Kali Audio LP-6 2nd Wave loudspeaker, studio monitor (active near-field monitor, loudspeaker with waveguide technology, bass reflex system, thanks to amplifier module hardly any inherent noise), Black

Product Information

This is a common issue with many active monitors, especially KRK and Presonus. When the glue ages it becomes electrically conductive and shorts the amplifiers, in the case of early KRK ‘Rokit’, often blowing the tweeter.

Specs wise the LP8 frequency response is rated at 39Hz – 25kHz (-10dB) and 47Hz – 21kHz (±3dB). Max SPL is 115dB, and system distortion is rated at <3% (80Hz – 1.7kHz) and <2% above 1kHz, reference a 90dB output SPL at a distance of 1 m. The crossover point is 1.5kHz. You rarely see such a usefully low crossover point in a monitor of this price. They’re usually somewhere around the 2-3kHz range, where the ear is most sensitive to crossover distortion, phase and timing errors. On-axis response measured on a ground plane with 1/6th octave smoothing Each base pad includes it’s own pre-cut levelling wedge adjuster which in standard position will provide a level surface. Alternatively the levelling wedge adjuster can be removed to provide either a 5o or 10o slope angled up or down according to which way round the base pad is resting. We wanted to put a port on the front of the LP-Series studio monitors so that they could be used in small spaces where they’d be placed against walls. At the same time, we didn’t want noise from the front port to distract from the accuracy of the speaker, so we developed a special front port that doesn’t make noise. Note: The roll off rate of this speaker is sharp and therefore some noise was unavoidable at 25Hz which causes a spike in the response here. Ignore the response below 25Hz. These speakers were loaned to me by Kali Audio for review purposes. They were not given early access to my review and will see it the same time the public does.

My space is 12ft across by 16ft deep with two rows of seating (although I could get rid of the second-rate coffee table for a third row of seating if I wanted to do so). I don't think that quite qualifies as a larger audience! I was immediately right at home with the LP-6s. They sound organic and natural, uncoloured and clean, just like the IN-8s that I am so fond of. They have a surprisingly rich, deep bass response given their comparatively small cabinets and drivers. The bass isn’t as impactful as the IN-8s, nor as authoritative, but I wouldn’t expect it to be. It’s refined though, without too much blurring around the edges of sustained notes and without audible colouration at high listening levels. The speakers also produce very little idle noise so won’t become irritating if you’re close to them in an extreme near-field setup. Note that the max SPL of the SB2000 is also *about* 115dB although, at those levels, some of the lower frequencies roll off. https://www.audiosciencereview.com/...b-2000-pro-vs-sb-3000-subwoofer-review.21428/

I imagine that you will be happy with either crossover setting (40/24 or 60/24) and get great response from the speakers. 40/24 will likely be more "accurate" if measured with equipment (but not something you can hear) at lower SPL. And 60/24 will be better as measured with equipment at higher SPL and it will be a difference that you can hear (providing you don't go deaf) For these limited circumstances it has been found that a usefully accurate Predicted In-Room (PIR) amplitude response, also known as a “room curve” is obtained by a weighted average consisting of 12 % listening window, 44 % early reflections and 44 % sound power. At very high frequencies errors can creep in because of excessive absorption, microphone directivity, and room geometry. These discrepancies are not considered to be of great importance. The cabinets comprise a vinyl-wrapped MDF with moulted plastic front baffle. The front port tube is moulded as part of the baffle itself, and is shaped using computer simulation to minimise port chuffing by ensuring that air exits the port at a constant velocity. A similar port is used to great effect in the IN-8, and I find them to be entirely unfussy about room placement and without the sonic downsides I often hear in ported loudspeakers, namely bloated bass caused by the constricted passage of air through the port, or puffing noises as large volumes of air are forced through a thin port tube. Their 3-D Imaging Waveguide claims to produce a soundstage wider, taller, and deeper than their true stereo placement, and I'd attest to that. They sound natural, neutral, and large. Based on my results above, it is obvious the output is limited (via internal DSP) somewhere above the 96dB @ 1m output level.

If I go with the LP-6, The optical out of my tv will feed a topping E30 (which I'll also have to buy). I‘m happy with them, much lower self noise than anticipated (way more than 1dB difference to the 1st gen Alpha as S&R suggests). I love the setup, much much better than my previous setup which consisted of JDS The Element and Edifier S1000DB. It's just a joy to use.

This means that anywhere within that listening distance, you can listen for long periods of time at reference volume, and momentary peaks such as bass drops or explosion effects will come through clearly and with minimal distortion. The LP-6 has enough output for most 1-2 person setups, and the LP-8 can handle larger setups easily. Full output specifications, along with maximum listening distances, can be found in our user’s manual. Even if my space is not properly optimized, as it is a temporary rent (yeah, no significant mods allowed :(( ), I still manage to mix and master decently. Also my guitar pre-amp/processor sounds just great through them, which is a proof that they are flat-response, as my previous FRFR speakers were.The On-axis Frequency Response (0°) is the universal starting point and in many situations it is a fair representation of the first sound to arrive at a listener’s ears.