JTR Speakers are well-known in the home theater and audio enthusiast market, although not as lifestyle products that are conveniently-sized for easy placement. JTR speakers are renowned for wide dynamics, and wide dynamic range speakers typically need a large size since it is easier for larger diameter drivers to move a lot of air. I have had occasions to hear their mighty Noesis 215RT speakers which use two front-mounted 15” bass drivers and a massive waveguide for a coaxial compression driver. They stand 70” tall and are larger than many pieces of furniture. They have to be considered one of the ultimate home theater loudspeakers for those who can accommodate their tremendous size.

JTR’s reputation for large, wide dynamic range speakers is why it came as a surprise when they announced a line of on-wall speakers called the ‘Kallos’ series, which are designed not to intrude upon the user’s space. This style of speaker would seemingly be at odds with JTR’s design philosophy. However, taking a closer look at these new speakers, they seem to be making on-wall speakers conform more to their design philosophy than vice versa. So it was with great interest that I was offered the opportunity to review some of the new Kallos series in the form of the Kallos 465 on-wall speakers. While they had an on-wall form factor, they also looked to have the firepower one would expect from JTR. So then let’s dig in to see how a famously high-powered loudspeaker manufacturer like JTR handles a lifestyle loudspeaker that usually trades a lot of performance in favor of a lot of convenience…

JTR Kallos 465 Appearance

Once unpacked, we are greeted by some tall and thin speakers that pack an array of drivers over a gorgeous lacquered wood finish. The cabinet is made from thin layers of birch which can be seen from the side paneling. The edges running back are heavily radiused for a softer appearance. There are five drivers mounted on the front which all have a black appearance that stands out against the natural wood grain. The Kallos 465 can also be had in a matte black which will blend in better with the drivers. A grille is provided that can hide the drivers. It stretches black fabric over a frame and makes for an opaque covering for the front baffle. My guess is that most owners will use the grilles since they make the speakers look cleaner and less busy.

   

They are fairly large as on-wall loudspeakers go, but I don’t think they will be a problem when considering the kind of televisions they will be paired with. At 35” tall, they have about the same height as a 70” television. And with a 4.25” depth, they shouldn’t protrude out from the wall any more than a television with a typical mounting system. They should fit in well with a larger television display, and I don’t think anyone is going to buy such high-powered speakers and pair them up with a small display.

JTR Kallos 465 Design Analysis

At a glance, the JTR Kallos 465 speakers are a sealed MTM (midrange-tweeter-midrange) design that uses passive radiators in the outside edges of the driver array. There are many such on-wall speakers with a similar design, so what separates the Kallos speakers? In a word, firepower. The Kallos 465 will hit way harder than a typical on-wall speaker. So how does it do it? Basically, JTR uses some of the highest-performing drivers around. Not only are these drivers extremely powerful, but they are also highly linear. Let’s begin our discussion of the drivers at the top of the frequency band by talking about the tweeter.

   

The tweeter is a compression driver mated to a horn. It’s a driver from German manufacturer BMS that looks to have a 1” diaphragm. JTR claims it is capable of 136dB, although it does not say at what distance. It uses a very powerful neodymium magnet motor. The horn looks to have an elliptical curvature with a 60-degree by 90-degree coverage pattern.

   

The midranges are two 6.5” drivers from B&C Speakers that use a paper cone. They have a 91.5dB sensitivity with a 400-watt power-handling spec, which is very powerful, especially for an 8-ohm driver. The voice coil has a 1.7” diameter and uses an all-copper winding. The magnet is a very powerful neodymium unit that likely costs a small fortune. It was probably needed in order for the driver to fit in the small amount of depth available; similar and less expensive results might have been had from an iron ferrite magnet, but it would have made the driver too large to fit in the enclosure. Venting is done through the pole piece. The basket is a heavy-duty aluminum piece that looks like it can withstand a lot of vibration.

    

Deeper bass is handled by a pair of passive radiators that have a carbon-fiber woven cone. The radiators have a very beefy surround, which is needed because they are going to require a lot more excursion than the active drivers.

