Magico vs the world

I own the 802d3's and question a lack of midrange and upper midrange resolution. I note that they employ 'continuum' midrange cones which are of variable thickness and stated to offer best available clarity via their combination of stiffness and self-damping...self-damping is as all know indeed considered important in loudspeaker cone design.
I auditioned the Rockpor Avior 11 and Cygnus loudspeakers, in respect of which Mr. Eric Squires' comments regarding the Magico A3's caught my attention...eg. 'shimmering color in the mid-treble to treble', and 'extra resonance in the low end of the female voice'.
To my ear the Avior 11's 'dissected' the resonance of violin ensembles in a manner reminiscent of the granular quality of similar music (? 'poorly') recorded in 26/44.1.  The midrange had a 'thin but 'loosely' resonant' quality.  How to compare to 'reality' ?  Well performed violin ensemble music...trio, quartet...sextet...has...'in the flesh''' a vivid but smooth quality, without harshness, without exaggerated 'echo'.  Well-performed orchestral music may, for smaller orchestras, be 'spare' but does not have a 'thin' quality.
In such reproduction both the 802D3's and Rockports to my ear
fall short.  Do the Magico a5's do any better ? .I hope to audition them when covid precautions allow.
I must thank Mr, Squires for his descriptive terms.

smodtactical and others
I referenced Erik Squires' comments regarding the A3, I have not heard them.  I did audition the Rockport Avior 11, digital source, and  Rockport Cygnus loudspeakers, analog and digital sources, and I own the B&W 802d3's.  I wish there were means to directly compare the B&W, Magico and Rockport speakers.  As I said, the Rockport Avior 11's reproduction of orchestral sound 'seemed' to dissect sonic timbres such that a large orchestra's sound resembled the sound of a much smaller, chamber orchestra.  I can described this characteristic as 'thin and loosely resonant'.  Could this perceived characteristic due to diminished midrange speaker cone 'self-damping'  ?  Conversely, is the B&W 'continuum' speaker cone material a source of 'fatter' midrange and lesser midrange resolution due to its self-damping quality, and was the choice of cone material 'tuned' to American listeners of non-classical music ?  Further, is there 'self-damping' inherent in the vinyl lathe cutting process such that loudspeaker cones with lesser self-damping are a better 'match' for analog reproduction ?