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We have replaced our top pick with the newer, Bluetooth-equipped version, the Pioneer DJ DM-50D-BT.
Any computer owner can benefit from a good set of powered computer speakers, whether for listening to music, watching videos, playing games, or producing audio content. In all our years of conducting brand-concealed listening tests, the Pioneer DJ DM-50D-BT computer speakers have been the best we’ve heard in the $200 price range. Plus, this pair is easy to set up and control, and it should fit well on most desktops. But we also have recommendations for smaller computer-speaker pairs, as well as some larger professional monitors for audio production.
Powered speakers are more convenient to use with computers and USB audio interfaces, so we didn’t test passive (unpowered) models.
We included both consumer- and pro-oriented desktop speakers, focusing on those priced between $100 and $300.
We conducted our tests with the speakers concealed and their levels precisely matched so our expert listeners could judge purely on sound.
We measured our top picks to make sure they were technically free of defects and wouldn’t create problems that our ears didn’t detect.
The DM-50D-BT system has two sound modes that make it good for music listening and audio production. It features built-in Bluetooth and signal-sensing inputs to connect a smart speaker.
The Pioneer DJ DM-50D-BT is our favorite pair of computer speakers because it sounds great and should fit well on most desktops, measuring 11 by 7 by 10 inches. The system has two sound modes: The Production mode, as its name suggests, is better for audio production, and the DJ mode is better for movies and bass-heavy music. During our tests, in either mode the reproduction of voices and acoustic instruments sounded clearer through the DM-50D-BT than it did through other systems in this price range. The DM-50D-BT has three types of analog audio inputs (including balanced connectors) on the back, as well as a volume/power knob and a headphone jack, both of which are located on the front of one of the speakers for easy access. The DM-50D-BT pair has Bluetooth built in, and it offers signal-sensing inputs, which turn the system on automatically when they detect an incoming audio signal; this feature makes the DM-50D-BT system work like a smart speaker if you connect an Amazon Echo Dot. The DM-50D-BT is available in a black or white finish. If you don’t need built-in Bluetooth, you can get the DM-50D, which performs just as well and costs a bit less.
The Eris E3.5 BT pair offers excellent sound, a small footprint, and conveniently placed controls and inputs, but it lacks deep bass.
*At the time of publishing, the price was $140.
If you want computer speakers that are smaller or less expensive than our top pick, the PreSonus Eris E3.5 BT set is a great choice. After we fine-tuned the bass and treble controls, the speakers’ sound quality approached that of the Pioneer DJ DM-50D-BT set. The difference is that this set’s rear port “chuffs” on loud, deep bass notes, so it isn’t a great choice for hip-hop, EDM, or R&B music. The Eris E3.5 BT pair, which includes Bluetooth, offers a volume control, a headphone jack, and an auxiliary input jack on the front, plus ¼-inch and RCA analog audio inputs on the back.
This professional studio monitor offers clean sound with useful controls to fine-tune the results, but it’s not as easy to use as our other picks.
For anyone who is serious about audio production but needs to keep their costs down and their setup small, the JBL Professional 305P MkII is a great choice. It’s only a little larger than each Pioneer DJ DM-50D-BT speaker, but it sounds clearer than any of the smaller, lower-priced powered speakers we’ve tried. Its bass and treble tuning switches allow you to fine-tune the sound for different types of installations. The downsides are that the 305P MkII is a little too large for many desks; it lacks conveniences such as front-panel controls, Bluetooth, and a headphone jack; it has ¼-inch and XLR audio jacks instead of RCA jacks, so it’ll probably require adapters for hookup to a computer; and it costs more.
The ProMedia 2.1 system comes with a subwoofer to improve bass response in movies and video games, and it has a clean, simple design.
*At the time of publishing, the price was $135.
If you watch a lot of movies or play cinematic video games at your desk, you might prefer a computer speaker system that includes a subwoofer to reproduce deep bass notes. Of all the 2.1-channel systems we tested, the Klipsch ProMedia 2.1 THX had the best sound quality, about as full and balanced as that of the Pioneer DJ DM-50D-BT but with deeper bass response. Dialogue and acoustic instruments sounded clear and crisp, and the subwoofer effectively filled in the low end. The speakers have a small footprint and convenient front-panel controls, but connection options are limited, and there’s no Bluetooth support.
