AVReviews

This time, we had the opportunity to review a high-end floor-standing speaker from the Spanish boutique brand Kroma Atelier, part of their Classic series. So, what did we think of the Kroma Atelier Thaïs? Let’s find out.

Beyond our standard review, the Kroma Atelier Thaïs also inspired us to explore two additional topics: the disclosure of using components from third-party manufacturers and the importance of matching a speaker to the listening room size to maximize sound quality. These discussions are integrated into the review.

We would like to thank Raguan Audio, the official importer of Kroma Atelier in Israel, for providing us with these speakers for review.

Bottom Line

About Kroma Atelier

Kroma Atelier is a boutique high-end speaker manufacturer based in Granada, Spain. The company originally launched in 2016 under the name Kroma Audio but later underwent a change in ownership, rebranding as Kroma Atelier. The brand’s chief designer is Javier Millan.

Kroma Atelier maintains a strong connection to art, which is reflected in the names of its speakers, often inspired by opera and theater. On the company’s website, you can read about the characters behind each name.

The company’s lineup is divided into three series: the Classic series serves as the entry-level range, the Signature series sits above it, and finally, the Reference series is the flagship.

All Kroma Atelier speakers are handcrafted in Spain.

One of the defining features of Kroma Atelier speakers is the use of Krion, a material produced in Spain by the Porcelanosa Group. Krion is a mineral-based composite chosen for its non-conductive and non-magnetic properties. This material is commonly used in construction, including kitchen and bathroom tile production.

Kroma Atelier combines Krion with wood while avoiding metal components in their enclosures. This design choice is intended to preserve a rich, natural sound, drawing inspiration from the famous Spanish guitars.

Our first experience with Kroma Atelier speakers was at Munich High End 2023, where the brand showcased one of its higher-end models paired with VAC electronics.

Under Test: Kroma Atelier Thaïs

The Kroma Atelier Thaïs belongs to the company’s Classic series and is the smallest floor-standing speaker in their lineup, making it the most "accessible" model. The Thaïs is named after the opera of the same name, which is set in ancient Egypt and tells a story of religion and redemption.

Looking at the product page on Kroma Atelier’s website or the brochure included with the speakers, only a few technical details are provided. The company places a strong emphasis on the artistic aspect, but in my view, they take minimalism a bit too far when it comes to technical specifications. I firmly believe that speakers should be chosen with the ears and heart, not just based on raw data. However, the limited technical information leaves a bit too much to the imagination.

So, what details are provided? The speaker features an AMT (Air Motion Transformer) tweeter, which operates on an accordion-like principle, producing sound by compressing and expanding air. In addition, there are two identical 6.5-inch drivers made from a paper fiber composite. Other specifications include 90dB sensitivity, a nominal impedance of 4 ohms, and a frequency response of 30Hz – 25kHz.

The physical dimensions of the speaker are 100 cm in height, 23 cm in width, and 34.7 cm in depth. Since the speaker is mounted on a dedicated base, the depth measurement includes its footprint (I’ll expand on this in the design section). Each speaker weighs 33 kg.

On the rear panel of the Kroma Atelier Thaïs, you'll find a unique wooden bass reflex port and a single pair of binding posts for speaker connections.

So, what information is missing? The most fundamental detail is the speaker configuration—there is no mention of whether it is a 2-way, 2.5-way, or 3-way design, nor are the crossover points specified.

Another noticeable omission is a more detailed breakdown of the drivers and internal components, which brings us to the first discussion point of this review.

Discussion 1: Disclosure of Third-Party Components

Allow me to state, even without extensive research, that the overwhelming majority of speaker manufacturers use components made by other producers, whether it’s drivers, terminals, feet, crossover components, internal wiring, and more. This is true for both affordable speakers and high-end, luxury models. It’s easy to understand that manufacturing everything in-house is an economically impractical decision in today’s competitive market. This brings us to the central question of the discussion: Should companies disclose this information transparently, and if they don’t, what is the motivation behind it?

In my opinion, speaker manufacturers should make more of an effort to provide detailed information about their products and the parts/components they use, especially in the high-end segment. In this market, companies often choose premium and high-quality components, so why not take pride in that? For example, anyone familiar with the audio industry can easily identify that the two woofers in the Kroma Atelier Thaïs are Purifi drivers (a Danish company we discussed in our article: "PURIFI Eigentakt – Is This the Future of Amplifiers?"). These drivers are highly regarded, so why not take pride in using them? One possible explanation could be a concern that consumers might see these drivers in more affordable speakers and then perceive the Thaïs as less worthwhile.

