"Rob" wrote



I've finally got a computer that's connected t'internet, to newsgroups, to
a hifi :-)

And, I couldn't tell a great deal of difference in the bass. The subbed
tracks sounded 'fuller', but a clear issue hear is that my speakers only
go down to 61Hz (Dynaudio 42s), so it's unlikely (I think) that much bass
would come through your recordings. The biggest difference is the sense of
'airiness', but here I preferred the non-sub tracks. This is exactly the
thing I find, but yours are quite an exaggerated example. Sub on - almost
like one of those 3D virtualiser switches; sub off sharp focus/soundstage.


Exactly...



The REL manuals are good, particularly for me - there's one good summary
paragraph -

"Hint: There is a tendency among audiophiles to set the crossover point
too high and the gain
too low when first learning how to integrate a REL with the system, the
fear being one of
overwhelming the main speakers with bass. But in doing so, the resulting
set-up will be
lacking in bass depth and dynamics. The proper crossover point and gain
setting will increase
overall dynamics, allow for extended bass frequencies, and improve
soundstage properties.
Please note: gain must be adjusted in conjunction with crossover changes.
In general, when
selecting a lower crossover point, more gain may need to be applied."

I've settled on a 36Hz xover frequency for the Contour 1.3/IIs, with the
volume at about half. However, tracks with 'big bass' played loud like the
one on this page:

http://patchoulian.googlepages.com/audiosamples



Well, I'm sorry to say it but that track (Mighty Sparrow) only serves to
*better* show what a disconnected, omnipresent, rubbery drone these subs
create!



don't work well at all, but this may be a limitation of my room. The sub
is one of these:

http://www.rel.net/strata5.htm


Blue LEDs, eh.....???

Well, *OK*.......!! :-)



I think Serge has explained it well - I can hear the advantages he
describes. It's just for me, with the woolly soundstage issue and
overblown bass on certain recordings, I'm not too sure overall.


I think Serge explained it very well, but I am more interested in a clear,
unsullied depiction of the music than the *ambience* - I'm at a loss as to
how 'traffic noise' can enhance a chamber music recording! My own view is
that ambience may well *add* to the music performance for some people but it
is not *part* of the music - I can add all the ambience I want, at this
end!!

Different story for movies though - where the pace and timing isn't quite so
critical and the continuous, catarrhal thrum can actually add something to
the 'excitement'. Shortly, before it has to go back, I will run up 'Screen
2' and give SPR an airing to see if it's worth building one for movies.

(Been ruled out for 'Screen 1' already, though...!! ;-)