Kali Audio LP-6 Professional 6.5" Active Near Field Monitor Studio Speaker, black

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A speaker's given position in a space can drastically change its frequency response. Happily, most of the common positions are fairly predictable and easily corrected. Finding the correct listening position for your speakers can make or break your mixes. Especially in the modern era with smaller spaces and home studios. A speaker placed against a wall or on a desk will react differently to a speaker on a stand or an acoustically treated room. Ensuring you find the best listening position will optimise the performance of your studio monitor. Multitone stimulus played at desired SPL/distance for 2 minutes; intended to represent music signal When it came to listening, as usual I fed the IN‑5 with a diet of Pro Tools sessions and favourite CDs. I’ve experienced some high‑end monitors recently, and while the IN‑5 perhaps doesn’t, unsurprisingly, provide the extraordinary detail and natural clarity of some of those models, it nonetheless made a positive impression. While I found the IN‑5’s inherent tonal balance slightly dull, its midrange emphasis provided a good dose of useful mix detail. There’s not so much mid emphasis that it risks mixes not translating well though, and the slight dullness can also be effectively ameliorated using the +2dB HF EQ option. The benefits of the midrange/tweeter dual‑coincident format are very clear, with the IN‑5 showing strong image focus and really good consistency at different listening positions. Destiny 2 was thoroughly enjoyable with the Kali LP-6. I could feel the power of my weapons through the speakers. Explosions had great depth, the spoken language of the Fallen sounded menacing, and even when the firefight was messy it felt like an organized cacophony. None of the sounds were jumbled together. They all had their defined place. Bass on the LP-Series monitors is delivered by larger magnets and larger voice coils than any comparable speakers on the market. This gives you more accurate bass response that extends lower, so you can dial in exactly the low end sound you need. Easy Connections

On most port tubes, air leaves at different speeds from different points of the opening, creating noisy turbulence. This turbulence can be heard as “chuffing,” or an audible air sound coming from the monitor. This sound will add to the noise floor and obscure the details of the low end.

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Measurements are provided in a format in accordance with the Standard Method of Measurement for In-Home Loudspeakers (ANSI/CTA-2034-A R-2020). For more information, please see this link. Note that these are not necessarily the strongest reflections in near-field listening. And that, makes the following prediction of in-room response less accurate: The bright sign though is the fact that deep bass distortion is controlled and never gets above the fundamental signal itself as it often does in budget speakers. The most unique part of Focal studio monitors, and usually the selling point, is the inverted-dome tweeter—this component offers multiple benefits. The inverted dome creates a wide listening sweet spot, unlike most other dome-based tweeters. You should be able to move around your listening position without losing much of the detail and defined stereo image that the Alpha 65s provide. Additional toggle switches allow for high and low frequency trim by +/- 2 dB, and to turn the RCA connection on and off. I kept both trims set at neutral. Kali Audio LP-6 Studio Monitor Speakers – Gaming and Music

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. Opt for the LP8 and you gain an extra 2Hz base extension, 2dB in max SPL, and better distortion figures; <2.5% (80 Hz – 400 Hz) and <1.4% above 400 Hz, with the same 90dB SPL at 1 m. The crossover point is slightly higher at 1.8kHz, still well within the range that is most pleasing to the ear. The LP8 will better fill a larger room though and is better suited to environments where more than two people will be listening to the monitors. Based on my results above, it is obvious the output is limited (via internal DSP) somewhere above the 96dB @ 1m output level. 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. A speaker’s given position in a space can drastically change it’s frequency response. A speaker placed against a wall or on a desk will sound very different than a speaker placed on a stand, even in a well-treated space. Hard surfaces like walls, desk tops, and recording consoles can change the low end frequency response of the monitor, and degrade the overall clarity of the sound.Compared with Yamaha’s HS8s, the LP-6s are every bit as accurate but don’t have the harsh tendency in the upper frequency bands that the Yamahas are known for. They’re also quieter, with significantly less self noise from their amplifiers. Naturally the HS8s give better bass performance than the LP-6s, but that is to be expected. The larger LP8s would be a fairer comparison, and I’m confident that the LP8s would equal the accuracy of the Yamahas, while also being a more comfortable listen especially during extended sessions.