Adam Audio has been driving and shaking up the studio monitor market for some years now: after launching the great trend of integrated correction systems and pioneering the omnipotence of DSP, the German brand is now tackling the other trend of the moment: miniaturization.
A design thought for the office: compact and functional
Adam is entering the burgeoning new market for desktop monitors, those tiny pairs of amplified speakers that can be placed on the same table as a laptop, set up in minutes and transported with ease. 
We’ve tested comparable products from KRK, for example, GoAux4, or PreSonus Eris 3.5. IK Multimedia is also a well-positioned brand in this market, with its iLoud Micro Monitor, which we’ll discuss shortly.
As a reminder, Adam is a Berlin-based manufacturer specializing in studio monitoring since 1999, and the creator of the best-selling A7X monitors. The D3V pair is priced at around €330 ($299), which is slightly more expensive than the desktop pairs from the other brands mentioned above.
Unpacking and specifications of the Adam Audio D3V
So, we unpack the two monitors from their single carton and find the characteristic Adam look. The model we received is black, but the pair also comes in white. The whole unit is very light, weighing a total of 3.58 kg (7.7 lbs, total for both speakers), and the dimensions are 200 mm x 115 mm x 150 mm (7.9" × 4.5" × 5.9") for each box, which you can easily pick up with one hand.
As with other compact systems we’ve tested, only one of the speakers, the left-hand one, receives the power supply, as well as the audio inputs. All controls and adjustments are also located on this speaker. The speakers are two-way, with a D-ART ribbon tweeter — the brand’s pride and joy — and a 3.5" aluminum driver. This famous tweeter is Adam’s visual and sonic signature, making their models instantly recognizable. The sides of the monitors are also exploited, as they feature “radiators, ” passive membranes designed to reinforce low frequencies.
The D3V pair offers two practical possibilities for its arrangement. For desktop use, the monitors come with small bases into which they fit. These allow them to be tilted upwards by 15 degrees while isolating them slightly from the surface on which they rest. Another welcome feature is the threaded insert on the underside of each monitor, allowing it to be simply attached to a conventional microphone stand, as found in every studio or rehearsal room.
The D3V monitoring system is clearly aimed at music producers looking for a minimalist, mobile setup. With this in mind, in addition to the classic analog connections for receiving sound from converters or a console, the monitor on the left can also receive a digital signal, via USB-C, directly from a laptop, for example. As Adam has invested heavily in DSP and digital adjustment in its higher-end series, we were expecting this to be the case here. It is, but the implementation is a little less sophisticated. There’s no dedicated software for advanced control, but we still have access to several presets, mainly related to the room and monitor layout.
On the rear panel of the left speaker, there are three small selectors at the top. The one on the right offers three options, depending on the room’s acoustics: treated, moderately treated or untreated. 
Depending on the options selected, equalization presets will be applied to compensate for the undesirable effects of the acoustics of the space in which the D3V system is used. The documentation supplied by Adam shows quite clearly, with graphical representations, the filters that are applied for each setting. The Room filter acts slightly on high frequencies, around 7 kHz, then slightly beyond 10 kHz, reducing them by around 1.5 dB or 3 dB if the room is moderately treated or untreated.
The Desk Presets dig deeper into the mid-range frequency bands: two slight roll-offs around 350 Hz and 1.1 kHz for a small desk, two more substantial roll-offs for a large desk—of over 5 dB around 200 Hz and about 3 dB around 1050 Hz. Finally, the Position filter consists of a classic shelf for low frequencies, which acts at a very high level: progressively from 600 Hz, and below 200 Hz. Subtraction at 100 Hz is around 3 dB for the Wall position and 6 dB for the Corner position.
Continuing on the rear panel, there’s the power socket, TRS jack or USB-C digital input connectors, and a 4-pin socket for the specific cable dedicated to sending to the right monitor from the left one. 
Still on the left monitor, we find on the front panel an LED that lights in different colors for eight different states, including On, Muted, Swapping Left and Right, Updating Firmware and more. There’s a volume knob with unmeasured values indicated by dots and a 3.5 mm headphone jack. Plugged-in headphones offer an alternative to the sound of the speakers. The amplification for this headphone socket generates a lot of bass, which can be seen as an interesting complement to this very small system. In any case, it’s something to remember when connecting your reference headphones.
