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Audio Media managing editor Joanne Ruddock speaks to Dynaudio Professional global business manager Fred Speckeen about the design considerations behind the mkIII.

What were the most important considerations when designing the BM Compact mkIII? Te most important consideration in designing the BM Compact mkIII was to address the needs of those working in small recording environments where they are space-constrained to using a small footprint for the monitor yet their ability to mix accurately, with excellent translation, and enjoyably would be in the performance found in larger format monitors that they simply don’t have the space for. Tis is a contemporary challenge shared by project studios through to video editing suites and broadcasters the world over. Dynaudio focused on providing the highest monitor performance that it could provide in this the smallest of monitors. You’ll find, for example, that the BM Compact mkIII provides higher SPL and extraordinary bass extension in comparison to similar sized monitors from other manufacturers at all price points. We also considered that the placement of the monitor in a small desktop recording situation was also problematic – isolation and placement options are limited and make a world of difference – we did our research and chose what we could hear were the best choice: IsoAcoustics isolation stands. We then formed a strategic alliance with IsoAcoustics so that we could include one of these stands with each near field monitor so that the best possible customer experience would occur right out of the box. I think we succeeded as we are getting tremendous response to this product.

How does this generation differ from the mkII what’s new?

BM Compact mkIII has a new, smaller voice- coil LF driver that originated in the Dynaudio Professional Air 25 then was further refined in the

continuous low pass filter from 50 to 150Hz, the ability to roll off the signal passed through to the monitors, a separate LFE in and out which can be used to drive a second slave sub, and a green power option. Te BM9S II can sit in automatic mode listening across the input and will power down when it works out your neighbours have complained and you’ve gone to headphones. I parked the sub under

the workstation, fired it up and rolled through my mix list. What did I think? In short – pretty damn good. One of the main problems with subs, apart from exciting

Dynaudio Evidence series (high-end residential). Te objective was to provide superior sound in a small driver. Transient response and bass extension are made possible due to the use of modern materials. Te smaller voice coil balances the ratio of dust cap to cone in this small driver, resulting in even greater mid-range clarity than before. BM5 mkIII and BM Compact mkIII both

have new Class D amplifiers in place of the prior Class A/B amps. Tis gave us much more flexibility when voicing the products for the small studio environment and gave us even better FR and SPL while also reducing power consumption and weight. Both products also support unbalanced RCA inputs for flexibility on the desktop. BM6 mkIII and BM12 mkIII were upgraded to having the newer design Dynaudio Pro Waveguide and were also tweaked in the voicing process. Te gentle increase in directivity of the HF was important to us as part of working to continuously improve the products.

What are some of the unit’s key features that set it apart from the competition? Tere are subjective conclusions and objective facts to share here! A few comments though... Subjectively, all Dynaudio Professional products

share a reputation for presenting a neutral, uncolored sound with a high level of mix detail in a way that is non-fatiguing. Tis is why they have been chosen by ear by the world’s leading broadcasters and recording studios for decades. Since 2000, over 250,000 Dynaudio monitors have been sold to recording studios around the world. Te BM mkIII line allows users to select consistent sounding monitors across a range of formats that suit nearfield desktop through to

room modes you never knew you had, is teenage temptation. You can set the sub level wherever you want and the temptation is to set it somewhere between structural movement and bowel movement. But once you’ve overcome such childish notions the extra low frequency extension is really nicely handled and integrates well with the BM Compact mkIIIs. I found them a compelling combination. Here is not the place to discuss the universality of a separate subwoofer but for me sitting close to the monitors with the sub central just seemed to

work. You will get centralised low bass with this set up but not in a way I found distracting. I think probably the compelling attraction of combining the two Dynaudio products is providing an upgrade path. I think the Dynaudios are a totally compelling small active monitor solution. Accurate and professional to the core. But what happens when the upgrade bug bites? Well the BM9S II provides the answer. You retain the virtues of the Compact monitors while adding the extra grunt down low. Sweets to the sweet, as the Bard might say.

midfield large studio situations. Objectively, driver design (LF and HF) is key

to why Dynaudio products sound better. Te addition of an IsoAcoustics stand with each monitor (ISO-L8R155 for Compact mkIII and 5 mkIII, and ISO-L8R200 for 6 mkIII and 12 mkIII) guarantees the best performance on first use. As you can see by the comparisons, across this

range you’ll share extraordinary FR (especially bass extension) and high SPL that are typically unavailable in monitors of the same size even at higher prices. Tese specs don’t tell how they sound, though. I hope you get a chance to spend time listening to them – especially the BM Compact mkIII.

The Reviewer

Alistair Mcghee began audio life in Hi-Fi before joining the BBC as an audio engineer. After 10 years in radio and TV, he moved to production. Most recently, Alistair was assistant editor, BBC Radio Wales and has been helping the UN with broadcast operations in Juba.


Feature set                    August/September 2014 43

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