SVS SB16-Ultra powered subwoofer+

 

SVS SB16-Ultra powered subwoofer

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SVS SB16-Ultra fueled subwoofer This survey started when I ran into Gary Yacoubian, leader of SVS, in a packed corridor at Las Vegas' Venetian Hotel, during the 2016 Consumer Electronics Show. He grinned and presented himself. "Larry, I partook in your survey of our SB13-Ultra. Assuming you preferred that subwoofer, we have something coming soon that ought to intrigue you. He'd stood out enough to be noticed. However, it wasn't until the following year's CES that I found out with regards to SVS's most current and biggest subwoofer, the SB16-Ultra, which conveys a 16" driver and a profoundly unique magnet structure, voice-loop plan, and control interface. On paper, its more prominent power and bass expansion appeared to be a decent counterpart for the requests of my enormous listening room. I mentioned an audit test. What it is Yacoubian's infomercial on YouTube about the SB16-Ultra ($1999.99) records the three plan includes that empowered SVS to assemble a subwoofer with so enormous a cone and still meet the plan objectives of broadened, low-contortion bass result and quick transient reaction: a 8" edge-wound voice-loop in another engine, a 1500W RMS (>5kW top) Sledge intensifier with completely discrete MOSFET yield (each result gadget is appraised at 200V and 64A), and control and bass administration by means of a cell phone application. Yacoubian claims that the SB16-Ultra's 8" voice-curl is the biggest used to date in a buyer subwoofer.

SVS found so enormous a curl fundamental to: keep away from the cone flexing and the resultant boomy bass delivered in and by subwoofers that have cones 15" to 18" in measurement yet voice-loops of just 2" to 4"; keep up with direct command over so huge a cone; better disperse heat, which diminishes warm pressure thus builds a sub's power taking care of; give better focusing of the voice-curl, with less shifting during huge trips; and to utilize the extremely durable magnets most proficiently. The SB16-Ultra's voice-loop is twisted with copper-clad aluminum wire (CCAW); CCAW has various benefits: it's lighter than unadulterated copper, for lower moving mass; it's more grounded than unadulterated aluminum; has higher electrical conductivity; and is all the more handily fastened, for more strong and solid associations. The SB16-Ultra's voice-loop and four enormous, toroidal magnets are housed in the engine structure that drives the 16" cone, which has a "exceptional glass fiber covered dustcap and built up composite cone sub-structure [to] guarantee a light, inflexible, and impartial transmitting surface." The cone is held by a profound crate of kick the bucket cast aluminum; the engine alone weighs 56.2 lbs, the whole drive-unit 63.9 lbs. The SB16's Sledge STA-1500D class-D speaker is determined to yield 1500W RMS, or 5160W pinnacle dynamic. Highlighting 64A, 200V MOSFET yield gadgets and a switch-mode power supply, the Sledge conveys altogether more current than the 1000W class-D speaker utilized in SVS's SB13-Ultra. The Autostart and Green backup modes can be utilized to turn the amp on rapidly when a sign shows up at the info terminals. The balance and all application settings, including the parametric equalizer, are made do with a 50MHz Analog Devices DSP chip with 56-bit sifting. 1217svs.2.jpg SVS's cell phone application, accessible liberated from iTunes and Google Play, utilizes a bidirectional Bluetooth remote connection that, in contrast to an infrared sign, doesn't need that the control gadget and the gadget controlled be in one another's view. This implies that, by means of the application, the SB16 can be taken cover behind a lounge chair and still be completely controlled from the listening position. The application allows you to set the sub's stage, extremity, volume, and room-gain pay (to lessen bass swell), and even incorporates a three-band parametric equalizer that controls the strength and width of the channel (the channel's "Q") over a scope of 20–200Hz. Settings can be put away in three presets. The SB16-Ultra's back board is cleaned up—the greater part of the controls are remembered for the easy to understand application. On the back board are just the lopsided (RCA) and adjusted (XLR) sources of info and results, a trigger information, a Power switch, and an IEC gulf for the separable power line. The shifted front-board LCD show, four directional controls, and small IR remote can likewise be utilized to set up and control the sub. Since the presentation utilizes a bigger text style than different subs I've explored, I could all the more effectively perused it from my listening seat. Arrangement and use At the point when the SB16-Ultra showed up, I was dazzled by its robustness, mass, and size. The SB16 can be slid out of its container on its pressing pallet, rather than lifting it out from the top. Subsequent to unpacking the sub, I slipped my own Super Sliders under it to secure my hardwood floors, then, at that point, acknowledged I was unable to move this sub without them. Ideally situating a subwoofer in my room is basic for accomplishing smooth mix of its result with the Quads' result. I previously introduced the SB16-Ultra close to the right-channel ESL-989, fixing up the subwoofer's driver with the speaker's front board. I played a concise melodic determination and observed the sound disconnected—I could undoubtedly hear contrasts in character among sub and satellite speaker. Moving the SB16-Ultra into the room's right front corner, where subwoofers normally go, raised the bass effect and extraordinarily worked on the subwoofer's mix with the Quads. This put the sub's cone 10' 8" from my listening seat and 2.5' behind the right Quad's front board.



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Sound

My initial feeling of the SB16-Ultra was huge bass strength and weight—with no muddying of the clearness and straightforwardness of the highs. However, there was greater improvement to be acquired. As I tuned in, I found that the soundstage was shallower, and voices had more bass accentuation, than with the Quads show full-reach to themselves. In the Kyrie of Ariel Ramirez's Misa Criolla, directed by José Luis Ocejo (CD, Philips 420 955-2), José Carreras' delicate, verse tenor was presently excessively full and rich, and the partition of his voice from the ensemble vanished. The conga drum that starts "Lodging California," from the Eagles' Hell Freezes Over (CD, Geffen GEFD-24725), was obscured, swollen, and less strong. The last pedal note in organist James Busby's presentation of Herbert Howells' Master Tallis' Testament, from the assemblage Pipes Rhode Island (CD, Riago 101), neglected to compress my room

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