Revel Performa F52 Speaker System Review

Sonic revelation.

When the assignment came in to review Revel's Performa system, I was more than just a little bit excited. After all, spending time with a Performa F52, C52, S30, M22, and B15A setup is akin to driving a Mercedes-Benz CL600 coupe with every conceivable option when you're accustomed to commuting in a Honda Accord. There's nice, and then there's, "Give me the keys, and get out of the way!" Yes, this would be fun.

Revel enjoys a stellar reputation in the audiophile community. People recognize their products as tools for the discriminating audio enthusiast, and, with the support of parent company Harman International, Revel enjoys the financial support required to remain on the cutting edge. Of particular note, Revel is one of just a few select companies with membership in the far more elite Harman Specialty Group. Make no mistake: Revel is a cream-of-the-crop brand.

Initial Impressions
For this evaluation, I configured a 7.1 system with the C52 center-channel speaker, flanked on the left and right by the F52 tower speakers. Positioned on the left and right sides were a pair of S30s, while the M22 loudspeakers served as the left and right rear channels. I also placed a B15A subwoofer along a side wall on the floor.

The Revel Performa F52 system makes quite a statement in terms of visual impact. The F52, C52, and M22 enclosures were finished in a lustrous maple veneer, with black rear panels and black, fine-mesh cloth grilles in front—creating a very sleek look designed to blend nicely into a variety of living spaces. The B15A subwoofer shared a similar aesthetic, and the S30 surround speakers were finished in black. The S30 is available only in black or white, with matching grilles. All of the other models are available in black ash, natural cherry, or maple.

A Closer Look
The F52 is a five-driver, three-way design that includes three 6.5-inch woofers that utilize the company's proprietary Organic Ceramic Composite (OCC) cone technology for rigidity and low weight. These are coupled with a 5.25-inch OCC cone midrange driver housed in its own subenclosure within the F52 tower. A proprietary 1-inch aluminum dome tweeter, housed in what the company calls the Constant Acoustic Impedance waveguide, reproduces high-frequency content. The enclosure is ported at the rear. There are two sets of gold-plated binding posts mated with shorting straps to facilitate single-wire, biwire, and biamped connections. There are also provisions for adjusting low-frequency compensation (Normal, Contour, and Boundary) and tweeter level (–1, –0.5, 0, 0.5, and 1 decibel). Floor spikes are included.

The C52 center-channel speaker is equally comprehensive. It has dual 8-inch OCC cone woofers, a 5.25-inch OCC midrange driver, and a 1-inch aluminum dome tweeter housed in a Constant Acoustic Impedance waveguide. The rear input panel is essentially a duplicate of the F52's but differs in the inclusion of a placement-compensation switch, which offers flush-mount, stand-mount, and on-top-of-monitor settings.

Designed for wall-mount installation, the S30 enclosure features a high-output 6.5-inch woofer and a 1-inch metal dome tweeter on its largest panel. There are also two 4-inch full-range drivers on the enclosure's side panels. You can configure these enclosures for either dipole or monopole operation. I selected dipole, as I find this setting works best for most program material in many listening environments.

While I was using the M22s for rear surrounds, these enclosures can certainly function as front speakers in a somewhat more modest setup. The driver compliment uses a two-way design that includes a 6.5-inch cast-frame OCC cone woofer mated with a 1-inch titanium dome tweeter. There's a single pair of gold-plated binding posts, complimented by a placement-compensation control (flush or stand mount) and tweeter-level control.

The Performa line's B15A subwoofer is, without a doubt, one of the most highly configurable subwoofers available. The system provides comprehensive control over equalization (frequency, bandwidth, and level) with EQ in/out, plus high- and low-pass contour control with master in/out. There are settings for automatic-on/standby operation, as well as external trigger operation, whereby the subwoofer will switch between film and music contour-response settings—dependent upon whether it detects a steady 12-volt DC voltage (from elsewhere in the system). Furthermore, the B15A ships with an LFO test-signal CD to aid in the setup process.

Performance
For my evaluation, source playback equipment included an Onkyo DV-SP800 SACD/DVD/DVD-Audio player, Parasound's Halo C2 controller, and Sunfire's Cinema 7 amplifier. Kimber Kables fed the front and center-channel speakers, while Monster Cables fed the S30s and B15A subwoofer. XLO Electric cable provided signal to the M22s. The system was calibrated at 75 dB with a C weighting.

I auditioned my classical-music selections strictly in stereo—without the subwoofer. The first movement (Allegro) of Beethoven's Concerto No. 5 in E Flat, Opus 73 (Emperor) was delightful. I was particularly impressed by the F52's ability to handle vast dynamic changes. From pianissimo through fortissimo, the Royal Philharmonic Orchestra's performance was vibrant and highly detailed, and the subtlest nuances of the piano were evident.

Similarly, the first movement (Allegro non troppo) of Lalo's Symphonie espagnole, Opus 21, was inspiring. The solo violin exhibited a presence that is rare in all but the best-performing systems. The system presented the subtleties of Jascha Heifetz's bowing technique with aplomb. Pizzicato string passages sparkled—with just the right amount of bite to the pluck.