The DM-50D-BT system has two sound modes that make it good for music listening and audio production. It features built-in Bluetooth and signal-sensing inputs to connect a smart speaker.
The Eris E3.5 BT pair offers excellent sound, a small footprint, and conveniently placed controls and inputs, but it lacks deep bass.
*At the time of publishing, the price was $140.
This professional studio monitor offers clean sound with useful controls to fine-tune the results, but it’s not as easy to use as our other picks.
The ProMedia 2.1 system comes with a subwoofer to improve bass response in movies and video games, and it has a clean, simple design.
*At the time of publishing, the price was $135.
I have been reviewing audio gear professionally since 1990, having worked as an editor or writer for SoundStage, Sound & Vision, HomeTheaterReview.com, Home Theater Mag, and numerous other publications. In that time, I have conducted and published more brand-concealed tests of audio products than any other journalist in the world, and I have also published many articles on the subject of audio measurement. I also play double bass in various jazz groups in Los Angeles, and I have been producing and engineering music and voice recordings on my own and in professional studios since the early 1980s. I recently mixed the album Take2, which has reached as high as number three on the Roots Music Report jazz album chart, and the tune “Findango,” which reached number one on the Roots Music Report jazz song chart.
The panelists for our most recent listening tests included Wirecutter senior staff writer Lauren Dragan, who writes our headphone guides, works as a professional voice actor, and has a degree in music production, and Dan Gonda, a woodwinds player who performs and records with numerous Los Angeles–area jazz and pop groups, plays in the pit orchestras of many musical productions, and is a certified Avid Pro Tools user.
Powered computer speakers are a great option for anyone who enjoys using their computer to listen to music, watch movies, play video games, or produce music, podcasts, or videos. The tiny speakers built into laptops and monitors produce a thin sound with little to no bass. The two-way design of most computer speakers, with a woofer for bass and a tweeter for treble, increases the sonic fidelity of anything you listen to. For example, a bassline that’s practically inaudible through laptop speakers sounds about as full through a good pair of computer speakers as it would in your car.
Computer speakers are generally sold in pairs. The amplifiers and controls are built into one speaker, which connects to the other via speaker cable. There’s no need to add an external amplifier or audio processor—you simply connect the speakers to your computer’s headphone jack or the output of a USB audio interface, and you’re ready to go. (You can accomplish much the same thing with a set of passive bookshelf speakers and a desktop amplifier, but in that arrangement you have an extra component to deal with.) With true professional studio monitors, each speaker has its own amp and may be sold individually.
A decade ago, people used computer speakers mostly for listening to music, playing games, and watching movies. Now, with millions of people creating their own content for video-sharing sites and podcasts, and with more musicians getting involved in home recording, most of today’s better computer speakers resemble miniature versions of professional studio recording monitors. In fact, many of them are made by professional audio companies. This means that most of these speakers sound better than the computer speakers of a decade ago, which were often built more for style than for sound quality.
Computer speakers vary dramatically in size, price, and options. We use the following criteria to decide which computer speakers to test and how to evaluate their quality.
With the above criteria in mind, for every update of this guide, we look through all the available models on retail sites such as Amazon, Best Buy, Guitar Center, and Sweetwater. We also keep an eye on new product releases from all the major manufacturers in this category and, when possible, check out the new models ourselves at trade shows or in music or audio stores. We request, and occasionally purchase, samples of the most promising models.
Before conducting the latest set of listening tests, I broke in each system for 10 hours with music. I then conducted brand-concealed tests in my acoustically treated listening room, using an active switcher built specifically for comparing audio devices. I hung a sheet of thin black fabric in front of the speakers, matched the speakers’ levels using the channel-balancing test noise from a Dolby Digital receiver, and jumbled up the cables for each testing round so that no one (including me) would know what they were hearing. We pitted large models against large models, small models against small models, and pro models against pro models, then we mixed up the contenders to see how models of different types compared.
In our tests, we listened mostly for the following:
We also used the most promising of the speakers for various audio-production projects.
