Then you want a serious subwoofer. The KEF Kube 12 MIE requires ample space, but it rewards you with a truly cinematic performance.
And the best part? The Kube 12 MIE is currently on sale. The superb sub can now be picked up for £599 at Peter Tyson – that's a 25 per cent discount.
You also get a Fell Audio 3-metre subwoofer cable included absolutely free!
The KEF Kube 12 MIE provides a muscular, rich and agile presentation. If you're putting together a 5.1 system, this sturdy sub is highly recommended with 25 per cent off. Deal also at Amazon, KEF and Richer SoundsView Deal
We've not reviewed the KEF Kube 12 MIE independently, but we have tested it as part of the Award-winning KEF Q Concerto Meta 5.1 speaker system.
In case you couldn't tell from the five-star rating and Award, we are big fans of that system, including how it handles bass.
"The explosion towards the start of this sequence is delivered with a hefty dose of low-end punch, and the subwoofer delivers its gut-punch of low end while remaining in total control," our KEF Q Concerto Meta 5.1 speaker system review reads.
"There’s no flabby or waffly bass here, and while the Bowers & Wilkins 606/607 S3’s subwoofer is a touch more tuneful, the KEF Kube 12 MIE delivers a powerful and dynamic low-end kick."
It's hardly surprising – this is a 12-inch front-firing subwoofer powered by 300W of Class D amplification.
It's housed in a sealed cabinet design, which offers greater placement flexibility. It even has a room-position EQ switch on the rear to adjust the sound depending on whether you place the subwoofer in a corner, out in the room, or in a wall alcove or cabinet.
As we've alluded to above, the Kube 12 MIE's size is a tad unwieldy at 41 x 39 x 41cm (hwd) and with a weight of 18.6kg. This won't suit all setups, but the talented sub is well worth it if you have the space.
The KEF Kube 12 MIE is controlled, dynamic and punchy. If you need a subwoofer to underpin your system with a dose of weighty bass, the Kube 12 MIE is an excellent choice with 25 per cent off at Peter Tyson.
Studio monitoring speakers sit at the very core of PMC’s DNA. The letters PMC are an initialism for Professional Monitoring Company, after all. The brand’s earliest products were aimed at the pro world, with the original MB1 monitor being introduced in 1993, just a couple of years after the company was founded.
More than three decades on, the current PMC MB2 SE mirrors that early monitor’s formula right down to its brutal appearance, formidable cabinet size and drive unit array. Of course, PMC hasn’t been idle over those decades, with the current design featuring improved ingredients across the board that take in everything the brand has learnt over the years.
Design & build
(Image credit: What Hi-Fi?)
Technically, the PMC MB2 SE is a standmount design, but at 87cm tall it is not that much shorter than many of the floorstanders that pass through our test room. Make no mistake, this is a huge speaker, measuring 38cm wide and over half a metre deep.
A single MB2 SE is as visually obtrusive as a washing machine, and you need two of them for stereo, of course. Those with modestly-sized listening rooms need not apply.
(Image credit: PMC)
Type Standmounts
Drive units 27mm Sonolex soft dome tweeter, 75mm soft dome midrange, 31cm Radial bass
Ported? No, transmission line
Bi-wire? Tri-wire
Impedance 8 ohms
Sensitivity 90dB
Dimensions (hwd) 87 x 38 x 53.5cm
Weight 58kg
Finishes x 4 (Grand Walnut, Amarone, Natural Oak, Jet Black)
The MB2 SE is a three-way design. It combines a 27mm Sonolex soft-dome tweeter, a 75mm doped-linen dome midrange, and a rather distinctive 31cm Radial doped-paper bass driver, with crossover points set at 3.8kHz and 380Hz. Connection is made via three sets of chunky binding posts.
Those spokes in front of the bass cone aren’t just there to look impressive. They serve to dissipate heat generated in the motor system when working at high volume levels with bass-heavy source material.
We suspect such considerations are unnecessary for normal domestic use. But it is nice to know the speakers can cope if you go nuts with the volume level during a spirited listening session.
(Image credit: What Hi-Fi?)
The use of transmission-line bass loading has been baked into PMC’s products from the beginning, so it is no surprise to see the technique used here. The company has long promoted this configuration to be the most effective way to achieve clean, low-distortion bass output from a box speaker.
The rear-firing output from the MB2 SE’s bass unit travels down a folded, carefully damped path inside the cabinet. As this signal passes through, most of the sound gets absorbed, leaving only the lowest frequencies to emerge from the substantial vent at the top of the front baffle.
