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Axiom Millennia M60 V2 Floor Standing Speakers

Axiom Millennia M60 V2 Floor Standing Speakers

Axiom

$300.00 USD
$300.00 USD
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Axiom Audio M60 v2 Loudspeakers

Sometimes I’ve wondered whether the name of this publication, GoodSound!, mightn’t do an injustice to the high quality of some of the products we review. GreatSound! seems a more fitting description for two pairs of speakers I’ve reviewed here: the Monitor Audio Silver and the Usher Audio Technology X-718. Of course, the phrase "good sound!" doesn’t only refer to the sonic qualities of the products we cover, but also implies good sound for the money; that is, products that sound good and are affordable. But while the loudspeakers I’ve just mentioned are certainly affordable, the only word that describes their sound is great. Good just isn’t, well, good enough.

Enter the Axiom Audio M60 v2 ($990 USD per pair) -- a loudspeaker that not only sounds great but is perhaps one of the greatest audio bargains out there. Here’s why.

Description

A little over a year ago I met Ian Colquhoun, president and chief designer of Axiom Audio, and visited his factory, nestled in the woods of the Muskokas, about 250km north of Toronto. Axiom makes all its speakers there, which is somewhat remarkable, given their quality, their low retail prices, and the fact that much of their competition now builds its speakers in China.

I won’t get into the details of Axiom’s history (you can read all that on their website), other than to say that, in his early years as a speaker designer, Colquhoun worked closely with the National Research Council in Ottawa, in the famous speaker-measurement program directed by Dr. Floyd E. Toole. There they tested speakers in an anechoic chamber, and conducted double-blind listening tests to identify those measurements that most closely correlated with listener preferences. One of the most important things to emerge from this research was that, in double-blind tests, listeners tended to prefer speakers with frequency responses that were relatively flat both on and off axis. This observation became the basis for building good-sounding speakers, and Colquhoun and many others continue that practice to this day.

The three-way M60 v2 has metal drivers, a cabinet built to reduce internal standing waves that can muddy the sound, and proprietary Vortex ports designed to reduce port noise. Each speaker measures 37.5"H x 9.25"W x 15"D and weighs 47.6 pounds. The tweeter is a 1" titanium dome that crosses over to the 5.25" aluminum midrange at about 2kHz. The midrange hands off to two 6.5" aluminum woofers at 200Hz, the latter responsible for handling the lowest octaves. The M60 v2’s claimed frequency response is 37Hz-22kHz, ±3dB, and its anechoic sensitivity is said to be 89dB/W/m, increasing to 93dB in a typical listening room. Combined with its 8-ohm impedance, this makes for a speaker that’s very easy to drive.

The review pair came finished in Boston Cherry vinyl veneer and was fitted with black cloth grilles. The other standard finishes are Black Oak, Mansfield Beech, and Light Maple. While the M60 looks good in any of these, higher-grade finishes are available in vinyl (16 choices, starting at $1108/pair) and real woods (many, starting at $1410/pair), as well as six different colors for the grille. The real-wood finishes include high-gloss black or white, knotty pine, walnut, oak, cherry, rosewood, and maple, as well as stain options in satin, semigloss, and piano (high-gloss) finishes. When I visited the factory, I saw a few of the custom finishes and was impressed by how much they improved the speakers’ appearance. While an attractive cabinet won’t improve the sound, it’s awfully nice to look at, and can help the speakers blend in with the rest of your décor. If I were buying Axioms and had the money to do it, I wouldn’t think twice about springing for one of the upgraded finishes.

Because all of Axiom’s sales are done online, via their website, the only way to hear one of their speakers is in your own home. Although I’d never suggest that you buy a component you haven’t heard, Axiom helps take the risk out of the purchase by offering a 30-day money-back guarantee. There are two major advantages to doing this. First, it gives the buyer the chance to audition the product where it will actually be used. This is the best way to test any product, and Axiom lets you do it risk-free. Second, by eliminating the middleman -- the dealer -- Axiom can hold down the cost of their products and pass the savings along to the customer. If it were sold in stores, the M60 v2 would undoubtedly cost more.

