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GR Research X-LS Encore Kit Speaker Review

Currently looking to get my very own Phil 1's. However, how are they? Do they measure well? I'd be interested to see a spin-o-rama :).
Are you referring to the BMR's? There's no such animal as the Philharmonic 1. If it's the BMR, there's a recent set of Spins on this site:
https://www.audiosciencereview.com/forum/index.php?threads/philharmonic-bmr-speaker-review.14781/ and another in an Audioholics review,
https://www.audioholics.com/bookshelf-speaker-reviews/bmr-philharmonitor-1/conclusion Plus far off-axis plots from the NRC's anechoic chamber:
http://philharmonicaudio.com/
 
A comment on the DIY debate:

First, from my perspective, the primary reason I have DIY'd speakers is for fun. I have enjoyed the process. The time spent isn't a cost, it is a benefit, as it brings me joy.

Second, I feel like people are inclined to be pretty harsh on the DIY designs and/or over-weight the subjective portion of the review. This speaker seems to measure well and, as has been pointed out, the preference score with a sub is good (certainly better than a number of much more expensive commercial offerings).

Third, although there are plenty of examples of ugly DIY speakers, its not that hard to make something beautiful, and that has value. For me at least, speakers are furniture too. I don't want to look at a boring black box or cheap vinyl every day. Commercial speakers with attractive, real-wood veneers seem to be generally in the upper price ranges, and even then, the options are limited. With DIY you have total control and can make something that is truly special in appearance. I'm pretty proud of my ZA5.2's for example, and I am a (very) novice woodworker at best.

Anyway, I just wanted to add my 2 cents. Commercial speakers are great. And I think DIY is pretty great too.
 

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A comment on the DIY debate:

First, from my perspective, the primary reason I have DIY'd speakers is for fun. I have enjoyed the process. The time spent isn't a cost, it is a benefit, as it brings me joy.

Second, I feel like people are inclined to be pretty harsh on the DIY designs and/or over-weight the subjective portion of the review. This speaker seems to measure well and, as has been pointed out, the preference score with a sub is good (certainly better than a number of much more expensive commercial offerings).

Third, although there are plenty of examples of ugly DIY speakers, its not that hard to make something beautiful, and that has value. For me at least, speakers are furniture too. I don't want to look at a boring black box or cheap vinyl every day. Commercial speakers with attractive, real-wood veneers seem to be generally in the upper price ranges, and even then, the options are limited. With DIY you have total control and can make something that is truly special in appearance. I'm pretty proud of my ZA5.2's for example, and I am a (very) novice woodworker at best.

Anyway, I just wanted to add my 2 cents. Commercial speakers are great. And I think DIY is pretty great too.

Your speakers are lovely. Very tasteful low-gloss or satin finish on very beautiful wood. I don't think I know the type of wood. Perhaps you could share a little about the type of wood, whether solid or veneer, and how you finished it?
 
Are you referring to the BMR's? There's no such animal as the Philharmonic 1. If it's the BMR, there's a recent set of Spins on this site:
https://www.audiosciencereview.com/forum/index.php?threads/philharmonic-bmr-speaker-review.14781/ and another in an Audioholics review,
https://www.audioholics.com/bookshelf-speaker-reviews/bmr-philharmonitor-1/conclusion Plus far off-axis plots from the NRC's anechoic chamber:
http://philharmonicaudio.com/
Lol sorry Dennis, I was asking his thoughts on the AV123 LS6.


I am getting my own BMR sometime next year when I head back to the states. Thanks for the response.
 
A comment on the DIY debate:

First, from my perspective, the primary reason I have DIY'd speakers is for fun. I have enjoyed the process. The time spent isn't a cost, it is a benefit, as it brings me joy.

Second, I feel like people are inclined to be pretty harsh on the DIY designs and/or over-weight the subjective portion of the review. This speaker seems to measure well and, as has been pointed out, the preference score with a sub is good (certainly better than a number of much more expensive commercial offerings).

Third, although there are plenty of examples of ugly DIY speakers, its not that hard to make something beautiful, and that has value. For me at least, speakers are furniture too. I don't want to look at a boring black box or cheap vinyl every day. Commercial speakers with attractive, real-wood veneers seem to be generally in the upper price ranges, and even then, the options are limited. With DIY you have total control and can make something that is truly special in appearance. I'm pretty proud of my ZA5.2's for example, and I am a (very) novice woodworker at best.

