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SOUNDGIL CUBE 2.1 review – Hi-Fi re-rolled in the smallest space | igorsLAB

Something like hi-fi goes even without large chests of chests of drawers and high-performance amplifiers, which drive the fear sweat beads onto the self-tanned forehead for every ghetto gangster in the pimped golf. The system tested today is something of anti that it was a real need for me to show that you don't always have to have the thickest and longest when it comes to a good listening experience. Thanks to the use of neat broadband chassis and an extremely torsion-proof coprus, the Soundgil Cube 2.1 has become something very special.

Measurement of the frequency curve

Let's move on to the new measurement. I have again normalized the frequency curve at 1 KHz to 0 dB, so that on the one hand one can evaluate the overall course with all encores and frequency waste and on the other hand not completely loses the possibility of comparison to previous measurements. But it is still different, because the smoothing (1/1 octave) is supplemented by the almost unsmoothed representation (1/24 octave). All of this looks clearly "more hibbeliger", of course, but also fits much better with reality. Because one thing is also clear: it does not exist, the ideal curve.

What do you see as an increase in the upper bass area at approx. 150 Hz, which is not uncommon with such small loudspeakers and is also due to the crossover frequency during the transition to the woofer. However, now the approx. 6 dB at the top nothing to worry us about. It results in a certain feeling of fullness in the soundscape, which can conceal, at least in many situations, that the volume of boxes is not the greatest. Nevertheless, the 55 Hz mentioned in the manual are correct for the lower frequency, if you have approx. 3 dB as a tolerance range.

This also applies upwards, where at 20 KHz is actually far from the end of the actataically. Here, too, you are in the range around the -3 dB and thus also good in the race. The 6-dB delle at approx. 3.7 KHz is not quite as plump, but due to the special properties of our ears, which are also the most sensitive there, does not wear so thick. On the contrary, it is even perceived as something "warmer" in subjective feeling. If you lift this up a bit in the external EQ, the sound becomes much more metallic. This is just bathtub ultra-light, nothing more.

Now let's put aside the PR-compatible display and look at the unsmoothed curve. Of course, the semi-professional measuring room also plays a role here, which does not show any extreme abnormalities, but can also not compete with multi-million dollar investments by well-known manufacturers. Nevertheless, the measured is also pleasingly pleasant here. It is really important to position these sound crunches correctly and, if necessary, to change something in the living room.

Cumulative Spectra (CSD and SFT)

The cumulative spectrum denotes different types of diagrams that show time-frequency properties of the signal. They are generated by successive application of the Fourier transformation and suitable windows to overlapping signal blocks. These analyses are based on the frequency response diagram already shown above, but also contain the element time and now show as a 3D graphic ("waterfall") very clearly how the frequency response develops over time after the input signal stopped. In colloquial terms, such a thing is also called "end" or "swingout".

Normally, the driver should also stop as fast as possible after the input signal has been dropped. However, some frequencies (or even entire frequency ranges) will always subside slowly and then continue to appear in this chart as longer-lasting frequencies on the timeline. This is a good way to see where the driver has glaring weaknesses, perhaps even "squealing" or where, in the worst case, resonances occur and could disturb the overall picture.

I will now test two types of cumulative spectrum:

Cumulative Spectral Decay (CSD)
Cumulative spectral decay (CSD) uses the FFT and a modified rectangular window to analyze the spectral drop of the pulse response. It is mainly used to analyze the speaker response. The CSD typically uses only a small FFT block shift (2-10 samples) to make resonances more visible throughout the frequency range, making it a useful tool for detecting the resonant of the converter.

The picture at the Soundgil Cube is quite good, but you can also see very nicely where the light sounding already discussed above starts. The lower middles and the bass, as well as the high and super high tone, stay a little longer like a block and thus actually a little longer in the ear. In relation to the achieved level, however, this behavior has to be put into perspective, because at approx. 1.5 ms (CSD) the last beeps have disappeared again, only the upper bass and the foundation underneath may roll out something

Short-time Fourier Transform (STF)
The Short-Time Fourier Transformation (STF) uses the FFT and Hanning windows to analyze the time-varying spectrum of recorded signals. In general, a larger block shift (1/4 to 1/2 of the FFT length) is used to analyze a larger part of the time-variable signal spectrum, whereby one gets closer to the fields of application such as language and music.