The final performance of a speaker is determined by the sum of its parts, primarily the crossover, of course, the drivers, the enclosure, the wiring, the terminals, and the damping and isolation methods. Speakers with identical drivers can sound quite different from one another. Understanding this comes from experience and knowledge of the field. Since not all consumers have that experience, revealing such information might cause them to dismiss high-quality products based on poor judgment and incomplete information about the components that make up the speaker. Another possible reason for withholding this information could be a fear of copying by competitors. Ultimately, many companies seem to prefer not to dive into these details and instead offer more marketing-driven and "artistic" descriptions of their products.

As we mentioned earlier, Kroma Atelier is very much connected to the artistic aspect, and therefore prefers to emphasize this over being overly technical in describing their products.

Completing the Information

I wasn’t satisfied with the limited information on the website, so I sent some questions to the company via Guy Raguan. According to the information I received, the speaker is actually a 3-way design. The tweeter is from the German company Mundorf, as are the terminals. The rear tilt of the speaker is used to align the phase between the drivers. The bass reflex port is made of wood, which allows for a very low level of distortion and eliminates turbulence.

I also asked about the relatively high placement of the terminals, and this was done to shorten the distance between the terminals and the crossover circuit as much as possible. Additionally, the speakers come with IsoAcoustics feet. Specifically, the choice of feet is an investment that only a few companies make, as most opt for spikes alone. Therefore, Kroma Atelier deserves a lot of credit for this decision, which is why I find it unclear why they don’t mention it on their website.

Design and Build Quality

In terms of design, the Kroma Atelier Thaïs speakers feature an exceptionally clean aesthetic. At first glance, the minimalism of the design might seem to convey "simplicity," but it’s important not to confuse simplicity with outstanding elegance. The Krion material used for the speaker enclosure is beautiful, with a finish that has just the right amount of sheen, looking superb.

As a standard, Kroma Atelier speakers come in the company’s traditional white finish. From there, the consumer has a variety of options to customize and upgrade the design by selecting different finishes for the side panels and, ultimately, the front panel. The finish we received featured grey side panels, and after browsing the company’s website and viewing images of multiple possible finishes, I believe this is one of the most beautiful options available.

I’ve already mentioned the IsoAcoustics feet, and in addition to these, the speaker is mounted on a sort of platform, providing further separation from the floor.

The enclosure of the Kroma Atelier Thaïs is mounted on the platform in a way that gives the speaker a slight backward tilt, so it doesn’t stand perfectly upright. This decision is driven by acoustic reasons, as we’ve explained, but it also adds a striking and prominent design element.

Other design elements include the company logo at the bottom of the speaker, and the model name is engraved on the rear panel in an artistic and impressive font.

Regarding the rear panel, I’ll point out that the placement of the terminals is slightly higher than usual. This means it’s more challenging to conceal the speaker cables compared to a lower terminal placement.

The build quality is flawless, with the speaker being so smooth, and all the connectors are cleverly hidden, making it clear that the craftsmanship here is more akin to art than just functional speaker construction. To summarize the design aspect, the Kroma Atelier Thaïs are an example of how a high-end, smooth, and elegant design can be achieved without any unnecessary embellishments or excessive finishes. In my personal opinion, a speaker designed this way is timeless and not a passing trend.

The Listening Test

For the listening test of the Kroma Atelier Thaïs speakers, I used my personal system, which is based on the Nagra Classic Int integrated amplifier, the MSB Discrete DAC with two external power supplies, and the sources included the Nagra Streamer, Ayre CX-8 CD player, and the SME Model 12 MK2 turntable with a Phasemation PP-200 cartridge and Nagra VPS phono preamp. Most of the cabling was from the Nordost Blue Heaven series. As usual, full details about the system are provided at the end of the article.

On the day Guy Raguan has provided the speakers to me, after the initial setup, we listened together to a variety of tracks for about an hour. During that listening session, I learned a lot about the character of the speaker and what to focus on during the test. After Guy left, I continued listening for several more hours and then sat down for my first personal listening session. For this, I chose Heather Nova's new album Breath and Air, streamed from Tidal via Roon to the Nagra Streamer. From the listening session, I noted several key qualities of the Kroma Atelier Thaïs: impressive natural dynamics, a large three-dimensional soundstage, punchy and balanced bass, and more. The next day, I returned to a specific track from the album A Human Experience, which is the most electronic or ambient track on the album.

