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 despite the fact that it sounded (and measured) great, SVS asked me to hold the review while its engineers tweaked the sub’s Sledge STA-1000D amplifier. It took months for the new amplifier to arrive.
Price: $9,000 At A Glance: Room- and house-threatening LFE bass for movies • Surprising rhythm, pacing, and articulation for music • Relatively small footprint for a behemoth sub
Because You Can
So, I’m wheeling this ginormous 230-pound Paradigm subwoofer down and around the side of my house, to the double-door, daylight basement that serves as my home theater room. Being impatient, I’m doing this by myself and hoping like hell I don’t tip the thing over and watch it roll end over end down the slope in my backyard. About this time, it occurs to me to wonder, “Why am I even reviewing something this big?” The answer that came to mind is probably the same reason people will buy this $9,000 powder keg of bass. Because I can.
Of course, there’s more to it than that. At CES 2010, the best home theater demo I saw and heard was in the Anthem room, with Anthem’s electronics and sister brand Paradigm’s speakers and subwoofers. The bass was sensational, thunderous, and room shaking, and yet it was strikingly refined. That was the first time I saw the SUB 2, a 4,500-watt subwoofer (rated RMS, and never mind if you can actually get that out of your wall), with six 10-inch woofers arrayed in pairs, firing out of three sides of the cabinet. You read that right. I was every bit as awestruck as you probably are now. Why would Paradigm design and build such a thing? Because they can. In home theater and in life, it’s my firm belief that anything worth doing is worth overdoing. If that’s your philosophy too, read on, because the SUB 2 is a helluva ride.
Speaker ads are getting to be as misleading as online dating profiles. Just as someone with a borderline-obese body-mass index of 30 might claim their physique is "average," speaker manufacturers are claiming their new lines of on-walls have profiles as slim as those of the very latest flat-panel TVs.
I can tell you in one paragraph how to set up a pair of small speakers, but I could write a book about setting up subwoofers. It’s the most challenging aspect of home audio because the resonances in a room tend to stress certain bass frequencies and strangle others.
I have a confession to make: I've been a woofer wuss for most of my career as an audio journalist. When I started 21 years ago, there weren't many good subwoofers, and the little ones were usually less bad than the big ones, so I stuck mostly with smaller subs for my personal systems.
Last year, my family and I moved from our little house near a noisy city airport to a more pastoral setting where, aside from a nearby neighbor who likes to bulldoze anything with leaves on it, the loudest thing is an old four-wheel-drive F250 pickup we bought for hauling things (including our butts) around the farm. Although it's in surprisingly good shape, some things don't always work, like the original factory radio, for instance.
One of the annual highlights of my career as an audio/video scribe is the Home Entertainment Show. The 2007 edition took place at the Grand Hyatt in New York, practically on top of the gorgeously renovated Grand Central Terminal. It was there that I became interested in Silverline, a California-based speaker maker that was displaying both their Minuet mini-monitor (say that ten times fast) and the slender, floorstanding Prelude. The temptation to try five Minuets in a surround system proved to be overwhelming.
I don't know anyone who has actually admitted boredom with the traditional home theater experience, but perhaps that's because not all buffs realize just how many gear options are out there. A few years ago, I traveled up to Canada to demo a D-BOX Quest Chair, a sophisticated piece of furniture that adds realistic motion effects that are synchronized to the action and sound of particular movies. The result is akin to living the adventures of your favorite cinematic heroes, which is why the D-BOX-supported movies tend to be more car-chasey and less talky-talky.
JL Audio is best known for its car audio products. But when it first showed its line of home subwoofers at a CEDIA Expo a couple of years back everyone was blown away—in more ways than one.
"Eventually," one of my musical idols once told me in an interview, "everything you said you'd never do, you do. If you're lucky, you get to shake hands with Arnold Schwarzenegger." Those words of Robyn Hitchcock came back to me as I wrestled the JL Audio Fathom f113 subwoofer out of its carton. (The Governator himself couldn't weigh much more.) I've told other manufacturers that I just couldn't see myself working up a thousand-plus-word lather about a sub. What was it about this one that made me change my mind?
2.1-channel home theater is more than mere reductionism.
Home theater is the union of big-screen television and surround sound. Those are the two bedrock principles on which this magazine was founded. So, it may seem heretical to even consider modifying that second requirement. After all, the whole notion of home theater has matured in tandem with advances in both video and surround technology.
10" powered subwoofer with 1,250-Watt Tracking Downconverter amplifier, self-diagnostic EQ, single-ended and balanced line level inputs
Bob's latest subwoofer uses a single front-firing 10" driver and over a thousands watts of power to deliver su-20Hz bass in an enclosure that's basically an 11" cube on all sides. It ships with self-diagnostic EQ and microphone to tailor itself to your room, and accepts balanced and single-ended line level inputs and includes continuously adjustable phase and a passive 70Hz high pass filter for use with satellite speakers.