Dynaudios BM5A is a tried and tested staple of the studio, so what will SIMON TILLBROOK make of its new derivative?
ong established Danish monitoring manufacturer Dynaudio enjoys a good share of a very heavily populated market sector: that of small active studio monitors. One of Dynaudios most popular models is the small BM5A. A number of my colleagues have been using this small active monitor for some time, and continue to enjoy the clarity that it offers. Dynaudio has taken this widely-used example from its product line and made a number of changes to create the Dynaudio BM5A Mkll. Are these simple cosmetic tweaks with a few tech updates, and have they improved on a well established and trusted design?
I had the opportunity to use the Dynaudio BM5A originals on a session in Nashville not so long ago, and a number of my colleagues here have experience with the original monitor too, so I had a good pool to draw on when assessing if the BM5A Mkll is an improvement at all. From my perspective, and this was borne out by the others, the Dynaudio BM5A Mkll has more clarity in the mids and highs with much better imaging overall. The wave guide in relation to the tweeter is really very focused. Careful positioning is needed to get the best out of the BM5A Mkll. Low frequency delivery felt tighter too.

I n Use

Dynaudio BM5A MkII

Active Studio Monitor

The Changes
When you increase the volume the bass remains coherent. Even when you drive the Dynaudio BM5A Mkll quite hard the delivery keeps compact. I found that I was able to work with the BM5A Mkll for long periods without any problems at all. I certainly found that I could critically use the Dynaudio BM5A Mkll very quickly indeed. In comparison to the Mkl, I found the clarity and imaging very easy to adapt to. The Dynaudio BM5A Mkll is, like its predecessor, a small two-way bi-amped rear ported monitor measuring 186x320x320mm (7.3x12.5x12.5 inches) and weighing in at 8.7Kg (19.2lbs). One of the first changes to the BM5A Mkll that we come to are the two drivers. The woofer is a seven-inch driver as before, but now manufactured at Dynaudios own facility. This aluminium coil woofer now has a greater range of travel than before. This is designed to give additional clarity at lower frequencies over wider amplitude. A more obvious change can be seen with the Dynaudio BM5A Mkll tweeter. This is a one-inch hand built soft dome tweeter with aluminium voice coil. This is a step up from the previous tweeter used, and there has been a modification to the delivery system. The surround of the Dynaudio BM5A Mkll tweeter is slightly concave. This wave-guide creates a more focused sweet spot for the listener and thus delivers greater clarity and focus to the high frequency content. The drivers are powered by two 50W RMS (90W transient power) power amplifiers that collectively give a frequency response of 48Hz to 21kHz (+/-3dB) with a maximum SPL at one meter of 117dB. The crossover is set at 1.5kHz with a 6dB/oct slope. On the rear of the Dynaudio BM5A Mkll just below the rear port are your various connections and function switches. To the right of the large heat sink is the IEC power socket with on/off switch and an XLR signal input socket. Above these is a set of filter switches to help compensate for where you may need to position your Dynaudio BM5A Mkll. The LF can switch from a 0 reference point to either boost or cut bass frequencies by 2dB shelving. The MF has a 0 reference, and once moved enables a mid bell curve notch filter where you can attenuate by either 2 or 4dB. The final filter on the rear of the Dynaudio BM5A Mkll is an HF shelving filter, where you can affect treble with a 1dB boost or cut. There are two switches to take a look at to complete the feature set for the Dynaudio BM5A Mkll. We have a threeposition switch to select input sensitivity between +4, 0 and -10dB to match the studio system you are using. Last we have a HPF to roll off below either 60 or 80Hz if, for example, you are using your Dynaudio BM5A Mkll with a subwoofer setup.
The Dynaudio BM5A Mkll for me is a step up from the very good original Mkl. The focused highs and the mid clarity aiding imaging have been improved, and tighter bass through a wider amplitude range are significant improvements. The market the Dynaudio BM5A Mkll sits in is an extremely competitive one, but the improvements Dynaudio has made to the BM5A Mkll will keep existing Dynaudio users happy and make the choice of a small active studio monitor that much harder for those still searching.

