AudioSolutions Figaro XLM2 3 Way Floorstanding Speakers

In addition to the 4 standard model configurations available , you can also custom configure your AudioSolutions Figaro Speakers to fit your personal style and taste. Built them with an assortment of colors and custom upgrades. Click here and create the speakers of your dreams! https://my.audiosolutions.lt/,action.templates_list,gid.1 Meet the all-new Figaro! An evolution of our most successful speaker series. Five years have passed since the original Figaro was introduced in 2018 and yet we are pushing the limits once again. The new Figaro is vastly improved in all aspects. Embrace a new modern design with brass metal accents and satin color options. We give you a remarkable tandem of performance and design where science meets art. Description Figaro! maintains timeless AudioSolutions design. Designed to be easily driven by most amplifiers and with the ability to be placed very close to the wall. Figaro's task is to make your life easier with as simple as possible setup, cable, and amplifier matching. We wish you many great moments while listening to your Figaro. Features Three-way speaker system designed with Mini-Horn loaded silk dome tweeter and our unique midrange driver which works in extended mid-band effectively making it an Extended-Band driver, allowing us to push crossover frequencies of the drivers further away from the most critical area for the human ear - 1000-1500Hz and thus reduce crossover distortions and perception of them. Two whole new re-designed ER (Extra Rigid) hard paper cone bass drivers deliver faster and deeper bass response and improve overall sound clarity. The Cabinet-In-a-Cabinet enclosure system taken from upper scale Virtuoso series contributes to a complex closed system that eliminates unwanted resonances by turning acoustical energy into heat, allowing all drivers to perform with precision and dynamics. Figaro features outriggers with height-adjustable spikes, WBT NextGen connection terminals with bi-amping for models L and XL, and also a whole new 6 unique never seen before satin finishes with brass metal accents. Specifications Dimensions speaker only (HxWxD) : 1710mm x 272mm x 472mm; 67.32 x 10.7 x 18.6in Dimensions with outriggers (HxWxD) : 1740mm x 396mm x 472mm; 68.5 x 15.6 x 18.6in Weight : 95 kg/209 lbs each Shipping weight : 125 kg/276 lbs each Sensitivity : 92 dB @ 2.83V 1m Suggested amp power : 20-700 W; Impedance : nominal 8,0 ohms Crossover frequency : 400 Hz; 4000 Hz Frequency response (in-room environment) : 28-25000 Hz Drivers : 19mm silk dome tweeter, two 15.2cm ER paper cone mids, four 18.3cm ER paper cone bass drivers MINI Horn Loading Figaro utilizes a Mini-Horn loading technology to cope with the infamous soft domes problem - cone breakup and cone "walk". Cone breakup and "walk" happens when a soft dome tweeter is being driven hard at high signal levels. Distortions rise exponentially because: a) when a certain point in signal level and thus dome acceleration/amplitude is reached, the center part of the dome flexes in an uncontrolled fashion due to the silk's soft nature b) differences in air pressure behind the dome and in front of the dome creates a nonlinear environment and overcome suspension ability to prevent axial movement of the cone Our Mini-Horn is based on acoustical dampening which happens at the frontal dome area. We carefully measure at which frequencies the dome starts to flex and emit an avalanche of distortions. Mini-Horn then is designed and manufactured according to desired specifications to dampen those frequencies. The result is a proportional dampening of the tweeters’ movement. The louder it plays the more dampening and air pressure on the frontal area it gets from its own emitted sound. It is described as acoustical impedance and is highly dependent on the Mini-Horn's shape. Another positive by-product of this process is that Mini-Horn adds sensitivity and thus the efficiency of the driver. Extended Band Midrange The human ear has uneven sensitivity to different frequencies. We are naturally less sensitive to high frequencies and especially to low frequencies. The exception is sensitivity to mid frequencies in the 1000-2000Hz band due to evolution. Simply put - in nature, the sounds of life-threatening events lie more or less in 1000-2000Hz diapason, so naturally, we are most sensitive to that so we could stay alert. The downside of this phenomenon in this rather safe modern world is that we can hear and pinpoint the slightest imperfections in reproduced sound at those frequencies. And imperfections in sound reproduction are called distortions. Most of the manufacturers calculate crossover points in exactly this area of 