System and setup

I connected the Axiom M60 v2s to a Bryston B100DA SST integrated amplifier via AudioQuest Type 4 speaker cables. An AMX Optimum AVC-31 coaxial cable connected an NAD C542 CD player to the Bryston, to ease conversion of the digital signal by the Bryston’s onboard D/A converter. All components were plugged into a Blue Circle BC6000 powerline conditioner.

When I set up tower speakers, my biggest concern is to get them far enough away from the room’s walls that they can create a wall-to-wall soundstage without overloading the room with bass. I like good bass as much as the next person, but not when it’s overblown and loses clarity. Fortunately, this wasn’t a problem with the M60 v2s, which were fairly easy to set up. I ended up placing them 30" from the front wall and 25" from the sidewalls, almost exactly where my PSB Platinum M2 speakers normally sit. To tighten their imaging, I toed them in slightly toward my listening position, 8’ away. The M60 v2s required almost no break-in time to sound their best.

Sound

Although I knew from the listening I’d done at the Axiom factory that their speakers performed at a high level, I wasn’t prepared for what I heard when I finished setting up the M60 v2s in my own room. The first thing that struck me was the Axiom’s even tonal balance. Not only was the speaker very neutral, it also offered just the right balance of detail and exceptional musicality. The Axiom didn’t imbue music with its own sonic signature. Instead, the quality of its sound depended on the quality of the CDs I played. Good recordings sounded good, and great recordings really shone.

A case in point was Neil Young’s 1972 classic, Harvest [CD, Reprise CD 2277]. Several of the songs that appear on this album are also performed by Young on his recently released Live at Massey Hall 1971 [CD, Reprise CDW 43327], which I think is the better-sounding of the two. On CD (I’ve never heard it on vinyl), Harvest is dynamically anemic, sounding closed-in and lacking a convincing sense of three-dimensionality. The Axioms didn’t hide this by exaggerating stage size or depth, but they did showcase the warmth of Young’s voice and the full-bodied sound of his acoustic guitar. Soon enough, I found myself forgetting about Harvest’s sonic shortcomings and focusing on Young’s lyrics as he describes his feelings of melancholy and loneliness and his observations about his new life in California. Although the sound wasn’t the most engaging, the music certainly was -- I ended up listening to the whole disc.

Another of the M60 v2s’ strengths was their ability to create a credible soundstage and reveal detail in well-recorded material. This was evident when I listened to Yuri Temirkanov and the St. Petersburg Philharmonic’s recording of Mahler’s Symphony No.5 [SACD, Water Lily Acoustics WLA-WS-76-SACD]. The Axioms’ wide stage extended beyond the speakers’ outside edges, while conveying a wonderful depth that extended the stage well behind the plane of the speakers. In addition, I could easily hear the sounds of people coughing from various locations in front of the stage. Those coughs were pretty distracting, but you need a detailed speaker to hear them so clearly, and the M60 v2 definitely qualified.

Prior to the M60 v2s’ arrival, it had been quite a while since I’d had floorstanding speakers in my system. I prefer bookshelf speakers because their limited low-end extension ensures that they won’t overload my listening room with bass, provided some care is taken in setting them up. That said, I was surprised at how little trouble the Axioms gave me in this regard, even with their prodigious bass output. I knew they’d have opened up more at high volumes in a bigger room, but for the most part this wasn’t an issue. The kick drum that opens "Alameda," on Elliott Smith’s Either/Or [CD, Kill Rock Stars KRS269], had excellent punch, and was reproduced with such clarity and fullness that it bloomed warmly into the room and sounded like the real thing, its decay clearly audible. Smith doubles his vocal on "Say Yes," one track emanating from each speaker so that his voice stands like two pillars at the front of the room, forming a large wall of sound. The sheer scale the Axioms gave to this and other music was pretty awesome and, once again, made for engaging listening.

If you’re the sort of person who likes to listen at high volumes that approach the SPLs of live music, you’ll love the M60 v2s. I pushed them to crank out some tunes on more than one occasion, but I wasn’t even close to reaching their limits. These speakers could play loud. Sure, they sounded great during late-night listening, when their clarity unveiled details at low SPLs. However, their clean sound was equally present at much higher volumes, where I never heard compression or distortion of any sort. In fact, the sense of ease with which they were so well endowed is what I’m used to hearing from far more expensive speakers. This was where the Axiom’s 89dB sensitivity and 8-ohm impedance really came into play. Not only could the M60 v2 play loudly with minimal effort, but it needed very little power to do so. Only a few watts (Axiom recommends at least 10W) were necessary to bring them to reasonable SPLs. If you’re mating an amplifier to the M60 v2, you don’t have to go overboard -- 50Wpc would be a good place to start.

