Dynaudio Studio Monitors: Choosing LYD, Classic BM, Core and Dynaudio Acoustics (2026)
Dynaudio studio monitors are new at Blackout Audio. Prices start at $629 CAD per speaker for the LYD 5 and reach $32,999 CAD for the M4 MkII, a passive main monitor for large control rooms. They are for producers and engineers who need to hear exactly what is in a mix, at the desk or in a professional control room.
Prices in this guide for LYD, Classic BM and Core monitors are per speaker, so budget for two. The LYD 48, BM15A and Core 47 come as dedicated left and right models, and each side has its own listing.
Three places to start
LYD 5 ($629 CAD) is the smallest Dynaudio monitor here, made for small studios, home setups and desktop mixing. Dynaudio tuned it to stay precise at low listening levels, so you hear the detail without turning up. A pair comes to $1,258 CAD.
For $60 more per speaker, the BM5 MkIII ($689 CAD) suits project studios and edit suites. You get more output, finer room controls and a built-in high-pass filter for adding a subwoofer later.
In a professional room, start with the Core 7 ($2,649 CAD). It takes an AES3 digital feed as well as analog, and a level switch lets every Core speaker in the room play to one calibrated reference. Dynaudio built it for recording, mixing and mastering rooms, broadcast trucks and immersive mix rooms.
Dynaudio lines at a glance
| Line | Models | Price (CAD) | Built for |
|---|---|---|---|
| LYD | LYD 5, LYD 7, LYD 8, LYD 48 (left and right) | $629 to $1,649 | Home and project studios, nearfield and midfield |
| Classic BM | BM5 MkIII, BM6A, BM15A (left and right) | $689 to $2,099 | Project studios, edit suites, nearfield and midfield |
| Core | Core 5, Core 7, Core 47 (left and right), Core 59 | $2,299 to $4,199 | Professional control rooms, broadcast, immersive rooms |
| Active subwoofers | 9S, 18S, Core Sub Compact, Core Sub | $1,449 to $5,399 | Deeper bass under LYD, Classic BM and Core monitors |
| Dynaudio Acoustics monitors | M1 MkII, M2 MkII, C3 MkII, M3F, M3 MkII, M3FX, M4 MkII Mini, M4 MkII | $6,199 to $32,999 | Music and post-production rooms running outboard amplifiers |
| Dynaudio Acoustics surrounds and subwoofers | MF15, MF30, MS15, MS18 | $4,599 to $12,899 | Surround and bass channels in immersive music and post rooms |
| Amplifiers | DCA S800, DCA S1400, Delta 40, Delta 80, Delta 40 DSP, Delta 80 DSP | $5,399 to $12,599 | Powering Dynaudio Acoustics passive speakers |
| Stands and brackets | SF1, Ceiling Mount Bracket, Wall Mounting Bracket, Core Mounting Bracket Type 1 and Type 2 | $97.99 to $249 | Desk, ceiling, wall and Core mounting |
LYD, Classic BM and Core monitors are all active, with the amplifiers inside the cabinet. Dynaudio Acoustics speakers are passive and run from outboard amplifiers, and Dynaudio recommends its own DCA and Delta models for them.
LYD: personal reference monitors
Dynaudio calls LYD its personal reference range, and all four models share three DSP switches on the back. Bass Extension moves the low cutoff 10 Hz up or down, trading bass reach against maximum level. Sound Balance tilts the response brighter or darker, and Position adds a filter for speakers within 50 cm of a wall.
LYD 7 ($799 CAD) and LYD 8 ($1,099 CAD) are two-way nearfields for mixing with the speakers 1 to 2 meters away. The LYD 8 moves up to an 8-inch woofer and plays to 112 dB per pair, against 109 dB for the LYD 7. Choose it when your room has space for the larger cabinet and you want more level at the same distance.
At the top of the range, the LYD 48 ($1,649 CAD per speaker) is a three-way with a 4-inch midrange between the woofer and tweeter. It lies on its side, so Dynaudio builds left and right versions that put both woofers on the inside of the pair. The manual sets the ideal listening distance at 1.5 to 2.5 meters, which makes it the LYD for a bigger room or a mix position further back. Order the left and the right in the same finish.
Each LYD comes in Black Satin or White Satin at the same price. The white versions are the LYD 5, LYD 7, LYD 8 and LYD 48 left and right.
