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DM302:DM302
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B&W:B&W

B&W DM302 loudspeakerWes Phillips | Oct 24, 1997What kind of speaker can you get for $250/pair? The most tightly contested sector of the speaker market in the UK is right around that price. If you want to be competitive in Old Blighty, you have to offer something pretty special in that range—and because the stakes are so high, the competition is fierce.Of course, when you’re selling speakers for approximately $100 apiece, you’re not going to make much profit unless you can eliminate every possible manufacturing inefficiency. That’s why most of the speakers competing for a market share in this range are made with automated milling machines—or, as in the case of the B&W DM302, injection molding equipment. It’s pretty obvious why this can lead to ease of manufacture, but, as the 302 demonstrates, it can also aid in controlling cabinet resonances and internal standing waves. “Well,” I hear some audiophiles sneering, “that’s what the manufacturer says, but that’s just an excuse for making the speaker out of plastic.” Perhaps there’s some justification for such cynicism, but I’m not sure that, at $250/pair, buyers expect to have the same furniture quality that, say, Avalon customers demand. And there’s no getting around it: The B&W DM302 sounds awfully refined and musical for a speaker that costs so little. Let’s get small The B&W DM302 takes advantage of molding technology by casting the cabinet’s front and rear baffles out of plastic. The front panel incorporates a wide slotted port, said to enhance low-turbulence venting. This, according to B&W, permits “complete freedom from audible port noise.” Extensive cross-bracing, molded into the baffle, is also said to stiffen it and contribute to the 302’s “remarkable absence of coloration.” The rear baffle’s inner surface is a complex configuration of randomly arrayed tapered pyramids, said to resemble the walls of an anechoic chamber. B&W calls this “Prism,” and claims that it eliminates standing waves within the cabinet and enhances both bass definition and “speed.” From the outside, this panel’s honeycomb of rectangles looks like a waffle iron. The DM302 uses a 1″ soft-dome tweeter clamped internally to the front baffle. The faceplate has a tapering profile to reduce front-panel diffraction. The 5″ bass-midrange driver employs a long-throw motor, a doped-paper cone, and a rigid steel chassis. The crossover point is 3kHz. The 302’s five-way binding posts have plastic nuts, but can be tightened firmly onto a spade-lug if proper care is exercised. I found their position—inset into the “honeycombed” rear panel—awkward for my sausagelike fingers, but no more so than on many other speakers, including some hideously expensive ones. A bigger problem was that the posts are oversized and did not accept the small spades on my AudioQuest Dragon speaker cable. I feel strange complaining about this, since the larger spades are more common on better, more costly cables. But that’s the point—I can’t imagine that most people installing the 302s are going to use custom cables. Some Straight Wire banana plugs solved my problem. Small wonder As with most small monitors, placement of the DM302s is everything if you want to make them sparkle. First, you have to compromise between bass extension and midrange clarity. For me, there’s no contest—it’s midrange clarity every time. I wound up with the speakers about 20″ from the wall, about 6′ apart, and angled in so that the front baffle was all I saw as I faced them. Having said that I had to compromise bass reinforcement to obtain greater midrange clarity, I must add that the DM302s sounded remarkably full-bodied for a speaker their size—amazingly full-bodied. Don’t let the posey fool ya; these guys aren’t wimps. I once wrote what I thought was a rave review of a pair of compact monitors in which I felt duty-bound to report that, like all compact loudspeakers, they didn’t play stupid-loud, and that they lacked a certain physical impact in the bass. The US distributor reacted as though I’d told him his sister was ugly: “What do you expect from a small speaker?” he demanded. I guess he had a point, but I still feel I need to make some things clear. You wouldn’t expect a speaker the size of the DM302 to play stupid-loud, and it doesn’t—if you insist, it gets congested, even screechy. However, you can play Mahler or the Stones at very satisfying levels without stressing it. (Given its 91dB sensitivity, you can play it fairly loud even with low-output integrateds and receivers.) You wouldn’t expect to reproduce organ-pedal tones at pants-fluttering levels from a speaker the size of the DM302, and, again, it doesn’t. But when I perversely played Michael