As I have used or tried most Linn subs and a couple of others, with mostly positive results with the Linn version I am quite curious of what You found to be satisfying with the Linn subs? It would be interesting if you could elaborate on the context and your experiences.ThomasOK wrote:...
The whole subwoofer thing is a real mess right now as far as we are concerned. While we were happy with the REL ST and Britannia series subwoofers, the newer units are just not very good at all. Ever since Richard Lord retired and REL was bought by a US company the quality has suffered. With the discontinuation of the Studio and Stentor, closing down the factory in Wales, the design work being done in the US and the manufacturing moved to China these subs are just not in the same leave as their predecessors and not worth it anymore. We have also never been that happy with the Linn subs and I still haven't been able to get premium performance out of the K345.
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Performance with Linn sub's
Moderator: Staff
Performance with Linn sub's
Re: Performance with Linn sub's
Thomas,ThomasOK wrote:...
We have also never been that happy with the Linn subs and I still haven't been able to get premium performance out of the K345.
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did you try the ZuAudio Submission SW?
KR
Matt
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I wouldn't necessarily say all the good REL subs are better than a K345 but I do prefer a number of them. One of the big problems with Linn subs is that they really don't have the output capability for the size of room that is common to the type of customer who would buy them in the US. As an example we have a customer with a home theater system consisting of 4 K350As, a K340A and two K345s and he has been known to bottom out the subs without trying hard. When we first went in to set the system up we noticed that the K345s would bottom out on heavy bass info like the depth-charges from U571 so we backed them off a touch. Still he has bottomed them out a couple of times when cranking a concert video. This is a problem I have never seen with the big RELs. The Linn's are reasonably clean but I also don't believe that the crossover is flexible enough to properly blend with stereo speakers.
On the RELs the Studio III is still the best and most musical sub I have ever heard. The Stentor III is not far behind and relatively close to that is the Britannia B1. The Stadium III is also a good sub but I prefer the B1 as I find it cleaner and more powerful. The B2 is also good but not as potent as the B1. The B3 is OK for smaller rooms and smaller main speakers but is not quite as musical as the bigger ones nor does it have the output to keep up with most full range speakers. I liked the Strata III and Storm III but I would put them pretty much in the league of the B3 - I'd rather have a B2 or above especially with full range main speakers.
The B1 actually had plenty of power to keep up with my big ATCs and I felt it did add to the tunefulness and sound of the system when I had one. I am somewhat sorry I sold mine with the idea of getting a G1 as I have not been at all happy with the sound of the Gibraltars. It is quite possible I will at some time pick up another B1 for my main system. I have also heard good things about the subs from BK Electronics in the UK, particularly the Monolith series but they are not available in the US.
I have also not heard the Zu Submission. In the US Zu only sells direct, not through dealers. So if I wanted to listen to one I would have to buy it and then pay to send it back if I didn't like it. It appears they did a proper job on the crossover, at least from the markings on the knobs, but I really know nothing more about it.
Hope this helps.
On the RELs the Studio III is still the best and most musical sub I have ever heard. The Stentor III is not far behind and relatively close to that is the Britannia B1. The Stadium III is also a good sub but I prefer the B1 as I find it cleaner and more powerful. The B2 is also good but not as potent as the B1. The B3 is OK for smaller rooms and smaller main speakers but is not quite as musical as the bigger ones nor does it have the output to keep up with most full range speakers. I liked the Strata III and Storm III but I would put them pretty much in the league of the B3 - I'd rather have a B2 or above especially with full range main speakers.
The B1 actually had plenty of power to keep up with my big ATCs and I felt it did add to the tunefulness and sound of the system when I had one. I am somewhat sorry I sold mine with the idea of getting a G1 as I have not been at all happy with the sound of the Gibraltars. It is quite possible I will at some time pick up another B1 for my main system. I have also heard good things about the subs from BK Electronics in the UK, particularly the Monolith series but they are not available in the US.
I have also not heard the Zu Submission. In the US Zu only sells direct, not through dealers. So if I wanted to listen to one I would have to buy it and then pay to send it back if I didn't like it. It appears they did a proper job on the crossover, at least from the markings on the knobs, but I really know nothing more about it.
Hope this helps.
Where does the Stentor II fit into your list of good REL subs, Thomas?
It's the only REL sub I have installed, and in no department did it compare to Linn's 345, 226, 221 or even Sizmik. To me, the Stentor II was simply a quantative low bass reinforcer. Musically, it did nothing.