On both pieces, stereo imaging was highly detailed and exhibited an almost three-dimensional quality—enabling me to identify placement of various instruments quite easily. Center imaging was particularly impressive. On both the piano concerto and the Heifetz violin performance, I twice found myself checking to make sure I had not accidentally engaged the center-channel speaker.

Switching my configuration to a 2.1 setup for R&B, I listened to a number of tracks from Stevie Wonder's A Time to Love and Anita Baker's My Everything. The B15A subwoofer delivers what I consider to be an incredibly articulate, natural bass response right down to the lowest depths. This subwoofer is a terrific compliment to the F52s. Together, the system delivered vocal tracks that were big and highly intelligible, and the low-mid background vocoder tracks on Wonder's "Positivity" rang clear as a bell. Similarly, Baker's lush, soulful style came through as if she were right there in the room. Simply put, this loudspeaker combination gave new meaning to the term "smooth jazz."

For my surround music evaluation, I listened to an SACD sampler of film composer Jerry Goldsmith's Movie Medleys. While my system was configured for 7.1 surround, this is a 5.1 disc—so the side (S30) and rear surround (M22) loudspeakers received the same signals. During all of the selections, the entire frequency range was evenly represented—with crystal-clear definition at the high end, a full midrange presence, and low-frequency response you could easily feel. The Performas handled sweeping orchestrations from side to side and front to rear beautifully. By the time I concluded with "The Generals," I was ready to stand up and salute.

My surround movie experience was equally exciting. I auditioned selected scenes from The Incredibles—also in 5.1. This was where the C52 center-channel speaker, along with the S30 and M22 loudspeakers, really shined. The C52 did a wonderful job with dialogue and exhibited a real theater-type presence. Meanwhile, the S30 and M22 side and rear surrounds did wonders with the ambient effects. I heard echoes from seemingly everywhere, while nature sounds abounded. During the film's "Missile Lock" scene, filter sweeps danced throughout the entire soundfield with dizzying speed; and, when bombs exploded, the B15A subwoofer shook the room with conviction.

Final Thoughts
I've gushed about sound quality throughout this entire review, and, quite frankly, this system deserves every bit of praise. Like that CL600 coupe, however, performance has its price, and, with an MSRP of $17,583, this Performa setup is clearly not for the economically challenged. Aside from the price, there is an additional issue to consider.

These are demanding loudspeakers that require an equally capable power amplifier to do the system justice. When I backed down on the master level, I felt as though the system really wanted more juice. Thankfully, the Sunfire Cinema 7 had the muscle to handle this—although I could have probably benefited from more power. If in doubt, it's always best to have more power as opposed to not enough. My recommendation: Don't cut corners on your choice of amplifier.

With dramatic visual appeal, beautiful workmanship, and performance that offers a rich, natural sonic presentation with superb dynamic contrast and imaging, the Revel Performa F52 system delivers the goods. I say, if you've got it, flaunt it!

Highlights
• Great imaging, with superb ability to handle wide dynamic contrast
• B15a subwoofer is highly configurable and exhibits extended, controlled bass response

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Revel Performa F52 Speaker System:At A Glance

Subwoofer: B15A
Connections: Left and right balanced and unbal- anced line-level inputs and outputs
Enclosure Type: Sealed
Woofer (size in inches, type): 15, metal cone
Power Rating (watts): 1,000
Crossover Bypass: Yes
Available Finishes: Natural Cherry, Black Ash, Maple
Dimensions (H x W x D, inches): 20.06 x 17.75 x 18.31
Weight (pounds): 110
Price: $3,295

These listings are based on the manufacturer's stated specs; the HT Labs box below indicates the gear's performance on our test bench. at a glance

Speaker: F52
Type: Three-way, tower Three-way, center
Tweeter (size in inches, type): 1, aluminum dome
Midrange (size in inches, type): 5.25, composite cone
Woofer (size in inches, type): 6.5, composite cone (3)
Nominal Impedance (ohms): 6.5
Recommended Amp Power (watts): 50–350
Available Finishes: Natural Cherry, Black Ash, Maple
Dimensions (H x W x D, inches): 44 x 9.5 x 17.5
Weight (pounds): 88
Price: $6,498/pair

Speaker: C52
Type: Three-way, center
Tweeter (size in inches, type): 1, aluminum dome
Midrange (size in inches, type): 5.25, composite cone
Woofer (size in inches, type): 8, composite cone (2)
Nominal Impedance (ohms): 6
Recommended Amp Power (watts): 50–350
Available Finishes: Natural Cherry, Black Ash, Maple
Dimensions (H x W x D, inches): 10.8 x 24.6 x 10.5
Weight (pounds): 40.75
Price: $2,499

Speaker: S30
Type: Two-way, monitor Two-way, monitor
Tweeter (size in inches, type): 1, aluminum dome
Midrange (size in inches, type):
Woofer (size in inches, type): 6.5, poly cone
Nominal Impedance (ohms): 6
Recommended Amp Power (watts): 50–350
Available Finishes: Black or White
Dimensions (H x W x D, inches): 12.5 x 14.1 x 8.3
Weight (pounds): 18
Price: $2,295/pair