Anyway, I just wanted to add my 2 cents. Commercial speakers are great. And I think DIY is pretty great too.
Those are flat out gorgeous. I am a retired carpenter and cabinet/ furniture builder and still hobbyist. I’m very much in the learning process when it comes to the physics of audio, but never too old to learn..; ) From my more “subjective” position of audio performance, if I had speakers that beautiful, and made them...that in itself would elevate the sound quality. Heresy!? Maybe so. But nobody’s perfect...; )
 
My thoughts on Speaker Kits DIY:

In the 70's I had three friends with Dad's that were all electrical engineer professors at the University of Waterloo, Canada. One of them (I can't remember) helped me design a crossover and basic design for a bookshelf speaker. I scrounged up parts from my local radio shack, an electrical shop that had wire I would wind myself coils for the crossover and Phillips drivers I purchased on Avenue road in Toronto. My wood working skills were not very good but painted black or covered with Mac-Tac they looked okay for a 13 or 14 year old very few power tools. I was very proud of my speakers and they sounded better than anything I ever had before. I would try variations and build many prototypes with varying degrees of success and failures. I guess that is true DIY.

Today there are measurement calculators, drivers with an abundance of specs and great how to videos and articles. Building speakers can be fun and rewarding. Depending on how far want to deep dive into the subject matter. My favorite kits, in the last ten years, are the Overnight Sensations offered at a few places and the Hivi kits as I have mentioned before. They are easy but the end result is both pleasing and satisfying.

Nowadays I just build inexpensive speaker kits and if they come with knock-down cabinets all the better. If I had more money than I knew what to do with I would buy a pair of Harbeth speakers and support Alan Shaw.:cool:

my two cents,
 
Those are flat out gorgeous. I am a retired carpenter and cabinet/ furniture builder and still hobbyist. I’m very much in the learning process when it comes to the physics of audio, but never too old to learn..; ) From my more “subjective” position of audio performance, if I had speakers that beautiful, and made them...that in itself would elevate the sound quality. Heresy!? Maybe so. But nobody’s perfect...; )

Thank you for the kind words! That is a flat cut walnut veneer. Finish is boiled linseed oil followed by amber shellac, with wet sanding and a coat of paste wax. The finishing process was by far the hardest part, but the reward was worth it in the end.
I like the look much more than any gloss or semi-gloss polyurethane I have used on other projects.

The veneer was paper backed and applied using heat lock glue and a standard clothing iron. I used a veneer saw to trim - they are pretty cheep - but a razor blade would also have worked.

Bringing it back to this thread, to go from the speaker shown on the first page to a unique piece of furniture anyone would be proud to own really isn’t that hard. You would need to find a friend with a router and a big round over bit to handle the edges. Borrow the iron from your laundry room, spend maybe $150 on veneer and finishing supplies, and then give it some time.
 
Such speakers are also generally untainted by association with slimy pitches for miracle passive crossover parts or possibly the dumbest wire termination yet conceived.

Having used them and as well a several different Parts Express binding posts in multiple DIY speakers, the female tube connectors are a very good design. Crimping the wire directly to the female connector is as mechanically secure as you are going to get. Heat up some shrink tubing around the crimp and gently tap them into the speaker. It doesn't get easier than that, and tube connectors have taken any banana plug (BFA-style, locking, test leads, etc) that I have thrown at it without any issues.

Compared to the typical 5-way binding post with solder tabs or a crimped ring terminal secured by nuts that you have to tighten inside the speaker, the design of the tube connector is better. I am not saying it will sound better, but I prefer to use them on DIY speakers.
 
A comment on the DIY debate:

First, from my perspective, the primary reason I have DIY'd speakers is for fun. I have enjoyed the process. The time spent isn't a cost, it is a benefit, as it brings me joy.

Second, I feel like people are inclined to be pretty harsh on the DIY designs and/or over-weight the subjective portion of the review. This speaker seems to measure well and, as has been pointed out, the preference score with a sub is good (certainly better than a number of much more expensive commercial offerings).

Third, although there are plenty of examples of ugly DIY speakers, its not that hard to make something beautiful, and that has value. For me at least, speakers are furniture too. I don't want to look at a boring black box or cheap vinyl every day. Commercial speakers with attractive, real-wood veneers seem to be generally in the upper price ranges, and even then, the options are limited. With DIY you have total control and can make something that is truly special in appearance. I'm pretty proud of my ZA5.2's for example, and I am a (very) novice woodworker at best.

