DALI EPIKORE 7：為大空間帶來澎湃聲音

【全文節錄自「the-ear Hi-Fi Music Gear」】

原文網址 : https://the-ear.net/review-hardware/dali-epikore-7-big-sound-4-larger-room/

我首次接觸 DALI EPIKORE 系列是在 2024 年 9 月的預覽活動中，當時產品管理主管 Krestian Pedersen 解釋了他們如何從屢獲殊榮的 KORE 旗艦揚聲器汲取技術，並應用於全新的五款 EPIKORE 系列，使其位於 EPICON 之上。他們確定了可以改進的地方，並設計了全新的驅動單元、分頻元件和箱體，以提升整體性能。因此，EPIKORE 在價格上介於 EPICON 和 KORE 之間。

DALI 以其混合式絲帶/球頂高音揚聲器聞名。對於 EPIKORE，他們採用了 KORE 的 Evo-K 混合高音模組，這是 EPICON 型號所使用高音模組的改進版本。它由內部開發的軟球頂高音與平面絲帶高音組成，並配備強大的釹磁鐵驅動系統，設計目標是降低失真、擴展頻率響應範圍並提供更寬廣的聲音擴散。絲帶高音的優勢在於其極低的運動質量，使其能夠更精確地追蹤信號的複雜波形，理論上應能提供比軟球頂更優異的高頻解析力。

然而，狹窄的絲帶高音在處理低頻方面不如傳統的球頂高音，因此結合軟球頂與絲帶高音應能提供兩者的優勢——球頂的高功率處理能力與低頻延展性，以及絲帶高音的精緻度、寬廣的水平擴散性與延伸的高頻響應。此外，由於 EPIKORE 採用的是平面絲帶高音，其振膜具有堅固的薄膜支撐，比傳統的波紋鋁箔絲帶更耐用。根據 DALI 的說法，它的分頻點設在 12.5kHz，更像是一個超高音單元。

I first encountered the Dali’s Epikore range during a pre-release showing in September 2024, where head of product management Krestian Pedersen explained how they had taken techniques from their award-winning Kore flagship loudspeaker and applied them to create a brand new five-model range above Epicon. They decided where improvements could be made and designed new drive units, crossover components and cabinets to lift performance. The Epikores therefore sit between the Epicons and Kore in price.

Dali are well known for their hybrid ribbon/dome tweeters. For Epikore they employed the Kore’s Evo-k hybrid tweeter module, which is an improved version of the one used in the Epicon models. It comprises an in-house-developed soft-dome tweeter and a planar ribbon, featuring a powerful neodymium magnet motor, designed for low distortion, wide frequency response and wide sound dispersion. The benefit of a ribbon is that its very low moving mass enables it to follow more closely the signal’s complex waveform, so should in theory provide better treble definition than a soft dome.

However, small, narrow ribbons don’t handle low frequencies a well as typical domes. Combining a soft dome with a narrow ribbon should provide the best of both worlds – the power handling and low-frequency extension of the dome, with the delicacy, wide horizontal dispersion and extended high-frequency response of the ribbon. Also, being a planar ribbon, with the strength of a thin backing membrane, the Epikore ribbon’s diaphragm is more robust than traditional corrugated aluminium-foil. According to Dali, it crosses over at 12.5kHz which makes it more like a super tweeter.

EPIKORE 7 配備全新的 7 吋低音單元，採用 DALI 獨家的 SMC（Soft Magnetic Composite）Gen-2 磁鐵技術。Krestian 解釋說，這種技術使用一種顆粒狀的非導電軟鐵，能有效消除渦電流和磁滯效應，大幅降低低音單元的諧波失真，從而提供更純淨的聲音。此外，DALI 在磁路結構中添加了三個鋁和銅環，以減少電感隨頻率變化的影響，使線性表現更佳。

Gen-2 技術進一步提升了原始 SMC 技術的性能，將其導電性降低了 2.5 倍，使其導電率僅約為鐵的 0.004%。相同的材料也被應用於 SMC-KORE 分頻電感中，使分頻器受益於類似的降噪效果，同時還採用了高性能的 Mundorf 電容。

