No limits

Musicians place no limits on the bandwidth of the music they play.

Many recordings, particularly those of “live” events include acoustic clues as to the size and shape of the recording space, which constitute an important component in the recorded sound. In many instances the venue’s “sound” contains some very low frequency information as do harmonics of instruments in the orchestra.
Strange as it may seem, it’s not only bass instruments that produce low frequencies - many orchestral notes contain low frequency components, which contribute to the defining character of their sound.

“Richard Lord, founder of the Welsh company, sees it as the subwoofer’s task to deliver musical fundamentals below the reach of ordinary loudspeakers. It’s an approach that can work well with compacts, but often works even better with large speakers…” Alvin Gold Gramophone

Pure faith

For pure fidelity to be realised, every part of every note in the music must be reproduced, along with the acoustic signature of the recording space.

The typical home audiophile system, sometimes chosen after hours of agonising over which components to buy, often suffers bandwidth limitation at the lower end, especially when playing high bit-rate super CD formats such as SACD or DVD-A. Whatever you play, there is no hope of realising what was originally recorded, without a correctly designed sub-bass system.

“…bass and cello fundamentals that were only implied by their harmonics are now produced in full strength. But the benefits extend well beyond the bass, as the additional bandwidth alters the perception of midband and treble output, adding richness and a greater range of tonal colours, and adding also to image scale.” Alvin Gold Gramophone

Sheer Drama

So it is with film sound tracks. Directors and sound engineers rely on very low bass frequencies to impart the power of action sequences, and the sheer drama of subtler scenes. In many cases, huge expenditure is lavished on sound tracks to achieve the right effects.

The explosion of DVD into homes has given consumers the opportunity to experience the fidelity of a wideband multi-channel recording. Almost every DVD movie soundtrack has a special Low Frequency Effects channel (LFE), where all the really dramatic bass sounds are stored. But without a properly integrated audiophile sub-bass system, bass frequencies, which took hundreds of man-hours and millions to create, will not be reproduced in full.

Both Barrels

All REL sub-bass systems are optimised to deliver high fidelity bass in both two-channel and multi-channel applications. Their sophisticated Active Bass Control (ABC) filter/input regime allows them to be calibrated precisely for movie soundtracks and for two-channel listening simultaneously. Individual volume controls for high and low level inputs allow the user to maximise the fidelity of both systems.
Why is this important? In connecting the REL to your system at high and low level, you’ll provide low frequency support to the full range left and right channel speakers
(when they’re set to ‘large’), in addition to pressurizing the room from the LFE track. In this configuration, the REL provides support for both the left and right speakers for two-channel listening, and support for the LFE when movies are playing. The effect of this set-up is one of greatly increased dynamics in the mid-bass range; no bass bloat; and a greater degree of space and timing from the Foley effects.

The Path to Perfect Bass

The secret to a REL sub-bass system’s success resides not only in its ability to extract the deepest sounds in the mix, or in its bullet-proof reliability and conspicuous overbuild, it resides primarily in its ability to integrate with the main system, enhancing its sound by naturally underpinning the output from the speakers – to make them sound as if they’d doubled in size. Richard Lord defined the conditions for successful integration over a decade ago by following three simple but hitherto illusive principles:

high-level accuracy

To ensure no blurring or other sonic degradation to the main system, the solution is to bi-wire the sub-bass system from the power amp. REL sub-bass systems are designed to be connected to the existing power amp's speaker terminals using the gas-tight high-level Neutrik lead. In this way there is no interference or possible corruption of the main signal going to the speakers. By connecting at high level, the sub will receive exactly the same character of bass as the main speakers.
The sub-bass system draws virtually zero current from the power amp because it is a very high impedance load (technically we say it is voltage driven). No harm can come to the sub-bass system whatever the power of the main amp, even a kilowatt can be accommodated with ease.

active ingredients

There is also the substantial benefit of the bass driver in a REL system being driven by its own dedicated bass power amplifier – optimised for that specific driver. It is DC coupled, meaning there are no harmful capacitors in the signal path causing phase problems and limiting its ultimate low frequency performance. Because of this built-in amp, there is no power drain on your main system amplifier. It goes on happily driving your main speakers exactly as before.

it's as simple as ABC....

The sub-bass system needs to have its own independent and variable crossover filtering totally separate from the main system. By use of this variable crossover, the sub-bass system is then brought up beneath the main speakers. This variable crossover filter is unique to REL. We call it the Active Bass Controller or simply ‘ABC’. Its action is limited to the sub-bass system alone and allows the user to set the upper frequency response of the sub-bass system from 22 Hertz (25 Hertz on the "Q" range) up to 96 Hertz (100 Hertz on the "Q" range).

The ABC has both coarse and fine filter controls allowing critical adjustment together with a gain control, which adjusts level to compensate for the lack of boost given to these very low frequencies by your room. This ensures a smooth blending of sound from the main system and the sub-bass system. Thanks to the fine adjustment afforded by the ABC, you will be able to hear (and feel) very deep bass in any sized room with virtually any main system. The imaging of the main system is preserved down to its existing limits. A surprising bonus is that when correctly matched in, imaging and depth appear to improve. There are also spin-off benefits to the way we perceive that sense of "air" around instruments and the feeling of acoustic depth in a recording. These are subtleties that are totally masked if the sub is not correctly integrated into the system.

For the ST5 range, including 'Stampede', the fine and course filter regime of the ABC is replaced with even finer digital calibration, which operates in single Hertz steps from 16Hz to 99Hz.

removing room-boom

REL sub-bass systems can be "tuned" to your system and room, whatever your system's capabilities and listening room size. This is of enormous benefit, particularly if like many others, your listening room is not perfect. The REL can be positioned to pressure drive your listening room below its lowest eigentone and ensure that those previously missing or masked frequencies are heard cleanly and clearly, no false emphasis or boom – you control its sound in your system.

We are often asked: "Are two subs better than one?" Two subs will help iron out the usual room response undulations. Dynamic range is doubled and an even tighter and more controlled bass results. Two separated bass sources help achieve these subtle improvements.

other benefits

If you decide to upgrade any item in your system, the REL will simply reveal more of its potential. This of course can be said about some upmarket speakers, but rather than simply show up your systems faults, the REL is fully adjustable, thus it will never be obtrusive.

Above all it will allow you to keep what is best about your existing system. With a REL there is NO compromise. The REL will only add to your already high quality sound. It will never overwhelm, but confidently underpin your main system. It is very likely the most cost effective upgrade you will ever make.

Richard Lord: “Every single sub-bass system we make has been individually and very carefully tested, checked and tested over and over at each stage of its production. Not a cheap way to build, but the only way to ensure consistently high quality.”