Audiophilepure

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“Still, though, taking that price into consideration, the Gravis VI lacks a few niceties that I think it deserves. For one thing, I would like to see a subwoofer of this caliber ship with its own measurement mic. Even a Dayton Audio EMM-6, low-priced as it is, would be an improvement over the mics built into smartphones, and would provide better calibration.

Unrelated to price, I also wish there were a bit more variety between the four EQ presets for the Gravis VI. While there are differences, they’re so subtle that you’ll likely hear more tonal shifts by leaning your head back and forth a foot or so. Only the Streaming Mode preset differs substantially from the other three, with a decent boost around 50 Hz and a steeper roll-off of frequencies below 30 Hz. I’m not really sure what that has to do with streaming, but there you have it.”

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“Lengthy listening sessions suggested that the SB-3000s, placed in diagonal corners, were quicker to set up and sounded better with the Quad ESL-989s than with the MartinLogans. Because I was not able to try the 800Xes in the diagonal corners, or try to blend them with the KEF LS50s, I am hesitant to draw any final conclusions about which pair of subs might be better for other rooms or other satellite speakers. Within those limitations, the SB-3000s showed better pitch definition, greater dynamic range, and did a better job of covering the audio spectrum below 80Hz evenly in my room. Be aware, however, that each SB-3000 is larger, 25lb heavier, and costs $200 more per subwoofer than the MartinLogan Dynamo 800X.”

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“Optimally positioning the SB-3000 subs in my room was critical for attaining smooth integration of its output with that of the Quads. Usually I position each sub behind each Quad panel in the two front corners of the room, but this setup overloaded my small, square listening room. I then moved each SB-3000 subwoofer into opposite corners of the room, as advised in the SVS manual, with positive results, including excellent blending of subs and satellite speakers, consistent bass down to extremely low frequencies, and no room overload.

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‘Of all Fyne Audio’s technologies present, the first you’re likely to notice is the work of its BassTrax design. Without going entirely overboard, the F500s dish out an impressive portion of low end, with sufficient punch to deal heavy kicks and the smoothness to feed bubbling pulses and luscious pedals.

It makes for a warm, welcoming sound that benefits the midrange with its body as well. Whereas many standmount speakers can sound small, the F500s give that middle register real purchase with the support coming from the octaves below. Such profound bass can sometimes feel detached, but this is a cohesive performance, with a smooth line drawn through the frequencies.”

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“I like placing the sub right in the center if you are using one, or just inside or outside of the main speaker cabinets if you’re using two. This was my first time setting up two subs in my room, and I felt set up was no harder with the pair. After I adjusted for phase, I placed the subs about 6.5 inches inside the main cabinets, which are way out into the room. If you use this method you’ll likely not need to adjust phase. I didn’t. Once the subs were placed in this configuration, I started playing with the feature-rich SVS smartphone app. As it turns out I only used the volume (at -16dB), low pass filter (LFE disabled, 50Hz with a 12dB slope), and a preset I named LO VOL that boosted the gain 2dB for low volume listening. Phase was set at 0, and polarity stayed in the positive default. I used a couple of different frequency response phone apps to look at the room response. Since things were looking good, and sounding damn good, I didn’t feel I needed the parametric EQ or the room gain compensation. I used my favorite speaker accessory, the Gingko ARCHs under the Quads (see review HERE), and also under the rubber feet on the SB-3000s. When the set up was optimized, I started listening. ”

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“Deep rumbling effects are like being washed over by a wave of LF that seems to bypass the ears and go straight for your wobbly, fleshy bits. Soundtracks have thunderous basslines, encouraging me to dig out the subterranean nightclub scene in Blade (DVD). The thumping track is engagingly solid and, while other RELs definitely have a little more grace with music, there’s no denying the HT/1508 delivers what the director intended from the scene; visceral and engaging bass.

For a REL, a brand born in sub-bass systems for music, a dedicated LFE sub is something of single-minded departure. Yet, just like the smaller HT Series we’ve looked at, the HT/1508 offers unrivalled value in setting out its fast, high-impact and incredibly powerful cinema sound without frills or features. A REL S/3 SHO costs exactly the same and arguably offers much more all-round appeal – but don’t expect it to move your gizzards and blow out the windows like this big-game hunter.”

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“The SVS SB-3000 is a powerful subwoofer that excels in terms of form, functionality, and performance. With its compact size, sealed box construction, and single driver design, this sub can fit in tight locations. The wireless mobile device control delivers a level of convenience not normally found at this price point. Lastly, the SB-3000 has sophisticated DSP processing with a powerful amplifier coupled to a newly designed driver, which provides the backbone of its performance.

All of these essential qualities combine to create a seriously sophisticated audio device, one that can render subtle differences in bass inflection, but with the capacity to slam hard with a fast and tight signature that worked well with my main speakers, and demonstrated high performance with both movies and music alike. While dual subwoofers will always outperform a single subwoofer installation, a single SB-3000 is a remarkable performer even in isolation, assuming your room is symmetrical enough and not overly large.”

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“The driver uses a lightweight and rigid aluminium vented cone with a composite fibre dustcap, which is combined with a proprietary injection moulded gasket and long-throw parabolic surround to allow for extreme excursion and incredibly deep bass. There’s a dual ferrite magnet motor assembly weighing over 11kg, along with a flat edge wound split-wind voice coil within the motor assembly. Together, they deliver sufficient power at the highest excursion levels, but reduce mass and improve overall driver efficiency.The driver’s ability to move massive amounts of air is backed up by a rear-mounted Sledge STA-800D2 amplifier, combining the high current output of discrete MOSFETs with Class D efficiency to deliver a claimed 800W RMS and peaks of up to 2,500W. All this is governed by a 50MHz Analog Devices DSP with 56-bit filtering that SVS claim is the most advanced digital processor ever used in a subwoofer.”