As for the drive units, the Sirocco Series tweeter incorporates a 20mm lightweight silk dome with aluminum phase plug and top-notch neodymium magnets, backed by a calibrated, sound-absorbing rear chamber. It operates via a die-cast aluminum waveguide. The 6″ mid/woofers employ short-fiber, paper-cone diaphragms and low-diffraction rubber surrounds and use 84mm-diameter ferrite magnets paired with linearity-optimized pole pieces and a 25mm voice coil, with Atohm’s proprietary dual TICR (Thermal and Inductive Control Rings) technology in the voice-coil pole plate. All drivers are matched to a tolerance of 0.25dB.

The Sirocco crossovers employ “simple 6dB/octave slopes complemented by impedance-correction circuits to ensure sonic precision while making the speakers easy to drive and compatible with a wide range of electronics.” The crossover frequency is 3.5kHz. The Atohm team states that the shallow slopes can be effectively implemented due to the time-aligned and phase-optimized drivers. Conveniently, on the back panel, there is a three-position, switchable treble attenuator, adjustable in 2dB steps. Personally, I wish more manufacturers would offer this handy and effective fine-tuning option. Acoustics and placement issues can often be ameliorated with the flick of a switch. The back panel speaker terminals are single wire only. Sirocco models are available in a choice of four finishes: oak or walnut natural wood veneer and black or white satin lacquer. 

For this evaluation, Atohm’s U.S. distributor Audio Excellent provided electronics from Atoll Electronique, namely the PR400 Evolution preamp and AM300 Evolution 150Wpc amplifier. They joined my Clearaudio Concept Signature turntable (Issue 368); Pass Labs XP-17 phonostage; Lumin X2 Media Player (review forthcoming); dCS Bartók Apex; MBL Corona C51 integrated; and Wireworld Silver Eclipse 10, Shunyata Theta and Audience Front Row, and Snake River Audio Takshaka cabling.

Before delving into Sirocco’s sonic particulars, a couple set-up impressions. First, there’s no such thing as one-room-fits-all. And small compacts and floorstanders like the 2.24 are always on the lookout for bass reinforcement. In the case of the 2.24, it’s a placement-specific speaker, so be prepared to work with it. In order to achieve the best balance between low frequencies and midrange clarity, character, and focus—that is, to get these factors to gel—moving the Sirocco a few inches to and fro relative to the wall behind the speaker can make all the difference in the world in terms of LF foundation, energy, output, and extension. Also, I settled on reducing toe-in, which in my setup allowed the drivers to integrate more effectively. Gone were the marginally lean and clinical character and the uneven midbass output that characterized the Sirocco initially. Ultimately, this experimentation paid off in spades as I’m sure it will for most owners. The process might seem tedious at first, but you’ll thank yourself afterwards.

That said, I like to approach every review with a clean slate. Without anticipation or expectations. This was made all the easier since I have no history with an Atohm loudspeaker in my listening room. As first encounters go, the Sirocco acquitted itself very well indeed. Sirocco immediately made it known that it wanted to musically engage with the listener. By that I mean it presented itself as upfront (not laid-back), energetic, and, for the most part, tonally neutral through the midrange, without any obvious frequency peaks or suckouts. It had a high instant likability factor, a potent midrange, and some roll-off at the edges of the frequency spectrum. Personality-wise, it had a cooler balance. Its power range was very good for a 2.5-way, and it skillfully navigated macro-dynamics, although lower-octave dynamic energy and impact were slightly softened. But altogether, its presentation was quite impressive given its modest proportions. Transients were quick and nicely detailed. The sibilance range was sparkling but not overheated. A prime example is BS&T’s classic track “Spinning Wheel.” Bobby Colomby’s drum kit was crisp and tight, his high-pitched snare drum fast on attacks, the band’s famous Lew Soloff-led horn section bracingly clean. Turning to piano, I noted that with the Bill Evans track “Sometime Ago,” while maintaining much of the soundboard warmth, weight, and density I expect from this cut, the Sirocco still skewed a bit drier on top, wanting a little more air and lift.

Vocals, always primary to me, were full bodied, physically tactile, and balanced. There wasn’t a hint of gender bias here—male and female singers shone equally well. Vocal timbres and placement were colorfully captured, from chesty bass-baritones like Bryn Terfel, to throaty rock voices like Springsteen or Melissa Etheridge, to velvety, buttery sopranos like Renee Fleming. 

Timbre, in general, was eerily naturalistic. During Ricki Lee Jones’ “My One and Only Love” [Pop Pop], for example, the accordion, acoustic bass, and guitar sounded remarkably present and immediate. The Sirocco acquitted itself admirably in expressing the lower-level details and staging cues that are key to bringing an acoustic performance alive. To this point, Aaron Copland’s “Fanfare for the Common Man” [Copland Conducts Copland, LSO] was conveyed with finely layered string sections, gorgeous brass flourishes, and low-level percussion detailing at the back of the orchestra. 

While the Atohm was not able to achieve genuine bottom-octave reproduction, through the careful positioning that I outlined earlier, I achieved a satisfying 40–50Hz extension, body, and musicality that changed the character of the speaker. (The downward-firing tuned port aided in this assignment and rarely if ever sounded overworked.) The rapid-fire bassline during BS&T’s “Smiling Phases” was appropriately fast, punchy, and precise in pitch, despite some loss of definition in the lowest reaches. Overall, the low end was impressive for this class of loudspeaker. The Sirocco’s performance came into even better focus when I cued up the Eagles “Hotel California” (Hell Freezes Over). The reproduction of the repeated bass-drum impacts is complex, a low-octave stew of fundamentals, transients, long immersive sustains, and decays—tough going for any loudspeaker unaccompanied by a subwoofer. Kudos to the Sirocco for doing a more than credible job getting the bass out.

Obviously given its size and specs, there are limitations. The Sirocco falls a little short in conveying the grandest scale and weight that music is capable of. Low frequencies could be more specific, and staging might be a little more dimensional and immersive. The Sirocco has little trouble playing loudly, but when it is pushed too hard, image details can cloud over somewhat, with the upper treble sounding a little short of air. Nonetheless, these subtractions were relatively mild and easily overlooked, given the Sirocco’s overall musicality. 

The Sirocco met or exceeded my expectations for what a 2.5-way compact tower can do in 2026. It strikes a rewarding musical balance that, coupled with its smaller footprint and low profile, will make it a crowd pleaser in most domestic settings. In weather circles, “sirocco” is a powerful Mediterranean wind that blows into Southern Europe from the Sahara. But for me, Sirocco was a breath of fresh air. A solid performer that proudly represents the crème de la crème in its price range. 

Specs & Pricing

Type: Floorstanding, 2.5-way, bass-reflex
Drivers: 20mm tweeter; two 6″ mid/bass
Frequency response: 40Hz–25kHz (–3dB)
Sensitivity: 88dB
Impedance: 6 ohms (3.5 ohms min.)
Dimensions: 8.5″ x 39″ x 10.1″
Weight: 30.9 lbs.
Price: $3800/pr.

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