Anyway, I just wanted to add my 2 cents. Commercial speakers are great. And I think DIY is pretty great too.
Yeah, I don't get it. When this DIY speaker has good subjective reviews and good score, people keep knocking it down saying it ain't great value because of the cabinets and the labour needed. When the much more expensive buchardt s400, which has the SAME w/sub score, has a negative subjective review, people (rightly) come in to point out that the speaker is better than the subjective score suggests.

I wonder if it's due to a lack of mainstream outreach that people don't care for DIY products, which do require a lot more work to get going. Mads does great on the PR department and everyone has good things to say about KEF some without having even listened to KEF speakers before... in the DIY world we really only have the great Dennis Murphy and even then it's in this non-mainstream forum.
 
The simulation is very accurate as long as the participating chassis behave "ideally".
The simulation for a "soft" plastic cone or for a huge fabric midrange dome will not match reality as well as the simulation of a Be tweeter, because my simulations assume ideal drivers.

Here is a project where I simulated the complete loudspeaker in advance, compared to measurements of the finished loudspeaker - to high frequencies it becomes less accurate, because I wanted to save computing time again (my 4-core CPU likes to calculate 6 hours for such a simulation)
https://www.diy-hifi-forum.eu/forum/showthread.php?19868-El-Grico&p=282530&viewfull=1#post282530
(Please note the scaling)
View attachment 75599



Yes, the radiation pattern is due to the interaction of the drivers with the baffle.




Normalized to the on-axis frequency response shows you the absolute FR off-axis. Imagine you manage to create a dead straight on-axis FR during crossover tuning, then you have exactly what the on-axis normalized diagrams show you.

You just have to be incredibly careful not to misinterpret them, when compared to real loudspeaker. The edge diffraction is always accompanied by a dip on axis - if no attempt is made to straighten it via the crossover. As a result, the off-axis FR shows usually no or only a small sound pressure increase in the affected frequency range.
View attachment 75601

Normalized to on-axis
View attachment 75602

The normalization to the axis frequency response simply shows best whether the radiation is uniform over all angles.

For example, you can also normalize to 30°, then it doesn't look so serious, but that doesn't change the fact that the reflections of the 0° FR tonal don't match the 30° FR.

View attachment 75603

All three diagrams show basically the same thing, but with different degrees of clarity.

... and one cannot emphasize it often enough, just because a loudspeaker radiates more evenly does not automatically mean it sounds better, because that depends on the fine-tuning of the crossover.

Let's cut to the chase. If you really want to demonstrate that baffle edge diffraction is the primary cause of the response irregularity in the off-axis response, the thing you should do with your simulator is double the baffle width, leaving the edges sharp. If the dip-followed-by-peak is in fact caused primarily by baffle edge diffraction, as you certainly seem to think, it will absolutely, positively shift to half-lower frequency. If it remains where it is, anchored to the crossover frequency, this will be compelling evidence that baffle edge diffraction is not the primary cause of the major off-axis response irregularity. And in this case, lacking any alternative hypothesis, the foregone conclusion will be that it is the result of directivity mismatch for the two drivers. What puzzles me at this juncture is why this did not occur to you, and why you did the other stuff you have done, when ostensibly you were demonstrating that baffle edge diffraction as opposed to directivity mismatch is the principal cause of the major irregularity in the off-axis response.

I fully understand the point of normalizing the off-axis response curves to the on-axis curve. This has been the normal way of showing off-axis response for about as long as the importance of the off-axis response as been generally acknowledged. In Stereophile, for example, the 3-D plots that show off-axis response have been done this way since they started doing them. But if I measure sound pressure at a particular point location (x,y,z) in space and for a given frequency and then I make some change to the baffle and I want to know how this change has affected the sound pressure at that location and frequency, I will simply want to measure the SPL at that location, using that frequency. That's all. Suppose there is actually no change in SPL at this location and given frequency but that there is a -3 dB change in the on-axis response at that frequency. If I express the SPL at the (x,y,z) point of interest as a value normalized to the on-axis response I would conclude that there has been a +3 dB change in SPL at the (x,y,z) point of interest even though the rounding of the corner has had no measurable effect on the SPL at that (x,y,z) point.

