EQ Magazine - February 2009 - (Page 57)

well feed the DSMs a digital source, which avoids an A/D conversion inside the speaker, and frees up I/O on your DAW (for use with outboard gear and the like). Rear panel DIP switches let you adjust any of 12 parameters, ranging from shelves to desktop resonance filters. If I had to describe the DSMs in one word, it would be “smooth.” The 1-inch ferrofluid-cooled tweeter is made of a soft Teteron dome, which is tech-marketing-speak for audio silk. Cymbals, tambourine, and horns were lush, and as far from harsh as imaginable. Having the DSP compensating for phase differences between the drivers at the crossover point is evident. Whether it was Brad Paisley’s Telecaster on “5th Gear” or Andrew Manze’s fiddle in Tartini’s “Devi’s Sonata,” complex mids and highs danced alternately from the LF driver to the tweeter with transparent ease. As for low end, the combination of ported cab and 6.5-inch driver gave the DSM1s a good deal of push. Perhaps a sub would be helpful for checking low lows, but this is not at all required for every studio. Moving up to the 8-inch driver and larger cabinet volume of the DSM2s produced even more low-end extension, with wellfocused response down to the 40–50Hz range. While neither monitor exhibited the depth or clarity of the Equators, they clearly raise the bar of what can be expected at this price point. My reservations about the DSMs are minor, but worth noting. Reference monitors are not supposed to be pretty, and I would classify the smooth, non-fatiguing response of the DSM line as on the verge of being “nice” speakers. Yes, you will be able to mix non-stop for 12 hours on them, but owners will want to exercise caution to avoid vocal sibilance or hi-hat splatter when mixing on these. Again, this is minor, and I would opt for the DSMs over more traditional, “less flattering” monitors any day of the week. If you’re considering the DSM line, I suggest you try both models in your control room. Don’t just automatically assume that the 2s must be better than the 1s; it’s really more a matter of determining which model is more appropriate for your environment. For example, one of our engineers, Kyle Smith, was impressed by the lowend extension of the DSM2s. Conversely, I preferred the more controlled low mids of the DSM1s. Again, the best way to decide is in your room. Price: DSM1 $649.95, DSM2 $749.95 Strengths: Digital input frees up your DAW’s analog I/O. Smooth, unfatiguing mids and highs. Ample lows on the DSM1, extended lows on the DSM2. Extensive EQ configuration options via back panel switches. Limitations: High end is so silky you may be tempted to add more top than you should. Contact: www.m-audio.com CONCLUSIONS All of this market competition is obviously keeping manufacturers on their toes. And we—the consumers—are the beneficiaries. Whether it’s improving upon traditional closed cabinet designs, or developing new ways to integrate digital signal processing, things are only getting better. After listening to this group for several weeks, I can attest that the line of demarcation between professional and project level monitoring continues to get fuzzier. Likewise, these models show there is more than one way to skin the proverbial design cat. Ported or closed, coxial or separated woofer/tweeter, correction DSP or sans computer, creative minds are constantly working to help us do our creative jobs better. Ah, if only these models had been available when I was starting out. . . . www.eqmag.com FEBRUARY 2009 EQ 57 http://www.m-audio.com http://www.keyboardmag.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - February 2009

EQ Magazine - February 2009 Contents Talk Box Sounding Board Dave Cooley Low vs. Diamond Hank Williams III Travis Franz Ferdinand Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Apple Logic Pro 8 Cakewalk Sonar Near-Field Monitor Roundup Gadgets &�Goodies Sounds Room with a Vu

EQ Magazine - February 2009

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