REL Studio III subwoofer Associated Equipment

Sidebar 2: Associated Equipment

Analog source: Linn Sondek-Lingo turntable, Ittok tonearm, Spectral moving-coil cartridge.
Digital sources: Krell KRC-28 CD player, Sony SCD-C555ES SACD/CD multichannel player.
FM tuners: Day-Sequerra Classic, McIntosh MR-78, Sony ST-5000.
Preamplification: Mark Levinson ML-7 preamp with L3A MC phono cards, Duntech MX-10 head amp, Margulis phono section, Krell KCT preamp.
Power amplifiers: Mark Levinson ML-2 monoblocks & No.334, Krell FPB 600C.
Loudspeakers: Quad ESL-989; James EMB-1200 and Velodyne DD-18 subwoofers.
Cables: Interconnect: Red Rose Silver Ones, Krell CAST, Levinson Silver single-ended, Bryston balanced. Speaker: Mark Levinson HFC 10, Pure Silver Cable (PSC) R50 biwire double ribbon, Ultralink Excelsior 6N OFHC, Coincident Speaker Technology CST 1.—Larry Greenhill

US distributor: Sumiko Audio
2431 Fifth Street
Berkeley, CA 94710
(510) 843-4500

Doctor Fine's picture

The relationship between ultra low frequencies and increased midrange palpability and clarity underscores the necessity for the lowest foundation air movement---if one is to put into the listening environment all the overtones found in the actual recorded space.

One forgets that even human speach has a percussive component which releases sub bass air movement.  A plosive consonant has a leading edge of compressed air as it is sounded.  No wonder the lack of ultra low frequencies robs typical playback of it's "realness."

One has to experience a properly understated $9000 add-on like the Rel to understand why you would actually NEED such a thing.  Of course then it is too late and you are ruined for life.