It seemed to me that you were endeavoring to demonstrate that the diffraction ripple was the primary cause per se of the major undulations in the off-axis response of the speaker. Logically this is the way that you would go about proving that directivity mismatch is not per se the cause of the off-axis response irregularities. I.e., if you prove that C is caused primarily by B, then it follows logically that C is not caused primarily by A. This manifest logic is why I thought that you were endeavoring to demonstrate that diffraction ripple explains fully the irregularity in the off-axis response. But you didn't do exactly that. You demonstrated that by making various changes you could smooth out the response. Okay, but demonstrating that you can smooth out the response is not the same as demonstrating that diffraction ripple all by itself can fully explain the observed response irregularity.

Something else you wrote that I want to say something about:

"The edge diffraction is always accompanied by a dip on axis - if no attempt is made to straighten it via the crossover. As a result, the off-axis FR shows usually no or only a small sound pressure increase in the affected frequency range."

Perhaps there is a language difficulty here, or perhaps this indicates an understanding that isn't as complete as might be desired. Theoretically, diffraction produces a ripple in the response, both on-axis and off-axis, although the ripple in the off-axis response and the ripple in the on-axis response are different with respect to the location of the individual peaks and dips. To keep this simpler I will only discuss it from the standpoint of the on-axis response. When the acoustic wavefront from the driver reaches the baffle edge there is a reflection due to the abrupt change in acoustic impedance, as you are perfectly well aware. You also likely know that the reflection is opposite in phase to the incident wave, i.e., a 180-degree phase shift occurs with a soft reflection. As frequency increases starting from very low frequency and the power radiation transitions from spherical space to hemispherical space, eventually the wavelength shortens to where the distance from the driver to the baffle edge is equal to a half wavelength. If the affected driver is centered on the baffle this occurs at wavelength matching the width of the baffle. Owing to the 180-degree phase shift that is due to the distance the wave travels to reach the edge, and to the additional 180-degree phase shift that occurs in a soft reflection, the total phase shift will be 360 degrees which implies constructive interference with the wavefront that reaches the on-axis listener directly from the driver. This is the 1st peak in the diffraction ripple, which is the strongest peak or dip in the overall ripple, and which sort of sits on top of the overall baffle step, making the baffle step appear to rise more abruptly and giving it a sharp knee.

As wavelength shortens further, at twice the frequency of the 1st peak there will be a dip in the on-axis response because at this wavelength a full wave matches exactly the distance from the driver center to the baffle edge. Then at 3x the frequency of the 1st peak, another peak. At 4x the frequency of the 1st peak, the second dip. And so on. This is why it is referred to as diffraction "ripple".

Now, here is one reason not to think that diffraction ripple is the primary cause of the irregularity in the off-axis response of the speaker. If diffraction ripple were strong enough to account for the major off-axis response irregularity, diffraction ripple should likewise be evident in the on-axis response. In particular, the 1st peak should be evident at about 1.7 kHz. But in the on-axis response, we find that the response is more or less flat in this region (as it is elsewhere). As such, if diffraction is in fact a strong effect in this speaker, strong enough to be the major cause of the big undulation in the off-axis response, the strong peak that should be apparent at 1.7 kHz would have to be concealing an erstwhile dip at this frequency. Perhaps there is a dip at 1.7 kHz, concealed by the 1st peak in the diffraction ripple. But what about the other peaks in the diffraction ripple that should also be noticeable, and what about the dips that should be evident in the on-axis response, especially the one that should occur at 3.4 kHz? There is no evidence at all of diffraction ripple in the on-axis response. As such, how would it be reasonable to think that baffle edge diffraction is a sufficiently strong effect in this speaker to be the cause per se of that major dip and peak that straddle the crossover frequency in the off-axis response?

In the off-axis response, the major dip in the response immediately below the crossover frequency followed by the peak above the crossover frequency has all of the characteristics of directivity mismatch between two drivers at their interface. The dip and the peak are clearly anchored to the crossover point. Perhaps this is coincidental, as it would have to be if it were caused by diffraction ripple, but it looks like a duck, it walks like a duck, and it even quacks like a duck.

Conventional wisdom holds that the woofer should be much more directional at wavelength matching the piston diameter, compared to the tweeter at wavelength more than six times greater than the piston diameter. Is it likely that this conventional wisdom is wrong, or is it more likely that it is possible to compensate for the directivity mismatch by making changes of the sort that you made in the simulation? If you demonstrate that it is possible to compensate for the directivity mismatch, would this be sufficient reason to assert the lack of a directivity mismatch? Isn't this what you are doing?
 
