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Settings wise I used the aforementioned dip switch settings for a monitor on a speaker stand less than half a meter from the wall and left everything else alone… initially anyway. The excellent news is that the response across the frequency range does seem to be largely accurate. The bass is tamed and tight for the most part and not coloured. Kali Audio was started in January 2018 by some of the Professional Audio Industry’s most passionate individuals. With engineering at the forefront, Kali aims to make loudspeakers and related products that present the best possible value to our customers. By devoting time and resources to research and development, and with a little bit of panache, we offer high-performance products that fit any budget.
Diagram 3: An on‑axis and 20‑degree off‑axis measurement of the IN‑5 (blue and green traces, respectively). Whilst Kali Audio have aimed to make their monitors as natural and accurate as possible to give you a true representation of your mix, they also understand some mixing engineers are used to a certain response from their monitoring rig. If you prefer a certain character of speaker with more or less bass, you can reach for the high and low-frequency controls to customise the response of the monitor to your personal taste. These controls are also handy if there are any problematic frequencies in your space that need to be compensated for. As well as the EQ controls, the rear panels feature a variety of analog connections. The LP-6 provides you with an array of inputs, comprised of XLR and TRS input, as well as an unbalanced RCA input. The RCA input even features a -10dBu sensitivity setting. You can use this to optimise the performance for use with laptops or smartphones. The rear of the LP-6 features carefully tuned controls, providing compensation EQ settings to find the best possible sound. Kali Audio calibrated their EQ tuning at The Village Studios in Los Angeles. This combined with the low and high-frequency trims, ensures the studio monitor can adapt to any space.Kali’s team did our Boundary EQ tuning at The Village Studios in Los Angeles, and came up with boundary compensation EQ settings to help you get the optimum sound for where you need to put your speakers. For the 2nd Wave, the boundary EQs have been updated for using the speakers on a desk with monitor stands. Also at cheaper monitors with digital crossovers (like at LSR) there is are A/D and D/A converter, which can also increase noise level and contribute to apparent his at quieter rooms. One of the features present in the second wave of Kali monitors is a clever Boundary EQ adjustment, which provides several positions to select preset compensating EQ curves depending on where the speaker is positioned. On a stand in free space (the ideal position for the loudspeaker) the EQ can be disabled.
Kali Audio was formed in January 2018, but despite their youth, they are already establishing themselves as one of the leading brands within the affordable home studio market. You can expect pro-grade audio from their LP Series studio monitors. Kali Audio produce studio monitorsthat are all designed in California, USA. Created by a team of experienced engineers, many of whom previously worked for leading manufacturers, these high-quality speakers unleash incredible sound. All data collected using Klippel’s Near-Field Scanner. The Near-Field-Scanner 3D (NFS) offers a fully automated acoustic measurement of direct sound radiated from the source under test. The radiated sound is determined in any desired distance and angle in the 3D space outside the scanning surface. Directivity, sound power, SPL response and many more key figures are obtained for any kind of loudspeaker and audio system in near field applications (e.g. studio monitors, mobile devices) as well as far field applications (e.g. professional audio systems). Utilizing a minimum of measurement points, a comprehensive data set is generated containing the loudspeaker’s high resolution, free field sound radiation in the near and far field. For a detailed explanation of how the NFS works and the science behind it, please watch the below discussion with designer Christian Bellmann: In theory, with complete 360-degree anechoic data on a loudspeaker and sufficient acoustical and geometrical data on the listening room and its layout it would be possible to estimate with good precision what would be measured by an omnidirectional microphone located in the listening area of that room. By making some simplifying assumptions about the listening space, the data set described above permits a usefully accurate preview of how a given loudspeaker might perform in a typical domestic listening room. Obviously, there are no guarantees because individual rooms can be acoustically aberrant. Sometimes rooms are excessively reflective (“live”) as happens in certain hot, humid climates, with certain styles of interior décor and in under-furnished rooms. Sometimes rooms are excessively “dead” as in other styles of décor and in some custom home theaters where acoustical treatment has been used excessively. This form of post processing is offered only as an estimate of what might happen in a domestic living space with carpet on the floor and a “normal” amount of seating, drapes, and cabinetry. accordingly. With many monitors – especially at the lower end of the market – you simply don’t get a lot to play with in terms of that adjustment, but with the LP-6s you get a lot, and it really can make a difference.
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The Alpha 65’s front bass ports are a plus if you need to set up near a wall in a small studio, and the XLR and RCA ports will allow you to connect to your audio interface or consumer gear without any issues. 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. Since I reviewed them I’ve had numerous requests to look at their entry level range. Project ‘Lone Pine’ consists of two models, the LP-6 and LP8. Now in their second wave ‘V2’ iterations, the model number designates the size of the midbass driver (six and eight inches respectively), but otherwise the two share a similar feature set. Naturally the LP8s have a slightly larger cabinet, approximately two inches (50 mm) taller and 1 inch (25 mm) wider and deeper, and 1.5KG heavier. The IN‑5 is slightly larger than I imagined when I first saw images online, though it still falls comfortably into nearfield monitor dimensions so shouldn’t present too many challenges to fit into even small studio spaces. At just over 8kg the IN‑5 is also unlikely to present any mounting structure problems — although, as with any monitor, it is important to provide a rigid, stable and non‑resonant mounting platform.
The shape of the bass port is also meant to prevent the sound of “chuffing,” which is noisy turbulence created by air leaving the port at different speeds. When your speakers produce clean low-end, mids and highs feel less cluttered as a result.
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The reference-level output provides you with 20dB of headroom at the listening position. The wide amount of headroom ensures that even the loudest mixes are translated clearly. The dual layer, large diameter voice coil on the LP-Series helps keep the sound clear and free of distortion. Low noise port tube
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. I have a very harsh test environment for larger monitors like the LP-6. I just drop them on my desk, with a half inch pad under it. I don't touch any of the controls and just listen. First impression of the LP-6 was quite good. Lots of detail, ability to get quite loud with some kind of soft compression that was much less noticeable in other monitors. I tried to improve the situation still, using equalization: The purpose of this test is to illustrate how much (if at all) the output changes as a speaker’s components temperature increases (i.e., voice coils, crossover components). 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.When we launched these products, we had two data points in mind: 1. the hiss was on par with our nearest competitor and 2. conversations with producers led us to think that the hiss would not be an issue. Indeed, for most people, it is not. However, for people mixing close to the speakers and in small and/or quiet rooms, it is noticeable. 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. The midbass driver is an optimised paper cone construction with large dual-layer voicecoil, convex dust cap and carefully tuned surround, giving plenty of excursion but maintaining the integrity of the cone around its outer circumference where the cone is naturally weaker. The tweeter waveguide ensures that the acoustic centres of the drivers are as aligned as much as possible, though there’s plenty of opportunity to correct for any time alignment and phase error in the digital crossover. These compact monitors from new company Kali Audio strike an enticing balance between performance and affordability. Let's dig into the issue with disturbance around 1 kHz by looking at the near-field measurement of the woofer, port and tweeter:
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