Joined in 2023 
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63 About this deal
So far I like them more than the Eris, full and big sound, they seem even through out the full range frequencies (mayby and that's a big maybe, they have a touch sweeter highs). Zero hiss, several settings to adjust them for your room/placement. Unfortunately, I can't directy compare them with the Eris since they are not operational. 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 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 USE
Starting on the right, the filter at 965 Hz reduced some of harshness and opened the sound a bit. Bass was shy so I dialed up the 70 Hz broad filter. That filled in the bass quite nicely with no increase in distortion. 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.The LPs have always been praised for their accuracy, and we’re pleased to share that the 2nd Wave versions realize slight but noticeable improvements in that regard, particularly on the top end. POWER
I was always impressed by the level of bass the Ayras could produce given their small driver and cabinet and that holds true to this day, though there’s no doubt the Kali LP-6 has the edge. More so than the extra inch of cone surface would suggest. The larger cabinet helps, but no doubt the efficiency of the driver and the clever port design are major contributors. Not to mention the more modern amplifiers, a total departure from the fully analogue, archaic class AB amps of the RCFs. 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. When it comes to their woofers, Kali Audio claim they use the largest magnets and voice coils in their class. By investing more resources than usual into their woofers, their monitors boast the same SPL (sound pressure level) with significantly lower distortion. No matter which Kali Audio studio monitor you go for, you can expect tight, punchy and uncompressed bass that doesn’t detract from the highs or the mids. Customisable Response The Lone Pine Series is designed to allow you to hear every detail that's happening in your mix. This starts with an exceptionally accurate frequency response. Whatever is present on your mix is what you'll hear in these monitors. Nothing is boosted or suppressed to cover flaws or try to sound more pleasing.Great horizontal directivity. Really, really good. The vertical directivity shows some vertical lobing resulting in a shift in the DI around 1.5 - 2.0kHz. The Early Reflections Floor Bounce and Ceiling Bounce data shows this as well and indicates we need to stay on-axis with the reference plane (the tweeter) and that you may want to put some ceiling absorption in place of your studio (floor absorption isn’t likely possible). 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: Protective limiters prevent harmful voltage from ever reaching the drivers, so there is no risk of blowing these speakers. These have been updated for the 2nd Wave, allowing for 3 dB higher output. Kali Audio defines a listening distance as the maximum distance at which the speakers can play continuously at 85 dB while maintaining 20 dB dynamic headroom. 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. 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. 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. In terms of bass, the IN‑5 acquitted itself well in that Kali have not been too greedy in terms of trading LF bandwidth extension against timing and pitch accuracy. The IN‑5 doesn’t have the bass quality of a high‑end closed‑box monitor, but at its remarkable price that would be expecting too much. The bass it plays is useful and trustworthy in a nearfield mix context, and I think an improvement on what I remember of the IN‑8, which I felt was a little overcooked. The compromises inherent in bass performance from a small ported monitor appear to have been handled pretty well.The reference plane in this test is at the tweeter. Volume set to ‘0’ with XLR input. The dip switches were all set to ‘0’ for the free field setting. Adjustments are provided for installations on stands or on desks close to a wall (within 0.5 m) or against a wall (as close as possible allowing for cables). There are also curves for placement on a sole bridge or on a desktop with stands or purpose-built studio desk with monitor platforms. All measurements are referenced to the tweeter axis. I could not find anything regarding this in the manual.
Response is very good with some resonances around 1 kHz. There is also a bit of reduction in level/shelving in bass response. 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.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.
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