I played this track multiple times to examine how the speakers perform in various situations. Let's begin with speaker placement: the Thaïs have a rear bass reflex port, so placement relative to the rear wall is important. I didn’t feel the need for more space than usual, and my regular setup, which places the speakers about 60 cm from the rear wall, with just 30 cm behind my own speakers, provided excellent results without any excess bass. Another factor that proved to be very influential with the Kroma Atelier Thaïs was the toe-in angle of the speakers. Initially, I placed the speakers straight, without any inward rotation, which resulted in a wide, enveloping soundstage with a relaxed and pleasant presentation. When I rotated the speakers inward significantly, the difference in sound at the central listening position was very noticeable. The sound became more focused, it was easier to feel the depth layers, the vocal focus was much more precise, and the listening experience became more "immersive"—I felt much more involved with the music. My conclusion is that the sound can be significantly influenced by adjusting the toe-in angle of the Kroma Atelier Thaïs speakers, and it becomes a matter of personal preference—what kind of listening experience you prefer. I personally preferred the result with the toe-in, so I conducted the rest of the listening test with the speakers positioned this way.

Another aspect I tested with this track was the speakers' performance at different listening volumes. The Thaïs excelled at low listening volumes, a trait that’s always very important to me in stereo equipment. The Thaïs managed to preserve their dynamics, the large soundstage, and the enjoyment of listening even at lower volumes. At higher volumes, the speakers maintained a remarkable ease and lack of effort, and the only limitation was the size of my listening space, which couldn’t handle the amount of bass the Thaïs produced. By the way, in terms of amplifier effort, I didn’t need to even reach half the amplifier’s output to achieve a volume that was much higher than what I usually want to listen to, so the efficiency of the speakers definitely plays a role here, and they don’t need a lot of power to play at high volumes. My conclusion here is that if you like to listen at very high volumes, you need to make sure your space can handle the bass levels of the Kroma Atelier Thaïs.

Regarding the bass, it is characterized by impressive depth, power, and musical cleanliness, with an even and impressive distribution of bass across the soundstage. The placement of objects on the stage was also very precise. In the track, there’s a robotic voice effect that moves from side to side across the stage, and this was reproduced accurately.

In the next segment, I wanted to focus on the reproduction of vocals. The piece I chose is Grey Monday by Imany from the album The Shape of a Broken Heart. The track begins with a delicate piano, which is delivered with impressive clarity, and then the vocal of Imany enters. The vocal recording on this album is simply fantastic—the vocal is well-separated and feels much more forward in the soundstage, while the piano and other instruments remain in the background. There's an excellent level of detail in the vocal reproduction, with a precise, three-dimensional, and powerful delivery.

Next, I moved on to several tracks played from CD using the Ayre CX-8 player. First up was Crazy Situation Blues by Snowy White from the album The Situation. The drumming in this piece is conveyed in a soft and pleasant manner, and the bass spreads evenly across the soundstage. The separation, focus, and detail of the vocal are all at a high level. The delicacy and fragility of Snowy White's voice are reproduced accurately and naturally. The guitar sounds warm and soothing, lingering in the air just a bit, which gives the sound a Valves-like quality. The presentation is airy and natural.

Next, I moved on to rock and selected Donovan Ellington by Rosalie Cunningham from the album Two Piece Puzzle. The drums are punchy yet soft at the same time, the guitar is energetic and tight, and Rosalie's voice is positioned slightly to the right. There's excellent and natural separation of layers here, one that doesn’t feel exaggerated or artificial. In other words, each instrument has its place, but they are also wonderfully integrated together.

The next track I chose was Preacherman by Melody Gardot. Here, the Kroma Atelier Thaïs demonstrates excellent micro-dynamics during the quiet opening of the song, with every subtle change in volume coming through clearly. The bass is punchy with a high level of clarity. The vocals once again prove to be a standout feature of these speakers. Melody takes center stage, and the level of detail in her voice is nothing short of extraordinary. The brass instruments in the second half of the song feel rounded and natural, not sharp or artificial. The soundstage is vast, with multiple layers of depth. By the end, when the choir sings, you can feel their placement high in the soundstage, enveloping the listener from all directions. Listening to this track through the Thaïs was a powerful and dynamic experience.

The last CD I chose was Immersion by Canadian violinist Angèle Dubeau, from which I selected the piece Human. This track again showcases the dynamic range and the airy, three-dimensional soundstage of the Kroma Atelier Thaïs. Additionally, the violin's transmission is clear, detailed, and full of emotion. Once again, the separation of instruments feels very natural, not forced.