If there’s one thing reviewing has taught me, it’s that really good audio equipment sounds effortless, making the listener less aware of the gear and more aware of the music. Part of this has to do with how well a component handles dynamics, and to test this, I often use Eiji Oue and the Minnesota Symphony Orchestra’s recording of the suite from Respighi’s Belkis, Queen of Sheba [CD, Reference RR-95CD]. I had a hunch it would sound superb through the Axioms, and I wasn’t disappointed. Through the M60 v2s, the explosive beat of the drum and the ringing of the triangle in Solomon’s Dream nearly jolted me from my chair. The M60’s ability to go from soft to loud instantaneously was impressive, bringing the power of the orchestra into the room. During the War Dance, the rhythm of the drums moves forward as if advancing into battle, the music unfolding like something you might hear in the soundtrack of a Western. The piece has incredible drive and ferocity; through the M60s, I heard it for the chaotic and raucous dance that it is.

I spent a lot of time listening to classical recordings through the M60 v2s. Their unforced dynamics and exquisite clarity provided me with the most visceral experience I’ve ever had listening to this music.

Comparison

On hand for comparison with the M60 v2 were the PSB Platinum M2 ($1999/pair) and Usher X-718 ($1300/pair). Both of these are bookshelf models, and therefore differ in size considerably from the M60 v2. The other most obvious difference between them and the Axioms was in the total amount of energy they could put into the room. With its larger cabinet volume, additional drivers, and higher sensitivity, the Axiom could play much louder and go far lower in the bass -- well into 30Hz area -- than either of the bookshelf models. And the Axiom was easier to drive. Using the Bryston B100DA, I never felt the need to turn the volume knob as high with the Axioms to reach the same listening levels as with the PSBs and Ushers.

In terms of clarity, the Usher was the most transparent of the three, though the Axiom and PSB still exhibited very clean sound. The transparency of the X-718’s midrange and its low noise floor remain unmatched by any other speaker near this price that I’ve heard.

With regard to imaging specificity, all three pairs of speakers performed well, although the Ushers’ midrange clarity made them sound a bit more precise, with more clearly defined image outlines. However, the Axioms created a bigger acoustic space, in which I could more easily hear the expansiveness of some of the recording venues.

But as much as I like the Axiom M60 v2, I stand by the high praise I lavished on the more expensive Usher X-718 -- anyone looking for a high-quality stand-mounted speaker needs to hear it. But if you’ve got the space for a floorstanding speaker with generous output, you’d be foolish not to give the Axiom a listen. In the areas of bass extension, superior re-creation of recorded space, and output capability -- sheer quantity as well as the ability to reach higher volume levels with less power -- it outdid every small speaker I’ve heard. Furthermore, the M60 v2 did all this at a price quite a bit lower than the X-718's -- and the Axioms don’t need stands. I’ve now spent several months with the Axiom M60 v2s, and can say without reservation that they are the best value I have ever come across in a floorstanding loudspeaker.

Conclusion

The Axiom M60 v2 performs so far above its price that it might be the best speaker bargain today for under $1000/pair. Oddly, this could also be its biggest problem -- some people might not take a sub-$1000 speaker seriously enough, and might just ignore it altogether, assuming that something two or three times the price simply must be better. That sort of thinking is commonplace in audio, but anyone who thinks this way about the Axiom M60 v2 is passing up an opportunity.

The M60 v2 is a great speaker, period. At Axiom’s asking price, it’s also an astonishingly good deal. The M60 v2 will draw you into your most-loved music, electrify your listening room with its seemingly boundless dynamic range, and re-create music in so tangible and lifelike a way that you’ll probably find yourself spending more time listening to music than you did before. And with the money you save by not buying a pair of speakers costing far more but perhaps performing no better, you can buy even more music. The Axiom M60 v2 delivers not just good sound, but great sound. It’s one of the best speaker values on the market today.

...Philip Beaudette

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There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.
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