In the STF spectrum, we now also see very nicely the very balanced work of the broadband loudspeakers, which in no frequency range can even afford any caprioles. By the way, we also see that the sound at approx. 3 KHz "stops" a little longer, which puts the slight dent in the frequency measurement back into perspective. Soundfully, this is definitely not objectionable.

What remains as a summary is an excellent settling behavior, because even the driest impulse comes without getting to the desired point. The broadband loudspeakers react almost without delay and nothing slows down in the aftermath when the signal is omitted. The pulse fidelity is really excellent and is certainly in no way inferior to the result of larger (and more expensive) systems, as long as you don't add a few zeros to the price in front of the comma.

 

Subjective listening experience

Now let's test subjectively what you get offered in the original. I had the Soundgil Cube play on the desktop for almost two weeks in daily use, which should be enough for the biggest recording fanatics.

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 astonishingly voluminous, though not deep-bloodedly concise. He is a very dry journeyman, which remains perceptible even at an astonishing 40 Hz, if the position of the subwoofer is correct. The only mediocre level resistance is the real fun brake here, because in rooms from approx. 20m2 and more, the whole thing gets a bit tight, at least with action-packed movies. Music, especially at smaller distances between 2 and 3 meters, works really well.

What is not possible, of course, are acoustic cellar walks with bass-heavy organ works, or the polishing of deep-earth bass of various genres. But what seems surprisingly convincing are very wide-band synthesizer works such as Isao Tomita's interpretation of Mussorgsky's "Pictures of an Exhibition". This is really fun, because you realize that everything you would like is there, but no more grams.

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 a little more dominant and fills the holes in the subjectively perceived overall fullness. However, with an unfavorable installation location, one quickly runs the risk that the actual, deeper bass is lubricated. Male vowel sounds very warm and full, which you may well like. The instruments are in no way inferior to the vocals in this section, only when gaming it gets a little too much. But the cubes were not designed for that either.

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.

Female vocals sound pleasant and full, you can leave that. Especially since they are not ironed away by the slightly lower positioned, male voices. Choral works thus receive a very coherent basis, on which it can then be built up perfectly upwards.

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.

This all comes extremely clean and very nicely differentiated. The depth graduation of the small crunches is good if you choose the location correctly. You don't even have to try the DSP, that's without a real joy. This is a really nice broadband solution that doesn't have to hide from multi-way boxes. On the contrary, here you really notice the advantage of a well thought-out single membrane.

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 small dent sounds as intended, because it colors a lot of the overtone very warm and soft and flatters the ears. All vocals and instruments remain very natural and are staged confidently and well modulated. Relaxed yet pinpoint, that's how it must sound and it does. I was a bit sceptical at first, but no matter what I listened to, there was no shortage.

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.

The high-frequency design is 5 KHz to approx. 10 KHz very even and completely fright-free, but also a bit boring, because fully predictable. This is not negatively cast now, but there is a little bit of crackling when winds or strings start to the finale or are shot directly into the microphone. This sounds almost too good and a bit sterile, but it's also such a broadband thing. There are many who swear by it and, for example, Klipsch horns may not sound. Ergo it is very subjective and therefore not to be graded on a blanket basis.

Summary and conclusion

Great sound in the smallest space, excellent feel and an interesting look: With the Cube, Soundgil provides proof that good sound is possible even without large volumes and that you don't even have to abuse physics illegally. The use of neat broadband chassis and an extremely torsion-stiff body is due to the fact that the overall solution sounds as good as it looks.

And if you are wondering where miser, caseking or Amazon links are, where you actually get the part and above all, what it ultimately costs – now many of you have to be (still) a bit brave. That's exactly what I have to tell you later, because the Cube is currently very exclusive and is also just about to be launched here. So let's surprise yourself.

So I wrote a pre-test (again) because Google does not provide any further information about the product except for a single hand-laying version in Spanish. So you were the first to read it and everyone else is now allowed to write it off here with me. And of course I will also postpone an update once the trade is flourishing.

 

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About the author

Igor Wallossek

Editor-in-chief and name-giver of igor'sLAB as the content successor of Tom's Hardware Germany, whose license was returned in June 2019 in order to better meet the qualitative demands of web content and challenges of new media such as YouTube with its own channel.

Computer nerd since 1983, audio freak since 1979 and pretty much open to anything with a plug or battery for over 50 years.

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