For the last two tracks of the test, I switched to vinyl, using the SME Model 12 MK2 turntable with the Phasemation PP-200 cartridge. The first track I chose was an electronic piece, Fool by SOHN from the album Tremors. It's a powerful and energetic track, and the effortless calmness with which the Thaïs deliver it is truly impressive. While the bass is powerful and deep, it also manages to sound soft and tight at the same time. The vocal is clean and well-separated with excellent focus. The soundstage is three-dimensional, and the music seems to burst through the speakers, making them virtually disappear, leaving only the music behind.

For the final track, I chose Remembering by Avishai Cohen from the 20th anniversary edition of his album At Home. This is a vinyl I purchased at Avishai's concert in Tel Aviv. I’ve heard this piece many times, though much less on this particular record. The Kroma Atelier Thaïs truly honor Avishai’s bass, which takes center stage. With every touch of Avishai on the instrument, you can feel the precise height of the contact with the bass. Additionally, the bass spreads beautifully across the entire soundstage. The piano sounds quick and light, and the drums, which I believe are played with brushes, sound accurate and delicate.

Discussion 2: Matching a Speaker to Room Size as a Means of Maximizing Sound Quality

I wouldn’t consider the Kroma Atelier Thaïs speakers to be particularly small, but they are certainly not very large either. Their 6.5-inch woofers are fairly standard in size. However, as I’ve noted, these speakers easily filled my living room without any effort whatsoever, which leads me to conclude that they can perform excellently in larger spaces as well. This brings us to the second point of discussion in this article: what size speaker should you choose in order to get the best value for your money?

The variety of speakers available on the market is vast, and sometimes at the same price, you can purchase larger speakers with bigger woofers, or much smaller speakers, even bookshelf models. So, would it be better to simply buy the largest speaker that fits your budget? Well, larger speakers certainly have advantages, typically producing a bigger sound with more power and bass. But are these the factors that determine high sound quality? Not necessarily.

If we are talking about speakers from the same line, and one of them is larger, it is likely to retain the same sound quality and character while offering more power. However, if the speakers come from completely different manufacturers, the larger one may not necessarily be the higher quality. In fact, there is a good chance that if the price is the same, the smaller speaker might use higher-quality materials and could have the potential for better sound quality. Price isn’t a guarantee of quality, but in many cases, it does serve as a legitimate indicator.

It’s true that some companies invest in design, or manufacture in more expensive countries, which increases the price without necessarily affecting the sound. Still, in most cases, a price difference will point to a qualitative gap between the products.

Another question that arises in this context is whether a speaker can be too large for a room. The answer here is a clear yes, in my opinion. Larger speakers often require more space from the walls, and certainly, at higher volumes, they can produce sound that is too overwhelming for the space. That said, if the speaker is of high quality and delivers clean, balanced sound, it can still provide excellent results in a smaller room at reasonable volumes.

Combining both points, the general rule of thumb I would propose for maximizing sound quality per dollar is to purchase the smallest speaker that can fill your listening room and stays within your budget.

In the case of the Kroma Atelier Thaïs, we’re talking about speakers that are not very large but easily fill the space of an average Israeli living room. While you could purchase much larger speakers from other manufacturers for the same price, it’s not at all certain that those larger speakers would outperform the sound quality of the Thaïs.

Summary

The Kroma Atelier Thaïs speakers turned out to be a big surprise. It started with their elegant design, continued with the meticulous build quality, including the IsoAcoustics feet and base. Of course, the main metric by which the Thaïs were evaluated was sound quality, and here they delivered a natural presentation, with a three-dimensional soundstage, high detail level, and powerful, punchy, and clean bass. These qualities led to high and balanced performance across all musical genres.

Price: 20,000€ (אירו)
Warranty: 1 year
Importer: Raguan Audio

The system I used for the review: 
DAC: MSB Technology Discrete DAC with dual power supplies
Integrated Amplifier: Nagra Classic Int
CD player (in transport mode): Ayre CX-8
Turntable: SME Model 12 MK2
Cartridge: Phasemation PP-200
Phono Pre-amp: Nagra VPS
Streamer: Nagra Streamer

Cables: 
XLR cable between the DAC and Amp: Nordost Blue Heaven
AES/EBU cable between the CD and DAC: Shunyata Research Alpha V2
RCA cable between the turntable and the phono : + Nordost Blue Heaven Tonearm Cable 
RCA cable between the phono and the amp: Nordost Blue Heaven
Coaxial cable between the streamer and DAC: Nordost Blue Heaven
Speaker cables: Nordost Blue Heaven

Power:
Power cables for the Streamer, amplifier, CD and DAC : Nordost Blue Heaven
Power Distribution Block : QBASE QB8 Mark II (to it the Streamer, amplifier, DAC and CD player were connected)
Power cable for the distribution block: Nordost Red Dawn