Speaker: M22
Type: Two-way, monitor
Tweeter (size in inches, type): 1, titanium dome
Midrange (size in inches, type):
Woofer (size in inches, type): 6.5, composite cone (2)
Nominal Impedance (ohms): 6.4
Recommended Amp Power (watts): 50–150
Available Finishes: Natural Cherry, Black Ash, Maple
Dimensions (H x W x D, inches): 14.5 x 8.6 x 11.8
Weight (pounds): 24
Price: $2,200/pair

Ratings: Revel Performa F52 Speaker System

Build Quality: 96
• Excellent build quality with lustrous maple, cherry, or black-ash veneer finish
• Black front and back contrasts beautifully with veneer wood

Value: 90
• The Performa Series represents a considerable monetary commitment, but you certainly get what you pay for
• This system requires an equally capable power amplifier to achieve optimum results

Features: 96
• Dual sets of gold-plated binding posts with support for multiple wiring configurations on F52 and C52
• Balanced (XLR) and unbalanced connections on the B15A subwoofer

Performance: 98
• Smooth, enticing performance throughout entire frequency range
• Natural-sounding, extended bass response
• Has great imaging capability

Ergonomics: 94
• All enclosures have a solid, hefty feel to them
• B15A sub is highly configurable and ships with LFO test-signal CD for proper setup

Overall Rating: 95
The Revel Performa F52 speaker system benefits from first-rate components and painstaking attention to detail in their construction, providing a wealth of configuration options for maximizing system performance. While you can certainly spend more for a system, the socin difference would most likely be marginal, if apparent at all.

General Information
F52 Loudpeaker, $6,498/pair
C52 Center-Channel Speaker, $2,499
S30 Surround Speaker, $2,295/pair
M22 Surround Speaker, $2,200/pair
B15A Subwoofer, $3,295
Revel
(781) 280-0300
www.revelspeakers.com
Dealer Locator Code REV

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Revel Performa F52 Speaker System:HT Labs Measures

L/R Sensitivity: 87.5 dB from 500 Hz to 2 kHz

Center Sensitivity: 89.5 dB from 500 Hz to 2 kHz

Monopole Surround Sensitivity: 85.5 dB from 500 Hz to 2 kHz

Dipole Surround Sensitivity: 86 dB from 500 Hz to 2 kHz

This graph shows the quasi-anechoic (employing close-miking of all woofers) frequency response of the F52 L/R (purple trace), B15A subwoofer (blue trace), C52 center channel (green trace), M22 monopole surround (red trace), and S30 dipole surround (brown trace). All passive loudspeakers were measured with grilles at a distance of 1 meter with a 2.83-volt input and were scaled for display purposes.

The F52's listening-window response (a five-point average of axial and +/–15-degree horizontal and vertical responses) measures +1.44/–2.37 decibels from 200 hertz to 10 kilohertz. The –3-dB point is at 41 Hz, and the –6-dB point is at 25 Hz. Impedance reaches a minimum of 4.10 ohms at 2.2 kHz and a phase angle of –40.85 degrees at 208 Hz.

The C52's listening-window response measures +1.53/–2.03 dB from 200 Hz to 10 kHz. An average of axial and +/–15-degree horizontal responses measures +1.68/–1.68 dB from 200 Hz to 10 kHz. The –3-dB point is at 67 Hz, and the –6-dB point is at 56 Hz. Impedance reaches a minimum of 3.44 ohms at 351 Hz and a phase angle of –19.23 degrees at 48 Hz.

The M22's listening-window response measures +1.25/–2.42 dB from 200 Hz to 10 kHz. The –3-dB point is at 44 Hz, and the –6-dB point is at 39 Hz. Impedance reaches a minimum of 5.23 ohms at 177 Hz and a phase angle of –71.17 degrees at 80 Hz.

The S30's three-face averaged response in dipole mode measures +1.29/–5.30 dB from 200 Hz to 10 kHz. The –3-dB point is at 81 Hz, and the –6-dB point is at 69 Hz. Impedance reaches a minimum of 3.89 ohms at 186 Hz and a phase angle of –48.87 degrees at 96 Hz.

The B15A's close-miked response, normalized to the level at 80 Hz, indicates that the lower –3-dB point is at 20 Hz and the –6-dB point is at 18 Hz. The upper –3-dB point is at 270 Hz with the filter switch set to out and the contour switch set to Music.—MJP

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Monitor Audio Silver RS 6 Speaker System review

Quality drivers in quality cabinets equals quality sound—at a nice price.

