of the magnetic planar sound might very well be coaxed to its full glory with the Magnepan 1.7's. For me, their performance was a lackluster "Pretty Good."

What These Speakers Are Best For

It takes a lot of patience to get the best out of a pair of planar speakers. If you want to set 'em and forget 'em, look elsewhere. As we experienced the Magnepan 1.7's, their ability to deliver clarity and detail will serve any kind of music well, as long as loud, deep bass is not a high priority.
 

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Joe's Impressions

The Magnepans are a different breed for me – they look like a standard box from the front, but of course have no depth. After trying to pinpoint what I was seeing, it finally dawned on me that they really look like you have a GIK acoustic panel that plays music. With that being the case, they would obviously blend well for HT.

We started off on the stage, and I noticed right off that they seemed to have a subdued sound which I honestly was not expecting from a panel. Female vocals had a very "processed" feeling to me - there just seemed to be no "life" in the vocals. The bongos in the Cassandra Wilson "Dance to the Drummer Again" image on the left panel rather than to the left of that panel. Low end and midrange were really fuzzy from an imaging standpoint - instead of being able to pinpoint location, it was very indistinct and bloated from a middle image.

Once we got them to the floor, imaging did tighten up a bit. The mandolin in the "Ode to a Butterfly" track imaged inside the right speaker as expected where it was not as clear on the stage. However, bass imaging never tightened up - it just felt really bloated. Also, there were a couple tracks - "Life is a One Way Ticket" in particular - where once the low end kicked in, the male vocals fluttered which was very distracting. Instrument clarity was good - the piano in the "Life is a One Way Ticket" stood out most for me. As I continued to listen, I noticed that the soundstage was not very deep - everything seemed to be located right over Sonnie's rack.

Overall, I just did not connect with these speakers at all. I came to the conclusion that I felt these would be good for vocals and high end instruments, but once you add in the low midrange and low end, they lose their luster for me.
 

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Leonard's Impressions

<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--> The Magnepans performed well on the stage in terms of frequency response, maintaining bass definition that most of the others lacked here. The very deepest bass lacks detail, but this behavior was similar out into the room at the final position. Imaging suffered on the stage as one would expect. Once moved to the floor and considerable experimenting, the soundstage was wide and tall, but outside of the sweet spot collapses rapidly. Detail is exceptional from mid-bass up to lower treble. Balance is good, other than a small peak in lower treble that emphasizes sibilance on rise at high levels. The lower midrange seems somewhat relaxed and gets lost a bit at high levels. The bass seems to go deep but lacks the power and authority of the other speakers in the group.

With well-defined mid-bass, my sensitivity to lower strings on acoustic guitar and the subtleties of a string bass is satisfied. While these areas are very present, notes are not fat and bloated. Vocals are rich and delicate when appropriate, even where they are lacking a bit of presence or a bit forward. Suzanna McCorkle’s quirky jazz sound is the richest of all the speakers yet. The trembling edginess of Rickie Lee Jones is among the best I have heard, but just a bit low in level in the lower ranges. Drums and bass in “Gold Teeth II” by Steely Dan are crisp and tight. The harmonies of Jennifer Warnes and Leonard Cohen are distinct, but as levels rise and music becomes complex the detail seems to smear, as in “Joan of Arc”, where I hear sibilance and edginess in the upper midrange and lower treble that overwhelm lower mid tones.
These Magnepans are a conundrum for me. There are aspects of them that I really like, such as the smoothness of the width of the image and the sweetness of Melody Gardot’s voice. That is until the levels rise and the sweet peachy sound becomes brass. Not steel and technical, just hard where it was not at lower levels. The openness and detail on less busy music at moderate levels leaves one wanting more on a track like Dire Straits “Your Latest Trick” but the large sound with depth of sound field that is expected on big orchestral pieces just is not there. I think this change of character is one of the reasons that Sonnie is not a fan. These are not Tektons, Klipsch, or EPs in terms of dynamics. If it were just that, I would be more of a fan, but the speaker loses its primary advantages as levels and complexity grow. Orchestration feels thin on “Baby I’m a Fool” yet vocals can be seductive. Definitely a speaker that I can appreciate, but no way I could live with them and enjoy them all around.
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Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; 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