Early Reflections Directivity Index (EPDI): is defined as the difference between the listening window curve and the early reflections curve. In small rooms, early reflections figure prominently in what is measured and heard in the room so this curve may provide insights into potential sound quality. The below graphics indicate how much SPL is lost or gained in the long-term as a speaker plays at the same output level for 2 minutes, in intervals. Each graphic represents a different SPL: 86dB and 96dB both at 1 meter. The 3-D Imaging Waveguide allows you to hear a 3-D soundstage from a stereo pair of speakers. By matching the shape of the waveguide to the interactions of the HF and LF drivers, this waveguide produces a stereo image that is wider, taller, and deeper than the space where the speakers are placed. 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. 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

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 below graphic indicates just how much SPL is lost (compression) or gained (enhancement; usually due to distortion) when the speaker is played at higher output volumes instantly via a 2.7 second logarithmic sine sweep referenced to 76dB at 1 meter. The signals are played consecutively without any additional stimulus applied. Then normalized against the 76dB result. There has been some bad information about this, so we thought we'd clear some things up! The LP-6 and LP-8 and IN-8 do all hiss. The LP-8 is the worst of the bunch, about 2 dB worse than LP-6. IN-8 is the quietest, about 1 dB better than LP-6. In the entire time we've been making these speakers, we have not instituted any changes that would make this performance better or worse. We have done spot audits to see if any units were particularly worse than any others, and we have never found that to be the case. I mainly use them with my modeler (FAS FM9) for playing guitar and bass, listening to my recordings/music (FM9 as an interface) and mixing (haven't spent much time doing that yet). I live in an apartment so we are talking about low to moderate volumes.Combined with the LF and HF trims, this will ensure that the speakers sound their best no matter what room you’re mixing in, or where the speakers are placed. Despite their affordability, the LP6 and LP8 monitors project audio with incredible fidelity, allowing you to mix your music with excellent precision. Featuring integrated Class D power amps, these studio monitors deliver clean, reliable power for their speakers. Also boasting dual-layer, large diameter voice coils, these help to retain clarity and definition without adding distortion. So, if you like to listen to or mix your music loud, Kali Audio's LP6 and LP8 studio monitors can handle higher volumes without sounding muddy or causing ear fatigue. 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. With a pair of Kali Audio LP-6 studio monitors, you should be able to achieve a usable sound without expensive speaker calibration software and an advanced understanding of room acoustics and acoustic treatment. However, if you’re looking to sound-treat your studio for an optimized listening experience, this acoustic treatment guide for home studios is a great place to start. 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.

Sound Power Directivity Index (SPDI): In this standard the SPDI is defined as the difference between the listening window curve and the sound power curve. Both models use 40W for the 1” soft dome tweeter. The LP-6 uses 40W for the 6.5-Inch woofer, and the LP-8 uses 60W for the 8-Inch woofer. EASE OF USECompared 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.

Founded by some former JBL staff, Kali arrived on the scene in 2018 with a range of inexpensive US‑designed and Far East‑manufactured monitors. It’s been an impressive effort so far. The subject of this review is the first of what Kali have christened their ‘second wave’, characterised by a host of technical improvements. These are said to comprise 12dB less amplifier noise, re‑profiled and lower‑mass driver diaphragms, improved cabinet construction, more precise DSP, revised EQ presets and, finally, a little less input sensitivity. The first of these improvements is particularly welcome because one of my criticisms of the IN‑8 was that amplifier hiss was audible. I may as well confirm straight away that this problem has been fixed. The IN‑5 is effectively silent when idling. Let’s Get Physical The new LP-6 V2 is part of Kali’s 2nd Wave of loudspeakers. 2nd Wave products draw on 3 years of R&D for across-the-board improvements. A new amplifier platform allows for 12 dB less noise, while input sensitivity has been increased by 3 dB. The tuning has been refined for smoother HF response, and the boundary EQs have been updated to reflect common real-world use cases. Physical improvements include lighter transducer cones for better transient response and upgraded cabinet construction for greater reliability.Not so sure. The class d trend is somewhat recent. Not everyone mentions the amp types in their literature either. The Yamaha HS series, it's hard to say but the heat sink makes me think those might still be class ab amps. Focal Alpha 65 - class AB. The Adam A7X is class d i think. So there's both. Class d is lighter, runs cooler and is more effiicient making it easier to put in bi-amp tri-amp monitor cabinets. Not sure if they might be cheaper to produce as well.Particular implementation is much more important than class of the amp. 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. Vertical directivity gives more freedom than usual although I suggest you stay at or slightly below tweeter center: 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.