Tube-shaped subs are popular with DIY-ers because they’re easy to construct. Just grab a cylindrical concrete form at Home Depot, slap some ends?on it, and you’ve got a nice subwoofer enclosure. But SVS features tube-shaped subs in its line not because they’re easy to build; it’s because the form factor makes them perfect for certain rooms. At 16.6 inches in diameter, the company’s PC-13 Ultra takes up less than half the floor space of its comparable box-shaped sub, the PB-13 Ultra. A PC-13 Ultra can slip almost unnoticed into a corner, while the PB-13 Ultra can slip unnoticed into... well, maybe an aircraft hangar.
I would never do what SVS did with its new subwoofer, the SB13-Plus. The company originally sent me a review sample last fall, but then asked me to hold the review. How come? Because the engineerstweaked the sub’s Sledge STA-1000D amplifier. It took months for the new amplifier to arrive. That’s months of revenue lost for the sake of slightly better sound.
Two years ago, SVS changed ownership, and you could say it’s simultaneously a remarkably unchanged yet very different firm. It’s unchanged in that many old hands are still with the company, and the concentration on high-performance home theater products remains.
Did you know they stopped making speakers? Sure, you can still buy things that make sound when connected to an amplifier, but now they;re called "solutions." The idea here is to solve problems that emerge from the public's simultaneous love of good sound and hatred of the traditional speaker form factor. Solutions have been the mantra of late at Triad Speakers. In fact, some of the company's recent creations would have been considered downright crazy back in the days when the opinions of enthusiasts dictated speaker designs.
Calling a product “the best X ever” is a foolish mistake for a reviewer to make — but it’s a mistake I’ve made on more than one occasion. There was that projector that looked really great but was completely outclassed by a less-expensive model just one month later.
If I were forced to choose between the $20K worth of audio test gear I own or the demo CD that cost me probably 20 cents to make, I’d take the latter without hesitation. Test gear is great for telling me how well an audio product is engineered. But when I want to find out what an audio product does — i.e., how a listener will perceive its sound — the demo CD is a much better tool.
When we think about how electronics products are developed, we might imagine huge teams of faceless engineers, executives embroiled in endless discussions in elaborate conference rooms, and an almost Kafkaesque process that no one person really understands or controls.