Among the hearing, REL's top subs continue to be a top choice for music systems and especially for those that refuse to digitize their analog sources (a la JL's digital room correction).
Dave |
"REL's top subs" means Studio III, Stentor III, or Stadium III and the current Reference series.
Dave |
Good feedback m-db.
Did you use the hi-level input (mandatory IME) from your amp to the Studio III in your auditions?
Dave |
Hi Arte,
Understand your dilemma. I have two Stadium IIIs and adding the second sub was a nice improvement. Really loads the room. My speakers need no bass supplementation, but the room loading improves imaging and soundstaging when done correctly.
Using a SR Tesla "REL-spec" Hi-level interconnect in place of the mediocre REL-supplied cable was a significant step up in sound quality for me.
As you say, integration is everything. That is where the RELs really shine using the Hi-level input. As you already know, proper placement and phase/crossover/gain settings of the RELs is ultra-important for best performance. I was surprised to read m-db’s statement re: the ease of setup of the Studio III vs the others in his auditions. My experience with RELs has been quite contrary - lots of trial and error necessary to get them optimized and the use of the Hi-Level input a must for proper integration.
The advent of digital room correction in some other brands has leveled the playing field, especially at the lower price points. Less picky in placement too. I will be interested to see where you land and your impressions if you make a change.
Dave
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More good feedback m-db. Thank you. I also find that my RELs effect the imaging/soundstage but in a positive way in my room/setup and agree that they are fussy about placement and setup. The SR Tesla REL-spec Hi-level cable was a big improvement over the stock REL cable - tighter, more defined bass, better bass tonality & air, and better soundstage impact. The stock cable is muddy sounding in comparison.
Dave |
My Thiel CS5i’s easily play well above 95db without distorting, shadorne, and they are not stuck in wall cabinets so they actually do soundstaging too.
Your opinions here, as always, are way off the mark.
Dave
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Decisions, decisions ;) I feel you.
Dave |
Hi m-db,
Your findings re: the adjustment of the REL mirrors mine to a large degree. Since I am also using full-range speakers, I set the crossover knobs to their lowest setting and the gain relatively low too. I found best integration when setting the crossovers/gain occurs when the impact of the REL(s) is noticed when shutting it/them off in the middle of a familiar track (ie setting it by starting with it on and then shutting it off to hear/feel the loss of room pressurization). If you can noticeable hear the REL boosting the bass when listening, the settings are too high IME. Should be felt more than heard.
Dave |
You suspect wrong as usual shadorne. The strong positive response to REL on this thread once again obviates your delusive opinions on audio.
Dave |
shadorne,
I think Arte’s recent post quoting the REL setup guide exactly reflects my personal experience, ie the REL is a "sub-bass system designed to augment the performance of full-range speaker systems ...".
In my room, my speakers do not need traditional bass enhancement, but the sound is improved by the sub-20hz sound-pressure loading of my room provided by the REL(s). The REL(s) are more felt than heard, yet imaging, soundstaging, and midrange clarity are all improved by the effect of this ultra-low frequency room loading. Two RELs simply provide a more uniform loading in my room, as I think it would be be with JL, etc. also.
The REL(s) can also be used in out-of-phase mode to help cancel room-induced bass nodes beyond what is modulated by my sealed corner bass traps, a feature I find useful as my source changes. Each source can be (and should be IMO) optimized by different settings, ie REL(s) off with my TT (subsonic interaction), on but fed via XLR line-level inputs from my HT processor, and on with digital sources fed via the hi-level input from my amplifier(s) with judicious setting of the crossover and gain to optimize integration without adding bass bloat, often by also switching between in-phase and out-of-phase settings depending on the digital source.
I like JL and would unconditionally recommend them to those with the need for true bass enhancement to main speakers with limited low-frequency reproduction or don’t have the freedom to handle room nodes with acoustical treatment, specific placement, etc. The advent/implementation of digital room EQ included in the better JLs is invaluable in those situations and the JLs are great subs regardless IMO.
The RELs still, as they always have, provide a unique solution for those with true full-range speakers, an acoustically treated room, and with the freedom to cater to their placement and setup requirements.
Dave
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Best wishes for success, Arte. Let us know how it works out.
Dave |
Hi artemus,
There may be nothing wrong with the Storm 3. I have had that happen before installing the hi-level cable from the amp to the REL.
Dave |
With amplifier turned off, securely connect the individual hi-level wires of the REL cable to amp’s speaker terminals per RELs instructions and plug the connector on the other end into the REL’s hi-level input. Turn on amplifier, plug the REL’s power cord into the AC receptacle, and switch on.
Dave |
I would (I cannot see how it could damage your amp) but that is your call to make. Again, mine did the same thing recently when I was moving my gear/cabling around and it stopped when I connected the hi-level cable using the technique above with no damage to anything.
Shubert - are you Sheldon Cooper operating under a pseudonym? Do you like flags too?
Dave |
