Written by: Tommi Langen | Tape Over Mastering
Tommi Langen is a studio producer, mixer and masterer who has produced over 9,000 songs, from indie gems to commercial chart numbers. His references include ten number one hits on the official Finnish charts, recordings and mixes of Emma and Teostop-awarded albums, 32 gold albums, 15 platinum singles and 9 double platinum. Read more
“Hi! There is a shipment for you. Pick it up no later than October 27th. Sent by: Audiokauppa Finland Oy.”
I woke up from a deep neuroleptic sleep to a phone message, and I didn't know what it was about. Or I did, but I didn't want to admit it. The screen glowed red, while the coolness of the manic phase burned my spine. The last few weeks had passed heavy and in slow motion, like coughing Paroc. The sixty-cent bass traps had destroyed the sound that sometimes floated light and free. The hum of the sub-fundamentals, stored between the memory folds of my lizard brain, reminded me of the danger and pressure – I had been dreaming about it for weeks.
Right now, my life has a momentary purpose: to find the source of the sound.
Dynaudio 9S & 18S
While carrying two subwoofer towers (32 kg in total) from the post office to the studio, I heard a distant thump from the terrace of a nearby bar:
“Hey, look, my Lange is pressing down with a big package, get angry already!”
I knew that the path I chose had to have a happy ending. Otherwise, I would be sitting there explaining some stupid shit about consumer electronics.
The package has now arrived, and every package is a promise of future happiness. I opened the package:
- Dynaudio 9S - small and delicate “sub note”
- Dynaudio 18S - “DSP washing machine” for octave notching
In my work I use Amphion Two 18 + AMP500 x2 amplifiers, Genelec 8260 APM DSP three-way speakers and Panphonics Sound Shower. I happily mix all brands, so I feel completely impartial. I like flowers, but I am not an “industry plant” that changes every year, advertising whatever is cheap.
Dynaudio 9S
- Power: 300 W (Class-D)
- Driver: 9.5” (24 cm)
- Frequency response: 22–175 Hz (+/-3 dB), stepless master/slave function
- Controls: LPF, XLR I/O, sub-out with switchable HPF
- Size (W x D x H): 266 x 320 x 276 mm
- Weight: 10.5 kg
More information on the official website. There is no time now.
There he sits, small but peppery, a meter away from the wall with two Amphions. The room size (W x H x D) is 4 mx 3 mx 7.3 m. When it comes to a “closed gate”, physical limitations (case resonance and dispersion) come into play.
Listening to the -6 LUFS “Top List” anti-music, I was impressed: the 9S can handle a lot of abuse considering its size. Dynaudio’s speed and pioneering status are known worldwide, and the 9S is living proof of that. Without going into too much detail about room acoustics or “every room is different” phrases, the 9S’s flat and direct sound made up for the lack of bass. However, it soon became clear that size does matter: the 85 dB(A) calibrated room was pushing the sub too hard. I jumped between the volume knob and the table like I was in the grip of a bulging disc, and the result was: these are very good, but I need more breath – “that holy bass”.
If my room were smaller, a stereo pair of 9S would be a perfect fit and a great choice. The bass is tight and fast, the transients and response remain clean. I've heard many subs that produce dark, heavy mass. With the 9S, you "hear the sound, not the speaker" - that's the best speaker design. For the home producer or small room mixer: these are reliable. They blow away popular budget models, and by getting a stereo pair, you can expand both the room and your career.
Dynaudio 18S
- Drivers: Dual 9.5” MSP + long-throw woofer, Hybrid Drive
- Power: 500 W (Class-D)
- Frequency response: 16–230 Hz (+/-3 dB), crossover 50–150 Hz (0.5 dB steps)
- Maximum SPL (1m): 110 dB
- Size (W x D x H): 470 x 268 x 333 mm
- Weight: 20.5 kg
- XLR/RCA I/O, 3-band built-in EQ, daisychaining/master-slave options
With trembling hands I grabbed the Vovox (ahh) high-end cables and plugged in the equipment. The 18S weighs 20 kg, so in demo mode every movement can cause scratches. I placed the sub on the same “anti-rumble springs” where the 9S had sweated.
I opened the Tuune Pauler EP I had just mastered (we got a 5/5 rating from Hifilehti for the obscure album), pressed play: the signal travels a couple of meters through the Lynx Hilo and meets the Amphion and Dynaudio 18S. Everything stops – time bends – until a huge sine wave with odd/even multiples hits my ear. “Holy subitar, what is this power? Am I worth this, even for a moment?”
The purity of the low frequencies, the double hybrid design of the housing, the versatile adjustments (0.5 dB stepped crossover, 3-band EQ, selectable dB/octave cut, 16 Hz long throw) and the movement of the dual cones created euphoric joy. The problem has been solved. This device is without compromises – just audio. “Set and forget” is the dream situation of every sound worker – how many years have we adjusted or sacrificed?
The genius of the 18S is the placement of dual elements on both sides of the sub. This multiplies the placement options in the room and even replaces the need for a stereo pair. I place the sub in a triangle with the Amphions and Genelecs, slightly “off center”. The distance to the back wall is about 50 cm, to the side walls 1.4 m and 1.2 m. Enough space to play, but controlling reflections is important.
I'm not a big fan of DSP, but the "analog mind, digital thoughts" mentality doesn't rule out the benefits of digital aids. They are often a shortcut to happiness, even if they don't fix the problem completely. The 18S' LCD menu and optional settings (EQ, phase equalizer) are welcome. Although Dynaudio offers a 1:1 crossover for its own speakers, this does not prevent integration with other models. The crossover/octave/EQ options will make even the "hi-fi guy" giggle. Designed for the future.
Speed and reactivity
In studio use, the most important thing when it comes to needing a sub is speed and transient separation, not a massive standing wave. Of course, room modes, studio size, etc. affect the sound image. I have mastered about 9,000 songs and I always prefer “naturalness”: in pro audio you pay for transparency, not just “safe bass”.
I have worked in the live field for 18 years with infrasubs (L-Acoustics, Funktion One, dB Technologies, KV2, etc.). Based on these experiences, I can confidently know how the low frequencies behave with the 18S both at home and at festivals. The Fletcher–Munson curve doesn't lie.
We live in the golden age of “professional amateurs”, so quality control, acoustic fundamentals, realistic self-criticism and experience are as important as the mass used in a sub. Can the device easily reach the finish line, is your journey pleasant and are your clients or spouse on your side? In professional products, the differences are revealed in the room, taste preferences and room acoustics. The Dynaudio 18S ticks all the boxes – the sound and professional level are top-notch. I am still amazed by its pressure and clarity. Every workday has been brilliant since the 18S became the house. This was supposed to be a temporary solution, but I will not give it up for heavy loads – not even for jazz. At the moment, the Dynaudio 18S stereo pair integrates so well into my system that this is the end point of the gateway of my journey this time.
“Towards new waves, thanks to Audiokauppa.fi and Veli-Markus Kupari, extremely well done!”
Editor's note: Dynaudio's 9S and 18S pro models are currently out of stock, but the corresponding models Dynaudio Sub 3 and Dynaudio Sub 6 offer an almost identical alternative, albeit with a better finish and the option to put protective meshes in front of the drivers, and of course also available in white. These are differences that have more to do with marketing than sound quality. “Every bit counts.”
