October 4, 2020 § Leave a comment
“One reason I chose to use the Marantz NR1200 for the review is because it has a good FM tuner that I could leave on all the time. I would listen critically at the end of the day and I could hear the speaker slowly improve day by day, week by week. Eventually, I just let the CD player go all day while at work and left the door open so I could listen. I love my job!
Matt and I listened to a few tracks to make sure everything was playing correctly. He thought they sounded promising. Fortunately, my other friend, John who is a co-founder of the River City Audio Society here in San Antonio was able to stop by after a couple of weeks. John mentioned that over the years he had owned 3 different pairs of NHT speakers. He loved the bass and midrange, but his ears are sensitive to bright or hard high frequencies. So, after a while, he would move on from each of the NHT speakers because he would be bothered by the highs. John and I listened for a couple of hours and he liked the sound but felt there was still a hint of hardness in the highs. I took note and hoped he would come back again after a few more weeks to see if things had changed for the better.”
August 9, 2020 § Leave a comment
“The correct position of the Crossover Mode switch will depend on where you are sourcing the audio signal you’re using to drive the KF92. If it’s from a component that is supplying an audio signal that has already been through a low-pass filter (such as the LFE output of an AV receiver, for example) you’d set this control to ‘External’. If you’re sourcing from an ordinary line-level or speaker-level output, you’d set it to ‘Internal’, and then set the low-pass (crossover) rotary control to the appropriate frequency.
KEF’s equalisation mode control is fascinating. I don’t think I’ve seen its like before. Yes, I’ve seen EQ mode controls that offer two or three modes, (usually ‘Off’, ‘Wall’ and ‘Corner’) but I have never seen one that offers five modes… and I had absolutely no idea what the ‘Apartment’ mode might be used for – indeed I had to consult KEF’s Owners’ Manual to find out.”
August 5, 2020 § Leave a comment
“With a single subwoofer set up along the front wall, listening to the test tones during the D.A.R.O. calibration, which go well above 80Hz, I found it easy to hear the sub’s location. When I added the second sub, on the left sidewall, the test tones seemed to come from the whole left wall. When I added the third sub in the right rear corner, the test tone filled the room, with no identifiable source. That last situation is ideal, but I judged the first acceptable: It’s OK to have bass emerging from the part of the room where the main speakers are located. I eliminated the two-sub setup from consideration and limited my listening to one f110v2 along the front wall and the three-sub array, arranged as in the third bullet point above.”
July 27, 2020 § Leave a comment
“A passive radiator is something entirely different. It is a driver with no voice coil or magnet. It is usually a round weighted planar driver (flat) mounted with a heavy surround. It is in the same air space as the active subwoofer driver. The passive radiator responds to the active driver moving because the air in the enclosure is pressurized either positively or negatively as the active driver moves. It is not in the same phase as the active driver because it takes a finite time for the passive radiator to respond to the movement of the active driver. This is the case for the Earthquake MiniMe DSP P12 subwoofer.”
July 21, 2020 § Leave a comment
“You can hear the difference between ‘musically integrated’ subwoofers and their more cinematic brethren by playing a simple piece of music with a bass line. It’s perhaps no wonder that REL uses ‘The Ballad of the Runaway Horse’ by Jennifer Warnes and the late bassist Rob Wasserman, either from the 20th Anniversary version of Famous Blue Raincoat by Warnes [Private Music, BMG] or from Wasserman’s Duets [MCA]. The recording is simple (effectively a voice and a bass), but tells you all about a sub. Switching a correctly set-up subwoofer in and out adds some depth and ‘shape’ to the bass notes, of course, but what it does when set properly is lock Warnes’ voice in the centre of the soundstage. The better the sub, the more precisely that voice is solidly rooted between the speakers and with the S/510, if her voice was any more rooted, she’d need watering.”
July 16, 2020 § Leave a comment
“While the app’s built-in FAQ details some of the adjustments, the sheer number of available tweaks can be heady stuff for the average user. It’s a bit like having a sports car where you can adjust the wheel alignment settings using the dashboard controls—great if you know what you’re doing, but somewhat intimidating it you don’t. You can certainly stick to the basics when setting up the SB-2000 Pro, but it’s also nice to know that deeper fine-tuning is possible if you choose to dive in. For example, I was able to use the EQ settings to effectively tame a known 65-Hz peak in my room.”
June 25, 2020 § Leave a comment
“When I selected the sealed SB-2000 Pro model over the company’s ported PB-2000 Pro for evaluation, I figured I was going for the audiophile option at its price level. But it turns out that the SB-2000 Pro is just as proficient at pumping out huge explosions in action movies as it is blending into a two-channel audiophile setup. Better still, the SB-2000 Pro is affordable enough that I would consider buying two a worthwhile option if you want to get more even bass distribution in your room. The SB-2000 Pro might lack the automated setup options found on some of its rivals, but all the essential controls are provided to get this impressive, highly recommended subwoofer sounding its best in your room.”
April 21, 2020 § Leave a comment
“Unsurprisingly perhaps, the big Fathom couldn’t quite match the speed and grip of my usual 10” VAF Veritas subs, or for that matter JL Audio’s smaller E-110. What is surprising is how little the bigger sub yielded in terms of speed to the smaller ones. Its speed ensures that it complements the extension of the main speakers, without overwhelming them. Able to fill the listening room with powerful, visceral bass, it has real ability to dig in to lower frequencies, making for an exciting listening experience.
Action films are what typically come to mind when evaluating subwoofers, yet a good one can add an extra layer of detail to even the subtlest of movie fare. Unusual for horror movies, Anabelle Comes Home has its share of ambient cues designed to unsettle the viewer, intermingled with the soundtrack and of course, more than a few jump-scares. Here it added welcome extension to the eerie Dolby Atmos soundtrack without getting in the way of the other speakers. More often than not, the extension was felt rather than heard, making for a more engaging and exciting – if somewhat terrifying – listening experience.”