Following the success of the Studiophile BX and AV families, manufacturer M-Audio introduces the new Studiophile DSM range of monitors, sitting at the very top of its nearfield monitor catalog. Developed jointly with its sister brand Digidesign, the new monitor line has two members: the DSM1 and DSM2. Both models offer independent Class D amplification for each driver (woofer/tweeter), analog and digital inputs, an extensive EQ section and a bass reflex port.

The main difference between them lies in the woofer, which measures six and a half inches in the DSM1 and eight inches in the DSM2. This difference in the low-frequency driver gives the DSM2 a more extended frequency response at the bottom of the spectrum, as well as a slightly higher SPL.

However, both monitors have similar specifications and, given the quality that characterizes M-Audio products, both the DSM1 and DSM2 can be expected to please many users.

The manufacturer was kind enough to send ISP a pair of DSM1s shortly before the worldwide launch, so that we could check out the new monitors' abilities first-hand. We certainly liked what we heard...

The DSM1 in detail
The DSM1 shares many similarities with its big brother, but in its case the MDF (Medium Density Fiberboard) cabinet is smaller. This cabinet has been designed to reduce its own vibrations and has internal bracing to make it “acoustically inert”.

The bass reflex port vents at the rear, where all the controls are also located, including the input and output connections, the gain trim, the EQ section and the power switch.

To drive the monitors in analog, you can use either of the balanced connectors provided (TRS and XLR). In fact, the signals reaching these connectors are summed, so both can be used simultaneously.

Input sensitivity is set with a switch that lets you choose between –10 dBV and +4 dBu, and this signal is then sampled (96 kHz, 24 bits) to enter the DSP.

If you prefer to go in digitally, there are two options: AES/EBU and S/PDIF, at 44.1, 48, 88.2, 96, 176.4 and 192 kHz and 16- or 24-bit resolution. Unlike the analog inputs, the digital inputs can't be used simultaneously.

Each monitor has a switch for selecting which channel it will play (left, right or mono) and an S/PDIF Through connector for sending the corresponding channel to the other monitor.

The input the monitors should use is selected with a switch that lets you choose between Analog, Digital or Digital Standby. While the first two are clear, the third option may need some explanation:

The manual states that the Digital Standby option keeps the digital input active, but if the signal source is switched off, the monitors go into a low-power state. When the signal returns, the DSMs start working again. Moving to the front, the drivers are arranged symmetrically on the vertical axis. The woofer (6.5’’) is made of anodized aluminum, mounted on a steel frame.

The one-inch tweeter, common to both models in the new line, is mounted on a waveguide. The high-frequency driver is made of Teteron and has a ferrofluid-cooled neodymium magnet.

The DSM1's frequency response extends from 49 Hz to 27 kHz (0 dB/- 3 dB), with a maximum peak SPL of 110 dB at one meter (per monitor). The LED located between the two drivers has different states to indicate power-on and normal operation, as well as input overload or an internal fault.

Digital Signal Processing
Once the signal enters the DSP, it's processed at 192 kHz and 32 bits for crossover filtering, level adjustment and EQ.

The crossover frequency is at 2.7 kHz, and the split is handled by a 24dB/octave Linkwitz-Riley filter. Level adjustment, controlled by the knob on the rear panel, ranges from –22 dB to +10 dB.

As for the EQ section, it has a complete set of switches for adjusting the monitors' response to the room they're in, using six different filters: the HF Shelf filter offers settings of +1.5 dB, -1.5 dB and –3 dB for frequencies above 5 kHz, and the Mid EQ provides +1.5 dB, -1.5 dB and –3 dB around 750 Hz.

The Low Shelf and High-Pass affect the low end of the spectrum, giving the user, respectively, -1.5 dB, -3 dB and -4.5 dB below 100 Hz, and high-pass filtering at 40, 60, 80 and 100 Hz.

Two more EQ controls have been added (Desktop 220 Hz and Desktop 175 Hz), designed to compensate the DSMs' response when they're placed in the nearfield on a reflective surface, which is often the case.

Used separately, each of these filters allows adjustments of –1 dB, -2 dB and –3 dB around the indicated frequency (220 Hz and 175 Hz), while using both filters together centers their range of action around 200 Hz.

In action
The first thing we were able to verify was how effective this EQ section is. The monitors were placed on stands near a wall.

To mitigate this, the different combinations of the Desktop, High Pass and Low Shelf filters proved very useful for controlling the DSM1's response, providing a wide variety of solutions.

Some of the combinations resulted in somewhat exaggerated cuts for this listening environment, but they'll probably be very useful in other rooms.

Similarly, the mid and treble sections weren't needed in this particular case, but both their various options and their sound showed that they could be very useful in other cases.

Next, once the monitors had been adjusted, the next thing that stood out was their rich bass response, especially considering the size of the DSM1. In terms of both extension and power, the monitors handled the low end of the spectrum very well.

The high frequencies were also resolved elegantly, with pleasant, well-defined highs, which allowed the monitors to deliver a solid stereo image.

Overall, the DSM1's response was very “round”, with good dynamic range, power down low and definition up top.

Conclusions
Once again, M-Audio's design team has done a great job, conceiving very complete monitors. The DSMs deliver great sound and have a good number of additional options that make them really appealing:

Extensive professional input options (analog and digital), including an S/PDIF connection that lets you make use of an output that's common on interfaces but can't always be used.

Input sensitivity selection between –10 dBV and +4 dBu for integrating the monitors with different types of gear, and independent gain adjustment. An extensive EQ section for adapting the monitors' response to different listening environments… In short, very complete monitors, both in features (important) and in sound (essential).

Technical specifications
Frequency response: 49 Hz – 27 kHz
Peak SPL at one meter: 110 dB
Woofer: 6.5” anodized aluminum driver
Tweeter: 1” Teteron tweeter with neodymium magnet, ferrofluid-cooled
Crossover frequency: 2.7 kHz, 24 dB/octave
HF shelf: +1.5 dB, -1.5 dB, -3.0 dB
Mid EQ: +1.5 dB, -1.5 dB, -3.0 dB
High-pass filter: 40 Hz, 60 Hz, 80 Hz, 100 Hz, 12 dB/octave
Desk EQ 1 filter: -1.0 dB, -2.0 dB, -3.0 dB @ 220 Hz
Desk EQ 2 filter: -1.0 dB, -2.0 dB, -3.0 dB @ 175 Hz
Desk EQ 3 filter: -1.0 dB, -2.0 dB, -3.0 dB @ 200 Hz
Analog inputs: balanced XLR and TRS
Digital inputs: S/PDIF and AES/EBU, up to 192 kHz/24 bits
Input impedance: 20k ohms
Input sensitivity: +4 dBu gives 90 dB at 1 meter
Gain adjustment: –22 dB to +10 dB

AD specifications
Maximum input level: 18 dBu
Signal-to-noise ratio: 102 dB (A-weighted)

Digital amplification
Output power (1% THD): LF: 100 W, HF: 80 W
THD + noise (10 W, 1 kHz): < 0.05%
Signal-to-noise ratio: 100 dB (A-weighted)
Frequency response (+0, -3 dB): 20 Hz – 40 kHz
Efficiency: > 90%
Dimensions: 325.5 x 228.7 x 261.5 mm.
Weight: 7.5 kg.