Conclusion

I N F O R MAT I O N
GB429.00 (inc.VAT) A Dynaudio International GmbH, Ohepark 2, 21224

Rosengarten, Germany

th e R e vi e w e r SIMON TILLBROOK is the Principal Music Tutor at Islington Music Workshop in London. The rest of his time is spent as a freelance engineer, mainly in the USA.
T +49 (0) 0 F +49 (0) 10 W www.dynaudio.com

AUD IO MEDIA ju ne 2010

REVIEW
DYNAUDIO ACOUSTICS BM5A MKII
The original BM5A developed quite a reputation after its release back in 2004, and users of this modest looking nearfield still pledge their solemn allegiance. Now the MKII has arrived sporting several improvements.

Text: Al Craig

manufacturers print their specs in the manual of course. Its very common to see something like: 20Hz 20kHz (3dB) printed proudly in a specifications page, and the Dynaudio BM5A MKIIs, under scrutiny here, are no exception. These have a published specification of 48Hz 21kHz (3dB). Wed like to believe we can trust the manufacturer, but Im much too sceptical to believe the marketing and would rather test them myself. But how can you test your speakers? Unless you have an anechoic chamber, a calibrated test mic, some sort of Real Time Analyser and appropriate software its nigh on impossible. Or is it? TESTING, TESTING I placed the Dynaudios on the ledge next to my ATC SCM Series and Auratone 5s speakers. The ATCs are being driven from the monitor section of my SoundWorkshop 34 mixer. I connected the BM5A MKIIs to a pair of aux sends, fired up my Sadie DAW, routed a bus out from the desk into track 1 and recorded a sweep tone from 20Hz to 20kHz across three minutes. (I dont own an SPL meter so I adjusted the volume to somewhere in the area of 80dB SPL for those of you with iPhones, theres an app for that.) I then set up a B&K 4007 mic two feet from the speakers and routed it through my Wendt x4 ENG mixer and sent that to another bus. (If you dont own a B&K 4007, dig out the original packaging on your best mic and see if it came with a frequency plot. Otherwise, set your best mic up using the omni pattern and test away.) I put Track 2 into record, played out Track 1, repeating this procedure a couple more times and recorded the response of the ATC SCM20s and Auratone 5s for comparison. The screen grab below shows the results: As you can see, the amplitude of the direct feed (Track 1) is constant across the entire range. The speaker/mic combination shows remarkably similar amplitudes, except for in the bottommost octave (20Hz 40Hz) as per the spec. The wavering amplitudes in the mids is mostly due to reflections off the mixing desk. DETAILS OF THE MKII The new Dynaudio BM5A MKII the baby brother of the BM6A is a two-way active monitor that houses a seven-inch woofer and a 28mm soft dome tweeter. The power amps are rated at 50 Watts each (I know it doesnt sound like much, but man these babies can get loud). Theres a bass reflex port on the back tuned at 55Hz, and the two drivers cross over at 1.5kHz. The speaker weighs just under 9kg and its physical dimensions
are 186mm wide, 320mm tall and 320mm deep. It sports several switches that allow you to contour the frequency response if you so desire, and theres also a three-position high-pass filter switch featuring flat, 60Hz and 80Hz positions. This is provided for anyone who might be working with a sub. Theres also a boost/ cut shelf switch for the low end: (+2, flat or 2), which allows you to compensate for nearby walls; a bell for the mids (+2, flat, 2 or 4), which allows you to compensate for reflections that might come off your work surfaces; and another shelf for the highs (+1, flat or 1). My biggest gripe with all these controls is the distinct lack of numerical detail about exactly where the knee frequencies and slope rates kick in. Theres nothing in the literature or the back panel. Finally, theres an input sensitivity switch (+4, 0 or 10). Theres a fair degree of built-in protection to keep you from blowing up these things too. An overall thermal switch will shut off the amps if they get too hot. Another on the tweeter will specifically shut down the high amp if the tweeter coil gets too hot. Theres also a limiter on the woofer to protect it from extreme excursions. SOUND DESIGN So, how do they sound? Pretty damn good. When I fired them up in the studio I immediately loaded my latest album project. I was captivated by the clarity and richness of a mix that had previously left me feeling a tad, well flat. The richness in the low end was smooth and warm; the mids had none of the bark Ive come to expect with modern monitors of this size. The high end sizzled without being strident. The sweet spot in my studio is usually a pretty small sphere, but the Dynaudios delivered a broader coverage, both horizontally and vertically. Even out near 180 degrees (where my co-writers often sit) I was impressed by the response. If I were to have any complaints about the BM5A MKII it would be that the power switch and gain pot should be on the front rather than around the back, although many would no doubt disagree with this. I power up all my electronics from a single breaker and the speakers deliver a not-so-healthy thump when powering down. The BM5A MKIIs are a very respectable speaker that would perform very well in any studio or OB truck. They would also be the perfect choice for a surround system. (Hmm I wonder if I could buy five speakers?) AudioTechnology is gonna have to chase me to get these babies back. I think theyve found a permanent home.