The crossover circuits are made with high-quality components, including high-grade perfect-lay inductors and metallized polypropylene capacitors. Taking a peek at the circuit, it looks pretty involved and looks expensive. The crossover frequency is 1,500Hz.

   

The enclosure is made from stacked Baltic birch and has a lot of bracing and reinforcement around the driver mountings. It is a very strongly built cabinet and has a real feel of solidity. The interior is densely packed with fiberglass stuffing. The ‘knock test’ feels like rapping on a boulder. The cabinet has keyhole slots as well as a 100mm X 100mm VESA mount. If it can be accommodated, the VESA mount is a better way to install the speaker. I think a French Cleat hanging system would have been a good addition too, and easier to mount than the keyhole slots. The speaker connects to the wire with a standard 5-way binding post in a terminal cup. One change JTR might think about is making a groove leading from the binding posts in the back of the speaker, where wire can be threaded; that way, the speaker can be mounted flush against a wall.

All of this design adds up to a very high-powered on-wall speaker. I don’t think there is an on-wall speaker that promises as much punch as the Kallos 465 speakers anywhere in the world, at least I cannot recall having seen anything like them. But design is one thing, and experience is another, so now it was time to hear for myself what they can really do in some actual listening…

JTR Kallos 465 Listening Sessions

In my 24’ by 13’ (approximately) listening room, I set up the speakers against the back wall with about a 9’ distance between the speakers and 11’ distance from the speakers to the listening position. No room correction equalization was used. Processing was done by a Marantz 7705 and the amplification was a Monoprice Monolith 5x200 amplifier. The subwoofer used was the JTR Kallos 12S.

Music Listening

For something to show how the Kallos speakers handle orchestral music, I loaded up the soundtrack from the 2025 Netflix thriller “A House of Dynamite” by Volker Bertelmann. This soundtrack was a masterclass in how to use music to help create tension for a movie and is very listenable on its own. Bertelmann abets the traditional orchestral instruments with other effects noises, but this music is largely orchestral, and, as a score to a major Netflix film, the production quality is as good as money can buy. I streamed this album from Qobuz in high-resolution.

The first track, “Inclination is Flattening,” started by panning a low-pitched bowed double bass back and forth across the soundstage. The 465 speakers gave this instrument a rich level of detail and also made it easy to track its movement across the stage. There are a lot of lower-pitched strings used in this album, and appropriately so, in order to illustrate the gravity and tension of the scenario. On the 465 speakers, I could just about hear individual vibrations of each string, so clear was the reproduction. Kettle drums were given a powerful thump by the sound system. While the subwoofer handles much of the bass from a kettle drum, a lot of the sound is carried by its harmonics, which the speakers must handle. On this count, the speakers were easily able to keep up with the powerful Kallos 12S sub that I was using. Since this album was a very studio-engineered work, and not trying to replicate an orchestra in a symphonic hall, individual instruments and sections were quite specific in their positions, and the 465 speakers were able to relay their placement with excellent precision. Violins, oboes, trumpets, double bass, cellos, bassoons, etc., were all very easy to place within the soundstage. The soundstage was wide and encompassing as well. On the whole, the presentation was very cinematic, not surprising given the album being a film soundtrack, and the 465 speakers were certainly able to give it that big screen feeling. Hearing it on this sound system made me want to watch the movie again, which is a real compliment given how rarely I tend to rewatch anything. Much like the movie, the score is an exercise in suspense, and that was a palpable feeling when reproduced with such a high degree of realism. 

  

For something with an emphasis on a single human voice, I listened to “Infinite Source of Heat” by Chris Morrissey. This jazz-rock album is a brand new release with vocals by Chris Morrissey. Chris is backed up by drums, bass, electric guitars, trumpet, saxophone, and piano. I don’t normally go for jazzy rock, but Chris’ raw musical talent and ear for catchy compositions make this really easy to listen to. The clean production also helps in this regard, and this is a great album to listen to on a high-end sound system. I also streamed this from Qobuz in a 96kHz/24-bit stream. 

