Aural Showdown - 2.1 Multimedia Speakers Shootout

CD Testing Results

CD Testing Results

The first thing we noticed about the Altec Lansing MX5021 was its poor bass response. This is very unlike Altec Lansing speakers of old, which were known for its thunderous bass. The bass felt muted and subdued, as if something was stuck in the subwoofer unit's air ports (which we did check). This really affected the MX5021's performance, as bass is an integral part of any musical experience as it gives a sense of rhythm and beat. The mediocre bass also made the MX5021 sound lightweight. Fortunately, it redeemed itself, if only a little, as its mids and highs were bright and smooth.

The Bose Companion 5 sounded downright impressive. Its audio output was the sort that demands your full attention. Playing the Theme of Jurassic Park immediately conjured scenes of grandeur and majesty, as the Bose was able to produce an amazingly wide soundstage. For bassheads, however, the neutral setting on the Companion 5 might not be sufficient. Luckily, maxing out the bass compensation dial did not noticeably degrade the quality of the bass output, as the engines on the Pod Race scene continued to sound clear but with a deeper burble this time round.

The Creative Gigaworks T3 might be small in size, but it is definitely no featherweight when it comes to sound. We were pleasantly surprised when we played the Pod Race scene as the engines had a wonderful deep and satisfying burble, and the Tyrannosaurus Rex sound effects were magnificent. Stereo separation from the satellites was top-notch as we could easily make out the pod racers as they zipped past us. The Gigaworks T3 also sounded grand on the two orchestral pieces, Theme from Jurassic Park and Theme from Cutthroat Island, although perhaps a little less so compared to the Bose Companion 5.

The polar opposite of the Gigaworks T3, the Edifier S730, though big in size, was surprisingly subdued throughout the tracks. We expected big rumbles from the subwoofer, but was instead treated to a careful and cautious performance. Judging from its immense size, we thought it would absolutely blow us away in the Tyrannosaurus Rex sound effects test, but we found it to be strangely average. However, the S730 was able to go up to exceptionally loud volumes before we even detected any hint of cracking and distortion.

Listening to the Klipsch ProMedia GMX A-2.1 for the first time, we found that it sounded very similar to the Gigaworks T3. Playing the Pod Race Scene and Apollo 13 sound effects tracks, we found the sound to be full-bodied, and the bass to be deep and satisfying. The Tyrannosaurus Rex sound effects sounded atmospheric and exciting, but Fanfare for Louis sounded a little too bright, making it slightly unpleasant.

The Logitech Z-Cinema backed up its large-sized speakers with an equally large sound. It's not as refined as the Bose, but it sounds dramatic and full-bodied. This allowed it to excel on nearly on all the tracks here. Its only downfall was on the classical piece Fanfare for Louis, as it sounded dull and out of touch, like a nuclear scientist suddenly asked to cook dinner for a panel of food connoisseurs. It is perhaps more suited towards playing faster, heavier tracks.

Last, but definitely not least, we come to the Razer Mako. Razer has a reputation for churning out quality products, and we are glad to say that the Mako has followed that tradition. Its mids and highs were butter smooth, but it was its reproduction of the lower frequencies that blew as away. It was heavy on, but the bass was extremely well-controlled. The deep rumble of Apollo 13 lifting out was more than satisfying, as was the primal roar of the Tyrannosaurus Rex. However, we found its special downward firing satellites to be less well equipped at producing an accurate stereo effect. The sounds of pod racers zipping past as us seemed less apparent and focused, and this is probably due to the fact that the Mako strives for an omnidirectional sound output.