It's easy to find your eyes dazzled, and your mind befuddled, by the outpouring of new speakers over the last few years, particularly those of the nontraditional variety. In-walls, plasma-friendly speakers, and even flat-panel speakers are all the rage with the general public. This is hardly a bad thing—anything that can get people to recognize that the speaker realm extends far beyond the two-dollar paper drivers in their televisions serves a valuable purpose. Many of these people may also come to realize that, at this point, most of these recent unconventional designs embody some degree of compromise, and they hopefully won't fall victim to the dreaded anything-that-is-new-is-better philosophy. It is true that manufacturers are getting more out of unconventional designs than ever before. But, generally speaking, the best speaker sound still comes out of old-fashioned cone drivers and dome tweeters in cabinets with the proper interior and exterior qualities, along with the proper space for them to do their work.

With the spotlight shining elsewhere, conventional speakers have had to perform that much better, and become that much more inexpensive, to still get noticed—and the speaker buyer who still favors the traditional approach clearly benefits from this. The new Silver RS speakers from Monitor are the perfect case in point, as they enter the scene at price points that are being bombarded by ever-smaller and more aesthetically driven competition. It seems obvious to me that the top priority with the Silver RS line is sound performance, although they happen to be pleasing to the eye, as well. They may not dazzle anybody who has a preference for outlandish or rebellious appearance—but appearance isn't what speakers are supposed to be about.

I went to work on a 5.1-channel Silver RS system made up of RS 6s in front, an RS LCR in the center (which, as the name suggests, can also be used vertically for left/right applications), two RS FX surrounds, and an RS W12 subwoofer. The 2.5-way RS 6 and RS LCR each put two of Monitor's highly regarded, 6-inch C-CAM drivers into play, with one reproducing only bass and the other functioning as a midbass unit. The C-CAM drivers, which are designed and built by Monitor, use a ceramic coating applied to an aluminum/magnesium core that allows them to exploit the benefits of both substances (e.g., the rigidity of ceramics and the strength of metal). The tweeters are also C-CAM drivers that are single 1-inch domes on both the RS 6 and RS LCR. Well-placed internal bracing at critical resonance modes keeps the cabinet performance purer, and reflex ports at the front and rear of both the RS 6 and the RS LCR help reduce internal pressure that can lead to low-frequency compression. Two sets of good-quality, five-way binding posts allow for biamping or biwiring.

The RS FX uses a 6-inch C-CAM driver on its front baffle that always operates in phase and a 1-inch C-CAM dome tweeter on each of its side baffles that you can switch between dipolar and bipolar output. A low-slope, linear phase crossover helps deliver 180-degree dispersion characteristics. The RS FX's relatively lightweight and manageable dimensions, as well as the attached keyhole brackets, make for easy wall mounting.

Fairly manageable dimensions characterize the RS W12 subwoofer, as well. It is on the heavy side for its size, though, thanks to a healthy 500 rated watts of internal power, in addition to the 12-inch C-CAM woofer and the impressive motor assembly behind it. The back panel offers an adjustable crossover control (40 to 120 hertz) and a crossover-bypass switch. There's also a phase switch (0 or 180 degrees) and line-level inputs and outputs (RCA). The front panel supplies gain control and two EQ settings—one flat and the other with a 4-decibel boost.

Strong midpriced speakers deserve strong midpriced backing, so I set up the RS Silvers with a Parasound C2 pre/pro, a Sunfire Cinema Grand amplifier, and a Marantz DV8300 universal player. I set the front speakers a couple of feet out from the side and rear walls, with a slight toe-in. I then set the center channel on top of the TV, which conveniently put its drivers right around ear level in the seated position. I placed the rear speakers on the side walls, about 2 feet above ear level and approximately 120 degrees from the listening position. Finally, I placed the sub halfway along the side wall, firing to the rear.

The first thing to grab me about the RS 6s with two-channel material was their prodigious bass. It was punchy, full-bodied, and deep, but never bloated or forced. Granted, these aren't exactly bookshelf speakers, but they aren't room-dominating towers, either. Call them mini towers if you must—and be impressed that this much clean, potent bass can come from two 6-inch drivers in a cabinet this manageably sized. They knocked out the driving bass line of Sara K.'s rendition of "Brick House" (Super Audio Collection Vol. 2, Chesky) with a clear sense of authority and composure. Pink Floyd's "Another Brick in the Wall" from the second Burmester collection tested both ends of the frequency range. The bass remained impressive, and the upper frequencies avoided almost all of the trappings that characterize inferior metal tweeters. They maintained their clarity and immediacy without becoming harsh or fatiguing.

Good-quality speakers usually live or die in the midrange, and, after I'd listened to the RS 6s' midrange performance, especially with high-resolution material, I found myself doing a double-take at their price. Vocals were entirely natural and full bodied, and midrange-dwelling instruments, which includes most instruments, had a presence and dimensionality that you don't often get from speakers at this price level. Whether it was blues or bluegrass, jazz or rock 'n' roll, the Silver RSs responded with a blend of effortlessness and enthusiasm that was altogether engaging. Their treatment of Ralph and Carter Stanley's magical pipes from "Angel Band" (O Brother, Where Art Thou? soundtrack, Lost Highway Records) was especially memorable, with an accuracy that was every bit the equal to much more expensive speakers.