The first track, “I Found Love,” had a lot going on, instrumentally speaking, but the speakers were able to keep everything distinct and clear. Clear also was Morrissey’s smooth voice, which was not lost in the plethora of instrumental accompaniment. Imaging was exceptionally good, and Morrissey’s voice was placed dead center stage. Other instruments had highly focused positioning as well, such as the alto sax solo in the second track, which was precisely relayed by the speaker. A simple track that placed more emphasis on Morrissey’s voice is “A Million Beginnings.” Morrissey’s relaxed and mellifluous vocals were articulately rendered by the 465 speakers, and the detail and immediacy of the sound reproduction made it seem like this performance was happening in my living room. Morrissey’s vocals and instrumental accompaniment all sounded natural and balanced. I did not get a sense of any elevated or diminished frequency ranges. Everything had a full sound without an undue emphasis on any sound in particular. Chris Morrissey’s music is always a delight, and it was great to hear it on such a high-fidelity sound system. This artist deserves more recognition, and while a high-end system such as the JTR speakers isn’t necessary for enjoying his stuff, it certainly helps in realizing the full potential of the superb work done by the sound engineers.  

Switching from the acoustic to something entirely electronic, I listened to a new release entitled “Interstitial Geometry” by Insectoid Intelligence. I stumbled upon this release by accident while perusing electronic music subgenres on SoundCloud. A misclick sent me to this album, but I was immediately intrigued by the sound, so I allowed it to play, and I am glad I did. It sounds like a modern take on the ‘Berlin School’ of electronic music, a la Tangerine Dream, but with a greater sense of focus and modern production techniques. I wanted to hear what it would sound like in a higher-end system, so I decided to give it a try on the Kallos speakers. “Interstitial Geometry” can be had on Bandcamp in a lossless Flac format.

The album opens with a simple ambient piece that underscores some high-pitched chimes with an oscillating bass sound and establishes a gradual string melody over it, all of which were reproduced with a fine level of detail and definition. The third track starts with an arpeggiated synth rhythm that made for a striking sound on the 465 speakers. It was a dense sound, but the speakers delineated it all with a good level of lucidity. The fourth track, “Panchromatic Oscillator,” was a fun piece of space music with lead synths that sound like they were pulled out of the movie “Forbidden Planet,” and these spaced-out sounds were magnificently realized on the JTR speakers. The following track, “Everything Plus One,” brought in an arpeggiated synth with constant modulation that was a blast to hear on such a capable sound system. The album closes out on two long-form pieces, the first of which, “Space Caves,” opens with a pulsating drone before settling into a stately groove surrounded by a miasma of psychedelic electronics. Though an altogether bizarre assortment of sounds, it all came together beautifully on this speaker system. Synth sounds growled and bubbled from all across the soundstage, and the 465 speakers were able to telegraph their source positions with laser precision. “Interstitial Geometry” was a lot of fun to hear for those who enjoy a modern take on a vintage electronic music style. This type of music was likely intended more for headphone users, but I love what a serious sound system can do for it, such as JTR’s Kallos 465 speakers. 

  

To see how the Kallos 465 speakers would react to being pushed hard, I threw on “For Honor” by Esym. This killer 4-track E.P. of drum’n’bass bangers begs to be played at a loud level. Big bass and hard beats are the stuff of “For Honor,” and it will press a sound system to its limits pretty quickly when the volume is raised. My guess is that the speakers would have way more headroom than my ears do, but I pressed on just to be certain of that fact. I streamed “For Honor” from Qobuz.