EPIKORE 7 的低音單元由 DALI 自行設計與製造，他們並未採用鋁、陶瓷或芳香族纖維等更具異國風味的振膜材料，而是選擇了紙漿。他們使用紙與木纖維的混合物來製作振膜，並壓印成五葉形圖案。DALI 發現這種非對稱設計可以有效打破對稱性，減少不必要的共振，從而提升音質。他們稱之為 Clarity Cone。此外，音圈骨架採用鈦金屬製造，這種材料剛性極高且不導電，能提供強勁的機械耦合，同時消除音圈骨架中的渦電流，減少對音圈的阻礙作用。

EPIKORE 系列的箱體結構曲線優雅，內部加強支撐並採用真正的木皮飾面，並塗上高光鋼琴漆處理。背面的低音反射孔內部經過曲面和擴口設計，以降低氣流噪音與失真。兩個低音單元在低頻範圍內同步運作，而較低的單元在分頻點前逐漸衰減，讓較高的單元順利交接給球頂高音。這意味著只有上方的低音單元負責大部分中頻，而兩者共同產生低音，其總面積等同於一個更大口徑的低音單元。這種分頻設計使得 EPIKORE 7 並非四音路設計，而是 3.5 音路。值得一提的是，所有 EPIKORE 揚聲器均由 DALI 在丹麥設計與生產。

The new 7-inch woofer in the Epikore 7 features their patented SMC (Soft Magnetic Composite) Gen-2 magnet technology. Krestian explained that this uses a granular type of non-electrically-conductive soft iron. The benefit is the virtual elimination of eddy currents and hysteresis effects in the woofer magnet’s poles, benefiting the driver by dramatically reducing harmonic distortion, which should deliver a cleaner, purer sound. In addition, Dali added three rings of aluminium and copper in the magnet assembly to reduce variations of inductance with frequency for even better linearity.

Gen-2 is, apparently, a further enhancement of the original SMC, which has its electrical conductivity reduced by a further 2½ times. As a result, they claim it has approximately 0.004% of the electrical conductivity of iron. The same material is now used in the SMC-Kore crossover inductors, bringing similar benefits to the crossovers, which also feature high-performance Mundorf capacitors.

The Epikore 7’s woofers are designed and built by Dali, who have not embraced more exotic cone materials, such as aluminium, ceramic or aromatic fibres, etc., preferring pulp. Their own mixture of paper and wood-fibre is used to form the cones, which are embossed in a five leaf pattern. Dali found that this odd-numbered design breaks up symmetry to reduce and damp the build-up of unwanted cone resonances, which can colour and spoil the sound. They call it Clarity Cone. In addition, the voice-coil former is made from titanium, which is highly rigid and non-conductive electrically. This material provides very strong mechanical coupling to the diaphragm, while eliminating eddy currents in the voice coil former, and its braking effects on the voice coil.

The curvaceous, internally-braced and very solid Epikore cabinets are real-wood veneered and finished with a highly polished piano lacquer, while the rear-mounted reflex ports are curved and flared internally, to reduce air-flow noises and distortions. The two woofers operate in tandem at low frequencies, while the lower one is rolled off by the crossover before the upper one’s hand-over to the dome tweeter. This means that only the top woofer handles most of the midrange, while both are fully involved in producing bass, with their total area forming the equivalent of a much larger diameter woofer. This crossover arrangement is why this is not called a 4-way, but is instead described as a 3½ way loudspeaker. Incidentally, all the Epikores are designed and built by Dali in Denmark.

倒轉至 2024 年 12 月，一對高光澤酒紅色的 EPIKORE 7 被裝在大型運輸箱中送達。我原本有些擔心它們可能會顯得過於龐大，畢竟它們的尺寸為 112 公分高（42 公分深，38 公分寬），且顏色較深，但它們的弧形箱體與傾斜頂部有效降低了視覺上的體積感。每個細節都經過精美製作與處理，展現出強烈的高級感。我很輕鬆地將堅固的鑄造腳座鎖入鋼製底板的螺紋孔中，因此擺放過程並不費時。一個相當巧妙的設計是磁吸式腳釘與墊片，使得在移動或調整喇叭時，墊片能穩固地留在腳釘下方。此外，DALI 提供了高品質的導線連接雙線分音端子，比起常見的金屬板連接方式更加優異，這點令我十分滿意。

Forward-wind to December 2024, and a pair of Epikore 7 in high-gloss maroon arrived in large fight cases. At 112 cm high (42 cm deep, 38cm wide) and, and being quite dark, I was a bit concerned they might look a little too large for my listening room, but their curved cabinets and sloping tops seemed to minimise their apparent bulk. All parts are beautifully made and finished, projecting a strong impression of quality. I screwed the sturdy cast feet into the threaded steel base plates with ease and so it didn’t take long to get them in position. A really neat feature is the magnetised spikes and mounting pads, making it dead easy to keep the pads under the spikes when positioning or moving the speakers. Also, I was pleased to see that Dali provided quality wire links to connect the bi-wire terminals in preference to the commonly used slotted plates.

