For some people, the Tapco brand may bring back memories from a while ago: "Weren't they the ones who made live mixers? They weren't bad at all..." Indeed, Greg Mackie has revived the brand that made him popular in the early 1970s with its PA mixers, to offer a range of products aimed at users on a tight budget.

However, that premise shouldn't fool us. The "by Mackie" surname ties the revamped brand to one of the most respected audio equipment manufacturers around, so we can expect Tapco products to stand out for more than just their price.

The range of self-powered monitors is made up of two models—the S5 and S8—and is rounded out by a subwoofer, the SW10, designed to work with either of those models.

The S8 has somewhat larger drivers than the S5, as well as more powerful amplifiers, so it offers a more extended frequency response. Precisely because of how difficult it is to get good results from smaller units, we found it more interesting to review the S5 model in this article.

Description
The S5 monitors feature a 133 mm (5.25-inch) polypropylene woofer and a 25 mm (1-inch) silk tweeter. The word dome tells us that the high-frequency driver is dome-shaped, which is quite common.

However, each driver is powered by its own independent 60 W amplifier (100 W peak), which makes the S5 special monitors, since the power of the high-frequency stage is usually lower than that of the low-frequency stage.

Mounted on a waveguide that improves the dispersion of high frequencies and reduces listening fatigue, the tweeter section includes two LEDs indicating power (green) and overload (red).

The crossover frequency between the woofer and the tweeter is set at 4 kHz, and the frequency split is handled by an electronic crossover with a 24 dB per octave slope.

The cabinet is sturdy, made of MDF (Medium Density Fiberboard) with a dark gray finish that gives it a sober look. All the corners have been rounded to help control internal resonances, and the inside of the cabinet is lined with adiabatic foam. This foam also reduces internal resonances and helps control and improve the behavior of the bass reflex port located on the back.

The options for feeding signal into the monitors are also somewhat broader than usual: we have balanced XLR and TRS connectors, as well as an unbalanced RCA connection. In addition, the TRS input can be used as an output to daisy-chain two monitors.

The manual tells us that the response ranges from 64 Hz to 20 kHz (±3 dB). Two filters (low and high) are provided to adapt the monitors' response to our listening environment:

The first filter has a center frequency of 65 Hz and allows boosts of +2 dB and +4 dB. The second filter affects all frequencies from 5 kHz up (inclusive) and offers settings of +2 dB and -2 dB.

Next to the filters is the knob that controls the input gain. The S5 monitors are designed to receive line levels between +4 dBu (knob at maximum) and +20 dBu.

On the back we also find the heat sink, the power switch, and the voltage selector and power inlet.

Protection
The S5 monitors have two protection systems, designed to protect the equipment under normal operating conditions.

The first is a 12 dB/octave high-pass filter at 60 Hz to prevent damage to the woofer from over-excursion. By reducing the lowest frequencies, it keeps the cone from making extreme movements when trying to reproduce the deepest bass.

The second protection system is a thermal circuit that shuts down the amplifiers when it detects overheating, automatically reconnecting them as soon as the temperature is safe again.

In addition, the speaker motors are magnetically shielded to avoid interference with CRT monitors, although we found that this shielding is not entirely effective: if the monitors are placed next to a screen of this type, slight interference can be seen.

Impressions
When we opened the box, the first impression could not have been better. We found monitors with a modern, pleasant design and a solid, sturdy look. Well built.

They are heavy enough to convey a sense of security, but not hard to move—something that would be a drawback in monitors of this kind.

It is also nice to see that the small details have been taken care of: around the power inlet there is an eye-catching yellow sticker warning users in Japan and the USA to make sure the voltage selector is set to the correct position for their power grid; cables and fuses for both types of grid are included.

Another plus is the inclusion of a manual in Spanish. The original manuals are in English, but they come with a translated version that lets us understand the equipment's features effortlessly.

For our first listening sessions, we set the filters to a flat response (0 dB on both the low and high filters) and placed the input sensitivity at the midpoint of its travel (there is a small detent marking it).

Again, our impressions were positive. A round, powerful sound filled the whole room, making us forget the size of the speakers. The Achilles' heel of these units is usually, of course, the response in the lowest frequencies, but the S5 surprised us in this respect, delivering good bass.

The stereo image is precise, and the highs are clear and pleasant, revealing a rich variety of detail. The only notable drawback is a small bump in the upper midrange frequencies that slightly colors the response, giving the sound a nasal tinge.

Pushing the input sensitivity to the max, we found that the S5 can work without distortion at their highest listening levels. In fact, considering these monitors are designed for nearfield use, the levels obtained are above what we would probably choose for normal use.

Determined to push the S5 to the limit, we started trying R&B and hip-hop CDs, musical styles that demand large doses of low frequencies.

Despite their size, the monitors held up very well on these tracks (some with multiple layers of bass), although naturally some of the lowest frequencies and a bit of clarity in the low end were missing. Using the +2 dB setting on the low filter gave us a little more power, but at the cost of blurring the response in those frequencies somewhat. The +4 dB setting was a bit much for our room, but it may be useful in others.

As for the high filter, there was no need to use it, since the cabinets' response in those frequencies is good. The highs are clear without being harsh, which makes for comfortable listening, even after long periods of use.
The only drawback, once again, is that small bump around 2–4 kHz, although the truth is that it is only a slight tinge that ends up going unnoticed.

As for the sweet spot, without being overly wide, it allowed some freedom of movement without losing the "sparkle."

Conclusions
The Tapco S5 carry on the brand's reputation for building quality audio equipment at competitive prices.

They offer a good frequency response considering their size and are solidly and attractively built. The filters let you adapt them to many very different listening environments, and the connection options are really extensive.
The design of the high-frequency response is just what you would expect: on the one hand, it allows continuous use of the monitors without excessive listening fatigue, and on the other, it provides a precise, solid stereo image. These features make the S5 a reliable and valuable work tool.

They may not be the most suitable choice for a professional studio looking for its main monitors, but they can, for example, be a valuable ally in an auxiliary editing room or as part of a 5.1 surround setup.

Likewise, if the style of music we usually work with calls for powerful bass, this may not be the best decision, but we should not forget that the same product family includes the SW10 subwoofer, designed to work with the S5, which lets us add that low end.

In any case, the manufacturer's goal has been met: good monitors at a competitive price. For anyone looking for their first monitors, the S5 are an option that should not be overlooked.