Elac 301.2 / Sub 2030

With the 301.2 in conjunction with the SUB 2030, ELAC ventures into a price segment, which certainly does not bring the high number of units such as the 500 Euro price class. However, ELAC would not be ELAC, if the boxing specialist could not show what the state of affairs is. And this has its price.


Picture gallery


The set consists of five identical, almost 1.5-liter satellites, which form the prerequisite for a good uniform sound reinforcement all around. The Kiel developers have equipped the chic cube with an 87 mm x 108 mm aluminum sandwich membrane and a neodymium magnet system. In front of the low / mid-range woofer, a 20 mm small silk tweeter was positioned.


Deep bass extreme


Compared to the conventional arrangement, the almost coaxial positioning has the advantage that the sound of deep and high tones arises almost at one point and consequently radiates uniformly broadly without conspicuous interferences. In addition, the size of the woofer can be maximized, which contributes to the level of the fundamental sound.


The sturdy aluminum housing is closed and accommodates an electrical highpass for a clean connection to a suitable subwoofer. Wall brackets are included, while desktop and speaker stands are optional.


ELAC's SUB 2030 is the second smallest subwoofer from the bass range. But it is still a 25 centimeter large chassis in the diced, "closed" housing. While other manufacturers want to "squeal" the last few hertz out of the bassists thanks to bass reflex tuning, ELAC places more emphasis on a clean low bass.


In conjunction with its own limiter circuit, ELAC conjures rich bass without audible distortions from the small subwoofer. 300 watts are available to the chassis to ensure adequate sound pressure even in the deepest frequency regions.


From the first bar, the Kieler Edel set was convincing in almost all disciplines. A close-up of the satellites, the satellites with more basic sound fill, which makes the set sound even more adult. Thus positioned, ELACs impressed the system from the lowest to the highest octave of the listening area. So tonal was all right.


Class was the extensive, detached from the sound sources of an orchestra, even in the stereo mode. Patricia Barber's voice sounded open and the bass sound clean for tone.


In multi-channel operation and in explosions as in the movie password: Swordfish impressed the dynamic abilities and also the authentic reproduction of the respective acoustics. The draft was best with 22 Hertz lower limit frequency. All in all an excellent listening pleasure - but not a cheap.