Among the subwoofers that I have installed that can actually add quality when properly installed, the 345 is unparalleled. Yes, it's easy to make it bottom out in a home cinema system. But to me that's quantity, not quality.
It's the only REL sub I have installed, and in no department did it compare to Linn's 345, 226, 221 or even Sizmik. To me, the Stentor II was simply a quantative low bass reinforcer. Musically, it did nothing.
Among the subwoofers that I have installed that can actually add quality when properly installed, the 345 is unparalleled. Yes, it's easy to make it bottom out in a home cinema system. But to me that's quantity, not quality.
I have no personal experience with the Stentor II as it was current before I returned to the Hi-Fi business.
While I agree there is a definite difference between quality and quantity, both are necessary for proper low bass reinforcement in my estimation. Low bass is all about moving a lot of air. If you are trying to extend the low frequency performance of a pair of stereo speakers the subwoofer has to be able to keep up with their output capabilities. When you are trying to extend the bass of something like Komris, K350s or my ATCs you already have a main speaker with powerful bass output capabilities, so a sub with the same kind of output capabilities but with lower frequency extension is necessary. I do not find the K345 to be in this category.
Also, as mentioned, I feel there is too much overlap between the Linn subs, regardless of the crossover frequency chosen, and any speaker with decent low frequency capabilities of its own. I know Linn says it is not that important but I don't buy it. You can't claim that some new crossover technology allows for a much better blend of the mid bass driver and the midrange driver in the Akubarik and than say the blend of a sub and the bass drivers in the main speakers is not that important.
While I agree there is a definite difference between quality and quantity, both are necessary for proper low bass reinforcement in my estimation. Low bass is all about moving a lot of air. If you are trying to extend the low frequency performance of a pair of stereo speakers the subwoofer has to be able to keep up with their output capabilities. When you are trying to extend the bass of something like Komris, K350s or my ATCs you already have a main speaker with powerful bass output capabilities, so a sub with the same kind of output capabilities but with lower frequency extension is necessary. I do not find the K345 to be in this category.
Also, as mentioned, I feel there is too much overlap between the Linn subs, regardless of the crossover frequency chosen, and any speaker with decent low frequency capabilities of its own. I know Linn says it is not that important but I don't buy it. You can't claim that some new crossover technology allows for a much better blend of the mid bass driver and the midrange driver in the Akubarik and than say the blend of a sub and the bass drivers in the main speakers is not that important.
@ThomasOK:
I hav not tried REL myself so I am in no position to compare.
The only Linn sub having bottomed out is the 221, which is really small so that comes as no surprise. We have never bottomed out the 345 or even the 226 (which we used for a couple of years). They have both been forced into clipping though. My main speakers are 212 (active) and the 345 plays on its own(in a fairly big space). As the 212 have a similar sensitivity to the 350 I would expect them to require about the same sub level setting. I have limited experience with how the bass is leveled in a HT setup, but it should be similar, as long as one is not thriving for excessive bass levels (which I know many do, especially in HT). I would not think it to make any musical sense though.
What space do you regard as big? I could mention what my system plays in a space of about 60+ m2 livingroom+kitchen, with two openings to a 15 m2 hallway+stairway.
Another thing that comes to mind is that one could increase the high pass filtering frequency a step or two. That gives the sub a different sound and also makes it able to play louder. I have mine set to 22 Hz (if I remeber correctly) as it made it more easy to integrate when using my former pre-amp (I should try re-tuning it with the new pre, but I have not bothered yeat. It plays fine and integrates well, but I think it is possible to get it to play even better, full throttle. Some tests indicates that it is so). There are many things poking for attention so re-integration of the sub will have to wait. In the mean time, I'd rather just listen to music than working on the set-up.
The last subject is positioning. I find sub positioning as delicate as main speaker positioning. Down to the last mm and even sub mm with the 345. Have you similar experiences?
I hav not tried REL myself so I am in no position to compare.
The only Linn sub having bottomed out is the 221, which is really small so that comes as no surprise. We have never bottomed out the 345 or even the 226 (which we used for a couple of years). They have both been forced into clipping though. My main speakers are 212 (active) and the 345 plays on its own(in a fairly big space). As the 212 have a similar sensitivity to the 350 I would expect them to require about the same sub level setting. I have limited experience with how the bass is leveled in a HT setup, but it should be similar, as long as one is not thriving for excessive bass levels (which I know many do, especially in HT). I would not think it to make any musical sense though.
