LFSys Monaco and Silverstone II FRFR Bass Cabinets

In The Spotlight

The F1 series Monaco was originally sent over as the primary review unit. During the same period, LFSys called me and offered the Silverstone II from the Blueline series for review, too. I felt this was an opportunity not to be missed, as it would allow both cabinets to be evaluated in the same space, using the same instruments and amplification. Ultimately, my reviews are to assist you in evaluating your next impending purchase; having both the top-tier F1 Series and more cost aware Blueline series in together would mean you’d be able to better understand their similarities and differences.

Design Philosophy

LFSys state that their cabinet designs prioritise controlled low-frequency behaviour, efficiency, and predictable performance at practical stage volumes. Rather than pursuing extreme bandwidth figures or minimum possible weight, the emphasis is on system balance: driver choice, enclosure design, porting, and crossover are treated as a single, integrated system. LFSys also note that their cabinets are intended to behave consistently across different rooms, with particular attention paid to controlling low-frequency bloom and uneven bass response – issues commonly encountered when ported cabinets are pushed hard in small or acoustically challenging venues.

These are not radical claims, but they provide a useful framework against which to assess how the cabinets perform in practice.

Construction and Hardware

 Monaco

The Monaco is a vertically oriented 1×12 cabinet measuring 61 × 39 × 32 cm and weighing 14 kg. While not ultra-lightweight by modern standards, it remains easily manageable and clearly prioritises the benefits of well-designed structure over minimum mass.

The enclosure is constructed from high-quality Italian 9-ply poplar plywood, CNC-cut by an external specialist company and assembled with extensive internal bracing. LFSys describe a three-dimensional internal bracing structure designed to interlock cabinet panels and reduce panel excitation. In use, there was no audible cabinet resonance, even at higher playback levels, and little sense of the enclosure contributing unwanted coloration. The cabinet is internally lined to reduce standing waves and internal reflections, which no doubt helps, here.

Hardware fit and finish are utilitarian and robust, rather than decorative. I mean that positively; there’s a sense that this cabinet wants to be out on stage, on the road, in the thick of it, rather than adorning an online influencer’s pretty bedroom. Hard plastic interlocking corners make stacking cabinets a solid option, and the rolled-on industrial protective paint offers up a rugged road-ready, but still very tidy look.

These cabinets have just one top-mounted handle, but given the weight (or lack thereof) and predictable balance, carrying them out to the tour van is a one-handed affair. For those who can’t help but let out a sigh when bending down to their toes, the additional height of the cabinet to ensure the tweeter is higher up, also means that that’s one less squeak to hear…

Electrical Technical

Behind an unforgiving steel kick grille, the Monaco houses a premium 600W (AES) 12-inch Faital Pro neodymium woofer with a 3-inch voice coil, paired with a Celestion neodymium high-frequency compression driver mounted to a vertically oriented constant-directivity waveguide. LFSys note that the horn can be rotated if required, allowing flexibility depending on cabinet orientation. However, as I explain in my video review, there’s method to the choice, here. A horizontal waveguide is usually seen on PA cabinets to help spread high frequency audio information widely across the audience space evenly. For an FRFR solution that is likely to sit behind you on stage, wouldn’t it be more sensible to spread that information vertically up towards your ears first and foremost?

Signal distribution is handled by a custom in-house passive crossover, crossing at 1.7 kHz. LFSys explicitly avoid off-the-shelf crossover solutions, citing consistency and reliability as key reasons for designing their own networks – and this one is a beast, weighing in at the best part of 1 Kg!

Both cabinets employ what LFSys describe as an Extended Bass Shelf (EBS) alignment, including a front port to provide controlled low-frequency support without excessive port resonance and, by design helps to reduce unwanted “farting out” when a speaker is pushed beyond its low frequency abilities and/or excursion. The gentle roll-off of response works well for bassist’s cabinets that are invariably pushed up against walls or corners, but continues deep into the low bass range for 5 stringers.

I’d note at this point that I also had a 10” driver version of the Monaco, the Monza, over for a short testing period and found it extraordinary how it maintained composure at high LF SPL, too.

Connection to the cabinets is by my recommended Speakon® locking sockets. There are a pair to enable daisy chaining multiple cabinets. There is no tweeter level control or switch. As an FRFR solution, I’d imagine a lot of time has gone in to evolving and perfecting the system response from the low frequencies to the high. Thus, in my mind, leaving it “flat” takes out any unwanted guess work further up the signal path when creating sounds.