Importantly, this low-frequency sound is in phase with the bass unit’s forward output, and if properly tuned, fills in below the point where the woofer starts to tail off. The transmission line inside the MB2 SE has an effective length of 3m.
A further advantage of such a design is that it adds internal bracing inside the enclosure, making the structure impressively rigid. The MB2 SE is beautifully made and finished to a high standard, just as its hefty price tag demands.
(Image credit: What Hi-Fi?)
It is available in four lovely real wood finishes: the Grand Walnut of our review samples, Amarone, Natural Oak and Jet Black. But rather like a gorilla dressed in a tuxedo, none of these come close to hiding the design’s studio heritage. We can’t imagine anyone calling it a stylish design, but we still warm to the MB2 SE’s brutal yet entirely functional appearance.
We also try PMC’s Cor integrated amplifier to see how the speakers cope with more modest but still capable amplification. Our speaker benchmarks are ATC’s SCM50 speakers and a pair of Marten Audio Parker Duo Diamond standmounts.
It will come as no surprise to find that such a big speaker shines brightest when given plenty of space to breathe. Our main test room is 3 x 7 x 5m (hwd) in size, which is reasonable by general standards but probably at the lower end of acceptability for these monitors.
We end up with them around a metre into the room, and slightly angled in so that the tweeter axis crosses a little behind us when we are seated in the main listening position.
Sound
(Image credit: What Hi-Fi?)
Set up in this way, these PMC speakers deliver an expansive soundstage with instruments and environmental acoustic clues nicely focused. There is a pleasing resolution of depth information and an impressive degree of image stability when the music gains in complexity, or the volume level rises.
It is fair to say that the soundstage doesn’t quite float free of those substantial cabinets in the manner that smaller alternatives such as the Marten speakers manage, but it is still good enough to avoid complaint.
Given their size, it is fair to expect that these PMC speakers can go loud and deliver deep bass, and they do. We play an old favourite, Setting Sun by the Chemical Brothers, and the MB2 SE have a ball. They play loud, way louder than we would ever need, yet remain wonderfully refined and composed when doing so. They don’t harden up or become edgy when pushed.
It all adds up to a lovely sense of ease, where the listener can relax knowing that the speakers can cope with whatever is thrown at them.
(Image credit: What Hi-Fi?)
Then there is the bass. The MB2 SE are a great advert for transmission lines. If engineered poorly, such designs can sound uneven and ponderous, but PMC’s experience has delivered a performance that ticks all the boxes as far as low-end performance is concerned.
As we run through our array of bass-torture tracks from Hans Zimmer’s soundtracks for Interstellar, The Dark Knight and Inception to Massive Attack’s Mezzanine and Soul II Soul’s Club Classics Vol.1, we can’t help but sit back in awe at what these speakers can do.
They dig impressively deep, yet combine that with a blend of power, finesse and tunefulness that is rare. There is a degree of authority on offer that is a match for anything we have had in our test rooms.
The speakers’ excellent bass gives a firm foundation for the rest of the frequency range. Voices come through with impressive clarity and definition. These PMC speakers are as insightful as they come through the midrange, but unlike many such high-resolution designs, they don’t filter out the natural warmth and body of voices. As we listen to Sade’s Diamond Life, we can’t help but admire the speakers’ skill in resolving vocal textures and the dynamic nuances that communicate emotion.
Orchestral crescendos and other larger-scale dynamic shifts are handled with equal finesse. Once again, we note the speakers’ composure and the apparent ease with which they go from loud to quiet and back again.
As a bonus, we are happy to note that the MB2 SE sound good at quiet volumes too, with the bass staying present and balanced with the rest of the frequency range to a surprising degree. If you are looking for ideal late-night speakers, consider these.
Verdict
(Image credit: What Hi-Fi?)
The PMC MB2 SE are surprisingly capable all-rounders. Their size and driver array correctly foreshadow their sonic muscularity, whether we are talking about loudness capability or bass extension.
However, we weren’t expecting them to be so refined and insightful. Sure, they are hugely transparent and will uncover shortcomings in both the partnering electronics and source material with ease. However, they never forget to put the music first.
If you have the space and system to do them justice, these are speakers you really have to hear. We are utterly charmed by them.
German tech brand Loewe has launched its latest Bluetooth speaker, the Leo, billed as a way of getting outstanding sonic performance in a premium portable design.
The Leo delivers 50 watts of total power and dual passive bass radiators, helping to ensure, says Loewe, that “compromising on acoustic fidelity is never a consequence of mobility”.
Adding to those mobile credentials are an IP67 water- and dust-proof certification, 12 hours of battery life, as well as a detachable leather carry-strap and a premium felt case. Auracast is on board, meaning you can connect the Neo to any number of other speakers capable of supporting the increasingly popular wireless sharing technology.