根據官方建議，我將 EPIKORE 7 直向擺放（不內傾），並將其連接至 Creek Destiny 擴大機（設為固定增益後級），搭配 Auralic Vega G2.2 或 Moon 390 串流 DAC/前級，並使用 Qobuz 串流播放音樂。此外，我也嘗試使用 Musical Fidelity A3cr 擴大機（儘管年代久遠，聲音仍表現不俗）進行比較。

Once placed firing directly forwards, as recommended, (not toed in), the Epikore 7s were wired up to my Creek Destiny, connected as a fixed-gain power amplifier, coupled with either an Auralic Vega G2.2, or a Moon 390 streaming DAC/preamp, both used with Qobuz streaming. Later, by way of variety, I pressed into service a Musical Fidelity A3cr for power amplification (which, despite its age, sounds very well).

聲音表現

EPIKORE 7 讓我印象深刻，它們的聲音大氣、飽滿且自信，低頻強勁，甚至一開始有些過於豐富。最初，我將喇叭放在距離背牆約 30 公分的地方（我的聆聽室尺寸為 5.6 x 4.25 x 2.45 公尺），但 DALI 建議的擺位範圍為 35 公分至 1.2 公尺。於是，我逐步將它們向前移動，最終確定在距離背牆 60-70 公分的位置，聲音的平衡性顯著改善，雖然低頻仍然強勁，但整體變得更加均衡。此時，EPIKORE 7 呈現出寬廣且立體的音場，樂器的定位在寬度與深度上都十分清晰。此外，我很高興地發現，中高頻的基音與泛音完美融合，使得敲擊樂器的表現特別出色。

例如，在 The Modern Jazz Quintet 1989 年蒙特勒音樂節現場專輯《The Montreux Years》中的〈Ko-Ko〉與〈A Day in Dubrovnik〉，鈸聲與鼓邊敲擊顯得飽滿且細緻，Milt Jackson 的顫音琴充滿能量與活力。播放 Yuja Wang（王羽佳）與洛杉磯愛樂、杜達美（Dudamel）合作的《拉赫曼尼諾夫 C 小調第二號鋼琴協奏曲 Op.18》（96kHz/24bit，DGG）時，鋼琴展現出強勁且自信的氣勢，EPIKORE 7 呈現豐富的細節與清晰度，低音提琴深沉有力，弦樂則絲滑流暢。

Sound quality

My impressions were of a bold, full-bodied and confident sounding pair of loudspeakers, with powerful bass, but rather too richly so. This was with the speakers about 30cm from the rear wall of my 5.6 x 4.25 x 2.45m listening room. Dali recommend placing them between 35cm and 1.2 metres from the rear wall, so I pulled them towards me bit by bit and ended up with them a good 60-70cm from the wall, where the balance improved, although bass was still powerful and the balance full and robust. Here they set up an impressively voluminous sound stage in which instruments were precisely positioned in width and depth. I was pleased to note that mid to high-frequency fundamentals integrated nicely with harmonics, so that percussive instruments sounded particularly good.

For instance in Ko-Ko and A day in Dubrovnik from The Modern Jazz Quintet’s 1989 live album The Montreux Years, the cymbals and rim shots were full bodied and detailed. Milt Jackson’s vibraphone rang out with a rare sensation of power and vivacity. During Yuja Wang’s Rachmaninov Piano Concerto No. 2 in C minor Op 18 (DGG, Los Angeles Philharmonic, Dudamel), her piano had a powerful and assured authority. This 96k 24bit recording had much detail and clarity and via the Epikore 7, the double basses had real strength and depth, providing clear bass lines, while the strings had a smooth and silky character.

