Audiophilepure

So far, so REL. What the T/7x does is introduce some extra speed and weight to the bass, the sort of performance normally expected from more upmarket models in the line. Weight here is a difficult subject because the Serie T/7x does not make a small speaker seem ‘weightier’, just ‘bigger’ and more importantly ‘better’ across the midrange. I used this in particular with the Rogers LS3/5A SE tested in this issue and this proved to be both an ideal test subject and an ideal candidate for the Serie T/7x. The REL added depth to the sound, but not in the way that it changed the tonality of this well-known speaker system; more that it filled in the bottom end in the same way the SE version fills in the midrange over the original; thoroughly, but paradoxically almost imperceptibly.. The REL was fast enough to pass the Trentemøller test [‘Chameleon’, The Last Resort, Poker Flat] and provided enough reinforcement to make out a few more left-hand piano notes on the Liszt B-minor Piano Sonata played by Martha Argerich’s during her Début Recital {DG], but more importantly on this recording, it also gave that recording the sense of space and gravitas needed to make it something truly outstanding. Switch the sub off and seemingly not a lot happens to the sound, but the sound also collapses and becomes insubstantial. Put it back in and the bass is not overt or oppressive, in fact, it’s almost not there, but the way the T/7x delivers that ‘almost not there’ bass makes all the difference. And, if you compare that bass delivery to previous REL designs under about £1,500, the new T/7x has both more substance and form and less intrusion into the sound of the speakers.