To get a more scientific, objective perspective on these speakers, and to ensure we didn’t pick something that strayed outside well-established engineering norms, I ran frequency-response measurements on all the contenders. Research (PDF) shows that listeners consistently prefer speakers that have a “flat” frequency response—which means they produce all frequencies of sound at approximately even levels—and that maintain a similar frequency response whether you’re sitting directly in front of them or slightly off to the side.
Frequency-response measurements can’t tell you how loudly a speaker plays deep bass notes, though, so I also added CTA-2010 bass-output measurements, applying the same process I use for our guides to the best high-performance subwoofer and the best budget subwoofer. We show the frequency-response results in our Measurements section below, and we outline the CTA-2010 results in the discussion of each system.
The DM-50D-BT system has two sound modes that make it good for music listening and audio production. It features built-in Bluetooth and signal-sensing inputs to connect a smart speaker.
The Pioneer DJ DM-50D-BT set combines sound quality approaching that of professional monitors with the convenience and low cost of a consumer system. In its Production mode (which you can set by using a switch on the back of one of the speakers), this Pioneer DJ pair put out the most neutral, accurate sound we’ve heard from a consumer-level computer speaker system in our price range of $100 to $300, making it great for audio production and entertainment alike. It also has convenient features such as built-in Bluetooth, a volume control/power switch and a headphone jack on the front, three different types of analog inputs on the back (including both balanced and unbalanced connectors), and a signal-sensing feature, which powers up the system automatically when it receives a signal from one of your source devices. Thanks to that last feature, when this speaker set is connected to an Amazon Echo device (such as an Echo Dot or Echo Flex), it basically works just like a speaker with Alexa built in.
The DM-50D-BT is the new, Bluetooth-equipped version of our previous top pick, the DM-50D. Beyond the Bluetooth functionality, these two systems are essentially identical in performance, features, and size. In our most recent round of brand-concealed tests, the DM-50D system handily beat our previous top pick, the Mackie CR5-XBT set, which itself had been a clear standout in earlier tests. Although Wirecutter senior staff writer Lauren Dragan liked the Mackie system better when we played light pop, she thought the Pioneer DJ system did better with more demanding material. “It handles hip-hop far better—it doesn’t rattle or distort on the deep bass notes,” Lauren said. She and I agreed that the Production mode sounded clearer with jazz and classical music and would be the better choice for audio-production tasks, but that it was somewhat lacking in bass. In contrast, the other setting—DJ mode—had a lot more bass and created more pleasing results with heavier pop, hip-hop, and R&B, as well as with movies. We found ourselves wishing for a third, in-between setting, but both of the available options sounded good to us.
The DM-50D-BT system includes several features convenient for desktop use. The left speaker has a front volume knob that shuts off the power when you turn it fully counterclockwise; also present is a front headphone jack that shuts off the speaker’s output. On the back of the left speaker are three types of stereo audio inputs: a pair of ¼-inch TRS jacks that accept unbalanced or balanced connections (good for use with a USB interface or mixing board), plus RCA jacks for home stereo gear and a ⅛-inch (3.5 mm) input for connection to computers. All these inputs are live all the time, so you have no way to switch among them—if you have sources playing on multiple inputs, you’ll hear them all simultaneously. (This is common on computer speakers.)
Our favorite feature of the DM-50D-BT system is its signal-sensing inputs. When the DM-50D-BT receives an audio signal at one of its inputs, it automatically powers up and plays that signal. This feature isn’t documented in the manual; I discovered it when I plugged an Amazon Echo Flex into the DM-50D-BT set’s ⅛-inch (3.5 mm) audio input. After not receiving a signal for about 10 minutes, the system shut itself off, but when I later asked Alexa on the Echo Flex to play a radio station, the DM-50D-BT powered up again within a couple seconds. So if you connect an Echo Flex or an Echo Dot, the DM-50D-BT works much like an Alexa speaker, except that it cuts off the first couple seconds of Alexa’s response—no big deal if you’re asking Alexa to play a piece of music or an internet radio station, but potentially annoying if you’re asking Alexa for information, such as what time it is.