BM5 MkIII, BM6A and BM15A: the Classic BM range
BM5 MkIII follows the BM5A MKII, and its rear panel goes further than the LYD switches. An LF shelf compensates for nearby walls and corners, an MF notch takes out the low-mid bump a console adds, and an HF switch trims the treble. A high-pass filter at 60 or 80 Hz gets it ready for a subwoofer, and an optional wired remote handles volume.
Next to the LYD 7, the BM5 MkIII is the better value on paper. The two cabinets are the same size, so they take the same desk space. The BM5 MkIII costs $110 less, reaches lower at 42 Hz against 55 Hz, and plays louder at 118 dB per pair against 109 dB. The LYD 7 has the larger woofer, the Sound Balance tilt and a white option.
At $1,499 CAD per speaker, the BM6A is the Classic BM nearfield for mixing at close range on stands or a console meter bridge. Its 170 mm woofer and soft dome tweeter each run from their own discrete MOSFET amplifier, and an LF trim trades bass level against extension. LEDs on the front show power, faults and clipping in the woofer amplifier.
Against the BM5 MkIII, the numbers are close. The BM6A reaches 41 Hz against 42 Hz, both play to 118 dB per pair, and the BM5 MkIII costs $810 less per speaker. For mixing at a desk, the BM5 MkIII is the better buy, and it is the one with the console notch and the subwoofer high-pass.
For engineers who need more level and low end than a desk monitor gives, the BM15A ($2,099 CAD per speaker) is the big Classic BM, a two-way for nearfield and midfield work. Its 240 mm woofer reaches 40 Hz, and a pair plays up to 124 dB at 1 meter. It comes as dedicated speakers, so order the left and the right.
Core: reference monitors for professional rooms
The Core 5, Core 7, Core 47 and Core 59 share the same inputs and rear-panel DSP switches. Each has analog XLR and AES3 digital inputs plus a word clock input, and on AES3 it runs at the incoming sample rate with no sample-rate conversion. A level switch sets what a -20 dBFS signal produces at 1 meter, so a room full of Core speakers plays to one reference. A position switch sets the DSP for Anechoic, Desk or Soffit placement.
Core 5 ($2,299 CAD) is the compact model, designed for smaller rooms and nearfield work. Dynaudio lists edit suites, OB trucks and immersive rooms that need many speakers in one space. Each driver has its own 280 W amplifier, and it reaches 110 dB in half space.
Spend $350 more and the Core 7 steps up to a 7-inch woofer and reaches 118 dB in half space, against 110 dB for the Core 5. For a stereo recording, mixing or mastering room, this is the Core we would start with.
For post and broadcast rooms, look at the Core 47 ($3,399 CAD per speaker). It adds a 4-inch midrange to a 7-inch woofer, and its crossover points keep more of the vocal range in one driver, which helps when you judge vocal balance and dialogue. Dynaudio lists TV dub stages, edit suites, broadcast trucks, ADR rooms and game audio suites as well as music studios. The manual calls for horizontal placement only, so Dynaudio builds mirrored models. Order the left and the right.
Core 59 ($4,199 CAD) is the flagship of the Core range, a three-way for nearfield, midfield or main monitoring and for soffit mounting. Its tweeter and midrange sit in the Orbit baffle, which rotates 90 degrees so the speaker can lie on its side with the drivers still time-aligned. One model then covers left, right and center in 5.1, 7.1 and Dolby Atmos systems.
Dynaudio subwoofers: matching one to your monitors
Dynaudio's active subwoofers split by range. The 9S and 18S go under LYD and Classic BM monitors, and the Core Sub Compact and Core Sub go under Core.
9S ($1,449 CAD) is the compact sub for LYD, Classic BM and other Dynaudio monitors. A 9-inch woofer in a sealed cabinet reaches 22 Hz. Its SAT outputs pass your stereo signal on to the monitors through a switchable high-pass filter, and you set the crossover to the sub by hand with its low-pass control.
For $750 more, the 18S ($2,199 CAD) does most of that setup for you. Pick your monitor on the rear display and the sub loads Dynaudio's measured preset for it, with presets for every LYD model, the BM5 MkIII and Dynaudio's BM6 and BM15 Classic models. You enter the distance to each speaker, and the 18S delays its bass so it arrives in step with the monitors. Two opposed 9-inch woofers reach 16 Hz.
Floor space decides between the two Core subs. The Core Sub Compact ($3,599 CAD) is half the size of the Core Sub, fits under or behind a desk and reaches 16 Hz. Its Bandwidth switch engages an 80 Hz low-pass that meets the 80 Hz high-pass on any Core monitor.
Core Sub ($5,399 CAD) puts four side-firing 9-inch woofers in a sealed cabinet and reaches 15 Hz. Up to three stack, and it can run as a theatrical LFE channel as well as a 2.1 system.
