This is the result of unburdening both the woofer and the tweeter, so that both are doing less work the tweeter is only focused on high frequencies, and the woofer only has to worry about bass. The IN-Series monitors have very low distortion. You’re hearing all of the spatial information at the listening position, so the soundstage that you hear will have every detail that’s present in the mix. As such, it has the same excellent directivity that the LP-6 and LP-8 have at their sides in a full 360 degrees around the speaker. This means that each IN-Series monitor is acoustically a point source. The tweeter and midrange share an acoustic center, and the woofer is crossed over at a low-mid frequency, so the distance between the woofer and midrange is well under a quarter wavelength at the crossover point. This means that at the listening position, you’re not hearing the full stereo picture. However, because the tweeter and woofer on those speakers (and most studio monitors!) are separate, this information gets lost in the space immediately above and below the speaker. An accurate soundstage lets you “see” each element of the mix in front of you, so you can hear exactly what happens when you make changes.Ģ-way systems with good waveguides, like Kali’s LP-6 and LP-8, do a good job at conveying this spatial information. Not only does this allow producers to create interesting spatial effects, but it means that you can work faster and with more confidence. Even with purely digital material, producers can manipulate physical locations of elements in the mix, and you will hear these on a stereo recording. When you listen to a stereo set of speakers, you’re hearing information about where instruments and players were placed when the material was recorded.

We keep harping on about the “hyper-realistic” imaging of the IN-Series.

Independence pro or con