Given the price, this is a great solution for a smaller room. It can’t compete with the bigger boys here but you’ll get all the thrills of music and movies at moderate volume levels from these speakers. And if you’re looking add a splash of colour to your system they can’t be beat.
Sound quality suffers at higher volumes
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This Swedish entry is a light and affordable system - and certainly one of the funkiest looking around.
Bright finishes have proved so popular for Audio Pro that it has added five other fruity flavours (cherry, lemon, grape, orange and apple) to the Allroom line. The only other design flourish for these two-way bass reflex boxes is the tapered shape of the cabinet, eliminating internal standing waves and reducing their bulk.
This one-stop 5.1 system consists of four identical satellites, a centre channel and an active subwoofer.
On closer inspection, the centre channel reveals itself to be another satellite speaker with a sideways grille that can lie on its side, meaning five identical sats and a sub. This translates to good voice matching all round.
In stereo mode first, the Allrooms have capability beyond their stature, reaching the highs without straining too much and, provided you have programmed your amplifier to bring in the sub in stereo mode, reach the lows as well. The sat's crossover point is high in the frequency range, so they won't be any use without a sub.
Bringing in the other blue speakers with a 5.1 DVD Audio mix of Mozart shows how they can work as a team to disperse the orchestra around the room even-handedly. They respond less well with contemporary sounds when the volume is cranked, though.
The tiny speakers can reveal their limitations when pushed with dance beats: basslines become unstuck from the rest of the mix and midrange becomes swamped. But, turn the volume back down and all is cohesive again. Clearly a smaller room is what these bargain boxes are happiest in.
It's a similar story with movie soundtracks. It takes a while to integrate the sub but, once set, the six channels work well together.
Only the centre channel lets the side down by failing to provide dialogue and central special effects with the scale they need. Volume is once again a limiting factor. Ambient scene-setters sound atmospheric, but rapid transients like explosions push the little cones too far and end up sounding a tad compressed.
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