Q Acoustics 3020c: Two-minute review

The Q Acoustics 3020c is one design in a five-strong range of (relatively) affordable new speakers from the British brand's 3000c series. Four different finishes are available, and no matter which one you prefer it will do justice to a braced, elegantly curved cabinet that’s just slightly longer than it is tall. Satin nickel driver surrounds behind magnetically attached grilles only add to the impression of a thoughtful and quite upmarket design.

A driver array consisting of a 22mm soft dome tweeter that’s decoupled from the main speaker baffle is bolstered by a rear-facing bass reflex port. Sat below is a 120mm mid/bass driver of the ‘continuous curved cone’ design that Q Acoustics first introduced in a far more expensive range of passive loudspeakers than this one. Claimed frequency response of 60Hz - 30kHz is the result and, if accurate, should be more than adequate for people who don’t prioritize ‘bass, and plenty of it’ over everything else. As well as the reflex port, the rear panel also features a single pair of extremely low-profile cable binding posts.

In action, the Q Acoustics 3020c prove a forthright, detailed and surprisingly assertive listen. No matter the type of music you listen to, and no matter its source, they sink their teeth in and let it know who’s boss immediately. Detail levels are high, drive and attack is plentiful, and both the tonal balance and the integration of the frequency range are completely convincing. Their stereo focus is impressive, their soundstaging abilities even more so, and the sort of momentum and urgency with which they can imbue a recording is always striking.

They’re not the heftiest speaker this sort of money can buy, it’s true – the low-frequency stuff they generate is taut and straight-edged, but could conceivably be punchier. And when it comes to dynamic expression, there’s a slight lack of headroom apparent. Because their default position is to be reasonably intense to start with, any changes in intensity are necessarily inhibited – just a touch, to be fair, but it’s a trait nevertheless.

Neither of these things prevent the Q Acoustics 3020c being a thoroughly enjoyable and quite invigorating listen, though, which warrants entry to our best stereo speakers roundup. Anyone with this sort of money for a speaker of this sort of size needs to hear them.

Q Acoustics 3020c review: Price & release date

• Released August, 2024
• Priced $499 / £399 / AU$899

The Q Acoustics 3020c are on sale now, and in the United States they sell for $499 per pair. In the United Kingdom, they go for £399, while in Australia you’re looking at AU$899.

It’s an eye-catching price, for sure, and exciting when you remember just how much excellence Q Acoustics has demonstrated at the loudspeaker entry level. But competition is fierce: from Dali and Elac to KEF and JBL, there are numerous well-regarded alternatives – and they're far from alone...

Q Acoustics 3020c review: Features

• 120mm mid/bass driver
• 22mm decoupled soft dome tweeter
• 60Hz - 30kHz frequency response

Like most passive loudspeakers, the Q Acoustics 3020c aren’t exactly overburdened with features. A couple of drive units, a helpfully positioned bass reflex port and some speaker binding posts are about all that can be expected – and sure enough, that’s about all the 3020c have.

Mind you, this being Q Acoustics those features are thoroughly implemented and entirely fit for purpose. The 22mm soft dome tweeter, for instance, is hermetically sealed and mechanically isolated from the baffle from which it protrudes. To all intents and purposes it’s floating, which prevents pressure modulations both from the energy it’s producing and from the mid/bass driver beneath it. The chamber it sits in is vented in an effort to minimize distortion, and has a lower-than-usual crossover point in order to make integration with the mid/bass driver as smooth as possible.

The mid/bass driver itself is a 120mm design of the ‘continuous curved cone’ type Q Acoustics first introduced on much more expensive loudspeakers than this one. Its continuous curve profile offers well-controlled frequency response, enhanced low-frequency dynamics and excellent dispersion characteristics – Q Acoustics suggests it offers the bass performance of a more common conic design with the midrange control of a flared cone design. The best of both worlds, in other words.

There’s a modestly sized bass reflex port venting from the rear of the cabinet, just above a single pair of extremely low-profile cable binding posts – Q Acoustics provides port bungs to help ensure the 3020c’s low-frequency activity is appropriate no matter where in your room they end up being positioned. The arrangement is good for a frequency response of 60Hz - 30kHz, according to the manufacturer, and with nominal impedance of six ohms and sensitivity of 87dB, the 3020c shouldn’t be any kind of problem for an amplifier to drive.