同樣地，在播放《德弗札克第八號交響曲》（Pittsburgh Symphony Orchestra，Honeck，Reference Recordings，44.1kHz/16bit）時，EPIKORE 7 依然展現卓越的解析力，即使在最微弱的細節處，也能聽見整個管弦樂團的聲音，即便在高潮段落也不顯擁擠。喇叭不僅成功捕捉到樂團的龐大規模，也精確再現了各種樂器的音色。低頻厚實，但立體聲的影像精準，弦樂柔和且富有質感，銅管樂器則充滿光澤，卻不顯得刺耳或咄咄逼人。EPIKORE 7 營造出壯麗的交響樂音場，彷彿這對喇叭天生就適合演繹古典音樂——或者應該說，是古典音樂讓它們展現出極致魅力。

多樣化的音樂風格適應性

切換至流行與爵士樂，在 George Benson 的〈Give Me the Night〉與〈Off Broadway〉中，EPIKORE 7 展現出穩固且強勁的低頻，不過量，但乾淨且充滿動感，吉他聲音清澈，而 George Benson 的人聲則溫暖流暢。即使這只是 44.1kHz/16bit 的音源，由 Quincy Jones 製作、Bruce Swedien 工程師錄製的經典專輯，依然能透過 EPIKORE 7 帶來出色的聲音體驗。

播放 Gregory Porter《Liquid Spirit》專輯（96kHz/24bit）中的〈Hey Laura, It’s Me〉時，他的歌聲比平時更加溫潤，帶有些許額外的低頻色彩，鋼琴聲則扎實而富有存在感，背景的哈蒙管風琴低調地增加了音樂層次。而 Michael Bublé《Crazy Love》專輯中的〈Cry Me a River〉與〈Georgia on My Mind〉，同樣帶來了略帶暖色調的人聲，使得聲音位置似乎比預期稍微後退了一些。

至於 Daft Punk《Random Access Memories》專輯中的〈Give Life Back to Music〉（88.2kHz/24bit），其強勁的低頻表現證明了 EPIKORE 7 出色的低音控制力，喇叭的廣闊音場與豐富細節讓這首電子音樂展現出極大的活力。EPIKORE 7 在大型現場演出與交響樂表現上尤為突出，營造出厚重感與空間感。

Likewise, when playing the Dvorak Symphony No 8, (Reference Recordings: Pittsburgh Symphony Orchestra, Honeck), despite this being only a 44.1kHz/16 bit file, it showed off the Epikore 7’s capabilities very well. I could hear all the instruments, even down to the quietest and most delicate, right to the back of the orchestra, and they did not become congested during louder passages. The speakers did a great job of capturing the full scale of the orchestra and portraying timbres of instruments. As with the other tracks played, the bass was substantial but their excellent stereo imagery pinpointed instruments clearly. Strings were lush and well textured, while the brass section was gorgeously ‘brassy’, without being harsh or aggressive. The Epikore 7s set up a full-bodied impression of the orchestra with a grand sense of scale, they love classical music – or maybe it’s the other way around.

Changing musical genres completely to George Benson’s Give me the Night, and Off Broadway showed off the excellent delivery of bass lines, which were solid, and powerfully driven. It was not subterranean, but presented without flab or boom – just clean powerful and well-timed – plus crystal clear guitar. George’s vocals were warmly delivered. It was only a 44.1kHz/16 bit file, but superb production by Quincy Jones, and innovative engineering by Bruce Swedien provided a great sonic experience even after all these years.

While playing Hey Laura It’s Me from Gregory Porter’s Liquid Spirit album (96kHz/ 24 bit), Gregory’s honeyed vocals were richer than typically heard, hinting at a touch of additional upper bass colour, however, the accompanying piano had a satisfying solidity, while the Hammond organ was clearly audible quietly contributing in the background. Likewise, Michael Buble’s Cry Me a River and Georgia on my Mind from his Crazy Love album also revealed a touch of warmth added to his voice, which was may have been a touch further back in the mix than anticipated.

Daft Punk’s Random Access Memories has deep, powerful bass lines which are a great test for speakers. Needless to say, Qobuz’ 88.2kHz/24 bit file of Give Life Back To Music really did come to life, with its throbbing bass, vocoder vocals and richly harmonic synths, even when played loudly. These speakers are clearly very much at home with orchestral music, due to their bold delivery, deep, wide, sound stage, fulsome tonality and detailed character. They also gave a really convincing account of various TV recordings of live events, once again creating a panoramic, sonic image of these occasions. The Epikore 7s clearly work very well with live and large scale performances, providing a good sense of weight.

