Dali Sonik 3 speakers
Sonik is the latest range from Danish loudspeaker brand Dali, and the Sonik 3 is the larger of two stand-mount designs to be launched alongside three floor-standing models, a dialogue speaker called Sonik Cinema and the On-Wall unit presumably intended for read/side channel installations. We concern ourselves here with the somewhat dinky Danish-designed and Chinese manufactured Sonik 3 which packs a lot into not only a compact design but one at a modest price by today’s standards.
Danish roots
Dali (short for Danish Audiophile Loudspeaker Industries) was founded in 1983 by Peter Lyngdorf. To begin with sales were just to Scandinavia as Dali was a house brand of the Hi-Fi Klubben chain of stores in that territory. Dali became an independent company in 1985 and the following year moved to new facilities in Nørager, with its first model, the Dali 2, released the same year. The company expanded into international markets in the 1990s before 2001 saw its first international office open, in Germany, followed by a UK operation in 2005, Dali is now a near-global operation.
Among notable audio achievements, the R&D team has developed a proprietary wood-chip-reinforced cone, for midrange and bass drivers, as well as the combination of dome and ribbon tweeters in high-end models. The designers say they want to create “amplifier-friendly” loudspeakers with as near as constant impedance as possible across the frequency range. They also do their utmost to create drive units which spread the so-called sweet-spot, without compromising stereo focus.
Sonik design
Dali conceived the Sonik 3 with the aim of giving “monitor-level coherence” along with “precision with the richness of a larger speaker”. I admired the first while the latter attributes were less obvious to begin with. The drive units are a 7-inch SMC and Clarity Cone mid/bass along with a 29mm ultra-light soft dome tweeter, crossing over at a respectable 2.3kHz.
The marketing material explains that, inspired by the Dali Kore technology, the Clarity Cone paper and wood fibre cones are lightweight yet rigid and boast superior resonance control for better integration with the tweeter. SMC refers to the manufacturer’s patented Soft Magnetic Composite material (first used in 2012), developed to reduce distortion and improve linearity.
A ferrite ring surrounds a hybrid iron-SMC pole piece, placing it directly in the voice coil’s working area. This is said to minimise hysteresis and eddy currents, to deliver a cleaner, more detailed and relaxed midrange. The unit’s quoted sensitivity is a modest 87dB (2.83V/1m) although at 6-ohms nominal impedance; nonetheless this should prove easy to match with a wide range of amplifiers, and Dali suggest those with a 25-150W output will suffice.
Finish options are walnut effect, natural oak look, black ash (as supplied for review) and white which is what I was told to expect although think I prefer the black as white tends to create a more contemporary look.
Finding the angle
The Sonik 3 speakers were minty-fresh from Denmark, I set them atop my Custom Design FS104 Signature stands, half-filled, and they fitted the top plate to a tee. I had my mighty Hegel H600 (300W/ch) in use so connected this and quickly fell in love with the little Sonik 3 and really appreciated its midrange abilities and wonderful clarity across the presence region, so important for understanding dialogue and in speech-based material such as radio drama.
However, with some music (pop/rock in particular) there was too much treble detail for my liking, this tending towards sibilance on some tracks and near overpowering such as to mask detail on others. I took some rough nearfield measurements which confirmed what I was hearing: a rising treble, accentuated on-axis, coupled with a humpy in-room bass response.
It was then that I recalled how a senior company executive once remarked at a demonstration that DALI also stood for “Don’t Angle Loudspeakers Inwards” so decided to remove the modest toe-in (angle towards listening position) and also put the magnetic grilles in place thinking they might filter any excess HF. This improved the situation greatly and to stop the large, rear-firing reflex port exciting room resonances I moved the speakers further from the rear wall. Inserting acoustic foam rings helped even further to control the bass.
Changing amplifier also reduced the bass output at troublesome frequencies; firstly, to the more modest Hegel H190 and finally to the oh-so-tuneful Atoll ST300/AM300 Evo pre/power combo which gave access to Qobuz connect and myriad internet radio stations.
Sound quality
These may be small boxes but they play loudly, and cleanly. Turning up the wick to neighbour-disturbing levels the output was still enjoyable and free from break-up; that seven-inch driver is clearly well designed. They also create a large soundscape, bigger than might be expected given the cabinet size, again the driver works well and has impressive dispersion characteristics. The sound is not as three-dimensional as from some of Dali’s bigger, more expensive models but we have to expect compromises as we go down the range.
