On the sound front, the Tribit StormBox Mini+ is a surprise. Despite its compact proportions, it packs a punch, with ample volume for small to medium rooms or intimate outdoor gatherings.
When listening to The Knife’s “Silent Shout,” I am impressed not only by how fully it pumps out the bass triplets that are the beating heart of the track, but also by how effectively it bumps with the deeper, sub-bass quarter notes. It manages to give the track its proper energy. It’s loud enough at 75% to rattle objects in my office. Mids and upper mids are poignant, although the highest frequencies are somewhat lost in the mix.
Pushing the speaker too hard has some downsides. For example, I hear some distortion in the bass, and the digital signal processor (DSP) kicks in, reducing the dynamic range to a degree, as evidenced by pulling back and shifting the EQ. You’ll notice it when playing high-energy music at volumes above 80%.
(Credit: Mark Knapp)
As competently as it goes into the sub-bass territory of “Silent Shout,” the deeper reaches of the sub-bass line in Kendrick Lamar’s “Loyalty” are beyond the StormBox’s abilities. The entire line is absent except for some brief hints when the higher notes in the line suddenly creep into its functional range—at which point they seem to belch out, a not uncommon problem for compact speakers. High-end clarity is somewhat lost here as well, with cymbal hits sounding a bit crunchy and compressed.
The limit in the upper registers prevents the Mini+ from having as much presence and brilliance as some music requires. This makes a largely acoustic performance, such as Bill Callahan’s “Drover,” sound less lifelike and more like a recording. The acoustic rhythm guitar, closed hi-hat hits, and fiddle just don’t have as much character in this track. Callahan’s baritone vocals come through wonderfully, though, with a full-throated oomph.
The stereo separation is not particularly impressive, and that isn’t surprising given the proximity of the two drivers. However, it does play both channels separately, a feat that few compact speakers can muster. This helps on a track like “Drover” that pans the instruments from side to side, providing a more dynamic listening experience. Still, when the song builds to its climax, and the drums are pounding, there’s not quite enough separation to keep the soundstage from feeling cramped.
(Credit: Mark Knapp)
The tight soundstage more or less rules the StormBox Mini+ out for orchestral music like John Adams’ The Gospel According to the Other Mary. On the one hand, it outperforms many other low-cost party speakers due to its decent balance, respectable frequency response, and stereo sound. But it’s still not up to the task of presenting such a rich palette of orchestral instruments with any sort of clarity.
The mic isn’t particularly good. At just an arm’s length, I sound faint and distant, requiring me to crank up the volume all the way to hear what I’ve said. Surprisingly, I don’t sound much worse at six feet away. If you try to hold a phone conversation using the speaker, you’ll want to keep it close by. The same goes for making requests of your phone’s smart assistant. Oddly, the speaker provides assistant responses at a terribly low volume, even when the Bluetooth volume is maxed out.