1000-2000Hz. Since each driver has its natural spectrum of distortions we actually can hear the transition from one driver to another, let alone an additional distortions caused by the crossover phase shift. The resulting sound is described as an unnatural or multi-way sound. It is not possible to completely eliminate natural-born driver's distortions or the phase shift in crossover which is mathematically tied to how db/oct crossover is calculated. The only way to fight this is to utilize crossover points away from this region of 1-2kHz. For that reason, we created an Extended Band Midrange driver. Crossover points of 400-4000Hz are one octave away from the sensitive band. Not only this solution helps with crossover distortion perception but the listener gets uniform, unchopped sound coming from one driver with virtually zero phase shift. Homogenous sound in our opinion is one of the biggest goals in the audio industry. Cabinet In A Cabinet System The new Figaro! speakers share a Cabinet-In-a-Cabinet enclosure design. This system is based on two separate enclosures - an inner cabinet and an outer cabinet bonded together by a thin layer of Polyurethane. The inner cabinet is manufactured of a lightweight yet rigid material that controls primary vibrations by absorbing acoustical power coming from the drivers. Then a thin layer of viscous Polyurethane situated in between the inner and outer cabinets acts as a dampening layer which converts vibrations born in the inner cabinet to heat. The residue of vibrations is then dampened by the outer cabinet which is manufactured of a much heavier and less dense material that acts as a mass damper. ER ConeBass Drivers Second generation Figaro speaker utilizes re-designed bass drivers with ER paper cones. Er stands for Extra Rigid paper. It is actually visible on the cone surface as flakes of hard pulp and fibers and is natural to rigid cones. ER paper cones were chosen due to all the pros of traditional paper cones and the pros of hard material cones. Hard cones (metal, ceramic, etc.) provide uniform push-pull movement where all cone's points act as a uniform piston which is desirable. Con is that hard cones have the potential to have early break-up points and ringing due to a lack of dampening properties inside the material itself. Paper on the other hand does not have break-up points as it is quite soft and flexible but it does not act as a piston, and usually, the edge of the paper cone are fluttering, and all cone is flexing. Having positive properties of paper and introducing hardening materials like sturdy fibers and hard pulp gives us a unique cone that acts as a piston, but at the same time does not have ringing or early cone breakup points. ER cones allowed us to introduce new piston-like bass drivers and of course our Extended Band Midrange. Exclusive Personalization program AudioSolutions' Exclusive Personalisation team is ready to help you to customize your speaker. Please address us for custom coloring or style. We can do small changes and we can make completely tailor-made speakers. Our team works in conjunction with architects, and designers and is ready to make a one-of-one product for your living room. Please visit MY.AUDIOSOLUTIONS.LT to use our speaker configurator and design your speakers the way you like them best. So, How does it sound??? The AudioSolutions Figaro XL2 Mk2 is best characterized as a large-scale, refined, and fundamentally natural-sounding loudspeaker rather than a “spectacular” speaker voiced for immediate showroom impact. Expect very deep, controlled bass; an unusually coherent and open midrange; smooth, airy treble; and expansive, stable imaging—with the scale and dynamic ease expected from a 253 lb, 75.5-inch three-way floorstander. Overall voicing The Figaro XL2 Mk2’s likely sonic personality is even-handed and elegant: substantial but not bloated, detailed but not etched, and capable of playing loud without becoming hard or congested. It is designed around an extended-band midrange spanning roughly 400 Hz to 4 kHz, placing both crossover regions outside much of the ear’s most sensitive vocal/presence range. In listening terms, that should help instruments and voices emerge as a continuous, unforced whole rather than as separate bass/mid/treble bands. If you value loudspeakers that invite long sessions—rather than ones that impress with hyped upper-midrange presence or overtly spotlighted detail—the XL2 is likely strongly in your wheelhouse. What stands out sonically Area Expected character Bass Very extended, powerful, and controlled, with more ease and low-frequency authority than the smaller Figaro models. The XL2’s large enclosure and multiple bass drivers should make orchestral