The upgraded version of Kali’s co-axial monitors builds on the strong foundations of the original model. Greg Scarth puts them to the test.
Loudspeaker design is all about compromises. Whether it’s a question of trading bass response against cabinet size or a simple matter of keeping costs reasonable, the key is in finding the right balance. The Kali Audio IN-8 V2 is an attempt to find a slightly different type of compromise to that found in most studio monitors. The model uses a similar 8-inch bass driver to the one found in the brand’s two-way LP-8 model, but features a 4-inch midrange driver and 1-inch tweeter built into a single ‘co-axial’ or ‘coincident’ unit.
The concept isn’t a new one. Co-axial speakers have been around since the early 1930s, with the technology being used for studio monitors as far back as the 1940s. Perhaps the best known examples are those made by the UK brand Tannoy, with Dual Concentric models such as the Monitor Reds and Monitor Golds being just as popular for home hi-fi use as they were for studio applications. Effectively, co-axial designs allow a three-way design (i.e. separate bass, midrange and high frequency drivers) in a similar sized cabinet to an equivalent two-way model, and with some of the drawbacks of a three-way design mitigated. Most importantly, the frequencies covered by the two co-axial drivers emanate from the same point, avoiding the inherent alignment and axis issues of separate drivers (move your head around near a typical three-way monitor and you’ll hear obvious changes to the sound as your position changes relative to the tweeter and midrange driver).
The original IN-8 was a very good speaker, but the V2 model improves on that in a few significant ways. Kali’s 2nd Wave updates are similar across the brand’s entire product range. Visually, the V2 model looks almost identical, but the upgraded drivers have a matte grey finish as opposed to the glossy black finish of the originals. Internally, the amplifiers and limiters have been upgraded to improved specs, with improved DSP for smoother high frequencies. All of which adds up in practical terms to lower self-noise, slightly flatter frequency response and lower distortion, plus the added bonus of higher maximum output level (with a maximum SPL of 117 dB, the IN-8s certainly don’t lack in outright volume).
Looks are a long way down the list when it comes to picking speakers, but the IN-8 is a handsome speaker straight out of the box, with a figure-eight front panel design and a port which follows the profile of the bass driver. What’s noticeable at first listen is that the IN-8 has exceptional clarity in the midrange. As a test of handling a range of acoustic and electronic instruments, Floating Points and Pharoah Sanders’ Promises is hard to beat, and the IN-8s reproduce voices and saxophone with the same kind of precision they deliver analogue synths. That precision is also obvious when soloing individual instruments. Firing up Ableton Live and demoing some projects, recordings of individual synth and drum parts are delivered in a manner which allows you to focus in on detail, ideal for sound design and mixing work. It’s here that the imaging benefits of the co-axial design really shine, with an seemingly laser-focused ability to place sounds in the stereo field, and a true sense of space and ambience from a good reverb effect.
The bass response extends down to an impressive 45 Hz at -3dB, giving the IN-8s the serious low end weight you’d expect from an 8-inch driver, and meaning you can probably just about get away without needing a subwoofer even if you’re producing bass-heavy music. Playing back Mala’s ‘Anti-War Dub’ through the monitors, the sub bass is reproduced accurately and tunefully, with clear musicality to the bottom end. DIP switches on the back panel allow you to control bass response for smaller rooms, positioning near walls or desktop placement, as well as tweaking the tonal balance of the speakers if necessary. The thorough, clearly written user’s guide explains this and other setup considerations very well.
The IN-8s are designed as a studio monitor, with an emphasis on the detail and accuracy which are essential when producing, mixing and mastering. However, they’re not dull and sterile like some monitors can be. The sound is engaging despite its precision, meaning that you still feel involved in the music rather than detached. As a bonus, that means they’re quite fun to listen to while producing – an underrated aspect of a good studio monitor – but also suitable for general playback and DJ use. It’s certainly not the last word in club-style sound, and not in the same league as something like the Pioneer VM-80 but it’s definitely a monitor which can perform all-round duties for studio work, critical listening and DJ use.
At £323.99 each the IN-8s are exceptional value. Around £650 for a pair puts them into a competitive midrange market, but the Kalis punch above their weight, competing with far more expensive monitors. Kali have found a compromise that works remarkably well. The IN-8 V2 is a peach of a speaker, improving on the original model and offering something very hard to beat without spending significantly more.
Greg Scarth
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