• Features score: 5/5

Q Acoustics 3020c review: Sound quality

• Positive, upfront and informative sound
• Impressive powers of resolution
• Not as out-and-out punchy or dynamic as they might be

Sit up straight and pay attention – that seems to be the 3020c's attitude when it comes to sound. This is an assertive and direct pair of loudspeakers, and while it has a range of talents to reveal, what’s most immediate about the 3020c is, well, just how immediate it is.

Once through a copy of Fela Kuti’s Water No Get Enemy makes the point in unequivocal fashion. There’s plenty of harmonic dynamism on display, a really impressive amount of detail retrieved at every turn, but it’s the sheer bite and attack of the recording, the blare and the stridency, that the Q Acoustics really zero in on. This kind of positivity could, if imperfectly deployed, seem like raucousness – here it’s more a kind of urgency. Music-making is a serious business, according to the 3020c, and there’s really no time to pussyfoot.

If this makes the Q Acoustics sound in any way uncouth, be assured that’s not the case. Their tonality is judged nicely – they’re a neutral and uncolored listen, from the top of the frequency range to the bottom. The integration of the two drivers is smooth, the contributions of the bass reflex port are careful, and the inputs of each area of the frequency range are properly balanced and entirely convincing. Details both broad and fine are confidently identified and contextualized throughout, and the minutiae of tone and texture is readily available as a result.

The soundstage the 3020c can create is large and properly organized, and there’s great stereo focus even when a recording is as packed with contributors as Fela Kuti’s. Switching to something on a much smaller scale – Anastasia Coope’s Woke Up and No Feet, for instance – allows the Q Acoustics to demonstrate how adept they are at opening up a recording and making each element available. That's even if, as with this recording, it’s lo-fi and lacking in separation in the first place.

The lower frequencies aren’t the meatiest you ever heard from a pair of speakers at this sort of money, it’s true, but there’s no arguing with how well controlled they are. There’s an almost martial observation of bass attack and decay, and the result is a spring-heeled approach to rhythmic expression that keeps momentum levels high and means music really drives along. If that’s the trade-off for a slight lack of outright punch and substance, it seems fair enough to me.

What’s just a touch less easy to accommodate is a slight lack of dynamic potency. It’s not as if the 3020c ignore changes in volume or intensity during the course of a recording, but they don’t breathe quite as deeply as some alternative designs when it comes to making these shifts completely obvious. They’re direct and attacking by default, and it seems this doesn’t leave them quite as much room for manoeuvre as is absolutely ideal. In isolation it’s a shortcoming that almost doesn’t register, but when you’re competing in an arena as fierce as these Q Acoustics are, even the mildest weaknesses get pounced upon.

• Sound quality score: 4.5/5

Q Acoustics 3020c review: Design

• 279 x 175 x 281mm (HxWxD)
• 5.5kg
• Choice of four finishes

The 3020c are not the first Q Acoustics loudspeakers to be longer than they are tall – but just because it’s a familiar design trope that’s based on sound engineering principles, that doesn’t make it seem anything less than slightly strange. It certainly rules out the possibility of positioning the 3020c on a regular shelf-sized shelf, and it means there will be significant overhang when positioned on a speaker stand with an ordinary top plate.

Where build and finish are concerned, we’re on equally familiar Q Acoustics ground, which is an uncomplicatedly good thing. The curved cabinet corners look good, the satin nickel driver trim gives a premium impression (as well as being a magnet for fingerprints) and the vinyl wrap covering the MDF cabinet is flawlessly applied. The outside is available in satin black, satin white or walnut as well as the oak of my review sample, while the inside features the point-to-point bracing the company has been perfecting for some time now.

There’s a final design flourish in the use of magnetically attached grilles. Not only do they cover slightly less than the entirety of the front baffle (leaving the casual ‘Q’ logo exposed), but they don’t require any visible fixings – the baffle looks unsullied when the grilles are removed.

• Design score: 4.5/5

Q Acoustics 3020c review: Setup and usability

• Position the speakers securely on a shelf or stand…
• Attach speaker cable using plugs or bare wire…
• ... And away you go

Just as with ‘features’, there’s really not a lot involved in the set-up or subsequent usability of passive loudspeakers. It’s really not rocket science, and it shouldn’t take long before you’re up and running.

So, you’ll need to position your speakers securely – they are supplied with little rubber feet in order to decouple them from the surface on which they stand. Ideally, you’ll be further from them than they are from each other when you’re listening, and ideally they’ll be ‘toed in’ just a little towards you. You’ll need to attach them to your amplifier using half-decent speaker cable.