bass drum, synth fundamentals, electric bass, and large-scale rock feel effortless rather than strained. Midrange Smooth, clean, continuous, and spacious. Vocals should sound full-bodied and naturally scaled, without an aggressive forward “projected” quality. Treble Open and airy, but silk-dome smooth rather than metallic, hyper-etched, or aggressively incisive. Expect ambience and harmonic detail without a deliberately sharp leading edge. Imaging Broad, deep, and stable—more about believable acoustic space and image solidity than sharply outlined, miniature “audiophile” images. Dynamics High macrodynamic headroom and low sense of compression. Large orchestral swells, kick drums, and live recordings should scale convincingly. Tonal balance Neutral-to-slightly-warm in the sense of natural density and freedom from glare—not dark, dull, or soft-focus. The broader Figaro Mk2 family has consistently been described as smooth, natural, balanced, and dynamically capable. Reviews of the related M2 specifically note precise, clean midrange reproduction, an airy but smooth treble, powerful tightly controlled bass, and an immersive soundstage. The prior-generation Figaro M was also praised for extended, grain-free highs, smooth accurate midrange, quick dynamics, and taut, detailed bass rather than exaggerated bass slam. What the XL2 adds Relative to an M2 or L2, the XL2 should not merely sound “louder.” Its advantage is in its scale: Greater bass weight, extension, and physical authority, particularly at realistic listening levels. More relaxed reproduction in a large room, because its drivers and cabinet need to work less hard. Bigger images and a more convincing sense of venue volume on well-recorded classical, jazz, electronic, and live material. More headroom for dense arrangements: the speaker should remain composed when a recording gets dynamically busy. A stronger feeling that the music is coming from a continuous acoustic event rather than two discrete speaker locations. Its 92 dB sensitivity and 4-ohm nominal impedance suggest it should be reasonably amplifier-friendly by high-end floorstander standards, though its 20–900 W suggested-power range implies it will reward an amplifier with real current delivery and grip—not simply lots of nominal watts. Bass and room behavior The XL2 is specified to reach 20 Hz in-room, so this is a speaker capable of genuine full-range performance rather than merely punchy upper bass. Given the Figaro line’s engineering priorities, expect bass that favors pitch definition, texture, and control over a deliberately oversized “wow” factor. That distinction matters. A speaker can make a kick drum sound huge but vague; the Figaro approach is more likely to let you distinguish the body of the drum, its transient strike, and the decay of the recording space. Similarly, stand-up bass should reveal pitch changes and wood resonance rather than becoming one large warm foundation. AudioSolutions also says the XL2 can be positioned close to the wall, which is useful for a speaker of this physical size. Still, a speaker this tall and deep will need a substantial room—and careful setup—to prevent its low-bass capability from overwhelming the room’s modal behavior. System matching The XL2 Mk2 should work especially well with electronics that preserve its composure and tonal density: High-current solid-state amplification for bass authority, transient grip, and large-room control. Powerful, stable tube or hybrid amplification if you want more harmonic bloom and dimensionality—but only if the amplifier is genuinely comfortable driving a 4-ohm speaker. Neutral, low-noise front-end components, since the speaker’s scale and resolving power will make source quality and room acoustics readily apparent. A room large enough to let the speaker breathe. It is nearly 1.92 m tall, 581 mm deep, and 115 kg per speaker, so this is not a casual “big speaker in a small room” proposition. Bottom line Think of the Figaro XL2 Mk2 as a big, sophisticated, non-fatiguing full-range loudspeaker: it aims for natural tonal continuity, deep articulate bass, effortless dynamics, an expansive stage, and treble refinement rather than overtly analytical fireworks. It should be particularly persuasive with voices, acoustic instruments, jazz, orchestral recordings, live music, and any material where realistic scale and low-level spatial information matter. The caveat is that if you specifically want a forward, ultra-incisive, high-contrast “hear every edit and microphone” presentation, there are speakers that will sound more overtly explicit. The Figaro’s appeal is that it appears to retain serious resolution while presenting music with more ease, body, and long-term listenability.