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Dynaudio DBM50 Reviews

4.5 stars based on 3 customer reviews
  • from College Park, Maryland August 1, 2012Music Background:
    Listen to a lot of music and go to live shows.

    Dynaudio Makes a great desk top monitor, DBM-50

    I have had the monitors - DBM50 for about 2 weeks. They sound better all the time. They are well balanced and have a sweet sounding midrange and high end. No harshness is heard by me.
    I have cut back the bass on each speaker - located on the rear side.
    This tends to bring out the other sounds better - it seemed the bass was drowning some of the midrange. There is still plenty of punchy, quick bass, with a much more open sounding midrange, including voices and piano, etc.

  • from United States May 29, 2013Music Background:
    Engineer, Producer, Songwriter

    Really great pair of monitors

    Don't let the shape fool you, these are real monitors. I've had mine for almost a year now and think I have a pretty good handle on them. The large woofer gives these guys an impressive amount of clean bass . . . in fact, I prefer the bass response of these guys to the BM5a's (which I also considered). I do use the filter to cut back the bass, though, as it can almost be overwhelming. Cut back the bass 2 db's and it is perfect. The midrange and the high's are really solid and clear. Everything is pretty upfront, which, in my opinion is useful for mixing in the modern environment. I chose the DBM50's over the Adam A7x because I liked the immediacy of the Dynaudio's over the sometimes artificial sounding depth I got from the Adams. They are both impressive, don't get me wrong, but I prefer the no-nonsense presentation of the DBM50.

    I mix at slightly lower levels than most, I think, so for me, these guys have PLENTY of power (I feed the monitors directly from my Apollo Quad). I've never had to turn them up so loud that I noticed any distortion. For most control rooms on the smaller side, I think these guys will hold up fine. Personally, i think of the Dynaudio Bm-15's as more of midfield monitors, anyway (I have used and love those monitors, too), so for nearfield applications, I think most will find the power of the DBM50's more than sufficient.

    At this price point, it doesn't really get better . . . just different (as I mentioned with the Adam's). The DBM50 is less hyped in the lows and highs (especially with the bass rolled off) than the Events and Mackie's that I auditioned. They don't have as much depth as the Adams, but I actually found that to be an asset (they still have plenty of depth to hear reverb sends, delay, etc) as the mixes translate more easily to other systems. You definitely don't need a sub with these guys, either, unless you want one just to make sure nothing crazy is going on down there in the low frequencies. I still do half of my mixes at another studio that has both the Adam Ax7's and the Dynaudio BM15's as well as a dynaudio sub. While that is still my preferred place to mix, I've been getting much, much closer to matching my mixes at that larger studio since I got the DBM50's. If you have a home studio and you want to be able to track and mix at a more professional level, then I highly recommend the DBM50's. I got the DBM50's after having the KRK Rockit 6's for a while. With the KRK's, there was no point to really trying to mix before I brought it to the bigger studio because once the track was played back on the BM15's, I realized right away that I needed to start from scratch. The the DBM50's, my mixes usually only need a few small tweaks before they are ready. And even when the budget does not allow me to go to a bigger studio for mixing, I'm still able to get some great sounding masters from my home studio.

  • from Bloomington, Indiana October 18, 2012Music Background:
    Producer

    Monitor flirts with boundaries rather than avoid them

    The DBM50's are still breaking in after three days, and they still sound just a tad taut and snappy to me...so I can't comment on ultimate sound quality, just yet. They are not as immediately sexy sounding as consumer speakers of the same price range...but that's common for studio monitors that accomplish a slightly different task.

    Rather than avoid boundries, the monitor attempts to get closer to them (by sitting on the desktop as opposed to elevated on stands). This makes phase cancellation less noticeable, but it's still there. I found that placing an 8"x8" square of foam flat on the desk (1"thick) right in front of the speaker mostly eliminated the problem. And I do indeed suppress the mids by -2db.

    Also, our ears are more sensitive to high frequencies radiated from above our head's height, so the lower desktop position appears to produce a slightly duller sound. This could be compensated for with the HF switch, but I've gotten used to the sound and have chosen not to. I still find myself looking down a little as I listen critically.

    But here's the main thing...the two tunes I've mixed on them, so far, pretty much sound just right on every other source I've played them on (iPhone/buds, home theater in the other room, the car, on computer speakers). Bass, mids, and highs all preserved in the same balance. Smaller miix details still evident, too. That is the measure of a good monitor!

    The 50/50W amps seem to provide ample headroom for mixing 85dB at 30." In fact, they push the cones pretty well at 10 feet, too!

    No hash in the highs and no fluffing woofer in the lows...the digital amp and transducers are pretty disciplined. As my ears grew tired last night, I found I was listening to the monitors at 90-95 dB without knowing it, as the speakers do not complain at all at that level. Time to go to bed and give the ear drums a rest!

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