After that, it’s just a question of putting some music on and letting them do their thing…

• Setup and usability score: 5/5

Q Acoustics 3020c review: Value

It’s hard to suggest the Q Acoustics 3020c don’t represent value for money. Even in terms of the amount of stuff your $499 / £399 / AUS$899 buys, they’re impressive – these are reasonably big cabinets by prevailing standards, build quality is impeccable and the standard of finish is top-tier, too.

And when it comes to sound quality, the 3020c – while being a quite specific flavor – have a whole stack of talents that will keep you listening long after you should have stopped and started doing something else.

It’s really only those listeners who want to be able to hear the low-frequency stuff from another room who might disagree.

• Value score: 4.5/5

Should you buy the Q Acoustics 3020c?

Buy them if...

Don't buy them if...

Q Acoustics 3020c review: Also consider

The Elac Debut 3.0 DB63 have a rather ungainly model name, but at around $470 / £369 per pair they’re cracking value for money. Not as visually sleek as the 3020c if you ask me, but they have the all-around sonic talent to really take the fight to the Q Acoustics.

How I tested the Q Acoustics 3020c

• Connected to a Naim Uniti Star and a Cambridge Audio EXA100
• Connected using QED XT speaker cable
• Playing a wide variety of music from a number of different sources

During my time with the 3020c the only amplification to hand was, to be absolutely honest, somewhat overspecified. But by the same token I know the way they sound pretty well, so was perfectly comfortable hooking the Q Acoustics to both the Cambridge Audio and the Naim devices using a QED speaker cable that falls just as readily into the ‘overkill’ category.

I listened to vinyl records, CDs and music streamed from Tidal in the course of the test – of all styles and types.

First reviewed: November 2024

Read more about how we test at TechRadar

Dali Rubikore 2: Two-minute review

A longstanding concept in hi-fi (and indeed many other product categories) is that of ‘trickle down.’ The idea is simple enough; technology and design ideas that first appear in the flagship products is gradually made available at more terrestrial levels as time goes on. It’s a very important dynamic because, while many people will move upward through a product range as time goes on, rather fewer of them will make it all the way to the top. Bringing flagship technology down to a level more people can access is very important – and many of the best stereo speakers we've tested have been able to do just that. 

The Dali Rubikore range is a physical manifestation of the trickle down concept, indeed the ideal is so important to the their existence it is reflected in the name. The replacement for the long running and highly regarded Rubikon series of speakers and some of the advancements are derived from the Kore (stylised to 'KORE') technology that first saw use in the Kore floorstander which is yours for a brisk $110,000 / £85,000. The resulting speakers have their name revised to reflect this and are now the Rubikore range of which the Rubikore 2 is the only standmount model. 

The Rubikore 2 pitches in at $4,000 or a little over £2,000; a key price point for standmount speakers and one which is contested by a very large number of companies. To stand out from the pack, the Dali will need to be very good indeed. The omens are good; The Kore technology is used to improve some already very capable drivers, the claimed measurements look excellent and the range has some up to date thinking in terms of multichannel as well as having some very attractive finishes. Does this on paper ability translate to real world greatness? 

Dali Rubikore 2 review: Price and release date

• Launched in May 2024
• £2,200/$4,000/$4,200 AUD

The Rubikore range debuted in May 2024 with the wraps being taken off at the High End Show in Munich. The range comprises a pair of floortanding models, the standmount seen here, an LCR (a speaker engineered to be both a centre speaker and also operate as a stereo pair) and an on wall speaker. This range spans from £1,200 for the Rubikore On Wall to £6,000 for the Epikore 8. This is a fair amount of money but rather less than what Dali is asking for the Kore. 

The Rubikore 2 is available in the UK for £2,200. It is $4,000 in the USA and $4,200 in Australia. This price does not include a stand and neither does Dali make a dedicated version for the Rubikore 2. In a large number of the stock images, you’ll see the Rubikore 2 sat on stout bits of furniture which will work up to a point but you should budget for a pair of stands to get the best from them. I used a hefty if cosmetically unspectacular Custom Design stands throughout for testing. One positive attribute is that all four finishes have the same price, with none commanding a price premium.

Dali Rubikore 2 review: Specs

Dali Rubikore 2 review: Features

• Kore Technology 
• Clarity Cone Midbass driver 
• Continuous flare bass port 
• Lightweight dome tweeter 

As a passive speaker, the Dali is not as sophisticated as powered and active designs but, given it’s a relatively small speaker made out of fairly well established materials, there is a surprising amount going on inside them. Dali has used the enormous amount of data gained the development of the Kore speaker to improve the Rubikore models. Obviously, there are many parts of a $110,000 speaker that don’t make it down to this level, but a number of ideas do.