Stands and mounting brackets
For a desk or a shelf, the SF1 ($97.99 CAD) is a low 42 mm stand that tilts a compact speaker slightly upward. Raising the front cuts the reflections that the surface under the speaker would add to the sound.
The Ceiling Mount Bracket ($209 CAD) hangs a LYD or Classic BM monitor from the ceiling and tilts it down toward your listening position. It holds up to 12.5 kg, which covers every LYD, the BM5 MkIII and the BM6A, but the 18.6 kg BM15A is too heavy for it. The Wall Mounting Bracket ($229 CAD) carries the same 12.5 kg on a wall.
Core speakers have their own brackets, and both are fully adjustable. The Core Mounting Bracket Type 2 ($219 CAD) fits the Core 5, and the Type 1 ($249 CAD) fits the Core 7, Core 47 and Core 59.
Dynaudio Acoustics: passive monitors for music and post rooms
Dynaudio Acoustics speakers are passive, so your budget has to cover outboard amplifiers too. The M2 MkII, the C3 MkII and the three M3 models run as active two-way systems: the amplifier feeds the woofers on their own channel, and a passive network in the cabinet splits the rest between the midrange and the tweeter.
M1 MkII ($6,199 CAD) is the compact passive nearfield, for engineers who monitor loud for long sessions. A pair reaches 122 dB at 2 meters, and Dynaudio recommends a listening distance of 1 to 3 meters.
Moving back from the desk, the M2 MkII ($11,599 CAD) is a compact three-way for nearfield and midfield work, with two 24 cm woofers and a best listening distance of 1.5 to 4 meters. Inside the C3 MkII ($14,899 CAD) are the same drivers as the flagship M4, in a smaller cabinet for small and medium music studios and film and TV post. With a subwoofer and eight or ten surrounds, C3 MkII speakers form a Dolby Atmos 7.1.4 or 9.1.4 system.
For music rooms and film dubbing theaters of small to medium size, the M3 MkII ($24,799 CAD) is a main monitor built to run continuously at high power. Dynaudio recommends that a qualified engineer with measurement gear do its final setup and alignment.
Two main monitors are built around film and TV post-production. The M3F ($19,799 CAD) stands behind the screen in medium-size studios, and its tall, narrow cabinet leaves more room in the theater. The M3FX ($27,999 CAD) is a high-power three-way for large post rooms where the console sits up to 8 meters from the screen, and Dynaudio builds it in a left/right version and a wider center version. With Dynaudio subwoofers and surrounds, both form Dolby Atmos systems up to full theatrical Atmos.
Dynaudio's flagship, the M4 MkII ($32,999 CAD), is a 4-way main monitor for large music recording and mixing rooms, usually flush-mounted in a wall. Each speaker takes four amplifier channels. The M4 MkII Mini ($28,899 CAD) keeps the same drivers above the bass with two woofers where the M4 MkII has four, for control rooms that cannot fit the full-size cabinet, and takes three channels per speaker.
Surrounds and passive subwoofers for immersive rooms
Surrounds in the Dynaudio Acoustics range have drivers that match its screen speakers, so sound moves evenly around the room in Atmos mixes. The MF15 ($4,599 CAD) is a passive 2-way surround that works with any M-series main monitor, and its shallow cabinet suits smaller control rooms with low ceilings. It comes in a vertical or a horizontal center format with the same drivers, so tell us which one you need when you order.
In larger rooms and larger Atmos systems, the MF30 ($5,799 CAD) is the dual-woofer version, reaching 122 dB at 1 meter against 114 dB for the MF15. Dynaudio limits the MF15's bass by design and recommends an MS-series subwoofer for bass management in larger rooms.
The two passive subwoofers are the MS15 ($10,549 CAD) and the MS18 ($12,899 CAD). The MS15's 15-inch driver reaches 30 Hz for small and medium post rooms, and it can also extend the bass of the M1 MkII and M2 MkII. The MS18 moves up to an 18-inch driver that reaches 25 Hz, for rooms up to full theatrical Atmos.
Amplifiers for Dynaudio Acoustics speakers
Dynaudio's DCA stereo amplifiers run passive mains as active two-way systems when they carry analog filter cards. On Dynaudio's speaker pages, these models appear as the DCA800 and DCA1400. Dynaudio names the DCA S800 ($5,399 CAD) for the M1 MkII, M2 MkII, C3 MkII, M3 MkII, M3F and MS15, and the DCA S1400 ($6,599 CAD) for the MS18. Dynaudio gives either one for the M3FX, M4 MkII and M4 MkII Mini. Both also come with binding post speaker outputs at the same price, as the DCA S800 binding post and DCA S1400 binding post versions.
