Where the big differences really make themselves felt is further up the frequency response. It’s not significantly more than its little brother but it is noticeable. Such is the wholly unexpected clout that the Lumina I possesses, the Lumina II doesn’t feel significantly more weighty in general listening but there’s meaningful extension below 50Hz in my room, which goes a long way to creating a believable weight and scale to the performance. Sonus faber claims an extra 10Hz of low-end response and marginally improved sensitivity – which does seem to be the case in practise – and the same 4ohm impedance as the rest of the range. On paper, the Lumina II doesn’t look like a massive step forward over the Lumina I. You can support the site directly via Paypal donations ☕. Build quality is extremely good, with both the mechanical and aesthetic areas feeling solid and carefully assembled.ħReview earns Amazon affiliate commissions from qualifying purchases.
SONUS FABER LUMINA III DRIVER
It leaves the Lumina II looking understated but handsome and, thanks to the same thin chrome strips around the mid/bass driver and tweeter mounts, it avoids looking dull too. I’d assumed this to be the poor relation of the three finishes available (the others being wenge and walnut), but that’s really not the case. Something I didn’t expect is that, unlike the previous Lumina I and III, the review sample has the gloss black front panel. In turn, the concentration of attention on the front panel helps it feel a little more special at the same time. The decision not to use a veneer on the bulk of the cabinet and go for a leather wrap makes this change feel more deliberate and less like a (completely necessary) need to reduce the complexity and cost of the most affordable range. Like other members of the Lumina range and relatively unusually in 2021, the Lumina has two sets of terminals for bi-wiring should you wish.Īesthetically, the Lumina II uses the same design principles as the rest of the range and the manner in which the company has worked to make a speaker with flat sides so it still feels like a Sonus faber is something that continues to impress me. Being front-firing, it means that the Lumina II is less affected by proximity to walls, while the relatively large port aperture should keep noiseĪcross a spread of instrumental and vocal styles it doesn’t put a foot wrong This means it’s doped paper with a conventional dust cap that works on the same principles as the Lumina I in that it’s aided in its operation by a large, front-mounted slot port sited in the integrated plinth at the base of the cabinet.
SONUS FABER LUMINA III DRIVERS
This hands over to a 150mm mid/ bass driver, which looks to have more in common with the bass drivers of the Lumina III – which are bespoke to the Lumina – than the midrange unit, which is also shared with the Sonetto. As with many modern designs, this tweeter is responsible for a huge proportion of the frequency response, with the crossover being set at 1.8kHz. The tweeter itself is mounted in a shallow waveguide to further help with distortion. The company says that this helps to control the break-up characteristics of the dome and improves dispersion. Key to how this functions is the framework that Sonus faber calls Damped Apex Dome (DAD) that extends over the dome itself.
This means that it uses the same 29mm soft dome tweeter as the rest of the range and indeed the Sonetto range above it.
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