Review: Yamaha DBR/DXR Series Powered Speakers

MARKING UP TO DXR

The Chinese-made DXR12 is the mid-level model, and at $1299, is right amongst the leading brands. This category appeals to buyers that expect high audio quality, class-leading features and solid performance in a range of applications. In keeping with this increased expectation the DXR range comes in a sharp looking ABS enclosure. It’s pretty much the same shape and dimensions as the DBR range but the sharper edges and smooth finish give it a more upmarket attitude. The wrap-around steel grille and white power light help too. Under the cabinet there’s the luxury of a second pole-mount option, pointing down seven degrees. The rear panel is similar to the DBR12, with the same EQ options, but offers an extra input so you get the choice of XLR, ¼-inch jack or RCA, each with separate volume controls. There’s a recognition that these types of speakers will often be used without a separate mixer, and it’s great for small/solo acts to be able to mix themselves from the back of the speaker, but no phantom power on the vocal channel may be limiting.

DIALLING UP VOICE COILS

In use, both models have similar voicing with the main difference being the quality of the delivery. The DBR12 is a willing performer with a strong mid-range presence and more than enough power for the drivers. Vocals are clear at all levels with the onboard D-Contour multi-band compressor earning its money dealing with the dynamics of live vocals. You can hear the compressor working sometimes but it effectively stops the mids from distorting on vocal peaks and makes for a smoother listening experience. The LF driver has a two-inch voice coil and produces enough low-end for music playback, especially with the FOH EQ setting selected. At high levels the low end gets overwhelmed before the mids but the processor stops it from getting too untidy. Horn dispersion is 90 x 60 degrees and while the one-inch throat HF compression driver is a little grainy above 6kHz, the horn flare does a good job of spreading the high frequencies evenly across the front of the cabinet.

The DXR12 has an X (for Nexo?) in its title and sounds better for it. It’s noticeably cleaner than the DBR12 at all levels and the graininess of the DBR12’s horn is replaced by a smoother, extended response in the DXR. Its claimed maximum volume may be only 1dB higher than the DBR12 but because it stays tighter at high levels it’s effectively a greater difference. The LF driver has a bigger 2.5-inch voice coil that delivers a richer low-end with less distortion at high levels. Does it sound like a Nexo? Not really, but that doesn’t mean it’s not a good speaker in its own right, and doesn’t mean it hasn’t benefitted from a little Nexo fairy dust.

OUT ON THE CIRCUIT

It’s festival season for me so I got to try these speakers in a variety of applications. They travel easily, and they’re light; the DBR12 is less than 16kg, the DXR12 just over 19kg. They’re easy to grab by the generous side handles but there’s no handle on the top of the cabinets, not a huge issue but I use them often when fitted. Speaker covers/travel bags are almost essential for this class of speaker — I don’t think many of them travel in the back of trucks, rather they either get used in installations or travel to the gig with the band. They need bags or they get scuffed up in no time. The optional covers for these are padded for protection and have a front mesh so the speaker can be used with the cover on.

As small FOH speakers they both worked easily, with the quality difference between the different models only really noticeable on either loud or very detailed sources. Both can fill a small room — the amount of bass is the limiting factor but they’re surprisingly good for a 12-inch woofer and if you need big bass then you need a DXS sub, or at least the models with a 15-inch LF driver. As delay speakers for a bigger system at the new Blackwood Festival they had a good, even dispersion pattern and ran happily without any external EQ. Clarity and intelligibility across the vocal range is their strongest feature and that also applies when using them as monitors. They’re a great size for sidefills on small-medium stages, and there are 50-degree angles on both rear edges so a pair could be placed in a mirror-image pattern with the horns on either the inside or the outside. The Monitor EQ setting helps in controlling the excess low-end you don’t need or want on stage, but the fixed dispersion of the horn is a compromise. On a stage, the 90-degree horizontal throw of the horn becomes 90 degrees of vertical throw, with only part of it aimed at the singer. Plus there’s the problem of entering and leaving the horns relatively narrow horizontal angle when moving around the stage. The answer is a rotatable horn, then they could they really claim to be equally suitable for floor monitors, until then… they’ll do in a pinch. At the Maldon Folk Festival this year the Yamahas started off on the floor but they really started to work when I switched them to sidefills — the even coverage and high resistance to feedback winning favourable comments from the acts.

The DBR and DXR series of powered speakers are built to a price but they’re well designed, well built and equipped with all the controls and protections expected in their classes. Yamaha has a reputation for making bullet-proof gear and these come with a five-year manufacturer’s warranty. The DBR series will sell on price and shouldn’t disappoint but if you can hear the difference clearly, then the DXR series is worth the extra expense.