Review: dBTechnologies Opera 402D & 405D

dB Technologies’ Opera Series of active speakers has proved a popular choice in the crowded ‘reasonably priced’ section of the PA market. First released around 10 years ago now, the Opera Series has a reputation for decent sound quality in an easy-to-use package. Now in 2010, the ‘new and improved’ Opera D series – proudly manufactured in Italy – features re-designed cabinets, more powerful amps and less weight. The midrange 400 (400W) series lies between the smaller and less powerful 200 (200W) series, and the same-sized but more powerful and even lighter neodymium-speakered 600 (600W) series.

WEIGHT TRAINING

Lifting the Operas out of their cardboard boxes confirmed their reduced weight over the previous model. At 14.1kg for the 402D and 14.5kg for the 405D, these two-way cabinets are easy to lift with one hand using the large, rubberised handle on top. The side handles are not quite as large but they’re also rubberised, making hoisting the speakers quickly and safely onto stands a cinch for one person.

I must say I’m growing a little sick of the look of molded polypropylene speakers – I much prefer the more discreet and professional appearance of cabinets with flat sides and flat fronts covered by a grille. Despite this, the Opera D’s shape is efficient and distinctive. One such distinctive feature is its new horn flare, which sits between triangular bass ports: it’s wider at the bottom than the top, making it look a little like something out of the modern incarnation of Battlestar Gallactica. The vertical dispersion is 80º while the horizontal dispersion is 60° at the top of the flare and slightly wider (65º) at the bottom.

The idea behind this asymmetry is that the nearfield listening area gets a slightly wider coverage while the distant field gets a narrower albeit more focused coverage for greater reach. The woofer actually extends beyond the sides of the cabinet, and while it may appear too big for the box, this setup helps minimise the overall dimensions. Interestingly, the cabinets for both the 402D and the 405D are exactly the same size, and since there’s only 400 grams difference in weight and about $100 difference in price, it’s hard to know why anyone would choose the 402D over the more powerful alternative. Be that as it may, both speakers are made to be used as monitors as well as front-of-house and the angled rear panels enable them to be placed on the floor so the horn ends up on the left or the right. They angle up at around the standard 43°·and little moulded bumps keep the cabinets sides from touching the floor.

Both cabinets also share the same Digipro switch-mode power supply and Class-D digital amps that produce 100W RMS for the one-inch compression driver and 300W RMS for the woofer. The amps are mounted at the rear of the cabinet where a series of protruding black fins provide thermal cooling, eliminating the need for a fan, which is a bonus. If the amp or power supply do (for whatever reason) get too hot, sensors immediately detect the problem and reduce the output until the temperature returns to a safe level. It’s the wrong time of the year to test this in the field unfortunately, but I wonder how this feature would go in the full Aussie sun on a stinking hot summer day? Perhaps we’ll have to give them a run in the sun come January…

SOCKET SET

In-built DSP controls the crossover, phase alignment, frequency response and limiting. The rear control panel on both the 402D and 405D is small and the connections and control options are fairly limited. The upside of this is that it’s simple to use… provided your eyesight is good enough to read the small labels. The only input to the cabinet is via an XLR socket, which is a little surprising in this day and age, although both XLR and ¼-inch jack output ‘link’ sockets get a guernsey. The input sensitivity knob controls the speaker level in the normal manner and works in conjunction with a thoughtfully recessed switch to change the overall sensitivity between mic and line level. There are two EQ options: ‘Flat’ for a linear response; or ‘Processed’, which gives you more bass and less mids for a more flattering music playback option.

Indicator lights for power, signal or limit are located on the control panel and a switchable blue power indicator light sits on the front of the cabinet. This is a handy little feature – it’s good to be able to turn the front light off in situations where it can be distracting, which is half the time in my experience. An even better system offered by alternative brands provides the option of switching the front light to indicate DSP limiting so you can see it from front-of-house. Unfortunately the Operas can’t make this switch. Also missing are any alternative inputs and a high-pass filter to save the speaker from dealing with unnecessary low-frequency energy when they’re teamed with subs. I’d also like to have seen the provision of phantom power here too. But to be fair to dB Technologies, I’m yet to see this feature make an appearance on any manufacturer’s powered speakers!