This is most apparent in the drivers. The Rubikore 2 uses a 6.5inch (155mm) mid bass driver that employs technology that Dali refers to as Clarity Cone. The cone itself is made from Dali's preferred wood fiber; something that have been doing for a very long time but here you can see a pattern on the cone itself. This increases the stiffness of the cone as a whole and improves the breakup behaviour. Behind the driver, Dali's Soft Magnetic Compound is used as it reduces eddy currents and other unwanted effects, lowering distortion overall. 

This driver is helped by a rear firing bass port that employs a continuous flare along its length (that is to say it isn’t the same diameter along its length). This helps to keep the flow of air out of the port quieter as the diameter increases as the air accelerates allowing it to expand. This port helps the Rubikore 2 to reach down to 50Hz at a +/-3dB measurement – a usefully demanding way of measuring this.   

This mid bass driver is partnered with a soft dome tweeter that is built around the principles of reducing mass; a very desirable attribute in a high frequency driver. Traditionally, tweeters used a substance called ferrofluid to cool them but this adds mass and increases the response time. The Rubikore 2’s 1.2 inch (29mm) dome does without this to reduce the mass. The Rubikore 2 is the only member of the Rubikore family to not partner the dome tweeter with a ribbon device although given that the quoted upper frequency roll off is 26kHz (or, quite a bit higher than human hearing actually goes), this is unlikely to be a huge issue. 

The crossover for the two drivers hands over between them at 2.8kHz (relatively high by the standards of many rivals) and is quite unusual in 2024 terms because it supports biwring should you wish. Sensitivity is in keeping with most things at the price at 87dB/w but this is achieved at a slightly trickier 4 ohm impedance which means this isn’t a truly difficult speaker to drive but needs a little power to do its best work. The cabinet that houses everything is a relatively conventional type made of MDF sections; although something that is quite unusual is that both the front and rear panels have a gentle curve to them. The cabinets are extensively braced and substantial things though and the whole speaker feels usefully solid. 

• Features score: 4/5

Dali Rubikore 2 review: Sound quality

• Excellent bass 
• Tonally superb
• Some limits to soundstage and quiet running 
• Consistently good fun 

Placed on stands with absolutely no toe in applied (Dali is adamant that its speakers should point dead ahead), the Rubikore 2 doesn’t need vary long to start to impress. The first and most immediately noticeable aspect of the performance is the bass extension and the scale that goes with it. The Dali gives Ben Howard’s Every Kingdom a weight and authority that makes the performance utterly convincing. This album is not a bass monster but plucked bass notes and the sparse percussion it possesses are given a weight you feel as well as hear and the effect this has on the believability of the track is considerable. 

Tonally, the Rubikore 2 is a class act. Across standard challenges like voices, violins, cellos and pianos, it has managed to sound consistently right. This is not a showy or attention grabbing speaker. It doesn’t go in for the sort of emphasis on parts of the frequency response that is superficially impressive but that becomes wearying after a while. Instead it presents a frequency response that feels even and consistent and allows the music to generate its own emphasis. The astonishing Emily King track Forgiveness on her Scenery album is presented with King being the absolute focus of your attention. Everything else that should there is there but it’s subsumed by what the recording regards as the important part and the Dali following those instructions perfectly. 

Something else that is very welcome is that the when the quality of the material being played drops, the Dali still maintains a level of realism and overall quality that is extremely impressive. A blast through Greta van Fleet’s Anthem of a Peaceful Army delivers a healthy dose of the ‘I can’t believe it’s not Led Zeppelin’ sound without drawing too much attention to the limitations of the mastering as a whole. Instead the Rubikore does a fine job of making things sound usefully exciting and energetic, with a very pleasing level of get up and go to its overall performance. 

So far so good, but there are some areas where the Rubikore 2 is less effortlessly composed. It had the misfortune of following Tannoy’s odd but immensely talented Autograph Mini through testing and while it convincingly beats the Tannoy in terms of bass extension, it simply doesn’t create the same almost three dimensional soundstage of the material being played. Some of this is a bit of a puzzle because viewed objectively, the Dali isn’t doing anything wrong. The handover between the mid bass and tweeter is seamless and there is no real perception of congestion to the sound, even when very complex material is being played. Nevertheless, the Dali tends to produce a sound that sits between the two speakers rather than extends beyond it. 

