On the subject of Maggies and "bottom"
When I bought my speakers back in the 80's, it was down to three: the Dahlquist DQ-10, the Infinity Reference Standard II B, and the Magnepan IIB (Acoustats, Apogees, Shahinians, and Vandersteens had already been eliminated). I couldn't find all 3 at any one dealer, but I was able to compare two at a time. The Dahlquist was the first eliminated at the Sounding Board in Ridgewood NJ. I think it was at Lyric in NYC that I was able to compare the Infinity and the Maggies. Those Infinitys were mighty impressive, with 3 EMIT tweeters (one on the back), 3 EMIMs, 2 10" woofers, with a freq. response of 29 to 32,000 Hz ±2 dB. Beautifully constructed, with a design based on the original and massive Infinity Ref. Standards. How could Maggies hope to beat that?
One recording did it: The Sheffield Drum Record. One of the finest recordings of drums ever made, direct-to-disc. Few albums could test or tax a stereo system like that record. Super-wide dynamic range, with lightning-fast transients.
The EMITS were crystal clear, the soundfield was encompassing and there were prodigious amounts of bass coming from the Infinities, but...
...compared to the Maggies, the low end sounded like mud. It truly shocked the hell out of me! It only took me two minutes to decide, because the difference was truly like night and day.
It wasn't quantity I wanted, it was quality.
The speed and the clarity of the Magnepans were magificient.
Some months later, after my Maggies were broken in, I put on a recording of the Verdi "Four Sacred Pieces". That's about as different from the Sheffield as you can imagine. I turned off the lights and listened to the third section, written for a capella women's voices. It floated in the air, the choir was tangible, and it brought tears to my eyes.
I'd heard the Verdi performed live, and I'd sung it (though not THAT section, since I'm a tenor) in Carnegie Hall, so I quite literally knew it from the inside and out. I could hear everything, and I mean everything.
I'm a trained muscian, and I worked in recording studios in my younger years, both in front of the mikes and at the mixing board. My hearing at the high end may not be as good as 30 years ago, but I can still hear clarity, transparency, transient response, soundstaging. I know what it sounds like on stage and in the audience.
Now you know why I miss my Maggies so much.