Instrumental textures aren’t so intricately drawn, nor are low-level dynamic nuances tracked with as much skill as the class leaders are capable of. Rhythmically things are precise enough to convey the momentum of the music, though not in a class-leading way.ĭo the L52 Classic deliver the most detailed sound we’ve heard at this price? Not even close, as we find out when we listen to Mahler's Symphony No. Even the bass performance is pleasing, sounding more powerful and punchy than the speaker’s compact dimensions suggest.Ĭobain’s vocals are rendered in an appealingly forthright manner, and the overall presentation is far more full-bodied and muscular sounding than we’d expect from something that’s barely bigger than a shoebox. The sound is fun, and can even be thrilling when the music demands. There’s a good amount of attack and enough ability to organise the song’s various musical elements into a cohesive and musical whole. They’re happy to charge along full throttle delivering Come As You Are with real verve. We listen to Nirvana’s Nevermind and the L52 Classic sound right at home. They sacrifice a degree of sonic sophistication and refinement compared to class leaders such as KEF’s LS50 Meta, or even cheaper alternatives such as the B&W 606 S2, but offer partial compensation with a lively and punchy presentation that entertains. The L52 Classic are outgoing and enthusiastic performers. There’s a good degree of overlap between these and the bigger models in the range when it comes to sonic character. These speakers produce enjoyable results once up and running. We also prefer firing these JBLs straight ahead rather than strongly angling them towards the listening position, though there’s no harm in trying that if necessary to get a properly focussed and solid stereo image. While the L52’s small size may encourage people to put them right up against a rear wall, we found them to perform best when given a little room to breathe – starting around 40cm into the room – and positioned well away from room corners.
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