Well, boys, after a month of playing with my 2.7s I decided they are lacking. So, I have configured them to run them in parallel to my Polk 705
Both Maggies and the Polk 705s are playing the same signal (L/R), but split at preamp RCA out and amplified by different power amp channels (shown in one of the pics).
You may ask "why"? Why go through all this trouble and not just use the Maggies alone.
In my humble opinion, Maggies are missing the slam factor. They dont rock. True, they produce extremely clean and quick transients—such as those of plucked acoustic guitar strings or percussion instruments. The sound seems to start and stop suddenly, just as one hears from live instruments. Ribbons sound vivid and immediate without being etched or excessively bright. In addition, the sound has an openness, clarity, and transparency often unmatched by dynamic drivers. (Incidentally, these qualities are shared by expensive ribbon microphones.) Finally, the ribbon’s dipolar nature produces a huge sense of space, air, and soundstage depth (provided this spatial information was captured in the recording). Nevertheless, put on Pink Floyd's "In the Flesh" and you can play it very loud , but you will not feel the punch in the chest. In addition, some of the instruments seem to be muted in different recordings (even the same instruments; for example a piano in a Chopin CD sounds delightful, but in WIll Duta's Parergon it is five miles away from the recording microphone). That is not the case with Polks.
The Polks (LSiM 705s) are equally great at some things, but not others. They midrange is simply addicting. I actually dreamed of their midrange - go ahead and laugh, but that is true!. It is so articulate, clear and pronounced that sometimes I think it isnt that pronounced in real life (during recording). The LSiM 705s have a lot to offer: excellent clarity, outstanding power handling, true full audio range reproduction.
But they have their own shortcomings, just like the Maggies do. First off this box sound coloration and small imaging. They sound fine until you've experienced Maggies. Then you will find the 705's sound small , like all vocals are being performed by Chip & Dale. I am reducing to the absurd here, but you get the point. On the other hand, if you have never heard planar speakers, you may never even be a ware of this shortcoming.
So, what Maggies offer, the Polks dont. What the Polks are good at, the Maggies cant play because of their design (this slam factor, for example, I felt it at reference level EVEN with the bookshelf 703s!). This makes them perfect to play together without stepping on each other's toes and at the same time preserving their own strengths.
At low volume Maggies are quiet and just humming along, almost imperceptibly making the sound bigger. But above -30 they open up and start singing along with the 705s. They add air and space to the Polk's sound, making instruments and vocals more palpable, alive, present.
I was afraid that their tweeters would clash. And they did. But all I had to do is to bring treble down by 3dB and it all came together.
The Emotiva has no problem carrying this double load (4 speakers instead of 2, the 705s are 8ohm and Maggies are 4ohm sometimes dipping down to 2ohm). I went all the way up to -10 (20dB still available) and there were no issues whatsoever. I am sure there would have been , if not for the subs. Now, this -10 volume sound like +10 - because of the Maggies vast irradiative surface.