The Delta amplifiers are four-channel 2U units. The Delta 40 ($7,549 CAD) delivers 1000 W per channel into 4 ohms and the Delta 80 ($8,899 CAD) delivers 2000 W, and neither has onboard processing. The Delta 40 DSP ($11,099 CAD) and Delta 80 DSP ($12,599 CAD) add EQ, crossovers, delay and limiting, set from the front panel, a computer or an iPad app.
Dynaudio names the Delta 40 DSP for the M2 MkII, C3 MkII, M3 MkII and M3F, and either Delta DSP model for the M3FX, M4 MkII and M4 MkII Mini. A single Delta 40 DSP drives a stereo pair of C3 MkII on its own. For the M1 MkII, MS15 and MF30, Dynaudio also lists a Delta 40, and for the MS18 a Delta 80.
A pair of M4 MkII takes eight amplifier channels. A Delta DSP can feed a Delta 40 or Delta 80 from its four auxiliary outputs, so one DSP unit runs the crossovers and EQ for the whole stereo four-way system. Every amplifier here is a 120 V model.
How to choose by room, use and budget
- A small room or a desk, mixing at low to moderate volume. Start with the LYD 5. Two come to $1,258 CAD.
- A project studio with a console, or a subwoofer in the plan. The BM5 MkIII has the MF notch for the low-mid bump a console adds and a 60 or 80 Hz high-pass for a sub. Two come to $1,378 CAD.
- A bigger room, or more level at the desk. The LYD 8 plays louder than the LYD 7 at the same 1 to 2 meters, and two come to $2,198 CAD. For a mix position 1.5 to 2.5 meters back, a left and right pair of LYD 48 is $3,298 CAD.
- A professional room with digital routing or many speakers. Go Core. The Core 5 fits tight rooms and immersive arrays, the Core 7 suits stereo mix and mastering rooms, the Core 47 helps you judge vocals and dialogue in dub stages and ADR rooms, and the Core 59 covers midfield, main and center positions.
- More bass than your monitors reach. Add a 9S or 18S under LYD or Classic BM, or a Core Sub Compact or Core Sub under Core.
- A passive system for a music or post room. Pick the Dynaudio Acoustics speaker for your room size, add the DCA or Delta amplifier Dynaudio names for it, and plan the room with an engineer.
- An immersive post room. Pair C3 MkII, M3F or M3FX mains with MF15 or MF30 surrounds and an MS15 or MS18 subwoofer sized to the room.
Nearfield or midfield?
The listening distance Dynaudio gives for each model tells you which room it suits. Our guide explains how nearfield and midfield monitors differ and how to place them.
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Frequently Asked Questions
Are Dynaudio studio monitors sold in pairs?
No. Every LYD, Classic BM and Core monitor at Blackout Audio is sold as a single speaker, so order two for stereo. The LYD 48, BM15A and Core 47 come in dedicated left and right versions, and you order one of each.
Should I buy the LYD 7 or the BM5 MkIII?
Both take the same desk space. The BM5 MkIII costs $110 less per speaker, reaches lower, plays louder and adds a console notch and a subwoofer high-pass. The LYD 7 has the larger woofer, the Sound Balance tilt and a white finish option.
Which Dynaudio subwoofer goes with LYD monitors?
The 9S or the 18S. The 18S has stored presets for the LYD 5, 7, 8 and 48, plus distance alignment and room EQ. The 9S costs less and you set its crossover by hand.
Do Dynaudio Core monitors take a digital input?
Yes. Each Core model has an AES3 digital input and a word clock input next to its analog XLR input. On AES3 it runs at the incoming sample rate with no sample-rate conversion.
Do Dynaudio Acoustics speakers need amplifiers?
They do, because they are passive speakers. Dynaudio recommends its own DCA and Delta amplifiers. It names the DCA S800 for the M1 MkII, M2 MkII, C3 MkII, M3 MkII, M3F and MS15, and a single Delta 40 DSP drives a stereo pair of C3 MkII.
What is the difference between the Delta and Delta DSP amplifiers?
The Delta 40 DSP and Delta 80 DSP add onboard EQ, crossovers, delay and limiting, so they split a multi-way speaker without an outboard processor. The Delta 40 and Delta 80 have no processing of their own and can take a processed feed from a Delta DSP's auxiliary outputs.