What space do you regard as big? I could mention what my system plays in a space of about 60+ m2 livingroom+kitchen, with two openings to a 15 m2 hallway+stairway.
Another thing that comes to mind is that one could increase the high pass filtering frequency a step or two. That gives the sub a different sound and also makes it able to play louder. I have mine set to 22 Hz (if I remeber correctly) as it made it more easy to integrate when using my former pre-amp (I should try re-tuning it with the new pre, but I have not bothered yeat. It plays fine and integrates well, but I think it is possible to get it to play even better, full throttle. Some tests indicates that it is so). There are many things poking for attention so re-integration of the sub will have to wait. In the mean time, I'd rather just listen to music than working on the set-up.
The last subject is positioning. I find sub positioning as delicate as main speaker positioning. Down to the last mm and even sub mm with the 345. Have you similar experiences?
Sorry Thomas, but I fail to understand how you reason here. I am not discussing "moving air" but quality of musical reproduction. Subwoofers are no different from power amplifiers or loudspeakers in that they first and foremost need to possess:
1. Quality. The level needed depends on the quality of the system it's working in. When adding a subwoofer to a system, does it become easier to understand the music? In my experience, 9 out of 10 subwoofers fail in this area. They impress at first and when you later try removing them, the system performs better (often accompanied with a sense of relief). A degradation of the musical performance can also happen when a good sub is less than perfectly installed. It takes hours to install a subwoofer really well - usually much longer than a pair of loudspeakers.
If quality isn't high enough to improve the musicality, nothing else matters. It's simply a downgrade. But if quality IS high enough, the second question arises. Does the subwoofer possess enough:
2. Quantity. The level needed depends on the room and the intended use. Big rooms are much more demanding than small rooms. Home cinema is much more demanding than music. Volume requirements are personal.
Linn's 345 is a fantastic subwoofer where rooms are moderately sized and the system plays music. In a really small room, it's adequate for home cinema. Linn's old 221 was significantly limited in quantity, but as it could play a tune, it had the ability to improve the reproduction of music in small rooms. Its replacement, the 226, is not as limited in quantity as the 221.
1. Quality. The level needed depends on the quality of the system it's working in. When adding a subwoofer to a system, does it become easier to understand the music? In my experience, 9 out of 10 subwoofers fail in this area. They impress at first and when you later try removing them, the system performs better (often accompanied with a sense of relief). A degradation of the musical performance can also happen when a good sub is less than perfectly installed. It takes hours to install a subwoofer really well - usually much longer than a pair of loudspeakers.
If quality isn't high enough to improve the musicality, nothing else matters. It's simply a downgrade. But if quality IS high enough, the second question arises. Does the subwoofer possess enough:
2. Quantity. The level needed depends on the room and the intended use. Big rooms are much more demanding than small rooms. Home cinema is much more demanding than music. Volume requirements are personal.
Linn's 345 is a fantastic subwoofer where rooms are moderately sized and the system plays music. In a really small room, it's adequate for home cinema. Linn's old 221 was significantly limited in quantity, but as it could play a tune, it had the ability to improve the reproduction of music in small rooms. Its replacement, the 226, is not as limited in quantity as the 221.
I forgot to reply to this.ThomasOK wrote:Also, as mentioned, I feel there is too much overlap between the Linn subs, regardless of the crossover frequency chosen, and any speaker with decent low frequency capabilities of its own.
When installing a subwoofer, the best way to do it is to 1) accurately position, then 2) adjust it to work optimally with the room. Don't involve the main speakers at this point, listen to the subwoofer only! And by 'work' I mean to reproduce a tune as accurately and enjoyably as possible. When this is done, 3) connect the main speakers and adjust only the level of the sub to match the main speakers.
Trying to position and/or adjust the settings of the subwoofer to match the main speakers does not work very well.
No, but I'm thankful for all tips. Most subs I've listened to mess up the music and there seems to be a big hole in the market for a truly musical subwoofer that has all the quantities necessary for home cinema.clasch66 wrote:Anybody ever tried Ken Kreisel Subs (former M&K)? I've got a DXD-808 and this is absolutely amazing!
