Several of you have inquired so I thought I'd post some pictures of the experimentation I did this past year with my humble pair of SMGs.

Peter Gunn's site intrigued me and reading the many positive reviews only made me more curious. After reading his many posts, lurking on his website for tips, tricks, & traps, and closely examining the many photos and samples, I slowly gathered the courage to attempt the modifications myself.

I purhased my SMGs off of eBay from a seller who recently had them refurbished at the Magnapan factory. So I considered the condition of my drivers to be in good shape. They came with factory fresh socks and the trim was unusual for vintage speakers of that era.
After lots of consideration, i finally removed the wood trim, the numerous staples, and removed the sock. Inside I discovered a crack in the MDF frame but otherwise, the drivers and wires looked fresh. The Peter Gunn commentaries warned me that I would find inexpensive crossover components buried inside the frame. I found some commentary discussing his experimentation with the values and components. I purchased Obbligato Film capacitors and Janzzen Air Foil and installed them according to some of the wiring diagrams I'd discovered in my readings.


I knew some of the Maggie models were wired out of phase. And my SMGs were no exception. I adjusted the wiring in one of the crossovers accordingly. The improvements in sound stage, dynamics, and delicacy were all dramatically improved. But the most notable improvement of all was the disappearance of the narrow focused sweet spot. I could now walk about the room and still hear some aspect of the music. I no longer had to sit in the perfect center to listen to the stereo image. I settled on a 22mF and a 30mF cap in each crossover. I'm no authority but according to my readings, this supposedly positioned the crossover point at somewhere around 1100-1300Hz. What I did find is that with the two capacitors, the mid-range moved forward in the sound stage giving the vocals a much bigger presence in the musical presentation.
After a couple of months, the speakers settled and I decided to plunge further into the madness. I closely examined the many pictures of Peter Gunn's amazing wood working craftsmanship. I was at first dismayed at the precision and expert execution of his craft. I was disheartened knowing I could not possibly mimic his beautiful Magnastand.
But after reading more about the benefits of the frame and stand itself, my curiosity motivated me to move onward.
According to Peter Gunn, the selection of wood did not matter. He chose several different types of wood specifically for their visual appeal. That said, I decided to use inexpensive "Select Pine" to mock up prototypes to achieve a proof of concept and to test my tools and skillsets. I eventually fabricated three sets of prototypes. Only the last had enough integrity to actually mount the drivers and test.