DALI OPTICON 6 MKII Review
Here we have the DALI OPTICON 6 MKII, a loudspeaker celebrated for its remarkable fusion of rich detail and sonic fluidity. True to its Danish heritage, the OPTICON 6 is meticulously assembled at DALI's own facility in Denmark, utilizing components either developed entirely in-house or sourced from the finest local suppliers.
The speaker employs a unique 2.5 + 0.5-way crossover topology. High frequencies are handled by DALI's signature hybrid tweeter module, which integrates a 29mm soft dome tweeter with a custom 17x45mm ribbon element. Both are mounted on a solid cast-aluminum faceplate, a design that offers the best of both worlds. This approach is engineered to deliver the clarity, speed, and dynamic punch of the dome, while simultaneously harnessing the extended detail and ethereal airiness that the ribbon provides.
Handling the midrange and low frequencies are two 6.5-inch wood fibre drivers, a signature of DALI's design philosophy. These are housed in a robust cabinet built upon a 25mm thick front baffle and reinforced with substantial internal bracing. The key specifications are as follows:
Frequency Response: 49 Hz – 30 kHz
Sensitivity: 88 dB
Nominal Impedance: 4 ohms
Maximum SPL: 110 dB
Crossover Frequencies: 800 Hz, 2,200 Hz, and 14,000 Hz
Recommended Amplifier Power: 25 – 200 watts The OPTICON 6 MKII retails for $3,500 per pair, or $1,750 each.
To build a cohesive home cinema, the series includes the OPTICON VOKAL MKII, the matching center channel. This is a 2.5-way, front-ported design featuring the exact same hybrid tweeter module paired with a single 6.5-inch wood fibre driver. It has a frequency response of 47 Hz to 30 kHz, a sensitivity of 88 dB, and a 4-ohm nominal impedance. With recommended power from 30 to 150 watts, it can reach a maximum SPL of 109 dB. The VOKAL MKII is priced at $1,400 each.
For versatile on-wall applications (Left, Center, or Right), there is the OPTICON LCR MKII. This slim, sealed-box model also employs a 2.5-way configuration with the signature hybrid tweeter and a single 6.5-inch wood fibre driver. Its frequency response is 70 Hz to 30 kHz with a higher sensitivity of 89 dB. Recommended amplifier power is 30 to 150 watts, nominal impedance is 4 ohms, and maximum SPL is 109 dB. Crossover points are listed at 2,800, 8,000, and 14,000 Hz. The LCR MKII retails for $1,300 each.
All the aforementioned speakers are available in three elegant finishes: Black Ash, Satin White, and Tobacco Oak.
Finally, to handle the lowest octaves, the system can be anchored by the SUB E-12 F. This is a sealed-box subwoofer featuring a 12-inch aluminum woofer. It has a frequency range of 28 to 190 Hz, a maximum SPL of 112 dB, and a variable crossover from 40 to 120 Hz. The integrated amplifier delivers 170 watts of continuous power (220 watts RMS). Connectivity includes both stereo line-level (RCA) and dedicated LFE inputs. Available in black or white, the SUB E-12 F retails for $1,600.
The review samples I received came in the Satin White finish. While I am typically partial to white loudspeakers, I must caution that this particular finish proved to be exceptionally delicate. It seemed susceptible to marking from even the slightest interaction; sliding the speakers could leave a scuff, as could resting them on or near a dark surface. Even a simple touch could result in a smudge.
Unsurprisingly, they are highly vulnerable to the curious hands of children. I was diligent in my attempts to keep them clean, but it felt like a losing battle. Inevitably, new marks would appear, and I found they required constant attention to maintain their pristine appearance.
The front baffle presents as more of an off-white, which stands in slight contrast to the rest of the cabinet’s finish—a result of the different base materials. In person, the aesthetic interplay between the driver surrounds and the white cabinet isn't quite as harmonious as it appears in photographs. The overall look struck me as, for lack of a better word, a little plain, and not quite the striking design statement I expected from DALI.
Consequently, I found that I actually preferred their appearance with the grilles on. The grilles themselves are finished in a pleasant, grey fabric with a soft, textured pattern, and they fit securely into mounting holes that surround the drivers.
As for the subwoofer, it is a surprisingly compact unit. Its physical footprint is so similar to that of the Martin Logan Dynamo 10 that I initially mistook it for a 10-inch model.