Absolutely agree! As the interaction between subs and the room is so very sensitiv, its absolutely meaningless to start integrating a sub with the main speakers as long as not the optimal position is found with wich working further even makes sense! I would even go a step further and say that for some (probably most) environments you won't be happy at all with a sub as long you don't work very hard on your room acoustics or even more consider room correction capabilites.lejonklou wrote: When installing a subwoofer, the best way to do it is to 1) accurately position, then 2) adjust it to work optimally with the room. Don't involve the main speakers at this point, listen to the subwoofer only! And by 'work' I mean to reproduce a tune as accurately and enjoyably as possible. When this is done, 3) connect the main speakers and adjust only the level of the sub to match the main speakers.
Trying to position and/or adjust the settings of the subwoofer to match the main speakers does not work very well.
You should definitly try the DXD series if you have the opportunity! Even though KK comes out of the cinema/studio corner, it has great musical capabilities!lejonklou wrote:No, but I'm thankful for all tips. Most subs I've listened to mess up the music and there seems to be a big hole in the market for a truly musical subwoofer that has all the quantities necessary for home cinema.clasch66 wrote:Anybody ever tried Ken Kreisel Subs (former M&K)? I've got a DXD-808 and this is absolutely amazing!
Probably ThomasOK knows them as this is a US brand?
Mostly Scotland and some Sweden
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Music Lover
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Re: Performance with Linn sub's
Hi all, a bit old this thread but I found it most interesting since I've a 221 and a pair of 212 that I'm "experimenting" ;-) with.
I know most? are against it, but has anyone any experience (good or bad, please share your knowledge) with using the HP out of the 221 instead of "parallel coupling" from the pre-amp?
Ie feeding the 212 with an "bass filtered" signal.
Actually, it would also be of interest to hear your experiences if anyone has used the 221's HP out for any other speaker model than 212.
I know most? are against it, but has anyone any experience (good or bad, please share your knowledge) with using the HP out of the 221 instead of "parallel coupling" from the pre-amp?
Ie feeding the 212 with an "bass filtered" signal.
Actually, it would also be of interest to hear your experiences if anyone has used the 221's HP out for any other speaker model than 212.
Re: Performance with Linn sub's
I tried it with the 345 and 212's and using the sub's HP output filter to feed your power amp totally kills the sound (that HP filter is not one of Linn's greater designs) so I immediately reverted to using it in the standard way (in my case, I fed the sub from the power amp's daisy chaining RCA sockets).
With the 212, I took Phil Budd's advice and wired the 212's out of phase (with respect to the sub) and fitted the bungs to block the 212 ports. Then with the sub rolled off at 85Hz, it beautifully integrated with the 212's (before I'd heard about the port blocking trick, I simply could not get it to integrate, and quite a few others have also used that trick and achieved fabulous results). Phil explained why that all works (even backed up with a couple of graphs) in a thread on the Linn forum (which should hopefully be findable via the search feature).
Hope that helps
Bri
With the 212, I took Phil Budd's advice and wired the 212's out of phase (with respect to the sub) and fitted the bungs to block the 212 ports. Then with the sub rolled off at 85Hz, it beautifully integrated with the 212's (before I'd heard about the port blocking trick, I simply could not get it to integrate, and quite a few others have also used that trick and achieved fabulous results). Phil explained why that all works (even backed up with a couple of graphs) in a thread on the Linn forum (which should hopefully be findable via the search feature).
Hope that helps
Bri
Re: Performance with Linn sub's
Yes interesting read,thanks for your time answering.
So I take it like no matter what frequency you set it at, it didn't matter much?
Would be even more helpful to know the approx size of the room and what amp for the 212's you used?
But maybe that's in the mentioned other thread? See if I could find it. Cheers.
So I take it like no matter what frequency you set it at, it didn't matter much?
Would be even more helpful to know the approx size of the room and what amp for the 212's you used?
But maybe that's in the mentioned other thread? See if I could find it. Cheers.
Re: Performance with Linn sub's
Hi
Yes, though the Linn subs have a pitifully small range of adjustments (I've just typed a longer post about all that; I'll post it in a wee while) with the 212's ports blocked and the 212's wired out of phase (WRT the sub) I found it sounded excellent when the sub was rolled off at 85 Hz. Before I got the 212's, I ran the sub with a pair of Ninka speakers, and for them, the 55 Hz sub roll off worked pretty well, so it depends on where the speakers roll off.