In our measurements, the DM-50D and DM-50D-BT systems had an impressively flat frequency response in the midrange (where voices and most instruments reside), but its measured treble response was somewhat weak. Such results would lead us to expect high-frequency instruments like cymbals to sound somewhat muted, but none of our listeners complained about such a problem. The DJ mode boosted the bass a lot—by about 7 decibels (dB)—and added a mild treble boost of about 2 dB. Good pro monitors, such as JBL Professional 305P MkII, have a flatter response than the DM-50D and are thus more reliable tools for audio production. We measured the DM-50D’s bass output at 111.2 dB from 40 to 63 hertz (Hz), more than on any of the other consumer-oriented computer speakers (more than on the Mackie CR5-XBT set, too), and even more than on a pair of JBL’s 305P MkII speakers (though the JBL set produced 5 dB more sound at the low frequency of 32 Hz).
The DM-50D-BT set comes pretty close to the clarity of low-cost professional monitors, but as you can see from our measurements, a good pro monitor has a flatter response and thus a more neutral sound that’s better for serious audio production. Also, compared with the pro monitors we’ve tested, the DM-50D-BT doesn’t have as much deep bass output at 32 Hz (which is three notes up from the lowest note on an 88-key piano). It also lacks the tone adjustments found on most pro monitors (and on our budget pick, the PreSonus Eris E3.5 BT set), so you have no way to tune the sound unless you do so through a computer app or an external equalizer.
The Eris E3.5 BT pair offers excellent sound, a small footprint, and conveniently placed controls and inputs, but it lacks deep bass.
*At the time of publishing, the price was $140.
If your desktop is limited on space (or your wallet is limited on funds), the PreSonus Eris E3.5 BT pair is a smaller, more affordable option that still gets you most of the way toward pro-quality sound; all it really lacks is bass. It is only half the size by volume as the Pioneer DJ DM-50D-BT set, but it has an even better array of features, including a front input and bass and treble controls for you to fine-tune the sound. Although its small size prevents it from playing deep bass, its midrange and treble clarity won us over.
“It has great high-frequency presence, and I loved the way I could hear the distinction between the horns, voices, and guitar on Chicago’s ‘25 or 6 to 4,’” tester Dan Gonda said—but perhaps more telling, he ordered the non-Bluetooth version, the Eris E3.5, right after he learned the identities and prices of the speakers he had been hearing. I agreed, noting that the Eris E3.5 BT sounded trebly but clear and had a satisfyingly spacious sound. Stepping up to the larger and more expensive DM-50D-BT pair buys you more maximum volume, more bass, and a less trebly, more natural sound.
That said, as with any other speakers we’ve tried that have 3½-inch woofers, almost any listener will eventually encounter the Eris E3.5 BT’s bass limitations. With most music, even Holly Cole’s double-bass-heavy version of “Good Time Charlie’s Got the Blues,” the Eris E3.5 BT produced a reasonable amount of bass, but when I tried to mix a recording of three overdubbed double basses, the speakers often distorted loudly; they also produced a lot of port noise on Kanye’s West’s “Love Lockdown.” So the Eris E3.5 BT is a good choice for average, not-too-loud listening on your desktop, and it’s fine for light production (such as for most videos and podcasts), but it isn’t a great choice for budding R&B, hip-hop, and EDM musicians, or for anyone who frequently watches action movies.
The features of the Eris E3.5 BT are just as appealing as the sound. Most unusual, and effective, are the set’s bass and treble controls, each of which offer ±6 dB of adjustment. You can easily correct the Eris E3.5 BT’s somewhat excessive treble (which both our ears and our measurements detected) by turning the treble control down by 3 or 4 dB; and, of course, you can adjust the sound to your taste or to suit the acoustics of your room.
The front panel of the left speaker has a power switch, a volume knob, a ⅛-inch (3.5 mm) audio input, and a ⅛-inch headphone jack, the last of which shuts off the speakers when you connect headphones. The rear panel has two stereo inputs: ¼-inch TRS jacks that accept unbalanced or balanced connections (great for working with a USB interface or mixing board), plus RCA jacks for home stereo gear or a computer if you use a ⅛-inch–to–dual-RCA adapter cable. As with the Pioneer DJ DM-50D-BT system, all inputs are live all the time, so you have no way to switch among them.