I forgot that I had left the volume at a high setting when I started the album, so when the first track kicked on, I was immediately deafened. The Kallos speakers were not troubled in the slightest by these high loudness levels, however. They were very much at home with hard-hitting music. The lead synths used a metallic growling sound that was reproduced with vivacity and detail. Percussion had a snap and punch that could be felt. Bass was aptly handled by the tremendous Kallos 12S sub, but the speakers could easily keep up with the sub. The speakers had no problems getting louder than my ears could handle. The dynamics exhibited by the Kallos 465 speakers were tremendous, especially for an on-wall speaker. These are one of the few on-walls in existence that could handle house parties without fear of being over-driven. The only problem with their dynamic range is finding a subwoofer that could keep up with them. JTR provided a great compliment to the speakers with the Kallos 12S sub, one of the few non-giant subwoofers that could hang with the 465 speakers. Even so, I think the 465 speakers have enough dynamic range to justify two Kallos 12S subs, if that can be accommodated. Better yet, add some mighty Captivator RS1 subs which still remain one of the most tremendous sealed subwoofers that have have encountered so far (JTR Captovator RS1 Review), if there is room for an 18”. “For Honor” was a fun E.P. of electronic music, but I am glad it was only four tracks for the high levels I was listening at, and my experience in listening to them on the Kallos speakers demonstrated a lot more about my own personal limits than any limits that the speakers had.    

123dB Output from Lifestyle Speakers? JTR Kallos!

Movie Watching

To hear what the Kallos speakers could do for a wide dynamic range movie mix, I decided to watch “Predator: Badlands,” the 2025 science-fiction actioner, which posits our titular character as the protagonist. When this project was announced, I thought this was an interesting move as a longtime fan of the series, although I felt it might ruin the mystique of our infamous alien hunters. I hadn’t yet seen it, but the generally positive  reception that the movie had helped to push me into giving it a chance. 

“Predator: Badlands” turned out to be a fun and engaging movie, although I am hoping that using this iconic movie monster as a sympathetic protagonist instead of a frightening killer is a one-and-done deal. The sound mix was as aggressive as one might expect, so it was a good thing I had such a powerful speaker system on hand. The movie opens with a pair of predators fighting each other, and the thuds and clangs of their colliding weapons were given a nearly tactile violence by the speakers. Likewise, the predator’s crash landing on a hostile planet was also an aural onslaught that pushed the sound mix to the maximum, but the Kallos 465 speakers were seemingly unfazed, even at the elevated levels I was listening at. Much of the fighting was the predator battling a host of bizarre beasts on an alien planet, and the monster’s roars, thundering footsteps, and chomping jaws all had a ferocious power thanks to the JTR speaker system. Much of the dialogue was spoken by the predator creatures (called the

“Yautja”) in their own language with guttural, inhuman voices that sounded menacing on the Kallos speakers. Sarah Schacher’s and Gilles Nuyten’s orchestral score incorporates synths and processed Mongolian throat singing for a properly bombastic and unique musical accompaniment, and the speakers gave it a meaty presentation. The entire movie was a feast for a dynamically capable sound system, and any ten-minute stretch of it could serve nicely as a demo for home theater dynamics. While I enjoyed the film, the nearly two hours of non-stop action were enough to make me crave some peace and calm at the conclusion, so I was relieved when it ended. I would say that just shows that the speakers delivered what the filmmakers intended.

  

For a movie that promises a lot of fun in the sound design department, I watched 2025’s “Final Destination: Bloodlines,” the sixth installment in the unusual ‘fate as the horror’ series. I hadn’t seen any of the previous entries, but I caught a clip from ‘Bloodlines’ involving a cascade of mishaps in an observation tower restaurant that results in a very unlikely and hilariously gruesome catastrophe. It had me laughing so much that my eyes were tearing up, and it was then that I realized that this series was as much about humor as it was about horror, so I decided to give it a try. If the clip that I saw was anything to go by, I would be in for a treat both audibly and visually.