Those are flat out gorgeous. I am a retired carpenter and cabinet/ furniture builder and still hobbyist. I’m very much in the learning process when it comes to the physics of audio, but never too old to learn..; ) From my more “subjective” position of audio performance, if I had speakers that beautiful, and made them...that in itself would elevate the sound quality. Heresy!? Maybe so. But nobody’s perfect...; )

For someone who says he is a "flat out novice" at woodworking he did one hell of a good job didn't he? Imagine what he'll be doing after he has some more practice.
 
For someone who says he is a "flat out novice" at woodworking he did one hell of a good job didn't he? Imagine what he'll be doing after he has some more practice.
Yeah...no doubt! Perhaps mtmpenn, you missed your calling!

So KaiserSoze...Can’t lie. I understand this post a whole lot more than your previous one. Don’t worry...I’ll get there some day. ; )

Still...for me, the concept of melding two “loves”...both audio and woodworking into a completed project is the epitome of personal satisfaction. Even better, I get to photograph the results...so make that “three loves!” My wife really wishes I had less expensive hobbies... ; )

So...way off topic...at least with respects to GR research...and kick me elsewhere s if more appropriate...

One of my “fantasies” has been to build Jim Holtz’s Statements II, from the Speaker Design Works site. Of course...no objective measurements to peruse,
Obviously a way bigger project than here, but the woodworking part is no problem for me. I even have a modicum of experience with stuffing boards and soldering, so if the instructions are thorough, I’d build the crossovers. What I don’t know is what I eventually end up with. Rave reviews out there of course, but if I’ve learned anything from this site, “rave reviews” aren’t always the best quantifiers. If you, or anyone else, has any familiarity with this design, I’d love to hear your thoughts!
 
Yeah, I don't get it. When this DIY speaker has good subjective reviews and good score, people keep knocking it down saying it ain't great value because of the cabinets and the labour needed. When the much more expensive buchardt s400, which has the SAME w/sub score, has a negative subjective review, people (rightly) come in to point out that the speaker is better than the subjective score suggests.

I wonder if it's due to a lack of mainstream outreach that people don't care for DIY products, which do require a lot more work to get going. Mads does great on the PR department and everyone has good things to say about KEF some without having even listened to KEF speakers before... in the DIY world we really only have the great Dennis Murphy and even then it's in this non-mainstream forum.

It isn't particularly useful to compare a kit speaker that is shipped without cabinets to a finished store-bought speaker. The differences are just too substantial for the comparison to be meaningful. But it is valid to compare one kit speaker with another kit speaker, and in such comparisons, kit speakers that come with pre-assembled, finished cabinets, for the same cost as speakers that don't include cabinets, are generally a much better value. Most (but not all) of the criticism here of this speaker has been on this basis.
 
Plus really, Wonderbread? Start baking bread by making some good standard everyday sourdough.

A 6.5" 2-way with flattish on axis frequency response but a large dispersion disruption where woofer hands off to tweeter is the loudspeaker equivalent of Wonderbread. Ubiquitous at one point, but not good and supplanted today by better options. Likewise the flat waveguide 6.5" 2-way format is increasingly being replaced by configurations with a higher fidelity ceiling.

That's my point. If someone's going to build a kit - and I encourage anyone who wants to do so to dive in! - there are much better-conceived kits than this fairly expensive one with cheap drivers in a suboptimal configuration. In that sense this thread is valuable, because it can point people interested in exploring this frontier to better options. You mentioned DIY Sound Group. I've never build one of their kits (or any other speaker kit, though I have designed my own speakers) but they have some great components and are great examples of the innovation occurring in the DIY space. Their SEOS waveguides are very nice: I've used the 8" dome tweeter version and the 12" compression driver version. As for wider-dispersion speakers, Erich bought the "Anarchy" 7" XBL midwoofer design from Kevin Haskins. That is a very nice drive unit and due to its very long excursion has to be in the top three 7" woofers for a compact 3-way (along with Purifi and ScanSpeak Illuminator) at a fraction of the competition's cost. There's nothing remotely comparable to DIY Sound Group's options on offer here.

The design should be based off of performance not component count - EVER.

I agree. Here, the poor performance tells the tale. The dispersion disruption puts a hard ceiling on the fidelity the speaker can offer. A cynic might say the performance is flawed on purpose, to serve the designer's interest in getting buyers on a treadmill of buying different boutique parts from with increasing levels of stupidity - fix the coloration you hear by swapping out that "standard" capacitor for this "audiophile" capacitor of the same value, replace those binding posts with these idiotic tube sockets (but never mention the far superior speakON!), and so on.