Silverstone II

The Silverstone II follows the same overall design approach and shares the same external dimensions as the Monaco, but weighs in at just 12 kg and uses a lower-power 12-inch long-coil professional Celestion bass driver rated at 400 W AES, instead.

Construction quality mirrors the Monaco closely. Materials, internal bracing, and overall build execution suggest a consistent approach across the range rather than a flagship-only standard. However, the Silverstone II forms part of the Blueline series, positioned as a more budget accessible option within the LFSys lineup, while retaining core design principles.

The same Celestion high-frequency driver, waveguide configuration, and a custom in-house crossover topology are employed, the latter being designed specifically for the alternative driver in the cabinet. Silverstone II, like its Blueline series stable mate, the Goodwood features a rather fetching blue painted baffle! Very tasty!

Sound and Performance

Monaco

The first impression of the Monaco is certainly positive. I spend a huge amount of time in my studio between two large form factor studio monitors, often surgically editing audio, so I am both the “best” and the “worst” person to scrutinise audio equipment!

The Monaco delivers a very balanced, broad audio experience that isn’t hyped. You’d be forgiven for thinking I’m sounding less enthusiastic, as it’s not the kind of cabinet to slam you with booming lows and accentuating upper mids sculpted with mix ready cut-through, but I am excited, as it does translate a mix-ready signal sent to it without applying its own personality. Which, not surprisingly, is exactly what we’d like to hear from… oh wait… FRFR!!

Low-frequency response is supporting and remains composed as volume increases. LFSys state that the cabinet is designed to avoid exaggerated port tuning, and in practice this translated to a low end that I would describe as punchy rather than over-dominant. Hi-Fi buffs would probably describe this as “tight.”

What stood out was the evenness of response through the mid to lower treble region – an area where many bass cabinets either congest or thin out. The Monaco remained even and articulate, allowing the character of different instruments to come through clearly. My old P-bass, having recently enjoyed its 50th birthday, sounded lush!

Transient response felt immediate without sounding compressed. Fingerstyle passages retained clarity and definition, while pick attack remained articulate without becoming brittle. Importantly, I noticed the cabinet did not encourage excessive corrective EQ; there were no obvious hotspots or missing frequency regions demanding compensation (taking into consideration the space I was testing in).

Silverstone II

Switching to the Silverstone II revealed a subtly different presentation. I played a number of different musical excerpts on bass, switching back and forth for you to hear and compare. I thought the low end felt present still, with a subtle shift in the midrange. This was not a deficiency by the way (remember these are still top-tier drivers on board), but rather a slight recess toward what I might describe as a more Hi-Fi sounding balance.

Should you be using mid-present amplification, then Silverstone II could pair well with that to balance things out a little. I impress again that the differences are really rather small and far removed from, say, comparing an Eden® 410 XLT to an Aguilar® DB112!

Certainly, for their relative size,  neither cabinet sounded thin or lacking in delivery, the clarity of the compression driver’s output was a delight in both cases where new strings sounded rich and effects like shimmer reverb really shone. I am a fan of a high-quality tweeter configuration, and where many brands fall short and are harsh, ringy, poorly crossed over and put me off to the point of turning them down. No such issues, here!

Comparative Observations

Heard back-to-back, the Monaco and Silverstone II are very similar, which is good news for those wanting to access the LFSys family on a tighter budget in the shape of the latter. Given the option, personally, the Monaco delivers a star quality and (to my ear) a more even presentation across the board that makes the extra purchase funds worth it. That’s when you take into consideration LFSys is a one-man operation without the benefits of a Far Eastern mass-production factory complex.

Crucially, as I mentioned earlier, neither cabinet relies on exaggerated voicing to make an impression. Both appear designed to reproduce the input signal honestly and consistently as much as possible. Both cabinets voicing appeared to favour clarity and immediacy, making them well suited to articulated playing styles, yet, using driven sounds, effects and impulse responses from DSP, rewarded with PA-like expectations.

Rounding Up

LFSys are not attempting to reinvent bass cabinet design. Instead, the Monaco and Silverstone II reflect a measured application of established loudspeaker principles, informed by pro-audio experience, rather than marketing trends. This results in a favourable solution that bridges a number of use cases (not limited to bass guitar by the way – keyboards, vocals, acoustic guitar and PA needs are all amply serviced) and in that manages to encompass a wider range of bass playing needs.

The Monaco impressed with its controlled authority, even response, and clarity. The Silverstone II, while positioned as a more affordable option, proved equally well-considered and musically useful.

Overall, both cabinets represent very high-quality audio, up there schmoozing with the best on-stage FRFR has to offer.