Mission LX-4 MKII
These are capable speakers in many ways, but they aren’t the fully rounded proposition we had hoped for
Mission has quite some heritage when it comes to making affordable speakers, so when the brand launches a new entry-level series, we’re always keen to have a listen. The LX-4 MKII are the smallest floorstanders in the revised LX range, and are pitched at an aggressive price considering the engineering and technology on offer. Are these going to be the superstar budget floorstanders we’re hoping for?
We can’t complain about build quality. These 90cm tall towers are nicely made, given the price. They feel solid and obvious care has been taken in the way they have been put together. There are three finish options: matt black, matt white or walnut.
Despite the three drive units, the LX-4 MKIIS are two-way speakers – the two 13cm mid/bass units work in parallel. These drivers don’t use the conventional dustcap and cone arrangement – instead, the drive unit’s composite fibre cone is seamless and driven by a secondary sub-cone connected to the voice coil. This configuration is claimed to offer improved mechanical efficiency and better cone control. The composite fibre cone material is chosen for its balance of rigidity and damping.
A purer delivery
Both mid/bass drivers are now circled by a piece of trim with ‘comb tooth’ indents. This pattern is designed to scatter the reflections of the sound coming off the cone and its surround, and so give a purer delivery. This is an idea that has been inherited from Mission’s more premium QX range.
The tweeter design looks positively conventional in comparison, though it too has a carefully shaped faceplate to help performance. This is a thoroughly modern 25mm microfibre-dome design with a neodymium motor system. The dome material is chosen for its low weight and manufacturing consistency – the latter is vital considering the tight budget constraints at this level.
The three drive units are linked via a 4th order Linkwitz-riley crossover network aimed at helping the LX-4 produce a seamless sound with good dispersion. The crossover frequency is a conventional 3khz.
When it comes to positioning the speakers, the manual suggests an initial placement of around 30cm from the rear wall and 50cm from the sidewalls, but it isn’t long before we move the LX-4 further into the room (around 85cm away from the rear and 70cm from the sides) to reduce the excessive bass.
We could have used the supplied quartet of foam bungs – each LX-4 cabinet has a pair of rear-firing ports – but while this helps to reduce the bass output, it also adversely affects the speaker’s fluidity and means the loss of a little natural warmth through the midrange. We find it better to do without the bungs and play with positioning, though people with small rooms should maybe try one of the standmounters in the LX MKII range instead.
Clear, composed presentation
We start by listening to Paul Simon’s Graceland. The Missions respond with a clear and composed presentation. The work on the drive units and crossover pays dividends with a seamless midrange that captures Simon’s quirky voice well. It’s a fast and responsive sound, one that has a measure of control and refinement that’s rare at this level. It’s precise too, capturing the leading edges of notes with skill.
We get the impression that Mission has voiced these speakers to be sonically forgiving, because they sound smoother and less obvious at the top end than some of the company’s previous efforts. That’s no bad thing, as it gives the LX-4
MKII compatibility with a broader range of partnering kit and recordings.
Moving to Beethoven’s Fifth Symphony shows that these towers are able to deliver a large-scale sound packed with authority. While not necessarily the most exciting of performers, these speakers still hold our interest thanks to a pleasing level of punch, agility and attention to detail. These towers keep a firm grip even as the music becomes busier and are able to track low-level instrumental strands without issue.
Yet, for all their strengths, we find the LX-4 MKII fall short of delivering the full dose of drama in the music. They tend to play things a little too safe for our tastes. It’s almost as if they have been designed not to offend, and in the process some sonic sparkle has been filtered too. We would like them to have more expressive dynamics, particularly the low-level variety, and deliver rhythms with more exuberance. The shortfalls aren’t massive, but they are enough to knock a star off our verdict. While they wouldn’t be at the top of our shortlist, there’s enough quality on show for the LX-4 MKII to be worth considering.