The main set piece of the film was the tower restaurant disaster, and it was a blast to hear on the Kallos 465 system. The whole sequence was a masterpiece of editing, both in video and audio. The very intricate sound mix for the scene had a plethora of sound sources occurring simultaneously, such as the cracking glass floor, chiming of toasting wine glasses, the live band’s cover of the Isley Brothers’ “Shout,” and the tinkling of a rogue penny that sets up the conditions for a horrific scenario. The 465 speakers were the perfect speaker system for the elaborate havoc of the scene due to their superb articulation and endless dynamic range. Another bravura scene involved an MRI machine that, through a freak series of events, becomes activated and turned to its most powerful setting. Naturally, this causes chaos with nearby magnetic materials to outrageously bloody consequences. Again, the 465 speakers provided the perfect sound system for the on-screen carnage, and they gave an exquisitely detailed account of metal tearing through flesh. Outside of the effects sounds, dialogue intelligibility was always perfectly clear, and the characters’ screams at gruesome outcomes were particularly well-defined. The orchestral musical score by Tim Wynn was effectively conveyed by the sound system; it was a score that played it straight in delivering tension and terror, and it never winked at the viewer in acknowledging the overall comic absurdity of the scenario. I enjoyed “Final Destination: Bloodlines,” and the sound design being rendered by such a capable loudspeaker system certainly aided in that enjoyment. I now intend to watch the others, and I am going to hang on to the Kallos 465 speakers long enough to do so.

Metric	Rating
Build Quality	5
Appearance	4
Treble Extension	5
Treble Smoothness	4
Midrange Accuracy	4
Bass Extension	3
Bass Accuracy	4
Imaging	5
Dynamic Range	5
Fit and Finish	5

]]>https://www.audioholics.com/outdoor-speaker-reviews/jtr-kallos-465In-Wall & Outdoor Speaker Reviewshttps://www.audioholics.com/amplifier-reviews/cambridge-audio-300Cambridge Audio is taking its award-winning Evo platform to new heights with the Evo 300, a powerful all-in-one streaming amplifier delivering 300W per channel from Hypex NCOREx amplification. Featuring a balanced dual-mono design, StreamMagic Gen 4 streaming, and an ESS Sabre DAC, the Evo 300 aims to be the company's ultimate lifestyle hi-fi solution.Fri, 05 Jun 2026 02:00:00 -0000 Back in 2023, Gene DellaSala took a deep dive into Cambridge Audio’s stylish Evo platform with his comprehensive review of the Evo 150, praising its blend of premium industrial design, excellent streaming capabilities, and impressive measured performance. Now Cambridge Audio is taking that formula to its logical extreme with the all-new Evo 300, a $3,999 streaming amplifier that doubles the power output of its predecessor while adding a host of performance-oriented upgrades aimed at demanding loudspeakers and larger listening spaces.

Cambridge Audio Evo 300  New Features

Cambridge Audio describes the Evo 300 as its “most powerful streaming amplifier yet,” and based on the specifications, that claim appears well-founded. Delivering 300 watts/ch into 8-ohms, 550 watts/ch into 4-ohms (both channels driven) via Hypex NCOREx Class D amplification, the Evo 300 is designed to offer substantially more headroom and control than previous Evo models while maintaining the compact all-in-one form factor that helped make the series so popular.

Hypex NCOREx Meets Dual-Mono Architecture

At the heart of the Evo 300 is a significant redesign of the amplifier section. Cambridge Audio has moved to Hypex NCOREx amplifier modules and paired them with a dual-mono layout intended to maximize channel separation and imaging precision. According to Cambridge Audio, the amplifier incorporates a balanced preamplifier stage and dedicated high-precision analog volume controls for each channel to help preserve stereo focus, dynamic range, and low-level detail.

The company says the Evo 300 was engineered to deliver “effortless headroom, deep control, stable imaging, strong separation and a sound that stays composed as music becomes more demanding.” While we'll reserve judgment until measurements and listening tests are available, the combination of NCOREx modules, balanced circuitry, and 300 watts per channel certainly suggests serious performance potential.

StreamMagic Continues to Evolve

Cambridge's proprietary StreamMagic platform remains the centerpiece of the user experience. The latest fourth-generation implementation supports Spotify Connect, TIDAL Connect, Amazon Music, Deezer, Qobuz Connect, Roon Ready certification, UPnP streaming, and Internet Radio over Wi-Fi or Ethernet. Cambridge notes that because StreamMagic is developed entirely in-house, it continues receiving regular feature updates and enhancements.

The Evo 300 also supports AirPlay 2, Google Cast, Google Home integration, and Roon multi-room systems, making it easy to integrate into a modern whole-home audio ecosystem. Bluetooth 5.4 with aptX HD is onboard for casual wireless listening.

