Martin Logan F20 speakers. I can’t claim to love my movie entertainment any more than I love my vast selection of music. Having the best reproduction of sound has been an ongoing pursuit. I want to have seat shaking sound when tanks rumble by or when rockets launch skyward on the screen and still be able to have accurate representation of individual instruments in a full orchestra or the overtones that separate the sound of a violin from a cello. With so much music and movies accessible at exceptionally high quality via streaming and disks, it’s now possible to recreate a theater or concert venue at home. I’ve been on a quest most of my life to do that very thing.\n\nPREVIEW: Yes, these Martin Logan speakers demonstrated an ability to deliver accurate reproduction of every sound. Honestly, I’ve found several competing speakers that are similarly accurate. What separates these Martin Logans from the pack is their ability to cover a range of quiet, even delicate tones or voices and deliver explosive sounds with equal ease. Although I anticipated Martin Logan’s famous capabilities in the upper frequency ranges, I was surprised at their competence handling bass with authority, and especially their very dynamic presentation. It was as if they had two personalities. They are subtle, beautifully delicate with detail layered on top of a rock’n roll’n raucous bad boy slam. The front stage they create is broad and it holds up well even seated off to one side of a room. They make voices easy to understand. My only internal debate concerns what room will they end up in: theater or my large family space?\n \nSETUP: From the heavy packaging to the accessory box with the gorgeous outrigger speaker supports, Martin Logan lets you know they think these speakers are special. Sliding the flawless black gloss speakers our of their fabric sock seals the deal. These are special speakers challenging the rest of the $3-5,000 competition. \n\nMy largest room listening/viewing area is equipped with a Yamaha Aventage RXA860 acting as a pre-amp for a Parasound 5125 multi-channel amp, providing an honest 125w/channel into 8 Ohms, and 185w/channel into 4 Ohms, which is the load these Martin Logans most often present to an amp. Later on during my early listening tests I moved them to my smaller (14’ square) theater room where I use a Yamaha Aventage RXA2070. This less demanding space allows the 140w/ch available power to easily drive the F20s. These are demanding speakers which will over-stress AVRs that don’t have robust power supplies or aren’t stable with 4ohm speakers. [Such AVRs will have stickers advising you of problems with 4 ohm speakers.] With these two amplifiers, the Motion F20s will play loud, louder than the previous speakers that occupied these locations. \n\nPhono purists might be disappointed that I rely on Apple Music (up to 24-bit/192kHz) music streaming exclusively but that also means I can listen to Dolby Atmos-powered Spatial Audio. Movie sources include the highest quality audio streaming but more often I use the UHD or Blu-ray disk formats because I really do prefer best available audio/video quality. [Because I knew I would be listening to multi-channel music and movies, I added Martin Logan’s Motion 50XTi center channel speaker from their previous line-up. That deserves its own review, but, I can say it is equally impressive.]]\n\nLISTENING to MUSIC: I started with popular music from my youth, because it is so familiar to me. The Doors, “Spanish Caravan”, John Lennon’s voice on “Girl”, and the harmonies of Crosby, Stills, Nash & Young all have strong bass and drum accompaniment and very natural, recognizable male voices. Music was fun to listen to, but before I used room equalization on both of my AVRs, there were times when the upper bass stepped forward more than I remember. It didn’t keep me from increasing the volume on Van Morrison’s “In the Afternoon”. Here Morrison’s voice sounded like he was sitting on a stool in a club, very intimately sharing a memory. I also sampled selections from Stravinsky’s “Rite of Spring” because it features the orchestra’s a wide variety of instruments which all get are properly presented with the Motion F20s detailed and lightning fast transient response. \n\nI came forward in time and played a mix. Starting With Paramore’s “Big Man, Little Dignity:, Hayley Williams’s voice stays smooth and intimate. Miley Cyrus sounded raucous with her new recordings, especially the live recordings. Alicia Keyes “Butterflyz” and Alison Krauss “When you Say Nothing At All” were delivered with delicacy and proper attention to the variety of instruments and musicians on hand. Of course I had to invite song birds Arian Grande, Adele, Mariah and even Sam Smith to the audition. All of them easily filled the room with music that never fell short of realistic in quality, accuracy and volume. These speakers have no bad habits. Billie Eilish’s thundering bass accompaniment never sounded more presen