At just 8¼ by 5½ by 7 inches (height by width by depth, or HWD) for each speaker, the Eris E3.5 BT pair should fit easily on most desktops. If you need something even smaller, we suggest looking at the Audioengine A1. If you just want a significant upgrade to your computer sound for a very low price, try the TaoTronics TT-SK028 computer soundbar.
In our frequency-response measurements, with the treble control centered, the Eris E3.5 BT’s response boosted high frequencies quite a bit, but turning the treble control down by 3 or 4 dB produced an admirably flat response for such an inexpensive speaker. Measured bass output was weak at just 93.5 dB from 40 to 63 Hz, a result that was 17.7 dB less than what we got from the Pioneer DJ DM-50D-BT and 0.4 dB less than that of the smaller Audioengine A1. However, the Eris E3.5 BT delivered 4.9 dB more output at 80 Hz than the Audioengine A1, so it sounded fuller. It had no measurable output below 40 Hz.
This professional studio monitor offers clean sound with useful controls to fine-tune the results, but it’s not as easy to use as our other picks.
For serious audio production, it’s worth spending a little extra money on (and devoting more space to) a set of professional monitor speakers. Of models priced below $300 per pair, the JBL Professional 305P MkII is the best bet for most aspiring (or professional) music and video producers, or for audiophiles who demand clear, full-range sound. The 305P MkII takes this spot from our previous upgrade pick, the Kali Audio LP-6, because the LP-6 has been discontinued—and its replacement, the LP-6 v2, carries a higher price that’s about $100 above our ceiling. Because the 305P MkII is a pro monitor, each one is a self-contained system with its own amplifier and inputs; it’s packaged and sold singly, so you’ll have to buy two for stereo. It’s also a good bit larger than a computer speaker.
The 305P MkII has perhaps the clearest, most natural sound we’ve heard from a powered speaker under $300. The less-expensive computer speakers we tried sounded a bit sibilant in comparison. This speaker is also notable for its big, open, spacious sound, something not easily achieved in a desktop environment. I found it to be the most trustworthy option of all the speakers I had on hand when mixing my recent album; for the most part, the mixes I made on the 305P MkII speakers also sounded good on other systems, such as car audio systems, headphones, and portable Bluetooth speakers.
However, the 305P MkII doesn’t have as much bass as our previous upgrade pick, the Kali LP-6. If you’re producing podcasts or lighter music recordings (such as folk, jazz, and classical), that probably won’t matter. But if you’re producing or listening to R&B, hip-hop, or heavy rock, you’ll probably prefer a monitor with more bass—otherwise, you may find yourself cranking up the bass too much in the mix to make up for the speakers’ weak bottom end. (JBL also makes the 306P MkII, which has a larger woofer that should produce more bass, but it’s outside our price range.) If you need more bass, you can add a subwoofer to the system, but that will increase cost and complexity.
Compared with some other pro monitors, the 305P MkII has a relatively limited set of options for fine-tuning: a 0/-1.5/-3 dB switch for bass adjustment and a +2/0/-2 dB switch for treble adjustment. The bass switch comes in handy if you need to place the speakers close to a wall; otherwise we didn’t need to use these adjustments because the speakers sounded their best with the switches set to their 0 dB positions.
Each 305P MkII unit has an XLR balanced input and a ¼-inch TRS jack that accepts unbalanced or balanced connections (these are the inputs used with USB interfaces and mixing boards). You need to add some inexpensive adapters if you want to connect a source device with standard RCA cables. The volume and power controls are on the back, which could be inconvenient if you want to connect the 305P MkII straight to a computer, but with a pro monitor you’re much more likely to use a USB interface or mixing board with its own easily accessible volume control.
At 11¾ by 7⅜ by 10 inches (HWD), the 305P MkII is bigger than our other picks, although much smaller than our former upgrade pick, the Kali LP-6. If you can’t fit the speakers on your desk, you can always put them on stands, which will help them sound better, too. The speaker is also available in black.
In our measurements, the 305P MkII exhibited an almost textbook-flat frequency response, as it didn’t alter the balance of bass to midrange to treble or add its own sonic character to the music. With average mid-bass output of 107.3 dB (measured with a pair of speakers), the 305P MkII fell several decibels below the output of the Kali LP-6, and its mid-bass numbers even fell a few decibels below those of the Pioneer DJ DM-50D-BT system. However, the 305P MkII’s 32 Hz output is 5 dB higher than that of the Pioneer DJ DM-50D-BT, so it should sound a little more engaging on music with lots of deep bass.