There is also an element of the Dali's performance that might be a benefit or a negative depending on your listening situation. For what is a relatively compact device, the Rubikore 2 is capable of playing impressively loud and sounding effortless while it does so. Even rivals that boast a similar driver complement can struggle to match the way that the Dali handles the huge crescendo of Public Service Broadcasting’s Broadcasting House. Without sounding strained or pushing the limits of the cabinet, the Dali simply keeps hitting hard and sounding utterly composed while it does so. The caveat to this is that at lower levels, the Rubikore 2 sounds a bit on the safe side. If you don’t have the scope to open the taps every now and again, some of the abilities of the Dali will be less easy to enjoy. 

When you do give them a bit of level though, the Dali is consistently good fun. This isn’t simply fun in the ‘play fast music and nod your head’ ideal but an ability to get to the crux of the emotional content of the material being played. It’s the difference between listening to My Baby’s Tribulations and thinking, ‘that’s a nice song’ and sitting there rapt at one of the most stunning vocal arrangements I’ve had the pleasure of listening to.  

• Sound quality score: 4.5/5

Dali Rubikore 2 review: Design

• Four finish options 
• 350 x 195 x 335 mm
• 9.5kg each 

Dali is a Danish brand and while I’m not sure that some sort of official document exists to the effect that no Danish brand is allowed to make unattractive equipment, it does seem to be a rule they all work to. The Rubikore 2 is elegantly proportioned, with a pleasing ratio to the width and depth that is balanced by the size of the drivers contained within it. There are four finish options, including two wood veneers that have been chosen to complement both the proportions and the drivers very well. Even the white of the review samples; a finish I’m not traditionally enthused about, looks good against the contrast provided by various sections of the speakers. 

This effect is enhanced by just how well made and finished the Dali is. These aren’t cheap speakers but even so, the care that has gone into how they have been assembled and finished is impressive. About the only thing I can really say against them is that, where the vast majority of rivals use magnetic tabs for the grilles, the Dali still uses lugs. They’ve cleverly used screw fittings to hide some of the holes but there is still a visible one above the tweeter which looks a little unsightly. 

• Design score: 4.5/5

Dali Rubikore 2 review: Value

As noted a few times so far, $4,000 is not the sort of figure that most of us lose down the back of the couch, but it’s hard to argue with the feel or quality of the Rubikore 2 for this money. This is a brilliantly made and finished speaker that is built in Europe and comes with a five year warranty. It does a fine job of avoiding the nagging feeling of buyer’s remorse when you unbox them which is no bad thing. They will require decent quality equipment to partner them but not to the extent where they won’t improve an existing system of slightly less expensive electronics, so long as there is sufficient power to drive them. 

• Value score: 4.5/5

Should you buy the Dali Rubikore 2?

Buy them if...

Don't buy them if...

Dali Rubikore 2 review: Also consider

The curious but lovely Tannoy Autograph Mini is the same price as the Dali. The product under review here completely demolished it in terms of bass extension and scale, but the stereo image it can produce is something that the Dali cannot match. The Monitor Audio Studio 89 is slightly less money but comes laden with technology and striking looks as well as an ability to resolve fine detail that very little near the price gets anywhere near. Outside of speakers we have looked at, Bowers & Wilkins, Neat and PMC are all formidable contenders at this price point and will keep the Dali honest. 

How I tested the Dali Rubikore 2

The Dalis were placed on a pair of Custom Design stands and run in a system built around a Naim Supernait 3 integrated amp; a slightly more expensive device than the Dali but able to deliver plenty of power and show what the Rubikore 2 was doing at any given time. 

Source equipment took the form of an Eversolo DMP-A8 streamer. This formidable digital front end offers superb UPnP streaming but also has an HDMI ARC connection allowing an LG OLED to be connected and routed through the system to the Dali. I tend to use the Eversolo via the Roon software platform because I control most things through that and tend to prefer it. 

I also made use of not one but two turntables under testing. The first is a resident Rega Planar 10 using the company’s newly released Nd7 moving magnet cartridge. The second was the newly released Pro-Ject Debut Evo 2 for which the Dali acted as a test speaker. Both turntables used a Cyrus Classic Phono for the phono stage. Material used has been a variety of styles and genres via The test material has been FLAC, AIFF, Tidal, Qobuz and Spotify as well as some vinyl. 

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