A mobile solution for producers on the move
Let’s be clear, this pair of monitors is not intended for use in a large studio, nor to be compared to professional mixing monitors. Rather, it’s a system that a producer could take with him on the road, quickly setting up wherever he happens to be, to compose or arrange. It could also be used by amateur musicians working in their bedrooms or a corner of the living room. So we’re going to test the D3V for what it’s meant to do, in the living room rather than the studio, sitting on the dining table and connected directly digitally from a laptop. 
Sound test with Radiohead’s 15 Step: situational performances
On this track, which we regularly use as a reference for listening to new systems, we will try to find the right setting and gauge the relevance of these little boxes. We quickly perceive the limits of the system due to its size, but the dosage of low frequencies and low mids is quite respectable. We’re in an untreated room, and we’d be well advised to apply the filter provided for this purpose, which lowers the high frequencies. Still, we don’t really feel that this is the right direction: the monitors already seem to us to be slightly lacking in openness, and the transients aren’t as salient as we’re used to on this track.
We listen to the filter anyway, confirming that we have no desire to leave it at its lowest setting, and we’ll probably hesitate, depending on the room, between the intermediate position and the natural curve. Obviously, each untreated room will have its own characteristics, so the filter won’t be right for every situation. With the monitors resting on a table, we try out the midrange filter designed to limit the frequency bands usually amplified by the worktop.
Sound analysis of Kendrick Lamar’s “Alright”: the low limits
The midrange frequencies are indeed a little dense in this arrangement, and one has every right to want to limit them. The first level of the filter is quite suitable and increases homogeneity. The second level, corresponding to the “Large” desk, is less convincing, as we lose a little of the substance of the voice, which we liked on these first two listens. The bass line is quite disjointed, clearly dissociated from the rest of the arrangement, and in this listening situation, the lowest notes are lost.
You have to put your hands or elbows on the table to feel them a little more. You can see the side radiators working hard, but for certain frequencies, you’d be better off plugging in your headphones. As you can see, we’re not going to need to use the third filter, which lowers the bass frequencies in large widths, but that in no way means it’s not useful… Having tested it, we can tell you it’s very effective, and depending on the layout and then the acoustics of the room, it will probably be able to meet certain needs.
Performance of the Adam D3Vs on Massive Attack’s “Teardrop”
As with the other tracks listened to, the presence of the voice is very pleasing. The stereo image is precise, and the mix of this track plays on this to quite a large extent. Depth, on the other hand, is a little more limited, as you’d expect. There’s still a little excess in the midrange, but frankly, for the category in which the D3Vs compete, the frequency response is pretty satisfactory.
Studio test: the Adam D3Vs in a controlled environment
We can now compare the D3V with our reference monitors, including the A7X, to stay with Adam. Our impressions are confirmed, particularly the obvious limitations in the low frequencies, which are quite logical given the format. High frequencies are a true signature of the brand, with transients that aren’t as salient as we’re used to with other monitors (we often use Genelec and Neumann for comparison). The presence and substance of the voices is still quite seductive, as is the stereo image.
FAQ
1. Are Adam Audio D3Vs suitable for professional mixing?
No, these monitors are designed for use on the move or in confined spaces. For professional mixing, it’s best to opt for larger models like the Adam A7X.
2. What kind of connections are available on the D3V?
The monitors feature analog (1/4" TRS jack) and digital connections via USB-C, making them compatible with laptops.
3. Do the Adam D3Vs include software settings?
No, they offer physical presets on the speaker to adapt to room acoustics and layout.
4. Are the Adam D3V compatible with a microphone stand?
Yes, they have a thread compatible with conventional mic stands.
5. How much do the Adam Audio D3Vs cost?
The launch price is around €330 ($299), positioning them slightly above competitors like KRK or IK Multimedia.
Technical features
- Dimensions: 200 mm x 115 mm x 150 mm (7.9" × 4.5" × 5.9").
- Weight: 3.58 kg (7.7 lbs) for the pair.
- Speakers: D-ART ribbon tweeter, 3.5-inch aluminum woofer.
- Type: active desktop monitors.
- Connectics:
- Analog input (1/4" TRS jack).
- Digital input (USB-C).
- Headphone output (3.5 mm jack).
- Integrated settings:
- Acoustic presets (Room, Desk, Position).
- Accessories included: tilting stands, USB-C/USB-A adapter, USB cable and power supply.
- Price: approximately €330 ($299).
- Country of manufacture: China.