EPIKORE 7 另一項優勢在於其單體聲音的融合度，儘管採用多單體設計，卻能確保整體音色的連貫性。此外，即使在低音量播放時，它們仍能維持細膩的細節與動態，而在高音量時，依然保持良好的控制力，不會像某些喇叭那樣必須開大聲才能發揮最佳效果。

需要注意的是，EPIKORE 7 的聲音並非那種極度解析、冷冽的中頻，而是透過細膩的層次來展現魅力。其混合高音單元的透明度極高，能夠清楚呈現錄音品質——因此，乾淨的前端器材至關重要，因為它們會忠實重現所有細節，包括錄音中的缺陷。不過，當音源品質優異時，EPIKORE 7 亦能帶來極為出色的音樂體驗。

Along with the ability to create a grand sense of power and scale, the other great thing about the Epikore 7 is the way the sounds of the drive units seem to blend. It might be tempting to assume that, with so many drivers, they could sound disconnected, but the overall impression is that they combine seamlessly. Also, the speakers continued to sound very good at low volumes, where minor details and clues remained audible, as well as a high levels, when they maintain excellent control, in contrast to some speakers which only come to life when played loudly.

I must be said that these speakers are not about an overtly detailed, crystalline clarity through the midrange, but their subtle detailing brings its own rewards. The hybrid tweeter is particularly transparent, with a very satisfying clarity and tonality – given good recordings. So, as with any ribbon-based speaker, clean-sounding auxiliary equipment is vital because they will faithfully reproduce anything harsh or distorted. On the other hand, great recordings can and do sound fabulous.

我使用 Clio Pocket 進行了一些測量，結果顯示在 1 公尺軸向距離時，高音單元陣列的輸出略有增強，從 2.8kHz（即混合高音單元開始運作的頻率）到 20kHz 之間，其輸出水平比中頻段高出約 3dB（我的測量麥克風未經過 20kHz 以上的校準）。然而，當麥克風放置在較遠的聆聽位置時，即使仍在軸向範圍內，這種增強已不明顯，測量結果呈現較為平坦的響應，並且在 10kHz 以上出現輕微的下降趨勢。因此，這款喇叭的高頻響應在實際聆聽位置上被調整得更加平衡。

根據測試，DALI 所標示的 2.83V/1m 下 88dB 的中頻靈敏度數據是準確的。水平方向的擴散表現亦如官方所述：在 1 公尺距離、30 度離軸範圍內，高頻相較於中頻僅提升約 2dB，與軸向相比僅下降 1dB，這有助於維持良好的音色平衡，使離開最佳聆聽位置的聽者仍能獲得良好的高頻能量，提升整個空間的聲音均勻度。

這對喇叭的低音反射孔調諧至 30Hz，產生一個較寬的輸出峰值，這不僅能強化低頻延伸，還能對低音單元進行後載負載，提高功率處理能力。在測量端口時，我們會根據低音單元與反射孔的相對尺寸調整聲壓水準，並在軟體中合併數據，以獲得較準確的近場（2pi）響應，避免受到房間音效的影響。

根據測量，低頻響應在 220Hz 以下呈現提升趨勢，並在 90Hz 附近達到約 7dB 的峰值（相較於 1kHz）。在自由空間（無響室環境）中，低頻的聲壓會因繞射效應隨頻率下降而逐漸減弱，因此這個峰值在自由空間中應會降至約 3dB 左右。然而，在實際使用環境中，低頻響應會受到房間牆面和反射影響，使得低頻增強趨近於 2pi（近場）測試結果，而具體增減幅度則會因房間的聲學特性而有所不同。

阻抗測試結果顯示，在低音反射孔的共振頻率附近出現典型的峰值，而其他頻段的阻抗曲線相當穩定，介於 80Hz 至 20kHz 之間的變化範圍僅為 4.8 至 9 歐姆，並且相位變化相對溫和，在低音反射孔調諧頻率範圍內，最大相位偏移僅為 +55° 至 -61°。這意味著 EPIKORE 7 的驅動負載相對友善，並不會出現因大相位偏移而導致低阻抗問題，因此對大多數擴大機來說，這款喇叭應該不難驅動。

Measurements

I ran a few measurements using Clio Pocket, which showed a gentle plateaux in output from the tweeter array at one metre distance on axis. This was above the mid band level by an average of approximately 3dB above 2.8kHz (where the hybrid tweeter comes into action) to above 20kHz (my microphone is not calibrated above 20kHz).