Externally, Loewe’s latest features built-in ambient lighting that can be adjusted manually using the on-unit light strip. The speaker uses a premium aluminium housing with interchangeable speaker grilles, meaning you can switch up your speaker’s look depending on your mood and desired aesthetic.
The speaker also houses top-mounted controls, including a power button, bass and treble boosters, and a light toggle.
(Image credit: Loewe )
The Neo is controllable via Loewe’s accompanying app, from which you can personalise the speaker’s on-unit lighting and tweak your sound via three sonic presets alongside individual bass and treble adjustments.
According to Aslan Khabliev, CEO of Loewe: “For decades, Loewe has been synonymous with design, innovation and individuality. Neo implements that philosophy out into the world, combining exceptional acoustic power, intelligent lighting, and unprecedented customisation in one beautifully crafted product.”
The Loewe Neo will be available for preorder from 20th November in Alu Silver, Alu Black or Champagne finishes, priced at £400 / €400, making it more expensive than the five-star JBL Xtreme 5 (£330 / €350). Note that the Champagne finish will run as a limited edition colourway.
British audio brand Marshall has launched its latest party-ready Bluetooth speaker, the Bromley 150.
Acting as the newest and most portable addition to the brand’s party-focused speaker line-up, the new unit packs 200 watts of Class D amplification driving a four-driver array to produce “rich mids, detailed highs, and deep bass”.
Those drivers are backed by Marshall’s ‘Stereophonic 360 sound’ technology, which seeks to emulate the immersive feel of a live performance by creating a more omnidirectional sound that remains consistent at any angle.
The Bromley 150 carries the same design language as its 750 and Bromley 450 stablemates, with a mounted control panel accompanied by integrated stage lights which sit behind the grille and move in sync with your music.
The new speaker boasts more than 40 hours of playtime on a single charge, with a 20-minute charge granting 5 hours of playtime. An IP55 certification and a silicone cover offer protection against water and dust ingress, while a retractable carry handle further adds to the (reasonably) compact Bromley 150’s portable credentials.
(Image credit: Marshall )
Like its bigger brothers, the new speaker offers microphone and instrument inputs via its combined XLR/6.3mm jack, so you can use it for impromptu karaoke and jamming sessions alongside day-to-day listening. For pure audio inputs, a 3.5mm auxiliary port is available alongside USB-C.
According to Emma Rydahl, Marshall’s Senior Industrial Designer: “Bromley 150 delivers the same exceptional performance and craftsmanship as the Bromley 450 and 750 in a more compact form. By repositioning the control panel to the side while retaining the tactile controls users love, we’ve freed up the entire front panel for what matters most: powerful sound and immersive stage lighting.”
The Marshall Bromely 150 will be available for general sale on 13th of October in its ‘Black and Brass’ colourway, priced at £400. That’s a good chunk more than the Award-winning JBL Xtreme 5 (£330 / $400).
What was the moral of The Boy Who Cried Wolf? Keep telling the same old tale and, eventually, people will stop believing you.
We've had so many false dawns with regard to the new HomePod Mini 2 that we were genuinely starting to believe that a sequel would never come. Apple's recent September launch event seemed like the perfect time for some new HomePods, but we had to settle for a folding iPhone and the AirPods 5 with ANC.
We know we've said it before, but this time it really does appear to be the case: Apple looks set to launch the HomePod Mini 2 at some point before the end of 2026. According to MacRumours, Apple has indeed been working on a new HomePod for several years, hence previous reports of iOS software updates including codenames referencing a number of unreleased products.
One of those codenames was 'B525', and as the current HomePod Mini has the code 'B520', that had strongly implied that a second-gen sequel was forthcoming. We all thought that Apple's recent launch event would be the time to do it, but a no-show on the HomePod front now appears to be a minor hiccup rather than a definitive sign that no new models would ever be forthcoming.
The current HomePod Mini remains a ripper smart speaker. (Image credit: Future)
Now, the evidence is far more concrete than codes and call signs. According to MacRumours, Apple's own code shows clear product images of the new models in all of their colours, specifically referring to a "HomePod Mini 2".
The new HomePod Mini will come in green, pink, blue, white and black finishes, a switch up from the current model's yellow, orange, blue, white and midnight offerings. Apple added a few colourways post-launch to the HomePod Mini, so it could expand the palette of the second-gen speaker later down the line.
Elsewhere, we're still at the point of broad speculation regarding upgrades, but we remain steadfast in our conviction that, thanks to a new chip, upgraded Apple Intelligence and improved Siri performance will be locked and loaded. We might potentially see improved microphones, enhanced audio, better codec support and, as pictures now showcase, those flashy new colourways.