The Silver RSs' impressive musicality continued with movie soundtracks. They developed stage dimensions that belied their physical dimensions and gave music-heavy soundtracks like Crouching Tiger, Hidden Dragon, The Blues Brothers, and Almost Famous ample space to work with. To the eye, the RS LCR is probably the classic definition of a medium-sized center channel. But, to the ear—and that's what really counts—it has the sound of a much bigger speaker, one that wouldn't fit as well as the RS LCR does atop a medium- or small-sized TV. Quality drivers, a quality cabinet, and a quality crossover design all contribute to the speaker's avoidance of virtually all traces of boxiness. It's highly successful at sorting out dialogue, music, and effects, as well, and resists being overwhelmed by even the densest center-channel tracks. Jake and Elwood's purposefully mundane banter in chapter 10 of The Blues Brothers had an easygoing sonic characteristic, even while police cars and a shopping mall were demolished all around them.

The RS W12 and RS FXs had their say during soundtrack demos, as well. As good as the bass was on the RS 6, the RS W12 enthusiastically took over the low-end rumble for soundtracks. Like the RS 6, The RS W12 carries a big punch in a relatively small package and does its work without resorting to boominess or monotonality. The C-CAM driver is also impressive in its 12-inch form, with a quickness and bite that lets large sonic events like explosions finish properly and then quickly reload for the next sortie. The RS FXs are agile, throwing surround effects around the room with little in the way of localization, especially in the dipole mode. Their compact size doesn't allow them to develop the largest surround field you've ever heard, but they provide more than you'd expect from their cabinet dimensions and more than enough to fill up the back of most regularly sized listening rooms.

There's no denying that speaker shopping at this price level is a daunting task these days, primarily due to the sheer number of available options. But, then again, the more options you have, the better chance you have of finding exactly what you want. Something like Monitor's Silver RSs would be a pretty good place to start. The speakers are well designed and well built, and they were clearly designed with audio performance as the top priority. It doesn't hurt that they are space friendly and manageable—and easy on the eyes, as well. They don't tout revolutionary technology or radical form; they just sound good—and that's my kind of speaker.

Highlights
• Big sound in a relatively small package
• Excellent build inside and out

Article Continues: At A Glance & Ratings »

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Monitor Audio Silver RS 6 Speaker System review:At A Glance & Ratings

At A Glance: Monitor Audio Silver RS 6 Speaker System
Subwoofer: RS W12
Connections: Line-level in, line-level out
Enclosure Type: Sealed
Woofer (size in inches, type): 12, aluminum/magnesium/ceramic
Power Rating (watts): 500
Crossover Bypass: Yes
Available Finishes: Black Oak, Rosenut, Walnut, Natural Oak, Cherrywood, Silver
Dimensions (H x W x D, inches): 13.2 x 13.2 x 15.2
Weight (pounds): 56
Price: $999

These listings are based on the manufacturer's stated specs; the HT Labs box below indicates the gear's performance on our test bench.

Speaker RS 6
Type: 2.5-way tower
Tweeter (size in inches, type): 1, aluminum/ceramic dome
Midrange (size in inches, type): 6, aluminum/ceramic
Woofer (size in inches, type): 6, aluminum/ceramic
Nominal Impedance (ohms): 6
Recommended Amp Power (watts): 10–120
Available Finishes: Black Oak, Rosenut, Walnut, Natural Oak, Cherrywood
Dimensions (H x W x D, inches): 33.5 x 7.25 x 9.8
Weight (pounds): 40
Price: $999/pair

Speaker RS LCR
Type: 2.5-way L/C/R
Tweeter (size in inches, type): 1, aluminum/ceramic dome
Midrange (size in inches, type): 6, aluminum/ceramic
Woofer (size in inches, type): 6, aluminum/ceramic
Nominal Impedance (ohms): 6
Recommended Amp Power (watts): 10–120
Available Finishes: Black Oak, Rosenut, Walnut, Natural Oak, Walnut, Natural Oak, Cherrywood, Silver
Dimensions (H x W x D, inches): 7.2 x 19.7 x 7.8
Weight (pounds): 18.75
Price: $599

Speaker RS FX
Type: Bipolar/dipolar surround
Tweeter (size in inches, type):1 (2) aluminum/ceramic dome
Midrange (size in inches, type): 6, aluminum/ceramic
Woofer (size in inches, type): 6, aluminum/ceramic 6, aluminum/ceramic
Nominal Impedance (ohms): 6
Recommended Amp Power (watts):10–100
Available Finishes: Black Oak, Rosenut, Walnut, Natural Oak, Cherrywood, Silver
Dimensions (H x W x D, inches): 11.5 x 11.25 x 5.2
Weight (pounds): 8.75
Price: $699/pair

Ratings: Monitor Audio Silver RS 6 Speaker System

Build Quality: 94
• Significant driver quality
• Significant cabinet quality

Value: 93
• The speakers easily outperform their price tag
• Built to last

Features: 94
• Switchable bipole/dipole surrounds
• Sub has all of the controls you'll need

Performance: 93
• The speakers sound much bigger than they are
• Strong with music and movies

Ergonomics: 95
•Relatively small and manageable
• Built-in keyhole mounts on surrounds

Overall Rating: 94
There are some speaker manufacturers who truly get it, and Monitor Audio is one of them. The new Monitor Silver series picks up right where the old one left off, delivering warm, natural sound in a package that is much smaller, and much less expensive, than it sounds.