However, with the microphone further away, at near the listening position, and still on axis, this rise was not apparent, measuring flatter and with a very gentle tilt downwards above around 10kHz. So, these speakers have been balanced for a flatter high-frequency response at realistic listening positions.

Midrange sensitivity is, as claimed, 88dB for 2.83V at 1m. Horizontal dispersion is excellent, as claimed: the lift above the midband level at 30 degrees, off-axis (at one metre) was about 2dB,  so only losing a dB in level here, which should help to maintain a similar tonal balance for listeners away from the central position and provide more off-axis high-frequency energy in the listening room.

The ports were both tuned to 30Hz, creating a broad output peak, which adds to the woofers’ outputs to augment the low bass, and rear-load the woofers for improved power handling. When we measure ports, we adjust their sound pressure level according to the relative sizes of the woofer and ports before summing them in software, which creates a pretty accurate near-field, or 2 pi frequency response, free of room effects.

Total bass output, measured near-field this way, and blended to the far field at 220Hz, indicates a rise in output below around 220 Hz, towards a 7dB peak above 1kHz at 90 Hz. In free space (anechoic). With the speaker well away from all surfaces, the sound pressure would wrap around the cabinet, to a greater extent with lowering frequencies, reducing its level. So this peak would not be anywhere so high in free space, more like 3dB.

However, in practice, with nearby room boundaries, bass would be boosted by reflections and tends to be closer to the 2pi, (near field) curve, modified up and down at various frequencies by room mode dips and peaks; and of course every room is different.

The impedance curve showed typical peaks either side of the port resonance. Elsewhere it was unusually even, varying between only 4.8 and 9 ohms from 80Hz to over 20kHz, with correspondingly low phase shifts, which maxed out at a relatively safe +55 to -61 degrees around the port tuning range, so the Epikore 7s should be relatively easy to drive, with no nasty low impedances associated with large phase shifts.

總結

EPIKORE 7 具備極高的製作水準，展現出寬廣且均衡的頻率響應，並搭配寬闊的高頻擴散特性與清晰細緻的高音表現。整體音質氣勢磅礴，低頻表現豐富，即便在我並不算小的聆聽空間內，依然展現出充足的能量。這款喇叭特別適合在較大的空間中擺放，並且遠離牆面時表現更佳。

它能營造寬廣且深邃的音場，從高頻到低頻都展現出細膩的聲音層次。如果你偏好氣勢宏大的音樂表現，那麼 DALI EPIKORE 7 絕對值得納入你的試聽清單。

Summing up

These Epikore 7s are built to very high standards, deliver a wide and even frequency response, coupled with broad high-frequency dispersion and clean detailed treble. Their presentation is big and bold, with generous bass in my listening room, which is by no means small. Indeed, they would benefit from use in larger spaces, well away from walls. They produce a broad and deep sound stage with fine sonic detailing from high to low levels. If large-scale portrayal of music is your bag, then the Dali Epikore 7 should be on your listening list.

編輯補充

在 Dave 享受 EPIKORE 7 的同時，我則在系統中測試更大型的 EPIKORE 9，並獲得了極為出色的表現，詳細的評測將於近期公開。我使用的聆聽空間比 Dave 的稍大，但天花板較低，低頻表現依然控制得宜，延伸自然，從未讓人感覺過量。這可能與空間結構有關，我的房間為木框架結構，相較於磚牆或混凝土牆面，對低頻的反射較少。目前 EPIKORE 9 擺放在距離後牆 40 公分的位置。正如 Dave 所說：「每個房間的聲學環境都不同。」

Editor’s note

While Dave has been enjoying the Epikore 7s I have had the larger Epikore 9s in the system and have been getting superb results as a forthcoming review will reveal. My room is slightly larger than Dave’s albeit with a lower ceiling and I have been enjoying fabulous bass that remains controlled and extended but never feels like there’s too much. This is probably due to room construction which is timber framed and does not reflect bass as much as brick or blocks do, the Epikore 9s are 40cm from the rear wall. As he points out ‘every room is different’.