Dayton MK602X Review

  • Wednesday, Nov 17, 2021
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Foreword / YouTube Video Review

These speakers were sent to me by Dayton directly. I sent them back before I had the chance to take photos of my own.

The review on this website is a brief overview and summary of the objective performance of this speaker. It is not intended to be a deep dive. Moreso, this is information for those who prefer “just the facts” and prefer to have the data without the filler. The video below has more discussion.





Information and Photos

Some specs from the manufacturer:

The engineers at Dayton Audio put full effort into designing these fantastic bookshelf speakers! These speakers produce defined bass, life-like imaging, and high detail with no fatiguing peaks for long term listening. Key Features:

  • 6” Glass fiber woofer extends the low-frequency range for impressive bass without distorting the critical vocal range above 2kHz
  • 1” Silk dome tweeter delivers accurate vocal and instrumental reproduction without the shrill peaks often found in metal tweeters
  • Wide dispersion means these speakers can be used in many locations without compromising your main listening position
  • Short signal path maintains the input signal quality, staying true to tone
  • 4 ohms impedance is compatible with most amplifiers
  • Faceted styling fits in any décor
  • 5 Year Warranty

Price is approximately $150 USD for the pair.

If you are interested in purchasing this speaker, please consider using the following affiliate link which earns me a small commission at no additional cost to you: Buy from Parts-Express





CTA-2034 (SPINORAMA) and Accompanying Data

All data collected using Klippel’s Near-Field Scanner. The Near-Field-Scanner 3D (NFS) offers a fully automated acoustic measurement of direct sound radiated from the source under test. The radiated sound is determined in any desired distance and angle in the 3D space outside the scanning surface. Directivity, sound power, SPL response and many more key figures are obtained for any kind of loudspeaker and audio system in near field applications (e.g. studio monitors, mobile devices) as well as far field applications (e.g. professional audio systems). Utilizing a minimum of measurement points, a comprehensive data set is generated containing the loudspeaker’s high resolution, free field sound radiation in the near and far field. For a detailed explanation of how the NFS works and the science behind it, please watch the below discussion with designer Christian Bellmann:




The reference plane in this test is at the tweeter. The speaker was measured with the grille off, in ported configuration.

Measurements are provided in a format in accordance with the Standard Method of Measurement for In-Home Loudspeakers (ANSI/CTA-2034-A R-2020). For more information, please see this link.

CTA-2034 / SPINORAMA:

The On-axis Frequency Response (0°) is the universal starting point and in many situations it is a fair representation of the first sound to arrive at a listener’s ears.

The Listening Window is a spatial average of the nine amplitude responses in the ±10º vertical and ±30º horizontal angular range. This encompasses those listeners who sit within a typical home theater audience, as well as those who disregard the normal rules when listening alone.

The Early Reflections curve is an estimate of all single-bounce, first-reflections, in a typical listening room.

Sound Power represents all of the sounds arriving at the listening position after any number of reflections from any direction. It is the weighted rms average of all 70 measurements, with individual measurements weighted according to the portion of the spherical surface that they represent.

Sound Power Directivity Index (SPDI): In this standard the SPDI is defined as the difference between the listening window curve and the sound power curve.

Early Reflections Directivity Index (EPDI): is defined as the difference between the listening window curve and the early reflections curve. In small rooms, early reflections figure prominently in what is measured and heard in the room so this curve may provide insights into potential sound quality.

specs

Early Reflections Breakout:

Floor bounce: average of 20º, 30º, 40º down

Ceiling bounce: average of 40º, 50º, 60º up

Front wall bounce: average of 0º, ± 10º, ± 20º, ± 30º horizontal

Side wall bounces: average of ± 40º, ± 50º, ± 60º, ± 70º, ± 80º horizontal

Rear wall bounces: average of 180º, ± 90º horizontal

specs

Estimated In-Room Response:

In theory, with complete 360-degree anechoic data on a loudspeaker and sufficient acoustical and geometrical data on the listening room and its layout it would be possible to estimate with good precision what would be measured by an omnidirectional microphone located in the listening area of that room. By making some simplifying assumptions about the listening space, the data set described above permits a usefully accurate preview of how a given loudspeaker might perform in a typical domestic listening room. Obviously, there are no guarantees, because individual rooms can be acoustically aberrant. Sometimes rooms are excessively reflective (“live”) as happens in certain hot, humid climates, with certain styles of interior décor and in under-furnished rooms. Sometimes rooms are excessively “dead” as in other styles of décor and in some custom home theaters where acoustical treatment has been used excessively. This form of post processing is offered only as an estimate of what might happen in a domestic living space with carpet on the floor and a “normal” amount of seating, drapes and cabinetry.