The ProMedia 2.1 system comes with a subwoofer to improve bass response in movies and video games, and it has a clean, simple design.
*At the time of publishing, the price was $135.
For gaming and movie watching, you may want more bass than most computer speakers can deliver, but you may not have the space on your desktop for a set of pro monitors. The answer to this problem is a system combining small speakers with a subwoofer, and the best of these we’ve found is the Klipsch ProMedia 2.1 THX. Its sound quality approaches that of good computer speakers like the Pioneer DJ DM-50D pair, and it beats all our other picks in bass output. The ProMedia 2.1 THX system offers convenient front-mounted controls but has very limited input options and no Bluetooth support. Overall, it’s probably the most affordable way to get full-range sound from your computer.
Many of the 2.1 systems we tested sounded great in the bass but struggled to clearly render sounds in the middle and at the high end of the frequency range. The ProMedia 2.1 THX system’s two-way satellite speakers—each with its own tweeter and 3½-inch woofer—did not have this problem. Everyone who heard this system agreed that the speakers had a balanced, pleasing overall sound, and the subwoofer’s 6½-inch woofer produced tuneful bass that was never boomy (unless the music itself had boomy bass). We especially appreciated the ProMedia 2.1 THX’s extra bass power when we watched action movies; it gave us more of the feel of having a home theater system than the other computer speakers did.
In this system, the amplifiers are in the subwoofer, which you’ll probably put under your desk. A control module with volume and subwoofer-level controls, a headphone jack, and a ⅛-inch (3.5 mm) input jack clips under either of the speakers, so you can have the controls on the right or left side. One small downside is that there’s no power switch.
The input configuration on the ProMedia 2.1 THX is strange. One input is a cable that’s permanently connected to the control module and tipped with a ⅛-inch stereo plug. You would probably connect this to your computer. The other input is a ⅛-inch jack on the side of the module. Plugging a source into this jack disconnects the source connected to the cable. So if you want to connect, say, a Bluetooth receiver or a smart speaker with an audio output (such as an Amazon Echo Flex), you’ll have to unplug it to switch back to the computer sound.
The satellite speakers measure just 8½ by 4¼ by 7 inches (HWD) each, so they should fit easily on a desktop. At 9⅜ by 10¼ by 11¼ inches, the subwoofer is much larger, but it’s still small enough to slip easily under most desks. Thanks to a ¼-20 threaded socket on the back of each satellite speaker, you can mount them on a wall using a standard gimbal mount; if you decide to do so, you can remove the tiny metal stand on the bottom of each satellite speaker.
The frequency-response measurements for the ProMedia 2.1 THX (which we measured as a system, with the subwoofers and speakers combined) were not impressive, showing a large rise in the treble. The power of the subwoofer balanced that out nicely, but we still recommend this system only for movies, gaming, and casual music listening, not for audio production. Bass output was excellent, averaging 111.9 dB from 40 to 63 Hz and 87.4 dB from 20 to 31.5 Hz. That’s similar to the output of the Pioneer DJ DM-50D-BT in the mid-bass, but far superior to the DM-50D-BT at lower frequencies; none of our other picks produced measurable output at 20 or 25 Hz.
If you want something smaller than our picks: Measuring 6¼ by 4⅛ by 6 inches (HWD), the Audioengine A1 speakers are small enough to fit inconspicuously on most desks. The system includes a single analog input, a subwoofer output, and aptX HD Bluetooth support. This pair’s midrange and treble sounded clear, but although its average bass output was impressive for its size, it didn’t have enough punch within any part of the bass band to deliver the impression of full sound, as the PreSonus Eris E3.5 BT set did.
If you value great looks (and still demand good sound): The JBL Professional 104-BT speakers have a more stylish, rounded design (and are available in black or white). In our tests they delivered a clear, satisfying sound at moderate volumes, although the 4½-inch woofers didn’t emit particularly full bass. And the system has plenty of convenient features, including a wealth of inputs, Bluetooth support, front headphone and input jacks, and a front volume knob and input selector.