Prices are yet to be leaked, but we're still hoping that Apple doesn't hike the price of the Mini's original £99 / $99 / AU$149 RRP for the sequel. Sadly, chip shortages are hitting audio manufacturers hard, so don't be too shocked if prices rise when the Mini 2 arrives.
We know we've said it before, but this time it really might be true: a HomePod Mini 2 could be just months, maybe weeks, away. Now, where's that HomePod 3 got to?
Tribit has announced the launch of a new portable Bluetooth speaker, the StormBox Max, which the company says has been “designed to to deliver bigger, richer sound at home or on the go”.
The speaker packs 60W of total output power into its portable design, which measures 20.3 x 10.9 x 10.9 cm (hwd) and weighs 1.2kg.
Sound is delivered by a 30W woofer and four 7.5W silk-dome tweeters, which Tribit says create “powerful, room-filling audio”.
The StormBox Max supports Bluetooth 6.0 with a range of up to 45 metres for AAC and SBC codecs, as well as A2DP, AVRCP, HFP and HSP protocols.
Two speakers can be connected using TWS pairing for separate left and right stereo channels, while those looking to party can turn to the speaker’s Auracast function, which enables 100+ compatible speakers to be connected for synchronised audio on larger scales.
For “everyday versatility”, the speaker also supports hands-free calling.
(Image credit: Tribit)
Users seeking a more personalised listening experience have the option to “take control of sound”, using Tribit’s XBass 2.0, which features a ±5-step knob for adjustable bass. An additional EQ button makes switching between the company’s ‘Signature’ and ‘Outdoor’ sound modes simple, while further customisation is available through the Tribit App.
Battery life shouldn’t cut your listening short – the StormBox Max can provide up to 20 hours of playback, while using default EQ settings at 50 per cent volume.
The speaker charges via USB-C, with a full charge taking four hours. An automatic power-off function switches the speaker off after 15 minutes without an audio input.
The USB-C connection can also be used as a 5V/1A charging output, so you can refuel your devices on the go.
Tribit has taken outdoor listening into consideration, too, with an IP68 dust ingress and waterproof rating, which “makes [the speaker] ideally suited to outdoor adventures”.
The StormBox Max is now available for £100 / $130.
The most famous BBC-designed speaker is undoubtedly the little LS3/5A. Arguably the first proper high-quality mini-monitor, this little box design from 1975 has long achieved legend status among a section of the hi-fi community.
It is a two-way design, barely bigger than a typical shoebox. Given the tiny 5-litre internal volume and modest 11cm mid/bass unit, don’t expect much in the way of bass extension or ultimate loudness capability.
Yet, listen to the LS3/5A with vocal-based recordings or small-scale classical, and they can still sound magical. They render voices and acoustic instruments with the kind of palpability, warmth and body most modern alternatives barely hint at.
True, the best of the current breed, KEF’s own LS50 Meta or PMC’s Prodigy 1, are notably more revealing and dynamic. However, there is no denying that the LS3/5A’s music-making abilities remain captivating.
The BBC is a broadcaster rather than a manufacturer, so its speakers were made under licence by outside suppliers. A range of companies, including Rogers, Spendor, Harbeth and KEF, signed the dotted line.
Our limited edition mid-90s KEF LS3/5A samples come straight from the company’s museum. They are specified as having a miserly 82.5 dB/W/m sensitivity and power handling of just 30 watts.
That gives a maximum output level in the mid-90dB range, which is fair – but hardly party levels. This is a low-sensitivity speaker that can’t be driven hard to compensate.
(Image credit: What Hi-Fi?)
But that didn’t matter to the BBC, as the LS3/5A was intended to work in nearfield conditions, in cramped studios and outside broadcast vans. It was designated a ‘Grade II’ design, used to monitor general speech and overall balance, rather than for critical evaluation.
To do that job, the BBC ended up designing something bigger and more ambitious. Enter the LS5/9.
The 28-litre LS5/9 was introduced in 1983, eight years after its more famous sibling. Its job was to let sound engineers optimise every aspect of the broadcast/recording, from microphone placement to overall sonic balance.
The LS5/9’s home was any studio where the company’s huge full-range monitor speakers wouldn’t fit. Graham Audio is responsible for our beautifully built samples.
Both the LS3/5A and LS5/9 designs were based on decades of research done by the BBC’s engineering department. That research covered every aspect of speaker design, from cabinet construction to drive-unit materials, and was far better resourced than anything a commercial speaker manufacturer would or could ever do.