The sub was next to one of the 212's and the amp was a 2250 with Dynamik PSU fitted. This was in my last house, where I had a separate room for the Klimax system and the TV, The 212's and sub were mostly for the TV sound (but I ended up playing more music on that than I did in the room with the Klimax system) and it was about 20 feet long, by 11 feet wide, by 12 feet high (with a funny shape at one end - behind me - which did help with the sound).
Bri
Yes, though the Linn subs have a pitifully small range of adjustments (I've just typed a longer post about all that; I'll post it in a wee while) with the 212's ports blocked and the 212's wired out of phase (WRT the sub) I found it sounded excellent when the sub was rolled off at 85 Hz. Before I got the 212's, I ran the sub with a pair of Ninka speakers, and for them, the 55 Hz sub roll off worked pretty well, so it depends on where the speakers roll off.
The sub was next to one of the 212's and the amp was a 2250 with Dynamik PSU fitted. This was in my last house, where I had a separate room for the Klimax system and the TV, The 212's and sub were mostly for the TV sound (but I ended up playing more music on that than I did in the room with the Klimax system) and it was about 20 feet long, by 11 feet wide, by 12 feet high (with a funny shape at one end - behind me - which did help with the sound).
Bri
Re:
I do get that idea for a front sub, but in my case, I used a sub in the rear corner to help counteract the room modes (so it was key to set it up with the speakers playing). I actually used a miniDSP unit to digitise (at 24/96) the unbalanced outputs from my KK (the balanced ones were feeding my 350As) and used the delay feature to time align the sub. The sub was 3m behind me and the 350s were 4.6m in front of me, so I had to delay the sub feed to prevent the precedence effect (which causes perceived artefacts as far up as the treble frequencies; not at all good as it actually sounds like you have high frequency distortion)! The miniDSP added delay in the digital domain and combined the channels, then the DAC part converted it back to audio, which was sent over a single cable to the sub (thus also saving me cable costs). Whilst being in the digital domain, anyway (to add delay) I also used the DSP to set roll-off frequencies and slope (leaving the sub set to full, thus removing the analogue roll-off filter and all the phase anomalies that filter created). With the sub set at a relatively extreme setting (from memory, about 48 Hz and 48 dB/octave) I could enhance frequencies at and below 48 Hz (obviously) but it also took a few dB out of the room modes (where are at 19 Hz and 38 Hz). When used to perform that trick, these settings are absolutely critical (setting it at 50 Hz instead of 48 Hz started to cancel out frequencies between 55 and 60 Hz, in the listening position).lejonklou wrote:Preferably without, but if that's impractical one should either short-circuit them at their inputs or keep their power amps switched on (but not playing anything), to dampen the drive units.Music Lover wrote:With or without having the main speakers in the room?
The above actually worked remarkably well (provided you have the settings granularity provided by the DSP) but after trying the Space Optimisation, I found I could get far better results via that approach (and a tiny bit of bass shelf; 0.5 dB at 70 Hz) and with no sub being required. I have been experimenting with it at great length, and it now sounds like I've massively upgraded the main system (just last night, one of my friends - who also has a great Linn system - said that it sounds like I've spent a fortune on new power amps).
I did spend about a week (as in all day, every day) attempting to get the sub to improve on the SO'd 345s (on their own), but no matter what I tried, it was not as good as the 350s on their own (with SO and a tiny bit of bass shelf). Interestingly, I did also spend a lot of time taking measurements (as well as using my ears) and with my SO dips (at 19 and 38 Hz) set to about -12 dBr (no sub), adding a carefully set up sub meant I could reduce these dips to about -6 dBr, so it shows how a rear corner sub really can help help reduce room modes, provided you have the range of settings to get it all right. That said, 350A and SO enabled is still massively better than any combination of SO and sub filter tweaking that I tried. Also, the downside of using a sub to counter room modes is that whilst you can get it to sound really good in the listening position, other seats in the room get really poor sound. In my case, the seats on one side wall had a huge dip at 50 Hz (it was completely cancelled out) and on the opposite side wall, there was a massive peak at 50 Hz (which was really grim) whereas now, it sounds great in all seats (okay, the SO isn't optimally set for the side seats, but it's still doing the correct things, just not at quite the correct dip levels, but still massively better than it is with SO switched off).