General Information
RS 6 Tower Speaker, $999/pair
RS LCR Center-Channel Speaker, $599
RS FX Surround Speaker, $699/pair
RS W12 Subwoofer, $999
Monitor Audio
(905) 428-2800
www.monitoraudiousa.com
Dealer Locator Code MNT

Article Continues: HT Labs Measures »

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Monitor Audio Silver RS 6 Speaker System review:HT Labs Measures

HT Labs Measures: Monitor Audio Silver RS 6 Speaker System

L/R Sensitivity: 88.5 dB from 500 Hz to 2 kHz

Center Sensitivity: 90 dB from 500 Hz to 2 kHz

Surround Sensitivity: 86 dB from 500 Hz to 2 kHz

This graph shows the quasi-anechoic (employing close-miking of all woofers) frequency response of the RS 6 L/R (purple trace), RS W12 subwoofer (blue trace), RS LCR center channel (green trace), and RS FX surround (red trace). All passive loudspeakers were measured with grilles at a distance of 1 meter with a 2.83-volt input and scaled for display purposes.

The RS 6's listening-window response (a five-point average of axial and +/–15-degree horizontal and vertical responses) measures +0.48/–2.40 decibels from 200 hertz to 10 kilohertz. The –3-dB point is at 60 Hz, and the –6-dB point is at 52 Hz. Impedance reaches a minimum of 5.28 ohms at 181 Hz and a phase angle of –36.27 degrees at 80 Hz.

The RS LCR's listening-window response measures +2.50/–4.32 dB from 200 Hz to 10 kHz. An average of axial and +/–15-degree horizontal responses measures +2.67/–4.21 dB from 200 Hz to 10 kHz. The –3-dB point is at 81 Hz, and the –6-dB point is at 69 Hz. Impedance reaches a minimum of 5.10 ohms at 3.3 kHz and a phase angle of –29.90 degrees at 2.2 kHz.

The RS FX's three-face averaged response in dipole mode measures +1.64/–4.23 dB from 200 Hz to 10 kHz. The –3-dB point is at 88 Hz, and the –6-dB point is at 75 Hz. Impedance reaches a minimum of 3.68 ohms at 13.4 kHz and a phase angle of –49.34 degrees at 3.4 kHz.

The RS W12's close-miked response in EQ2 mode, normalized to the level at 80 Hz, indicates that the lower –3-dB point is at 59 Hz and the –6-dB point is at 48 Hz. The upper –3-dB point is at 108 Hz with the low-pass filter switch set to out.—MJP

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JL Audio Fathom f113 Subwoofer Review

Brains, brawn, and bombast.

"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?

This was a romance that began on the road—another rule broken, but just this once, I swear. JL Audio's demonstration at CEDIA 2006 was a major highlight of the custom-install trade show. There were many demos, but so few of them were this good. Powerful, controlled bass poured into the darkened cube of the demo room, and I was instantly addicted. Part of the effect may have stemmed from the Fathom's room-equalization circuit. The Fathom is among the few subs smart enough to identify, then notch out the largest peak in response at the listening position, the culprit that leads to bloated bass in many real-life rooms. But how would that EQ-controlled monster behave in my room? I had to find out.

Heavyweight Champion
Weighing 130 pounds, the Fathom f113 is unusually heavy for a sub just 19 inches tall. Its hefty weight reflects the thorough bracing of the 0.75-inch-thick sealed enclosure and the mass of the active components. It's also the first sub I've ever reviewed with a front-firing 13.5-inch driver—designed and built in Florida. The driver is constructed with a tough cast-aluminum-alloy basket (as opposed to stamped steel) and dual-stacked magnets to propel it into action. A gloss-black finish, with nine coats of polyester, gleamed on the rounded edges of my review sample.

As a subwoofer specialist, JL Audio has patented seven different aspects of their woofer design (and one aspect of their amp design). The former include a W-shaped cone assembly, novel methods of attaching the cone, a new way of attaching the surround to the driver, and various ways of cooling the voice coil. I've deliberately soft-focused these descriptions, but you can find more detailed information, including QuickTime videos, at www.jlaudio.com.

In the simplest terms, you can visualize a subwoofer driver (or any conventional speaker driver) as a movable cone sitting inside a metal basket where a coil of wire energized by your amplifier is bathed in a magnetic field, which remorselessly pushes and pulls the cone back and forth, producing sound. To visualize the Fathom driver, picture an unusually elongated basket with the cone making excursions of up to 4 inches peak to peak. Living, as I do, in a 96-year-old building full of crumbling plaster, I decided to file this under "interesting." ("When the building crumbles on you, that means it likes you," I tell guests.) But I did have fun crawling up to the sub and feeling the driver beat against my fingertips.

