The $379 Klipsch ProMedia Lumina computer speakers comprise a 2.1-channel system that keeps its size in check while providing a bevy of connection options, including analog, Bluetooth, and USB-C. They have a desktop-friendly footprint and integrated RGB lighting. But a poor choice in cabling, gaps in the frequency response, only basic Bluetooth codec support, and some other design quirks make them less appealing. For less money, the $349.99 Edifier MR5 make much more sense for your home office, and if you can spend more, the $499.99 Fluance Ri71 are our Editors' Choice for desktop speakers thanks to their pleasing, well-rounded sound and advanced connections.

Design: Perhaps Not So Pro

(Credit: Mark Knapp)

Although the look has changed, the Klipsch ProMedia Lumina's setup harkens back to the Klipsch ProMedia 2.1 system from 15 years ago. The system combines a main subwoofer with wired satellite speakers mounted on their own angle-adjusting stands. The look is certainly more refined than the older one.

The subwoofer is a slim unit with a cabinet measuring 14 by 6 by 13.87 inches (HWD) and weighing 11 pounds. It fits a 6.5-inch driver and is ported. The two satellite speakers are made of plastic and feature a classy woodgrain exterior. They proudly display 3-inch midrange drivers and 1-inch mylar tweeters, which are built into a special horn waveguide. The satellites don’t take up a lot of desk space at 4 by 6.5 by 9.75 inches, and they weigh an impressively low 2.1 pounds apiece.

(Credit: Mark Knapp)

Little stands let the satellites tilt back a few degrees to better aim their sound at your ears. The “Lumina” in the name comes from the RGB lighting each satellite includes on the rear. The lights glow diffusely behind a small rectangular panel.

(Credit: Mark Knapp)

Unfortunately, in the name of delivering sound and lighting to the satellites, Klipsch made some regrettable wiring choices. The satellites link back to the subwoofer with thick cables that terminate in VGA-like connectors. The connectors are channel-specific, so there’s no swapping left and right sides. And they are built into the back of the speakers, so there’s no easy replacement should they get damaged. Two integrated clips can help direct them up the back of the subwoofer, but they then flank the USB-C input, 3.5mm input, and volume dial on the back of the sub enclosure.

On that note, the subwoofer volume dial is unfortunate: It works digitally, without set endpoints to indicate what you’ve set, and it’s hard to reach when you want to make adjustments. Analog controls with defined start and end points are universally better.

(Credit: Mark Knapp)

The right satellite speaker houses some other controls. On top, it has two volume buttons and a lighting switch. On the rear, there's a button that cycles through input sources, as well as a headphone jack that passes through stereo sound. The source switch button is a little awkward to use, as it requires a firm-enough press that the speaker slides around. You may need a second hand to brace the speaker while you press. An indicator light on the front of the right speaker shows the current audio source. The left speaker has a USB-C port that provides 10W charging but doesn’t serve as an additional audio input option.

In addition to wired connections, the ProMedia Lumina offers Bluetooth audio, but only the basic (and low-quality) SBC codec, severely limiting its potential. Oddly, Bluetooth audio levels are much louder than wired audio.

App Experience: Covers the Essentials

The ProMedia Lumina works with the Klipsch Control app, available on mobile phones (Android and iOS) and PCs. It provides the basics, like several sound profiles and EQ presets, as well as a six-band custom equalizer. Perhaps most importantly, it offers a slider to adjust the subwoofer level, so you know exactly what it’s set to. There’s also a Night Mode for halving the bass output, though it’s unclear if that’s just applied to the subwoofer or a defined range of bass frequencies.

The app also lets you adjust the lighting on the back of the speakers. This includes manual color adjustments, preset cycles, an audio-reactive mode, and a display-reactive mode. That latter setting didn’t work in testing: It just stayed white when I tried to turn it red.

Lastly, you can use the app to install firmware updates, adjust auto-sleep timing, and use factory reset options. The whole app works without an account and has no prompt to create one.

Sound: Some Problems Deep Down

(Credit: Mark Knapp)

You might expect that with tweeters, woofers, and a subwoofer, you’ll be getting a whole lot of sound out of the ProMedia Lumina. Although the powerful speakers can certainly push the volume to painful levels, their frequency response leaves a lot to be desired. (Note: Klipsch recommends you place the subwoofer on the floor underneath your desk or table, which is how I tested it; I only positioned it on the desk for photography purposes.)

The Knife’s “Silent Shout” almost immediately reveals the speakers’ deficiencies in the bass and sub-bass regions—a surprise given the subwoofer's presence. The heart of the bass range is lacking, giving the intro triplets a cuppy sound. The subwoofer adds little to them. The track later introduces its sub-bass quarter notes, which play together with the triplets to provide a driving rhythm, but the subwoofer doesn’t hit them hard enough, and the lack of middle and upper bass frequencies leaves the sub-bass feeling detached. 

Part of the problem is the weak sub-bass. Klipsch reports a 40Hz-20kHz frequency response range, but the volume is very low at 40Hz. Even with the speakers at a fairly high listening level and the subwoofer set to its maximum, 40Hz still registers as almost imperceptible (human hearing faces a steep drop-off below 50Hz). There's also a weakness in the subwoofer crossover frequency. As the subwoofer approaches 150Hz, it weakens, and the satellite’s little woofer isn’t able to pick up the slack. Thankfully, the crossover between the woofer and tweeter is more seamless. With these issues in mind, “Silent Shout” suffers from a mid-heavy presentation that takes a lot of the life out of it. The synth melody still has plenty of energy, but it doesn’t ride the bass rhythm as closely. The higher frequencies offer good detail, though they fall short of the brilliance of speakers like the Fluance Ri71 or Edifier MR5.

With their weak sub-bass, the ProMedia Lumina don’t do Kendrick Lamar’s “Loyalty” the justice it deserves. The drum rhythm falls into the same crossover pit, leaving it feeling incomplete. And the sub-bass line introduced at the 35-second mark is largely missing in the mix. The sub-bass line tends to challenge speakers, but many manage to at least approximate it. The ProMedia Lumina falls surprisingly short for a system with a subwoofer.

Bill Callahan’s “Drover” doesn't fare much better. Callahan’s baritone vocals play heavily in the same range as the crossover. The subwoofer doesn’t support the vocals well, and the satellites’ woofers don’t add enough body, either. His voice is clear, just not as rich as it should sound. The acoustic rhythm guitar is nice and bright, and the electric guitar and fiddle enjoy good clarity with clear stereo separation. The bass, already fairly low in the mix of instruments, is mostly inaudible.

For orchestral music like the opening scene of John Adams’ The Gospel According to the Other Mary, the ProMedia Lumina regain some ground. They don’t make up for their lack of bass and sub-bass, which leaves a lot of instrumentation out, but the speakers avoid muddy lows that might otherwise drown out the rest of the orchestra. As a result, there are still bright strings and brass, along with clear vocals. The orchestra isn’t well grounded without the bass instruments providing their tighter rhythms.