So, my view is that the 345 is a stunningly musical sub (I had some astonishing sounds with a 345 and 212s in my old TV room; the bass was simply fabulous) but I do agree that it's surprisingly easy to end-stop the 345 bass unit on some material (and at pretty modest volume levels). Also, the amp module gets stinking hot (I ran mine with the amp module sitting outside the sub and with a huge heat sink above and below the module, which helped keep the module's internal air a bit cooler). Also, Linn don't wrap the wires in foam (as they do in the back of 350's) so they can rattle off the amp module (that's the main reason why I initially removed it). IMHO it is a fab sub, but it should have been built more like a 350, with a big heat sink on the back of it (so no need for a silly wee fan and the dust build up that causes in the air cavity).
Bri :)
Re: Performance with Linn sub's
I have complete faith in my audio dealer. My last setup in another state had surround sound in the office with all speakers active (Keltik fronts with Klouts) and the big Linn sub.
A small family room had surround sound with the small Linn sub.
After I moved out of state 6 plus years ago I moved a lot and did not have a system set up until this year. I sold all of my Linn equipment just over a year ago and then bought a house last year. My audio dealer is coming next week to do some installs and is a big believer in the REL subs. I am replacing the home theater speakers with Dynaudio speakers and two REL S2 subs. I have set up a small system in my home office where I spend most of my time. Somehow I ended up with more Linn gear. Majik DSM with 109s on Linn stands and an Oppo. I am adding a REL S3 sub to the 109s.
It will be interesting to hear the subs and the new systems.
During this time I purchased a Tundra (15 months ago) but the shipping box is still sealed. Not sure that it will find a home here.
Jeff
A small family room had surround sound with the small Linn sub.
After I moved out of state 6 plus years ago I moved a lot and did not have a system set up until this year. I sold all of my Linn equipment just over a year ago and then bought a house last year. My audio dealer is coming next week to do some installs and is a big believer in the REL subs. I am replacing the home theater speakers with Dynaudio speakers and two REL S2 subs. I have set up a small system in my home office where I spend most of my time. Somehow I ended up with more Linn gear. Majik DSM with 109s on Linn stands and an Oppo. I am adding a REL S3 sub to the 109s.
It will be interesting to hear the subs and the new systems.
During this time I purchased a Tundra (15 months ago) but the shipping box is still sealed. Not sure that it will find a home here.
Jeff
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rowlandhills
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Re: Performance with Linn sub's
It is very simple to add your Tundra to a Majik DSM (turning off the built in power amp through Konfig) and will sound a lot more musical. Personally, I'd do that before adding a sub to the system!jlwdm wrote:Majik DSM with 109s on Linn stands and an Oppo. I am adding a REL S3 sub to the 109s.
It will be interesting to hear the subs and the new systems.
During this time I purchased a Tundra (15 months ago) but the shipping box is still sealed. Not sure that it will find a home here.
KRDSM, Tundra to 242s
Silvers, K400, Hutter rack
Silvers, K400, Hutter rack
Re: Performance with Linn sub's
I have thought about adding the Tundra, but I consider the Majik DSM as a temporary solution. We will be remodeling the house and the setup will be rotated 90 degrees. i think once the home theater is redone next week I will want to upgrade the office. Could be a better Linn streamer (with the Tundra) or could be a Devialet (have not heard yet, but aware of a number of people switching from Linn to the Devialet).rowlandhills wrote:
It is very simple to add your Tundra to a Majik DSM (turning off the built in power amp through Konfig) and will sound a lot more musical. Personally, I'd do that before adding a sub to the system!
Jeff
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Music Lover
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Re: Performance with Linn sub's
imho Devialet is totally unmusicaljlwdm wrote: or could be a Devialet (have not heard yet, but aware of a number of people switching from Linn to the Devialet).
It's all about musical understanding!
Re: Performance with Linn sub's
I have not heard any Devialet models, but I am aware of a number of owners of Klimax level Linn systems who have made the switch to Devialet.Music Lover wrote:..
imho Devialet is totally unmusical
Jeff
Re: Performance with Linn sub's
The few times I've heard a Devialet, I found it was a bit clinical..! Good presentation, lot of power and details, but yeah, musical didn't come to my mind.
Also, I have a 226, and even tho it's not as good as a 345, I think it's quite a musical sub. I'm able to pair it well with my kabers. But its range is quite restrained.
Also, I have a 226, and even tho it's not as good as a 345, I think it's quite a musical sub. I'm able to pair it well with my kabers. But its range is quite restrained.
KRDSM/1 -> Akurate Exaktbox 10 -> A4200 -> Ninka