On the back are some monstrous heat fins for the massive 2,500-watt-rated Class D amplifier. They are pleasantly rounded, in contrast to the sharp heatsinks on conventional subs, which slash your hands if you make one false move. There are jacks for balanced XLR or unbalanced RCA connections. A master/slave switch lets you chain additional subs. There's also an isolated/grounded switch. The isolated position generated a loud hum in my system; in the grounded position, the hum went away.

Pop off the grille, and a strip of controls appears along the top edge. JL was merciful to place them on the front panel; it spared me lots of undignified, red-faced squatting. The power, volume, and polarity controls would surprise no one—except for the name of the polarity control, which most subs would call "phase." JL saves that name for a continuously variable phase control. This gives you the choice of completely inverting the driver's in/out movements, using the polarity switch, or making more subtle incremental adjustments, using the phase knob. Getting the phase right lets the sub's output reach your ears at the same time as other higher sounds, helping to make as seamless a transition as possible from sub to satellites.

The low-pass filter has a wide range of adjustment from 30 to 130 hertz. It's switchable, and I switched it off. I used my receiver's 80-Hz sub crossover. The slope is adjustable from 12 to 24 decibels. An "e.l.f." (extreme low frequency) trim knob acts as a single-band equalizer at 25 Hz, allowing for adjustments of +3/–12 dB.

A jack at the far left accepts the microphone for JL's Automatic Room Optimization (A.R.O.) system. Plug in the mike, set it up at the listening position, and get ready to calibrate. I used a tripod in the listening position, although the JL manual says it's fine to sit and hold the mike.

The A.R.O. spits out bass test tones, performs an initial measurement, and prompts you to raise or lower the master volume (if needed). Then it spends a minute emitting more tones. There's nothing above 100 Hz and therefore nothing irritating to listen to—unless the sub's fearsome ultra-low-frequency response rattles nearby objects. It found a couple of loud, buzzy, previously undiscovered sympathetic resonances in my room.

And then you're done. JL provides an A.R.O. defeat switch for easy before-and-after comparisons. In my room, the difference was subtle, except with very-high-volume peaks during action movies. Much of the time, I let the sub play flat to level the playing field with other products I've used in the past. There's also a demo button that plays the test tones without affecting the A.R.O. adjustments, which should provide endless amusement for friends and consternation for household pets.

Low-Frequency Commentary
Pulse is a computer-beasty horror movie with a third-rate script cowritten by Wes Craven. The soundtrack is more interesting for its sound effects than for its humdrum dialogue. The low-frequency-effects channel commented on the action in several interesting ways, from the muffled drumbeat of doom in the opening frames, to the specific, sharp thuds that punctuate a hanging, to the low rumble that accompanies an unhappy character's mask of misery, to the low-frequency oscillating heartbeat that fills the finale's haunted server room. By making subtle (and sometimes not-so-subtle) distinctions between these disparate effects, the JL sub served the story well. If you snipped out all the dialogue, the remainder would be an impressively caliginous piece of music—my favorite kind.

Thunder! Earthquake! Stormy seas! Superman Returns got off to a roaring start. But the plot eventually replaced these found-in-nature sounds with more amorphous representations of major geological activity and superhuman feats. Here, the JL sub was finicky, rendering the natural sounds naturalistically (whether they were recorded from nature or not) while defocusing the dull, generic action-movie roar that came later.

Bernstein, Richter, and Biggs
The third movement of Beethoven's Fifth Symphony has some of the most muscular bass-violin passages in classical music, as the Fathom quickly reminded me. The scherzo segues without pause into the finale, the most manic of Beethoven symphony movements. Leonard Bernstein made things even more interesting by downplaying some of the violin and woodwind parts to give the sawing basses more elbow room in the soundstage. His complete cycle with the New York Philharmonic is a great bargain in Sony Classical's budget-priced wallet box (if you avoid the overpriced import). The 20-bit remastering of the 1963 recording maintains the forward string sound familiar from vinyl recordings of the NYP but stops short of excessive sizzle.

My exploration of Sviatoslav Richter continued with the Russian's live 1987 recording of the Brahms Piano Sonatas Nos. 1 and 2. Normally, I disdain all-digital DDD discs, especially ones from the 1980s, the medieval era of digital recording. But, while the timbre was dark and the soundfield airless—especially for a live recording—Richter's mind-blowing dynamic power and microdynamic subtlety came through. His lofty overview of the piece and his perfect technical mastery of the instrument worked in tandem with the subwoofer's ability to produce sharp attacks and precise pitches with minimal overhang. His phrasing was the pianistic equivalent of great Shakespearean acting, and his rhythmic control was so absolute, it was like returning to infancy and being scooped up by a huge adult. Perhaps Governor Schwarzenegger.

Pipe-organ recordings are a staple of subwoofer reviews. My favorite test material is E. Power Biggs' performance of Bach's Passacaglia and Fugue in C Minor, a piece built around a powerful bass part. With the Fathom blasting away, I could just about visualize the organist's feet moving around the pedals. It didn't begin to defocus until it reached the top of its range. At normal volumes, your ears would give up long before the sub.