Take gardening, I can buy tomatoes. I can buy cucumbers. I can buy flowers, why garden?

That's a pretty good analogy. If you're just going to grow the same flavorless varieties agribusiness breeds to maximize shelf life and reduce shipping losses, then gardening doesn't seem like a great idea either. Wouldn't you plant better-tasting varieties that might not last as long or withstand sitting in various containers for weeks? (N.B. these tomatoes are great.)

To wrap up this post, as said in my previous post, I do enjoy buying "complete" products and I also enjoy DIY.

Likewise. I just have standards. This design does not meet them as a $250 + cabinet + labor project. As a $150/pr finished product, OK maybe not so bad.

I spent $1,000 on compost to amend the soil in our garden so I can plant vegetables. If I get $100 out of the harvest, it would be good. :)

Thanks, Amir. You just made me do a spit-take with what will probably end up being a $50 glass of cucumber mint water, if I calculated what went into those garden beds vs what's coming out of the ground! :)
 
Yeah...no doubt! Perhaps mtmpenn, you missed your calling!

So KaiserSoze...Can’t lie. I understand this post a whole lot more than your previous one. Don’t worry...I’ll get there some day. ; )

Still...for me, the concept of melding two “loves”...both audio and woodworking into a completed project is the epitome of personal satisfaction. Even better, I get to photograph the results...so make that “three loves!” My wife really wishes I had less expensive hobbies... ; )

So...way off topic...at least with respects to GR research...and kick me elsewhere s if more appropriate...

One of my “fantasies” has been to build Jim Holtz’s Statements II, from the Speaker Design Works site. Of course...no objective measurements to peruse,
Obviously a way bigger project than here, but the woodworking part is no problem for me. I even have a modicum of experience with stuffing boards and soldering, so if the instructions are thorough, I’d build the crossovers. What I don’t know is what I eventually end up with. Rave reviews out there of course, but if I’ve learned anything from this site, “rave reviews” aren’t always the best quantifiers. If you, or anyone else, has any familiarity with this design, I’d love to hear your thoughts!

I've looked at those speakers and like you I think they look very nice. And like you I will not assume that they sound good enough to justify the cost unless and until I see measurements, ideally measurements taken independently. But I certainly do like that type of speaker.

Speaking of mtmpenn's apparent skills and also of photography, he seems to have that going on also. That picture is a good picture. More often than not, when someone who doesn't take pride in the pictures they take is armed with a flash the result is not especially good. But the picture appears to have been taken with the only lighting the camera-mounted flash, and it came out very good. Or maybe he just has one of those very modern cameras that always take excellent pictures so long as you aim it at something worth taking a picture of.
 
It isn't particularly useful to compare a kit speaker that is shipped without cabinets to a finished store-bought speaker. The differences are just too substantial for the comparison to be meaningful. But it is valid to compare one kit speaker with another kit speaker, and in such comparisons, kit speakers that come with pre-assembled, finished cabinets, for the same cost as speakers that don't include cabinets, are generally a much better value. Most (but not all) of the criticism here of this speaker has been on this basis.
For clarity, my comment wasn't targeted at you :)

Perhaps as Amir dives more in to the DIY world, we'll get a better idea of how all the kits stack up numbers wise vis-a-vis each other.

That's my point. If someone's going to build a kit - and I encourage anyone who wants to do so to dive in! - there are much better-conceived kits than this fairly expensive one with cheap drivers in a suboptimal configuration. In that sense this thread is valuable, because it can point people interested in exploring this frontier to better options.

From my recollection, the DIY kits reviewed are Zaph2.5, C Note and the XLS Encore of which XLS has the best subjective outcome (though the more expensive Zaph has better w/sub rating).

Looking forward to seeing some of these other kits mentioned benchmarked against these to get a better idea of what else is out there.
 
A few comments:

1. The speaker shown is the Zaph audio ZA5.2, same model that was measured here. So, assuming I put it together correctly it should measure similarly. Of course, certainly possible I messed something up.

2. Thanks again for the compliments. I stand by my novice status. I had someone cut the baffles for me, meaning I had to cut some rectangles out of an mdf board and glue them into a box shape. Basic stuff. I think I did a good job with the finish, but that is more about persistence than anything else.
In my limited experience the key to excellent appearing mdf boxes is veneer. Iron-on approach is pretty easy. Painting, for me, is much harder to get an acceptable appearance.

3. The picture did turn out well! Took it with my iPhone in my basement before bringing them upstairs.
 
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