One of our latest acquisitions, has been the 鹿港音響 LuKang Audio brand which recently debuted its last monitor, the Spoey 155. An excellent British sound coming from the Taiwanese land of Taipei. Very soon, we will invite you to come and listen to them as they leave no one indifferent.
 
A pair of 2-way, high-end speakers all the way from Taiwan, Paul Rigby gives the Lu Kang SP155 baby designs a twirl
I like the idea of Lu Kang. This is a family business run out of Taiwan that’s been around for nearly 40 years, run by a father and son team, Frank and Rox Shih. They offer three designs, the stand-mounted SP155 speakers that I’m looking at here are the smallest and cheapest of the three.
 
Review from The Audiophile man
https://theaudiophileman.com/sp155-speakers-review-lu-kang/
Spanning 340 x 232 x 310mm and weighing in at 11kg each, the SP155 speakers arrive with real wood finishes of cherry, black walnut and your basic walnut. Other colours can be created as a special order.
SOUND QUALITY
I began with CD and the superb – hang on let me start that again – the completely stunning 1989 album from Ryuichi Sakamoto called Beauty (packed with a host of star talent it is too) from Virgin America. The CD itself is pretty darned quiet in mastering terms with all levels set to low. For example, I need to pump up the gain on this one a full 10 clicks to reach the comparable volumes of older CD releases. 
 
I chose a track called Asadoya, a deceptively slight yet uplifting song that sounds almost Japanese folk in its presentation but a complex arrangement sneaks into the back door. Arto Lindsay and Youssou N’Dour guest. 
The piece includes tablas, keyboards, a string section, guitars (some played in Spanish fashion), a vocal chorus plus a host of secondary percussion including wooden blocks and the like. It’s a gentle, quite romantic song that is full of delicacies.
 
Playing this song on these speakers was, I have to say, a fascinating experience. Before this song really begins, there’s an almost spooky introduction, featuring foreboding, reverb-laden piano, reverberating strings and delicate secondary percussion. Thirty to 40 seconds or so of that. 
This portion, in itself, offered a wide array of detail. Everything I looked for was there in terms of basic information and clarity. The wooden block had a crisp strike, the other percussion was focused and precise, the piano was dark and moody while the bank of early strings shimmered well for a speaker of this price point. 
 
The highlight was the bass which enveloped the soundstage without dominating it and wholly belied the size of these speaker cabinets providing excellent tonal balance.
I was taken aback at the weight from this frequency. At this stage of the game, the bass isn’t supposed to do much yet here it acts like a couple of body guards might do in a gangster movies from the 30s. The bass stands there, sounding threatening and offers heaps of weight and portent. Here, the bass has a square jaw and needs a shave. You don’t want to mess with it.
 
Then the banjo kicks in and the mood lightens. The sun rises and the song is suddenly joyous. The soundstage then changes. It opens up. And it doesn’t stop opening up. For a long, long time. The Lu Kings ran with every moment as it transformed from 2D into 3D. 
At the beginning of the song that heavy bass sat in the 3D space and so lacked a point of direction. When the banjo kicked in, this bass space was suddenly filled with all kinds of percussion and voices and stringed instruments which gave the 3D space life and energy and multiple directions for the ear to point at which gave the 3D space walls and structure. 
Rear bass port
It was a neat trick from this song but the LSP155 speakers tracked the change incredibly well. They were right there with the original recording engineer. Any little tweak the guy fancied doing on that recording desk. A slider push here? A slider pull there? These speakers really did keep up. 
 
The SP155 speakers don’t lie to you. They tell you there’s an issue here but they don’t punish you for daring to listen to the music. If you persist in raising the gain then sure, these speakers will still hurt your ears because of this relatively harsh rendering but again, the Lu Kang’s are just truth telling here. So yes, there’s an edge of brightness along the upper mids and treble but these speakers produce so much air and space around the cavernous soundstage that the effect is diluted and actually made easier to bear. Listening fatigue is effectively reduced. 
 
You can easily discern the upper-mid problem but the effect doesn’t want to obliterate your ears. In fact, this music is made all the more attractive because of how the Lu Kang’s translate the grooves. 
I’ve rarely heard this music sound better, in fact. Especially at this price point. 
CONCLUSION
Sometimes, hi-fi pricing can feel arbitrary, even though it really isn’t. Sometimes, you wonder what you’ve spent all of your hard-earned on. Value for money or the lack of it can make you feel a little aggrieved. 
Not here. Listening to the Lu Kang SP155 speakers, I know where the cash has gone and why. I can hear every penny working for me too. For example, there’s so much space in that soundstage, I’m planning to take my holidays there, during the Summer, the detail is impressive, realism is quite striking and frequency discipline is absolute but its the naturalistic manner of the performance that gets me here. 
It takes a lot to surprise me in hifi terms but the Lu Kang speakers have done that. So I don’t just raise two thumbs for this design but my eyebrows too.