Graham Audio LS5/9 on their dedicated stands (Image credit: What Hi-Fi?)
The research led to some unusual conclusions. Thin, heavily damped cabinet panels were considered a better option than the thick-walled, ultra-rigid approach so favoured today.
The slight ‘give’ thin panels provide pushes any resonances away from the midrange, where our ears are so sensitive, into the bass region, where they are not. The LS3/5A’s enclosure panels use 12mm birch ply, while the LS5/9’s are thinner at 9mm.
Most speakers of the day used paper diaphragms in their drive units, which were prone to unwanted colourations and distortions. The BBC's solution was to use new-fangled plastics instead.
The LS3/5A's KEF-sourced B110 mid/bass featured a Bextrene cone to avoid any such issues. This was partnered with a 19mm Mylar-dome tweeter, linked, as in the LS5/9, with a complex crossover that prioritised tonal evenness, seamless integration and consistent dispersion characteristics.
(Image credit: What Hi-Fi?)
The LS5/9 is a front-ported design rather than a sealed box. Its more modern 20cm mid/bass switches to polypropylene on performance grounds, and is mated to an unusually large Audax 34mm soft-dome tweeter.
The large dome size helps with power handling and integration but restricts treble extension to just 16kHz (+/- 3dB), whereas the LS3/5A is claimed to reach closer to 20kHz (+/-3dB).
Both speakers have protective metal grilles fixed in front of their tweeters to avoid accidental damage.
The LS5/9 is a more electrically sensitive design than its older sibling. It has a quoted sensitivity of 87dB/W/m, so it is notably louder for any given input signal. Maximum loudness capability is up too, at more than 100dB, a big gain over its relative.
Given the shared engineering foundations of these two speakers, I thought it would be interesting to compare their sound. Before we start, you should know that our samples differ greatly in age.
The KEF LS3/5A is around 30 years old. While it is in great working order, those years are likely to have taken some toll on its drivers, crossover components and enclosure. On the other hand, the Graham Audio LS5/9 is the company’s current demo pair.
Note the inscription on the rear of this limited edition KEF LS3/5A (Image credit: What Hi-Fi?)
It is easy to understand why so many people still love what the LS3/5A does. It offers a smooth, easy-going listen. The midrange sounds surprisingly full-bodied, giving voices and acoustic instruments a natural warmth and fluidity that is hugely appealing.
Position the speakers on solid stands, close to a rear wall, and they deliver a decent impression of bass weight for their size. This is down to a low-frequency hump deliberately introduced to highlight any hum or buzz in the original signal.
Remember, the BBC designed this for monitoring broadcasts and recordings, and such unwanted noises would be common issues.
The relatively smooth higher frequencies aren’t particularly insightful by current standards, though the integration with the midrange is seamless. There is no doubt that the better current £1000-£1500 standmounters deliver greater dynamic reach, stronger rhythmic drive and better overall transparency.
That’s 50 years of engineering progress. Still, there remains something quite wonderful about the way these BBC monitors make small-scale and intimate music sound.
Fearsome tweeter grille on the Graham Audio LS5/9 (Image credit: What Hi-Fi?)
In contrast, the LS5/9 are much more like a modern speaker. Stravinsky’s The Rite Of Spring holds no fear, even at high volume levels. These are detailed and articulate performers that can challenge the best at their price (£3839 / $5999 / AU$9749).
They are notably more transparent than the LS3/5A, revealing flaws in recordings and partnering equipment far more readily. That Audax tweeter isn’t shy about sounding harsh or edgy, if provoked.
Tonally, the LS5/9 sound more neutral, trading the smooth, slightly rich balance of their older siblings for a more upfront and direct approach. Their midrange still has a lovely sense of naturalness, delivered with a fluidity that most equivalent designs would struggle to better.
Both BBC monitors image superbly. The LS3/5A disappears more successfully into the soundstage, but even the bigger speakers render impressively stable and focused results.
The LS5/9 age starts to show only when it comes to delivering large-scale dynamic shifts and rhythmic drive. Current class leaders communicate the energy and authority of a recording better.
Even so, I’m astonished by just how appealing both these speakers sound. The LS3/5A is the more forgiving choice. It has a smoother balance, a truly lovely midrange and superb stereo imaging. However, it excels at being soothing rather than exciting.
The LS5/9 is the better all-rounder, though fussier about the partnering system and recording quality. It was designed as a critical monitor, and that shows. Ultimately, it is the one I would like to live with, even though the LS3/5A manages to sound more magical with certain recordings.
Whichever one you lean towards, both designs are solid testaments to the excellence of the BBC’s engineering department all those years ago.
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