ESS Sabre DAC and Comprehensive Connectivity

Digital conversion duties are handled by the ESS Sabre ES9038Q2M DAC, supporting PCM playback up to 32-bit/768kHz and DSD512. Cambridge claims the Evo 300 preserves digital signals without resampling from source to conversion, providing what the company calls "bit-perfect digital sound reproduction."

Connectivity is extensive. Digital inputs include USB Audio, USB Media, optical, coaxial, HDMI eARC, and the Evo CD connection. Analog users get both RCA and balanced XLR inputs, while vinyl enthusiasts will appreciate the built-in moving-magnet phono stage. A dedicated subwoofer output offers independent crossover and level controls, and optional high-pass filtering for the main speakers—a feature many audiophiles have been requesting from modern integrated amplifiers.

Larger Display, Same Premium Design Philosophy

While the Evo series has always prioritized industrial design, Cambridge appears to be taking things a step further with the Evo 300. The amplifier features a wider chassis, interchangeable side panels, and what Cambridge calls its “largest display ever,” measuring 7.8 inches diagonally. The screen can display album artwork, system information, clocks, or animated VU meters.

Like the music it's built for, Evo 300 is designed to be timeless, visually, sonically and emotionally.

--Cambridge Audio

What we think of the Cambridge Audio Evo 300...

On paper, the Evo 300 looks like a substantial evolution rather than a simple refresh of the Evo 150 platform. The jump from 150 watts to 300 watts per channel is the headline upgrade, but the addition of Hypex NCOREx amplification, a fully balanced preamp stage, dual-mono architecture, balanced XLR inputs, independent subwoofer crossover controls, Bluetooth 5.4, and a larger display suggest Cambridge Audio re-engineered nearly every critical performance area.

Compared to the Evo 150, the Evo 300 appears aimed squarely at enthusiasts who love the Evo concept but need more power for difficult speaker loads and larger rooms. It also enters an increasingly competitive premium streaming amplifier market that includes products such as NAD's Masters Series M33 V2 streaming amplifier. What separates the Evo 300 is its combination of compact industrial design, extensive streaming support, serious amplifier power, and a feature set that bridges lifestyle convenience with genuine audiophile aspirations.

If Cambridge Audio can deliver measured performance that matches the ambitious specifications, the Evo 300 could become one of the most compelling premium streaming amplifiers we've seen to date.

The Cambridge Audio Evo 300 will be available beginning in June 2026 through authorized dealers and Cambridge Audio's direct sales channels. U.S. pricing is set at $3,999.

]]>https://www.audioholics.com/amplifier-reviews/cambridge-audio-300Audio Amplifier Reviewshttps://www.audioholics.com/bookshelf-speaker-reviews/klh-audio-model-fourAt High End Vienna 2026, KLH Audio has unveiled the new Model Four, a slim three-way speaker that blends the sonic DNA of the acclaimed Model Five with the tight, room-friendly bass performance that made classic KLH speakers including the iconic Model Nine so historically significant.Wed, 03 Jun 2026 04:00:00 -0000

Since Victrola’s acquisition of KLH Audio, the legendary loudspeaker brand founded by Henry Kloss has continued its steady resurgence with a growing lineup of retro-inspired, acoustically sophisticated loudspeakers. Audioholics highlighted KLH Audio’s historic influence on the hi-fi industry in our coverage of the most influential speakers of the last 50 years where the original KLH Model Nine electrostatic loudspeaker was named for helping legitimize high-fidelity home audio during the formative years of the stereo era. Now at High End Vienna 2026, KLH is looking to extend that legacy with the all-new Model Four, a slim three-way acoustic suspension loudspeaker designed to deliver premium sound in modern living spaces.

