Measurements
If you want to know more precisely what we measure (and also evaluate subjectively) our basic article "Tom's Hardware Internal: This is how we test loudspeakers, headphones and noise emissions" is recommended. The sight of the measurements in the neutral controller state then also confirms our first hearing impression, because these active boxes reach the customer in a pleasant, neutral preset. The frequency curve remains unexcitedly flat and the few dB deviations from the ideal line can be safely ignored.
Of course, Klaus-Kevin Mainstreamer is also welcome to pacify himself with basses and ramshackle high notes – all according to his own gusto and whim. Up to 12 dB measured raises are certainly enough and we are already glad that this sonic horning does not take place too broadly. So rather the fat blubber instead of a cardboard rummsbumms and sparkling hissing instead of a queasy plängplärrr. Not our thing, but you can survive it.
The lowering takes place in a similar pattern, whereby especially with the bass a little more party level is offered at zero cost, while the neutered heights are maximum for over-compressed MP3. Medium wave feeling for retro freaks, instead of FM – if anyone knows what such a thing sounds like.
Subjective hearing impression
Let us now come to the subjective assessment of things and simply leave the measurement curves to the left. The assessment is based on the middle position of the controllers (default).
Bass
Test the lowest bass in the subcontraoctave (16.4 Hz to 32.7 Hz) with a recording of Bach's Toccata and Fugue in D minor (19 and 25 Hz) and the Festival Overture 1812 by Tchaikovsky (10 Hz and 12.5 Hz). The same applies to the lower ranges of the contraoctothe (32.7 to 65.4 Hz). The big bass drum (kick drum), which in the U-music is a welcome companion and usually on approx. 55 to 60 Hz, this assessment will then be rounded off.
The bass is already a bit more restrained from about 50 Hz downwards, but still has enough fullness and clarity. From approx. 40 Hz it gets a bit thinner down, but even the subcontraoctave is still audible in parts, as long as the installation location is correct.
However, almost none of the "normal" U-music pieces have such deep passages, but classical music can often do more than one might think. The big bass drum is still sufficiently crisp, but now much softer than with the Wavemaster Pro Two, which is no disadvantage. It's still not an over-emphasized Helene Fischer party muck for Aunt Helga's party cellar, but there's something going on. Even with the breathless neighbours.
The upper bass up to 150 Hz, in which also the Great Octave (65.4 to 130.8 Hz) is located, houses the basic language frequency of the male voice and decides very strongly on the true-to-life reproduction of male vocals.
This area sounds nicely balanced and natural. The male vocals are played very rich and warm, the instruments are hardly distorted. Overall, the resolution is astonishingly high and also allows for real chamber music enjoyment. Orchestral pieces, rock, pop and jazz of all colours also work almost (too) perfectly, whether in the near field or in the living room.
Frequency range
The lower middles (also basic tone range) are approx. 150 to 400 Hz. Together with the already mentioned upper bass, this area plays a very important role for the subjectively perceived heat or bass. Fullness of the sound. The basic language frequency of female voices can be found in this area.
Once again, there is no reason to criticise, there is definitely nothing to be criticised or dumpling. Female vocals get to the point. The timbre of the vocals and recorded instruments is rather warm and pleasant, not analytical. The further upward trend is also free of criticism. The precision is above average and it is sometimes hard to believe that this is an all-round active speaker system.
The upper mids between 400 Hz and about two KHz contain a mark at a KHz, which is still considered a reference for many measurements. Unfortunately, this is often noticeable with cheaper devices, as manufacturers often try to overemphasize this frequency. This area does not play an insignificant role in gaming either, and balanced playback contributes significantly to good spatial resolution.
The stage and the subjectively perceived quality of the spatial resolution is at a very high, if not the highest level, which is probably also due to the price. An orchestra nevertheless seems (purely subjectively) set up far enough and it is still possible to locate individual instruments clearly and unambiguously at different overall levels. Speech playback is also not lost in this area, no matter how many sources are mixed. The suitability on the desktop is underlined by the very good spatial image in games with excellent audio material.
High-pitched range
Between two and about 3.5 KHz, human hearing is most sensitive, especially since this area of the lower heights is responsible for the good overtone reproduction of the human voice. This frequency range is crucial for the recognition of a voice or instrument; in this context, one also speaks of the respective timbre.
The playback is again free of criticism and the speech intelligibility as well as the quality of the vocals can definitely convince. The more analytical NuPro A200 is not quite approachable in direct comparison, but this is also a completely different performance class. It is also good that the passive crossover has been tuned in such a way that there are no audible deletions or partial over-emphasis. The transition between the two chassis is pleasantly flowing and, above all, one thing above all: almost imperceptible.
The middle heights (3.5 to six KHz) decide on the sound or failure of the speech reproduction as a whole, because the S- and hissing (Sibilants) fall into this range. The upper heights then reach up to approx. ten KHz to move into the super high tone.
High and super high tone are another strength of the Wavemaster Two Pro, even if the boxes are rather restrained. Sibilants and breathing sounds are accurately depicted, but not overemphasized or swallowed. It doesn't sound pointed or metallic, but very natural. String edits are also not audibly falsified and rather filigree strings are not degraded to recorders. Even a drum remains one, right down to the softly painted jazz brooms, which can really go under the skin.
Summary and conclusion
Cheap is different, good and beautiful. But it is always the case that you always have had to pay a little more if you want to live above average comfortably. The three expensive A (car, audio, confidante) have once again underlined their raison d'etre. The equivalent of the estates of just under EUR 500 remains acceptable. Self-confident, yes. But Nepp is different, there is much worse.
Some wellness for the ears never hurts and at the latest after the first hours of active listening, the loudspeakers have also reached their performance and the price has already been forgotten. After all, you don't buy something like this three times a year, and long-lived consumer goods can cost something. Thanks to many analog components and unglued, plugged and screwed assembly, pretty much everything is repairable, which might eventually break. If so, because the first impression of the inner life was a good one.
That's why there's a buy tip on the house, although the smaller Wavemaster Two Neo can be worth considering if this pair seems too much.
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