Respected audio engineer Andrew Lipinski founded Lipinski Sound Corporation in 2003 originally for the purpose of developing tools to better his own work as an engineer. This has resulted in a broad product line that includes a 500 Series microphone preamp, compressor and equalizer along with several speaker and amplifier designs—all of which have been widely embraced by top engineers around the world.
I’ve been a fan of Lipinski monitors since first hearing them in Jim DeMain’s Yes Master Studios (http://www.yesmasterstudios.com)—a Nashville-based, Carl Tatz-designed mastering room—a decade ago. Their performance is nothing short of stunning. Several years later I had the opportunity to audition the Lipinski L-609 mic pre and L-629 compressor and again was impressed. All of this said, I was excited about the opportunity to review the L-70 monitors, which have been as impressive as anything in their price range ($3,995 each) that I have ever heard.
The L-70 measures 17.5-inches high by 10.2-inches wide by 14.1-inches deep. The two-way, 40 lb. enclosure includes one 1-inch (25 mm) Neodymium Ring Radiator tweeter and one seven-inch (180 mm) Glass Fiber Mid-Woofer, both custom-built to Lipinski specs by Danish company Scan-Speak. The amplifier, which is built into the top of the enclosure, is elastically suspended to isolate the electronics from any vibrations. The design incorporates a pure Class A, low-order electronic crossover and a Class-A three-band EQ that allows the speakers to be fine-tuned to the room’s acoustics—most often in addressing room problems such as floor/ceiling resonance. The speakers are bi-amped with a pair of 4 Ohm, 100 W amplifiers with capacitor-free, all discrete, patented circuitry in the class A signal path. They have a 63 Hz-20 kHz, ±1dB frequency response (40 Hz-40 kHz, ±3 dB).
I’ve spent the past several weeks mixing on the L-70s and—besides providing extremely accurate monitoring—they have been truly inspiring and quite enjoyable to use. The work I’ve done on the L-70s translates notably well into the real world.
In addition to the time I’ve spent mixing with the L-70s, I spent several hours auditioning several of my favorite hi-res album references—DSD versions of James Taylor’s JT, Pink Floyd’s Dark Side of the Moon and Elton John’s Goodbye Yellow Brick Road. The L-70’s imaging is stunning—possibly the best I have ever heard. Its mid-range is clear and smooth and, to my ears, completely void of any coloration induced by the speakers themselves.
The low-frequency response of the speakers is remarkable for a box utilizing only a single seven-inch speaker in a sealed enclosure; it faithfully reproduces audio into the 60-70Hz audio range, but if in need of earth-rattling sub-harmonic response, it’s worth considering adding Lipinski’s L-120 self-powered subwoofer ($4,495 each) per L-70.
If you have never had the opportunity to experience the pristine quality of Lipinski Sound products, now is an ideal time to seek out the L-70. It is the ideal showcase of this aspirational company’s dedication to audio quality. This L-70 pair has been a pleasure to work with and enjoy.