Of course. Here is the translated section describing the setup and associated equipment.
As with all speakers that come in for review, I positioned the OPTICON 6 MKIIs on either side of my media console, spaced about eight feet apart and pulled roughly one foot out from the front wall. The center channel is rather tall, causing it to slightly obstruct the very bottom of my television screen. This isn't a significant issue when watching content in a widescreen, letterbox format, as the speaker sits just below the image, and I don’t mind it much. I decided against propping my TV up on books again, so I’m simply living with it.
For my space, the OPTICON LCR MKII speakers were the real highlight. Living in a small apartment, I am constantly searching for slim, unobtrusive rear surround speakers. I ended up building my own speaker shelf to sit behind my sofa—a project I'm quite proud of, especially since I'm not the handiest person. The LCRs fit perfectly atop the shelf, angled slightly in towards the listening position. The subwoofer was placed next to a floor-to-ceiling window on my left—a position that typically reinforces bass in my room—though I also tested it on the right side where it still delivered ample impact.
All the speakers were connected to a Marantz Cinema 70s. For two-channel listening, the front pre-outs were fed to either a Cambridge Audio AXR100 or a Marantz Model 50 integrated amplifier. My sources included an Apple TV 4K and a Cambridge Audio CXN V2 streamer. However, I also relied heavily on the HEOS app built into the Marantz, as my CXN V2 has been acting up recently. For some reason, its Wi-Fi reception has become noticeably weaker than it was a week ago, and I haven’t yet figured out why.
Let’s start with how the system handled TV and streaming content. I binge-watched the series Zero Day (the one with Robert De Niro). For the record, the show was absolutely dreadful. During the second episode, in a moment where nothing much seemed to be happening on screen, the subwoofer suddenly roared to life in the mix. I had initially set the crossover to 80 Hz and the sub’s volume to about 20%, but I had to dial it back to 12% because the output was just overwhelming. Ultimately, I moved the subwoofer from that high-gain corner to the spot on my right, a position that tamed the deepest bass frequencies and ensured I wouldn't antagonize my neighbors.
I also used the DALI system to watch the first night of WrestleMania 41 live. A broadcast like this sounded absolutely monumental. Live sporting events—especially an extravaganza like WrestleMania with its constant music, wrestler entrances, and roaring crowds—sounded fantastic. However, I did notice something strange: the commentators' voices were incredibly forward in the mix, forcing me to turn down the center channel's level.
I later confirmed this was no fault of the speakers. While watching Night 2 on my Q Acoustics 5040 system, it was clear that the commentary track was simply mixed way too hot—turned up to 11, as they say. So, that was purely an issue with the broadcast's mix, not a reflection on the DALI system.
Switching to my purchased copy of Spider-Man: Into the Spider-Verse from Apple, the system truly came alive. The surround field felt perpetually active, as the film’s score makes heavy use of all channels. To my ears, the Cambridge AXR100 complemented the OPTICON 6s well, giving them more... "gravitas," I suppose. When I switched to the Marantz Model 50 for the same film, the sound became warmer, but lost some of its tightness and control. This really comes down to personal preference—I actually favor the warmer presentation of the Marantz, but if you value a clean, taut delivery, the Cambridge is equally superb.
With the surround field being so consistently engaged and all speakers working continuously, it was a great test for dialogue clarity. The center channel was truly excellent, delivering dialogue with an effortless clarity. This might be partly due to the film's outstanding mix, but I had absolutely no trouble discerning the dialogue. And the performance from those surround speakers was simply incredible—a huge amount of sonic information was being directed at me. Having proper rear speakers behind me (instead of to my sides) for a change made everything far more immersive. They have a considerable output, creating a minimalist yet deeply immersive 5.1 channel system.
Switching over to music, I cued up a variety of 80s new wave. A friend on Facebook had posted an image with a list of about 10 songs, presumably as a throwback to the days of the Toronto radio station CFNY. Now, if you're not from Toronto or under the age of 40, this reference might mean nothing to you. But CFNY was the station everyone listened to, and it played a ton of great music before it was bought out and became a lesser version of itself. The playlist had some fantastic tracks that I had to revisit, as I was just a little kid when most of them were released. The ones that stood out to me were tracks 1, 2, 4, 6, and 8, but all the songs offered a very different style.