If you want something very simple and/or very inexpensive: The 16½-inch-long, 3-inch-high TaoTronics TT-SK028 computer soundbar offers a huge upgrade over the built-in speakers on a laptop or monitor for about the same cost as a small, portable Bluetooth speaker. In our tests this model had a clear, reasonably room-filling sound for its size; it was somewhat midrange-heavy, though, so it emphasized voices, and it couldn’t approach the bass performance or stereo separation of the PreSonus Eris E3.5 BT speakers. The TT-SK028 has an analog input and Bluetooth support and gets its power from a computer’s USB jack or an external USB power supply.
The charts below show the on-axis (directly in front) and off-axis (30 degrees to the side) frequency response of our picks. The accepted tolerance for the on-axis frequency response of a high-quality speaker is plus or minus 3 dB—in other words, when given a certain signal level from an amplifier, the speaker reproduces all frequencies of sound within that tolerance. The resulting line in the chart should look fairly flat, with no significant peaks or dips. For our charts, we used the output at 1 kilohertz (kHz) as the reference for 0 dB.
We also measured each system using the same CTA-2010 output-measurements process we use for our guides to the best high-performance subwoofer and the best budget subwoofer. These measurements provide a precise assessment of a speaker system’s bass capabilities. Here are our findings.
The chart above shows the frequency response of the non-Bluetooth-equipped DM-50D; the newer DM-50D-BT measures identically. Between 200 Hz and 6 kHz, the DM-50D’s frequency response in Production mode on the 0-degree axis is notably flat, within ±1.6 dB. The response is relatively weak on-axis at higher frequencies, although it’s stronger off-axis at these frequencies, which will help fill in the gap some. Still, the higher-frequency upper harmonics of high-pitched instruments such as cymbals aren’t as audible as they are with a good set of pro monitors. The DJ mode boosts the bass by about 7 dB and the treble by about 2 dB. The DM-50D’s average peak output at 1 meter on the CTA-2010 test was 111.2 dB in the mid-bass (40 to 63 Hz) and 81.3 dB at 32 Hz; it had no measurable bass output at lower frequencies.
Above 200 Hz, the Eris E3.5 BT’s frequency response stayed within ±5.9 dB on-axis, with a big peak in the midrange, but the response was much smoother off-axis. This is not an impressive result, but turning the speaker’s treble control down by about 3 or 4 dB produces a much more even response. The Eris E3.5 BT’s average peak output at 1 meter on the CTA-2010 test was 93.5 dB in the mid-bass (40 to 63 Hz); the speaker had no measurable output below 40 Hz.
Above 200 Hz, the 305P MkII’s frequency response stayed within ±3.0 dB on-axis. Were it not for those narrow, not-all-that-audible peaks at 1.6 and 15.8 kHz, the number would be even more impressive. The average peak output of a pair of 305P MkII units at 1 meter on the CTA-2010 test was 107.3 dB in the mid-bass (40 to 63 Hz) and 86.3 dB at 32 Hz. It produced no measurable output at 20 or 25 Hz.
Above 200 Hz, the ProMedia 2.1 THX system’s frequency response stayed within ±5.8 dB on-axis, and it didn’t change that much off-axis. However, although the subwoofer can balance out the big rise in the treble, these speakers are better for gaming and movie watching—they’re not well suited for audio production. The average peak output of the subwoofer at 1 meter on the CTA-2010 test was 111.9 dB in the mid-bass (40 to 63 Hz) and 87.4 dB in the low bass (20 to 31.5 Hz).
PreSonus has introduced the Eris E5 BT speaker system, which is basically a larger version of our budget pick, the Eris E3.5 BT. We plan to test it.
We’ve also requested samples of several new computer-speaker models, including the Alesis Elevate 5 MKII and the Behringer Studio 50USB and Media 40USB, as well as new pro-style models such as the Behringer Nekkst K5, the KRK Classic 5, the Samson Resolv SE5, and the Tannoy Reveal 402.
The Audioengine A2+, a previous pick in this guide, is still a good-sounding pair of speakers, but unlike the somewhat similar Audioengine HD3 set, it isn’t really tuned to compensate for its lack of bass.