The Family Man and the Knight
You can cue up pretty much anything in the Bob Marley discography and get great bass-guitar playing from Aston "Family Man" Barrett, paired with his brother Carlton's mighty kick drum. "Positive Vibration," from the Wailers' Rastaman Vibration, did not disappoint. It's a new feeling, indeed; a great sub is enough to turn anyone into a fan of Family Man's full, rounded tone and loping beat. This is the beat that has moved millions, and, with a great sub, it gets even better.

If you don't particularly think of Paul McCartney as a bass virtuoso, try imagining Abbey Road's "Come Together" without the bass. It leaped out of the Fathom like a dancing ape. Ringo's brilliant drum part—almost all bass drum and tom-toms, with just a little fat snare on the chorus—was equally brilliant and well served by the JL's low-frequency oomph.

Some unusual bass lines came out of Trey Gunn's bass when he played with King Crimson. Originally a bassist who switched to guitar, he went back to bass for the band's 2000-to-'03 lineup—but without using a bass guitar. Instead, he used the Warr touch guitar to tap out the band's bottom-end architecture. The Level Five live EP showed off the Fathom's ability to navigate a wide range of bass pitches without unduly favoring any one. Instead, I heard only Gunn's scrupulous touch, and I continued to hear it even when he played at a low volume.

Danny Thompson plays string bass in Richard Thompson's backing band and more than kept up with the jangling electric guitar on the live Semi-Detached Mock Tudor CD. Thompson started "Sibella" at a lower level than the original studio track, giving Danny plenty of space. The bassist added woody sonorities to "Uninhabited Man" and soloed all over "Razor Dance." Here, the JL sub delivered his swinging attacks and steel-fingered modulations with a tight focus that was faithful to both his playing and the instrument's essential character. At no point did it sound like an electric bass, even when he played conventional rock bass lines.

Living with the Fathom was like chatting with the smartest and most agreeable guest at a party full of blowhards. Action movies lost that one-note quality that so often leads to irritation and boredom. The bottom end of pretty much any kind of music took on more definition and shape, even with the lowest string of the lowest instrument. Suddenly relieved of bad-sub stress, I became less stressed. I felt a renewed appreciation for artists and engineers because I could hear more of what they'd intended me to hear. Over time, my expectations changed. I now have a broader frame of reference for what a sub can accomplish. This will not make subsequent reviewing any easier. Couldn't I just stay here forever?

* Audio editor Mark Fleischmann is also the author of the annually updated book Practical Home Theater (www.quietriverpress.com).

Highlights
• Years of research and numerous patents produce deep, clean bass
• Automatic Room Optimization compensates for bass-bloating room flaws
• Larger radiating area than that of a typical 12-inch sub

Article Continues: At A Glance & Ratings »

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AT A Glance: JL Audio Fathom f113 Subwoofer

Subwoofer: Fathom f113
Connections: Line-level, RCA, XLR, or 0.25-inch TRS
Enclosure Type: Sealed
Woofer (size in inches, type): 13.5, mineral-filled polypropylene cone
Power Rating (watts): 2,500 RMS
Crossover Bypass: Yes
Dimensions (H x W x D, inches): 19.5 x 16.5 x 19.75
Weight (pounds): 130
Price: $3,300 (Black Gloss); $3,200 (Black Satin)

These listings are based on the manufacturer's stated specs; the HT Labs box below indicates the gear's performance on our test bench.

Ratings: JL Audio Fathom f113 Subwoofer

Build Quality: 98
• Has a thick, heavy, well-braced, sealed enclosure
• Driver sits in tough cast-aluminum-alloy basket

Value: 95
• Design includes numerous patented technologies
• Room equalization is worth paying more for when it works like this

Features: 99
• Monstrous 2,500-watt amp; unique 13.5-inch driver
• Room EQ tames room-induced bass bloat

Performance: 97
• Deep low-frequency extension
• Clean attack with virtually no overhang
• Dynamically powerful in all situations

Ergonomics: 90
• Controls on the front make for easy tweaks
• Room EQ is a nearly idiot-proof, one-button process

Overall Rating: 96
Like a master chocolatier perfecting his fondue fountain, JL Audio brings the zeal of a specialist to the problems of sub design. Unique manufacturing techniques and the always useful advantage of room EQ help this sub earn its four-figure price tag (and then some).

Article Continues: HT Labs Measures »

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HT Labs Measures: JL Audio Fathom f113 Subwoofer

This graph shows the quasi-anechoic (employing close-miking of the woofer) frequency response of the Fathom f113 subwoofer (blue trace).

The Fathom f113's close-miked response, normalized to the level at 80 hertz, indicates that the lower –3-decibel point is at 18 Hz and the –6-dB point is at 17 Hz. The upper –3-dB point is at 111 Hz with the LP Filter switch set to off. Please note that the response begins to fall off above 60 Hz and therefore is not flat at our reference frequency of 80 Hz. When normalized to the level at 60 Hz, the lower –3-dB point is at 20 Hz, the –6-dB point is at 18 Hz, and the upper –3-dB point is at 93 Hz. —MJP

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