A brief aside: what truly struck me is that I have become so accustomed to modern, subwoofer-dependent drum and bass that when I put on that 80s new wave playlist, the complete absence of deep bass felt like an entirely different listening experience. It was an interesting way to begin this evaluation. A song like The Pukka Orchestra's "Might As Well Be On Mars"—how well does it hold up? Perhaps I'm just steeped in nostalgia, but I have such fond memories of hearing it on a beat-up home stereo or in the car. It sounded substantial and spacious with astonishing imaging; I could have listened to that track on loop for hours.
Next, I turned to a couple of tracks from Halogenix's new album, Passions. The first, "Keeping You Close," has a gentle, ambient quality. What immediately stood out was how open everything sounded, and the track’s softer nature was utterly pleasing to the ear. It had a genuinely full-bodied presentation on these speakers. Unfortunately, my Cambridge CXN V2 has decided to give up the ghost; it no longer connects to Wi-Fi, making it a pain to use. I’ve tried factory resets and various other fixes, but it simply won’t stream music reliably anymore. I was forced to resort to the HEOS app built into the Marantz Cinema 70s. Initially, I was a bit disappointed, but then I switched the Marantz to its Pure Direct mode, and suddenly, the sound became much fuller, sounding remarkably similar to my CXN V2. So, for now, HEOS is my go-to, and it’s been a smooth experience—one less component to worry about.
Playing the album’s title track, "Passions," which features a massive bass hit on the first note of every bar, was absolutely sensational on this system. I had been apprehensive about playing so much drum and bass on the OPTICON 6s because of that hybrid tweeter. I’m quite sensitive to treble and worried it might be a bit too sharp or bright for my ears. But DALI’s marketing materials describe this as a "smooth" sounding speaker, and they are right. Despite the immense air and clarity in the top end, it is never harsh and didn't fatigue my ears in the slightest. Even with the Cambridge AXR100, which has no tone controls and can sound a bit bright with other speakers, the synergy was perfect. The detail, air, and sonic weight were all there. The Cambridge became my preferred amplifier for the OPTICON 6s; they were a fantastic match.
Now, I probably shouldn’t admit this, but I had so much fun that I have to tell you. My apologies to the audiophile community and to DALI, but my apartment is running out of space, and I have a lot of gear. To clear some floor space—and because I have several subwoofers on hand—I decided to stack my Martin Logan Dynamo 10 on top of the DALI SUB E-12 F on the right side of my room. Since I run a full-range signal from the Marantz Cinema 70s to the AXR100 for all my music listening, I was able to connect the subwoofers to the Cambridge’s speaker terminals for a true full-range experience. And when I played music, especially drum and bass, the result was earth-shattering. A track like "Dropping Two Left Feet" by Leaf & Hexa, with its sharp drums, distorted bass, and immense low-frequency impact, sounded absolutely colossal.
I think I’m a convert to stacked subwoofers now. I’ve always been intrigued when I’ve seen pictures of stacked subs (I’m a bass-head, after all), but now that I’ve tried it myself, the effect is phenomenal. The sense of pressurization in the room, particularly with music, is so much more intense. If I can get away with it, this will be my setup from now on.
The same held true for "Skaraph" by Heist and "Replicant" by Benny L—the latter sounding like a remix of the Blade Runner 2049 score. The impact was visceral. My neighbors must despise me, but my god, what a sound! I know it’s the furthest thing from an "audiophile" practice, but I don’t care. If you have multiple subwoofers, you have to try stacking them. It’s a revelation.
In conclusion, this DALI system is genuinely fantastic. This was my first extended experience with DALI speakers, and having a complete 5.1 setup in my home was a wonderful introduction. Sonically, I can find no fault with them. They excel with both music and movies, delivering rich detail, a superb midrange, and powerful bass. My only reservation is with the white finish; if you are considering it, make sure you are more meticulous than I am, because it is prone to marking. In my case, I would probably opt for the Black Ash or Tobacco Oak finish, but that may just be a reflection of my own clumsiness.
As for the LCR speakers, I am a huge fan. For small spaces, I believe using slim, on-wall speakers like these for rear surrounds is an excellent solution. They provide an immersive experience without being visually intrusive or taking up valuable floor space. They are a brilliant addition to this system. If you get the chance to audition a DALI OPTICON MKII system, you are in for a real treat.
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