The Audioengine HD3 is a previous upgrade pick in this guide, but as the computer-speaker category has evolved, we’ve decided to move it into our guide to the best bookshelf speakers. It still works fine as a computer-speaker set, although like the A1 it doesn’t produce much deep bass.
The Bose Companion 2 Series III pair is small, simple, and affordable, but its bass response was too limited to deliver satisfying sound in our tests.
Although the Creative Sound BlasterX Kratos S5 set includes a subwoofer (and cool lights), we were underwhelmed by its bass capabilities, and the speakers made female vocals sound tinny.
The Edifier R1700BT, R2000DB, and R980T all got mixed reactions from our panelists, with some liking the R2000DB in particular. But our picks sounded better in our tests, and we’re not thrilled with Edifier’s tendency to put its speakers’ controls on the back or side instead of on the front, where they’d be more convenient.
The pieces in the Harman Kardon SoundSticks III system have a design that got them into the Museum of Modern Art’s collection, but all our panelists said this system sounded unbalanced compared with the Klipsch ProMedia 2.1 THX. In addition, the subwoofer level knob is on the sub itself, an inconvenient location.
The House of Marley Get Together Duo system offers a great design with two speakers that pair wirelessly, one of which has a rechargeable battery that lets it function as a portable speaker. The PreSonus Eris E3.5 BT sounded much clearer and fuller in our tests, though.
We generally liked the Logitech Z625, which delivered more bass than most of the speakers we tested, but its midrange and treble sounded a bit strident at times.
The Mackie CR5-XBT set, our previous top pick, has sound quality similar to that of our current top pick, the Pioneer DJ DM-50D-BT, but with more bass—a plus if you’re playing video games or watching movies, but a possible minus if you’re producing music, videos, or podcasts. However, we have seen too many complaints about excessive noise from this system to continue recommending it.
The Mackie CR4-XBT pair sounded very much like the CR5-XBT, but its reduced bass capability tended to produce port noise and distortion with deep bass notes.
In our tests, the little woofers in the Mackie CR3-XBT pair were easily overwhelmed by bass notes, an effect that tended to make the midrange and treble sound unclear; the similarly sized PreSonus Eris E3.5 BT set handled itself better under stress.
The Mackie CR StealthBar is a mini soundbar designed to sit under a computer monitor. In our tests it sounded okay for the price, but it has an especially limited low-frequency response and isn’t useful for any type of serious audio monitoring.
When it comes to features, both the M-Audio BX3 and BX4 check every box: ¼-inch and RCA inputs, bass and treble controls, left/right speaker selection, and front headphone and input jacks. But both sets tended to produce port noise on deep bass notes in our tests, and neither pair had a clear-sounding midrange.
The Micca PB42X pair produced extreme port noise with deep bass notes, and a big midrange peak added an unappealing twang to the sound.
The PreSonus Eris E5 XT is a pretty nice, small professional studio monitor. With its tone controls centered, the sound was a little soft and laid-back for our taste, though the treble knob helped to correct that. However, the speaker produced loud port noise when we tried to play deep bass.
Intended mainly for gaming, the Razer Nommo Chroma speakers have a cool cylindrical design, and for the price they sounded pretty good. But their 2½-inch drivers produced very little bass in our tests.
The Samson MediaOne BT3 is one of the few stereo computer speaker systems under $100 that have Bluetooth support, but its sound was rather muffled in our tests.
The TaoTronics TT-SK018 computer soundbar sounds similar to the TT-SK028 but looks dated, and its inputs are on permanently connected cables rather than jacks—and one of those is a microphone cable you’ll probably never use.
This article was edited by Adrienne Maxwell and Grant Clauser.
Floyd E. Toole, PhD, Audio - science in the service of Art (PDF), Harman International Industries
Brent Butterworth, CTA-2010 Measurement Manual, brentbutterworth.com
Brent Butterworth is a senior staff writer covering audio and musical instruments at Wirecutter. Since 1989, he has served as an editor or writer on audio-focused websites and magazines such as Home Theater, Sound & Vision, SoundStage, and JazzTimes. He regularly gigs on double bass (and occasionally ukulele) with Los Angeles–area jazz groups.
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