Positioned between the compact Model Three and the acclaimed Model Five, the new Model Four combines elements from both speakers into what KLH describes as "its most placement-friendly floorstanding design yet". The speaker features an 8-inch acoustic suspension woofer derived from the Model Three alongside the same midrange driver, tweeter, and crossover topology used in the highly regarded Model Five. Meanwhile, its wide-baffle, shallow-depth cabinet design borrows heavily from the larger Model Seven, making it easier to position near walls without the boominess commonly associated with rear-ported designs. That design philosophy also runs counter to much of today’s loudspeaker industry, where ported cabinets dominate thanks to their higher efficiency, increased bass output, and ability to produce deeper low-frequency extension from smaller enclosures. As discussed in Sealed is Not Acoustic Suspension in Loudspeakers by Steve Feinstein, true acoustic suspension systems require more engineering precision, tighter tolerances, and often sacrifice sensitivity in exchange for tighter, more controlled bass performance and superior transient response.

KLH continues to lean heavily into the benefits of acoustic suspension loading, which remains relatively uncommon in today’s loudspeaker market dominated by ported cabinets. According to the company, the sealed design allows the Model Four to maintain tighter, more controlled bass response in real-world rooms where speakers often need to live closer to walls or corners. The cabinet itself is notably slim at just 8.25 inches deep before the included angled riser is attached, helping the speaker blend more naturally into apartments, lofts, and shared living spaces.

     

Internally, the Model Four employs a three-way driver array consisting of an 8-inch pulp-paper woofer, 4-inch pulp-paper midrange, and 1-inch aluminum dome tweeter. Many respected hi-fi manufacturers continue using pulp-paper because paper cones offer a very natural tonal character with good self-damping properties. The biggest advantages of paper/pulp cones are their smooth breakup behavior, lower ringing compared to metal cones, and often more natural-sounding midbass and midrange reproduction. That’s especially relevant in a speaker like the new KLH Model Four because acoustic suspension designs already prioritize controlled transient response and lower distortion over sheer output efficiency. Pulp paper cones tend to avoid the harsher resonance peaks sometimes associated with stiffer materials like aluminum or magnesium.

There are disadvantages, though. Paper cones are generally less rigid than exotic materials such as Kevlar, carbon fiber, aluminum, or ceramic composites. That means designers have to carefully control cone breakup at higher output levels. Paper cones can also be more sensitive to humidity and environmental conditions unless properly treated or coated. In modern designs, however, manufacturers often use coated pulp blends or reinforced paper compounds that significantly improve stiffness and durability while preserving the sonic character people like.

Frequency response is rated at 46Hz–20kHz ±3dB with a claimed low-frequency extension down to 35Hz at -10dB. Sensitivity is listed at 88dB, while power handling is rated at 150 watts continuous and 600 watts peak. KLH also includes its signature three-position Acoustic Balance Control switch, allowing users to tailor the speaker’s mid and high-frequency balance to better suit different room acoustics.

Model Four represents exactly where KLH is headed: honoring the acoustic principles that made this brand stand out while designing products for how people actually live and listen today. This is not a bookshelf speaker, nor is it simply a smaller Model Five. It is a distinctive, full-range acoustic-suspension loudspeaker, meticulously built to deliver the natural, controlled and room-friendly sound that defines KLH in a form that fits more homes, rooms and listeners. Our responsibility is to protect the integrity of this brand while moving it forward, and Model Four is a major step in that direction.

Scott Hagen - KLH Audio CEO 

KLH Audio Model Four: What we think...

At nearly $2,000 per pair, the Model Four enters a highly competitive segment filled with established standmount and compact floorstanding designs. Still, if KLH can successfully deliver the same rich midrange presentation and acoustic suspension bass control that made the Model Five such a standout, the Model Four could become one of the more intriguing lifestyle-friendly hi-fi options in its class. On paper, its performance goals and room-friendly tuning put it squarely in the conversation with larger, more expensive speakers like the Wharfedale Super Linton, making the idea of getting comparable sonic sophistication in a slimmer, easier-to-place cabinet particularly compelling for listeners shopping around the $2K mark.

The KLH Model Four will be available beginning in September 2026 in three finishes: English Walnut, Black Ash, and White Oak. Pricing is set at $999.99 each ($1,999.98/pair), including the matching slanted riser stands.