Murray’s Bach at Zwolle anyway (Telarc CD-83085), I was stunned at how powerful and solid the organ sounded—it may have lacked impact in the bottommost octave and a half, but I was clearly listening to a magnificent instrument, and the 302s did a superb job of rendering the space in which Murray was playing: the St. Nicholas Church in Kampen.B&W claims a 6dB down point of 60Hz; the speaker can play the fundamentals of most instruments cleanly, save perhaps the E-string of a string bass, the lowest keys on a grand piano, or those organ pedals. As a result, despite their diminutive size, the 302s do a fine job of reproducing the body of the music—they don’t reduce performers to ghosts of themselves.You might not expect speakers this size to totally disappear and re-create the original performance, but they do. While small cabinet loudspeakers are known for imaging well, the DM302s throw a soundstage that consistently startles with its openness and ease. You don’t get merely a taste of what the full-bore high-end speakers do, you get way into serious audiophile territory. While breaking the 302s in, I played Paul Desmond’s Bossa Antigua for a few days (Japanese RCA R25A 1045, CD)—no master plan, it was just the first disc that fell under my hand. When I finally listened to the disc and heard how large a room it was recorded in, I was surprised—I knew for a fact that it was recorded on Webster Hall’s stage, with the curtains closed. But as I continued to listen, it was obvious that the quartet was in a big, open space. I’ve never heard distortion work that way, although I’ve certainly heard big rooms made to sound small. So I looked it up. The B&Ws were right, my memory was wrong: Bossa Antigua was recorded in RCA’s Studio A, not Webster Hall. Desmond, by the way, sounded wonderful through the DM302. His alto was sweet but not cloying, and the B&W’s tweeter captured that metallic edge that gave him that “dry martini” sound. Another detail the 302 captured was Jim Hall’s tone. Here, clearly, was an electric guitar recorded acoustically—Hall was playing through an amp, and that amp was recorded within the studio, just as Desmond, Gene Wright, and Connie Kay were. Boy, I wish people still recorded guitar like that! But this disc also pointed to a downside of small monitor speakers. Gene Wright’s string bass—which is buried in the mix even when played on very large speaker systems—had so little impact that it no longer seemed to kick the songs along, but merely accompanied them. This can be ameliorated to a certain extent by turning up the volume. Once the 302s “energized” the room, they really opened up, and the low end snapped more into focus. The problem with this was that I had to play a recording somewhat louder than my normal tendency. This posed no problem on the Desmond disc, as it doesn’t have a particularly broad dynamic range. But on large orchestral works such as Mahler’s Third (as usual, I was listening to Bernstein/NYP on DG 427 328-2), I ran into a problem when I adjusted the loudness to the point where I had a believably fleshed-out New York Phil: the upper mids tended to sound splashy during crescendos. No big deal, but there it was—with really big dynamic shifts, I had only a limited range in which the speaker could sustain the illusion of re-creating the event. On the other hand, I found it easy to simply lose myself in solo piano recordings, such as Ivan Moravec Plays Beethoven, Vol.2 (VAI 1069). The piano was reproduced with startling clarity and openness. The 302s floated Moravec’s Steinway between them with a fullness of body that belied their size—that was a full-size piano floating between them. Nor did I have any complaints about the way the B&Ws reproduced rock, such as MoFi’s fabulous reissue of the first Velvet Underground album (UDCD 695)—John Cale’s bass sounded punchy and tight. All speakers great and small Overall, I was consistently surprised by how good, how clean, how big the B&W DM302s sounded. That’s exciting, because hi-fi has become the 20th-century equivalent of gout—a rich man’s disease. Thanks to companies like B&W, it doesn’t have to be. So what kind of speaker can you get for $250? One that disappears, leaving you alone with the music; one that tells you what’s on the recording with surprising accuracy; one that shows you what all this audio brouhaha is about. True, you don’t get a lot of low-end information—although most listeners will be surprised at how much is there—and there are limits as to how loud you can listen. But these are minor quibbles. When you consider that even the most expensive loudspeakers are compromised, it’s amazing how much performance B&W has wrested from a $250/pair, small monitor speaker. I wholeheartedly recommend the DM302.

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