For these limited circumstances it has been found that a usefully accurate Predicted In-Room (PIR) amplitude response, also known as a “room curve” is obtained by a weighted average consisting of 12 % listening window, 44 % early reflections and 44 % sound power. At very high frequencies errors can creep in because of excessive absorption, microphone directivity, and room geometry. These discrepancies are not considered to be of great importance.

specs

Horizontal Frequency Response (0° to ±90°): specs

Vertical Frequency Response (0° to ±40°): specs

Horizontal Contour Plot (not normalized): specs

Horizontal Contour Plot (normalized): specs

Vertical Contour Plot (not normalized): specs

Vertical Contour Plot (normalized): specs

“Globe” Plots

Horizontal Polar (Globe) Plot:
This represents the sound field at 2 meters - above 200Hz - per the legend in the upper left. specs


Vertical Polar (Globe) Plot:
This represents the sound field at 2 meters - above 200Hz - per the legend in the upper left. specs





Additional Measurements


On-Axis Response Linearity

specs


Impedance Magnitude and Phase + Equivalent Peak Dissipation Resistance (EPDR)


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Near-Field Response

Nearfield response of individual drive units: specs




Harmonic Distortion

Harmonic Distortion at 86dB @ 1m: specs

Harmonic Distortion at 96dB @ 1m: specs




Dynamic Range (Instantaneous Compression Test)

The below graphic indicates just how much SPL is lost (compression) or gained (enhancement; usually due to distortion) when the speaker is played at higher output volumes instantly via a 2.7 second logarithmic sine sweep referenced to 76dB at 1 meter. The signals are played consecutively without any additional stimulus applied. Then normalized against the 76dB result.

The tests are conducted in this fashion:

  1. 76dB at 1 meter (baseline; black)
  2. 86dB at 1 meter (red)
  3. 96dB at 1 meter (blue)
  4. 102dB at 1 meter (purple)

The purpose of this test is to illustrate how much (if at all) the output changes as a speaker’s components temperature increases (i.e., voice coils, crossover components) instantaneously.

specs




Long Term Compression Tests

The below graphics indicate how much SPL is lost or gained in the long-term as a speaker plays at the same output level for 2 minutes, in intervals. Each graphic represents a different SPL: 86dB and 96dB both at 1 meter.

The purpose of this test is to illustrate how much (if at all) the output changes as a speaker’s components temperature increases (i.e., voice coils, crossover components).

The tests are conducted in this fashion:

  1. “Cold” logarithmic sine sweep (no stimulus applied beforehand)
  2. Multitone stimulus played at desired SPL/distance for 2 minutes; intended to represent music signal
  3. Interim logarithmic sine sweep (no stimulus applied beforehand) (Red in graphic)
  4. Multitone stimulus played at desired SPL/distance for 2 minutes; intended to represent music signal
  5. Final logarithmic sine sweep (no stimulus applied beforehand) (Blue in graphic)

The red and blue lines represent changes in the output compared to the initial “cold” test.

specs

specs








Parting / Random Thoughts

Upon initial listen I found the treble just way too hot and unpleasant. The low-order crossover on the midwoofer results in poor directivity matching to the tweeter. The treble has as much as a +5dB peak relative to the mean SPL. This results in a very bright sound that some (even Dayton) might call “detail” but I call it “pseudo-detail”. There is a mild boost in the bass which is preceded by a slightly recessed midrange. These are not deal breakers, per se, but I do prefer to not have a midbass bump in my speakers so it wasn’t something I would prefer. Other than this, it’s really not terrible. It is worth pointing out that Dayton implies a subwoofer is not needed with this speaker and the data shows that this is obviously not true. While the F3 and F10 are quite respectable, the F10 is 43Hz; meaning the response is down 10dB at 43Hz. So, yes, you still need a subwoofer with this speaker.

A few minor tweaks to the crossover network for little cost to Dayton’s bottom line and I’d be much happier sonically with what I heard and I think Dayton would have knocked it out of the park in this price class.

As stated in the Foreword, this written review is purposely a cliff’s notes version. For more details about the performance (objectively and subjectively) please watch the YouTube video.



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