I was also really pleased by the driver integration, with an audibly seamless crossover from tweeter to woofer. Some poorly executed designs can be let down by this. Other attributes are an overall agility to deliver a pacy, vibrant sound, they react well to fast-moving programme material and bring out any excitement in the performance.
Timing is something many are concerned about and the little Sonik 3s pass muster on that score, as my feet tapped along to many a tune. All designs have their limitations and for the Sonik 3s it was perhaps that I wasn’t drawn into the performances as much as I might have been; they were taking place in front of me, at arms’ length. Not a bad thing in itself and reminiscent of some of the best monitor loudspeakers I have heard. Indeed, the little Soniks had more than a smattering of monitor characteristics which is probably why I enjoyed them so much.
Down to specifics and I was moved by the clarity of voices, be it from speech or sung vocals, both male and female. Thus, Carly Simon’s You’re so Vain had its biting, intelligent lyrics brought home in a lifelike manner via the Sonik 3s. The catchy melody on this well-produced recording had my feet tapping along and brought a smile to my face. Clapton’s reggae-rock fusion I Shot the Sheriff (from 462 Ocean Boulevard), came over in all its glory as a smooth, bluesy and organ-driven track along with those glorious backing vocals from Yvonne Elliman and relaxed guitar work. One could easily be fooled into thinking that the Sonik 3s were much more costly than they are.
Ultravox’s Vienna album was enjoyed in its entirety when I had intended to listen to just one track. That’s the hallmark of a good loudspeaker: one that keeps the listener hooked. I admire the album’s production qualities and recall the band’s live events from the era as they combined icy electronics with rock instrumentation and dramatic vocals. Imaging stood out here as the Sonik 3s arranged performers across the stage and yet each was defined; an achievement at this price point.
Among classical standouts with the Sonik 3s was Mozart’s Rondo in D (K382) by the Philharmonia and Ashkenazy, on Decca. Piano is such a telling instrument and one that’s not easy to reproduce accurately. The little Soniks did a fine job with this charming, lively, and highly virtuoso piece which the maestro performs with clarity and grace. The pianist also conducting on this clean and slightly resonant recording, the result is a closely integrated performance between the soloist and the orchestra which the Dali speakers reproduce in a lifelike manner.
Sonik solution
Having made small adjustments to the positioning of Dali’s Sonik 3s, the results were impressive, notably the clean midrange and fine performance through the crucial presence region (4-6kHz) where many speakers made to a budget fail to succeed. The price of the Sonik 3 makes this an audio bargain, Dali has clearly worked hard to implement technology from its more prestige ranges and the result is to be commended.
I can see the Sonik 3 making an excellent first-speaker, and in that way introducing new customers to the Dali lineup. They also worked very well either side of a large screen, whereas other designs work less well in such a setting. Other applications are likely to be as rear-channel speakers, or for secondary use in a bedroom, kitchen or study. Their size and weight also mean they would be great for student accommodation.
The overall performance, matched with a highly competitive price, assures the Sonik 3 of a hearty recommendation and a worthy addition to the shortlist for anyone seeking compact speakers on a budget.
Pros
Exceptional midrange and clarity: The reviewer highlights wonderful clarity across the presence region, making them excellent for vocals, dialogue, and speech-based material like radio dramas.
High-value performance: Described as an audio bargain, the speakers use technology filtered down from Dali’s high-end Kore models, performing better than their price suggests.
Large soundstage: Despite their dinky size, they create a soundscape much larger than expected with impressive dispersion.
Seamless integration: The crossover between the tweeter and the 7-inch woofer is audibly seamless, providing excellent coherence.
Power handling: They play loudly and cleanly without breaking up, even at high volumes, and are amplifier-friendly due to their constant impedance.
Versatility: Their compact size makes them ideal for small rooms or as high-quality rear channels in a home cinema setup.
Pacy and engaging: The speakers are described as agile and vibrant, with good timing that encourages foot-tapping.
Cons
Demanding placement: They require careful positioning to sound their best and are sensitive to toe-in, meaning they should not be angled directly toward the listener.
Treble sharpness: Out of the box and on-axis, the treble can be over-emphasized, leading to sibilance and harshness on pop or rock tracks.
Port issues: The large, rear-firing reflex port can easily excite room resonances, requiring the use of foam bungs or specific room placement to control the low end.
Distance in performance: The reviewer noted a monitor-like detachment, feeling the performance was taking place at arms’ length rather than being fully immersive or three-dimensional.
Finish quirks: While subjective, the reviewer noted that the wood-look finishes are effects rather than real wood veneers, which is consistent with the modest price point.