NEED TO KNOW

Price $1695 Contact Amber Technology 367 www.ambertech.com.au Pros Great sound. Very reasonable price. Light weight. Flawless pedigree. Cons No variable gain pot. Power switch on the back. Summary If I were in the market to buy some bookshelf speakers for my studio, these would be my first choice. Although they have a very nice low end, adding the BM9S subwoofer would complete a system that would arguably rival speakers three times the cost. If youre installing a stereo or surround system, these are definitely worthy of consideration.
I must admit I have a certain fondness for Dynaudio speakers. A little over 10 years ago, when I was designing the broadcast control rooms for the Sydney Olympics, the question of what monitors to use inevitably came up. I had no favourites at the time and thought the fair thing to do would be to organise a shootout of the speaker variety of course. I contacted Michael White at Sound On Stage and he organised a double-blind listening station in his showroom, where he assembling bookshelf-sized speakers from most of the current speaker manufacturers. Steve Mitchell, Trevor Bird and I then took on critical listening duties. With roughly 10 pairs of speakers to audition, we scored each pair in turn and determined the best overall performer. It was only when the speakers were revealed to us we realised that all 10 pairs were passive. We then asked that our first choice be included in a second test alongside some active nearfields. A week later, we returned and repeated the process, this time with six pairs of active speakers and the passive winner from the previous session once again setup in a double-blind test. Again, we listened to our favourite music, some voice-only tracks and recordings of actual Olympic commentary. Scoring was based on clarity, apparent frequency response, fatigue factors, damping factor and eventually size and cost. The Dynaudio BM6A was the overall winner and 10 pairs were subsequently ordered. Nine of these went into the control rooms that looked after track & field and gymnastics, while the 10th pair went into my Quality Control listening room. I believe all 10 pairs are still in use in studios and OB trucks here in Australia some 10 years later (theres that number again). I now have the honour of reviewing the latest speaker in the Dynaudio Acoustics range the BM5A MKII. This is the little

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brother to the BM6A and offers several improvements over the original BM5A. Although they look essentially the same, the MKII has had its woofer re-engineered to allow for a longer excursion and to minimise distortion, while the tweeter now comes with a waveguide thats designed to tighten up the sweet spot. Both speaker elements are handmade at the Dynaudio factory in Skanderborg, Denmark using aluminium coils and other high-grade materials. The low-end response has been extended by 5Hz and the maximum output has been increased to 117dB SPL. FLAT OUT Of all the equipment in your signal path, speakers must have a flat frequency response. Combined with the acoustics in your room, if things are not as they should be, then youre essentially being lied to and your mixes will suffer. Mics dont need to be flat; preamps dont need to be flat; plug-ins and outboard gear dont need to be flat. Indeed, all of these devices, with their varying responses, shape the colour and character of our audio world. The response of a Shure SM58 for instance is nothing like a Neumann U87, but in certain instances the SM58 is the mic to choose because of its character. One of the fundamental tasks a mix engineer must perform is to deliver a mix that will play out no matter what the consumer is listening through. For example, if our speakers (in combination with the room) are bass heavy, then we are likely to unwittingly mix bass thin. If theres a rise in the midrange, then were likely to unknowingly adjust the EQ to compensate. Ask any mastering engineer and they can tell you any number of horror stories about mixes that have arrived on their doorstep sporting more lumps than a camel train. So how do we know that we have flat speakers? Well, most

Pure Sine Wave Sweep from 20Hz to 20kHz Frequency response recordings of the Dynaudio BM5As, ATC SCM20s and Auratone 5s.

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