Elac’s Uni-Fi UB5 compact monitor, which I reviewed in Issue 266, remains one of the best friends an audiophile on a budget can have. In a price range mostly reserved for traditional two-ways—like Elac’s entry-level Debut Series—the UB5 was the rare three-way design that was also equipped with a concentric tweeter/midrange. At $499/pair, the original UB5 represented remarkable value and performance that made it the small monitor to beat in its class. But, as they say, there’s always room for improvement. Thus, the Elac team, led by the indefatigable Andrew Jones, decided to push the envelope just a little more. Hence, the Uni-Fi UB5.2.
As the price has been bumped up to $599 for a pair, you might ask–what’s a hundred-buck difference going to buy you at this or any level? Turns out, a lot. Elac didn’t just pretty up the UB5, adding a chamfer here and an accent there. Nope, the changes go significantly deeper. Physically, the UB5.2 has different dimensions. It’s a little taller, narrower, and deeper, which to my eye gives it a more contemporary silhouette. The relocated bass-reflex port now resides upfront beneath the woofer, rather than out back. It’s a move that Elac states reduces back wall interaction and creates more stable direct output. The concentric midrange/tweeter transducer has received attention, as well. Thanks to a wider surround, the inset tweeter extends treble response, and transitions more smoothly with the midrange. The 4″ aluminum-cone midrange has a modified profile, an improved neodymium magnet assembly, and a larger voice coil. Bass duties are handled by a 5.25″ aluminum-cone woofer.
The enclosures are engineered with thick MDF outer walls, plus internal bracing for added stiffness to reduce vibrations and coloration. The Uni-Fi’s crossover now boasts greater linearity and better driver integration. Crossover points are 200Hz and 2kHz (lowered from 2.7kHz). Sensitivity is a slightly challenging 85dB, while nominal impedance is 6 ohms, up from 4 ohms. While efficiency has improved overall, don’t scrimp on amplification. The UB5.2 likes quality power. Finished in “black ash” vinyl (pricier wood veneers and deep lacquers are reserved for Elac’s upscale models), the UB5 has a nicely executed utilitarian look.
In performance, the key strengths that lifted Uni-Fi to critical prominence remain securely in place. Namely, the UB5.2’s midrange weight, forward-leaning energy, and focused imaging continue to make for highly satisfying vocal reproduction. Its tonal character retains the immediacy, transient attack, rhythmic jump, and midbass oomph that preserve its rock ’n’ roll bona fides.
However, Elac has taken Uni-Fi to finishing school in a big way. It has matured in virtually every area. The few rough edges I noted with the original have been largely buffed out in the UB5.2. Compared with its forebear, it has a smoother, less pushy, less edgy sound. Tonally, and for the better, it’s a hint warmer in the mids. Treble frequencies from the revised concentric are slightly more rounded with a bit more air. For example, during the Manhattan Jazz Quintet’s rendition of “Autumn Leaves,” the speakers seemed to breathe more easily, and the venue appeared to expand in volume. Tellingly, the UB5.2 eliminates the hint of glare on solo piano that I noted with the UB5. (Helpfully, I had a pair of original UB5s on hand for comparison.) Image precision and focus, always strong points with concentric transducers, continue to shine, but the UB5.2 has added a more realistic sense of ambient space to balance its inherent pinpoint focus—a small but significant difference that improves dimensionality and reduces localization of the loudspeaker.
An upswing in transparency is also obvious. Elac has removed a soft veiling, revealing greater low-level detail, microdynamics, and soundstage realism. During Harry Connick’s “A Nightingale Sang in Berkeley Square,” for example, it was as if the UB5.2 blew the dust off the recording—the sax solo was just a hint silkier and more immediate, without any sacrifice in reedy grit, bloom, and weight.
For reference, I’ve added a few additional examples of the Uni-Fi’s evolution– during “Who Will Comfort Me,” Melody Gardot’s bluesy vocal was more settled and relaxed, but still imbued with stand-your-ground presence. The accompanying trumpet in this cut had the requisite spark and snap. Stage width improved somewhat, but in this one area I would rate the UB5.2 as average (in its segment). Jennifer Warnes’ wistful cover of Eddie Vedder’s “Just Breathe” from Another Time, Another Place was reproduced with a slightly drier timbre than what I hear through my reference system, but still substantially improved over the UB5’s presentation. A nice touch within this song was the lovely timbre of the French horn and the soft cymbal accents, which the UB5.2 sensitively reproduced. On occasion, I perceived a small drop in intensity on vocals—a slight suppression of the presence range that lightened Mary Chapin-Carpenter’s resonant contralto during “Bells Are Ringing” from MCC’s Christmas album Come Darkness, Come Light. But this was only a slight wobble from the Elac in an otherwise delightful performance.
The UB5.2 produced lower frequencies well into the 50Hz range, where they began rolling off fairly swiftly. Bass response was impressive as pitches descended, with little evidence of bumps or dips. There was formidable weight and foundation from cello and bass violin sections, and impressively full-bodied upper-bass dynamics. The UB5.2’s low frequencies were a little on the free and bloomy side, rather than the overtightened one. To my ear, this was not so much a loss of control and grip, but a looser, more sophisticated musicality. The work on the newly reconfigured cabinet has obviously paid dividends, because at least part of the UB5.2’s bass clarity is owed to the absence of vent colorations and the low windage effects of its relocated port.
The UB5.2 does have bass limits, of course. Drums and heavy percussion don’t have the widest dynamic range nor the transient snap-and-crackle they might have. Melodic lines off a bass guitar were a little rounded and subdued. Unlike a truly full-range speaker, the UB5.2 can’t always follow and define every midbass cue or rhythm. Thus, the deepest low-end excursions were only partly suggested or approximated at times, enough to permit the listener to contentedly fill in the rest.
The art of loudspeaker design is producing a product with a Uni-Fied and refined voice that sounds like music, not a patchwork of sonic criteria. I think Elac’s success in this regard is, in part, the reason for the sonic leap I hear in this next generation of Uni-Fi. Elac’s UB5.2 has taken the well-deserved success of its immediate predecessor, ratcheted up the sonic positives, and, where they merited attention, minimized the shortcomings. In my book, there’s nothing better than witnessing a maturation process that improves the breed—and all for an extra hundred bucks. A terrific speaker that I can recommend without reservation.
Specs & Pricing
Type: Three-way bass-reflex
Drivers: Concentric 1″ soft-dome tweeter/4″ aluminum midrange; 5.25″ aluminum woofer
Crossover: 200Hz, 2kHz
Frequency response: 46Hz–35kHz
Nominal impedance: 6 ohms
Dimensions: 7.28″ x 13.62″ x 10.83″
Weight: 18.26 lbs.
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