Listening to the speed, detail, and delicacy of the bass line in Sly and The Family Stone’s “It’s a Family Affair” proved the impetus for where this review is heading.

A distinct trend in product design, both in and out of the high-end audio world, lets the junior designers cut their teeth on entry-level products in the lineup. This isn’t a terrible idea for many reasons, but the main ones are probably risk management and damage control. If the new person screws up on a small scale, all is not lost. Not to mention the new people can often pull a bit of genius maneuvering, so it can actually be a big win.

Like one of those personality assessments, there’s no real wrong answer here. However, this approach can often detract from the cohesiveness of a product lineup. A recent discussion with REL’s head designer, John Hunter, reveals that he had just as much of a hand in creating the new lineup as with the no.25 – and this is obvious the minute you fire up these new subs. REL sent us a pair of each model, and thanks to their small size, they are easy to work into any décor.

Please click here to go straight to the REL site for those wanting the exact size, weight, and electrical specifications. If you don’t have a REL dealer nearby to assist you, there is an excellent “subwoofer finder” section that will pair the right REL sub to the speakers and room that you have now.

https://rel.net/product-category/serie-tx/

To make a long story short, the T5/x utilizes a 125-watt Class AB amplifier connected to an 8-inch downward-firing woofer. The T/7x has an 8-inch front-firing active driver, a 10-inch, downward-firing passive radiator, and a 200-watt Class AB amplifier. The top of the range T/9x offers a 10-inch front-firing active driver and a 10-inch passive facing down, coupled to a 300 watt Class AB amplifier.

If you aren’t familiar with REL subwoofers, the original T series made its debut in 2006, replaced by the T/I series in 2015. The jump in performance from the T to T/I was dramatic, and REL’s own copy describes it best, “these were softer, slower, and not as potent in output, as their flagship designs.” The T/I series was faster, with more detail and nuance – now REL had a modest priced subwoofer that could keep up with a pair of panel speakers or a small pair of mini-monitors.

Many manufacturers prefer to connect via line-level connections, and some take it even further by having a built-in crossover that will pass sound from about 80hz or so on to your main amplifier and speakers (letting the sub do the rest, in the hope of taking some of the load off your main amplifier). REL has always chosen to use a high impedance connection at the speaker terminals. This makes for better integration between the main speakers. It also passes through the complete character of your amplification chain to the subwoofer.

Fear not, if you have to connect your REL (or pair of RELs) by line-level output, they will accommodate that, as well as connecting via a .1 LFE input. It might be confusing to some that REL does not pass upper frequencies through the REL, they just affect the point at which the sub begins to play, variable from about 30hz to 120hz. So, in essence, you are using the crossover level control to dial upper bass out of what the REL is producing. Having used RELs for over a decade in various systems, the lower you can go on your main speakers, the better integration you will have with them. That being said, I have achieved incredible results using RELs with the KEF LS50 and various iterations of the LS3/5a. But it will take more setup time. And, should cables be inconvenient, you can take advantage of RELs wireless “arrow” system to do away with the cables entirely.

REL has some excellent setup tutorials on their website and in the instructions that come with their subs, so I won’t go into great detail here. However, REL prefers you to work with the room corner if possible, and that was no problem in our setups.

Chicken or egg?

Several things affect how much sheer output a subwoofer can produce, along with the quality of the low-frequency signal produced. If you’ve ever modified anything with wheels, you know that if you add more go, you need more stop, and if you add more stop and go, chances are you need some suspension upgrades to keep that newfound performance sticking to the ground. It’s the same with subwoofers. When redesigning the /x series, a slight increase in cabinet volume led to the ability to achieve more extension, which meant the overall subwoofer could be driven harder (louder) without suspension/cone distortion. So, as a result of many changes to every aspect of these subwoofers, practically a new series is born. They outperform the units they replaced by a considerable margin. I borrowed a T/9i from a friend to get some valid side-by-side comparisons with at least one of the range.

Most listening was done in a 13 x 18-foot room (usually populated by a six-pack of REL S/510s) with Eggleston Nico Evolution speakers or the new Harbeth C7s. We feel a $5000 pair of high-quality main speakers is a logical candidate for a pair of subwoofers in this range. Not wanting to overly dwell on this, but it is important to note when comparing the quantity, quality, and overall character of the /x series to the six-pack of S/510s and even the flagship no.25s, there’s no question these products came from the same mind.

Even in their least expensive models, REL does not dilute any of their core attributes. From the quality of the connectors used to the attention to detail in final assembly, and ultimately to the quality of the finish applied, the gloss and complete lack of surface imperfections (remember, I’m a crazy car guy – I pay close attention to this stuff) is just as subtle on the $679 T/5x as it is on the $7,500 no.25. That’s devotion to excellence.

Comparison one: Visual

The first thing you might notice when comparing the new /x series to the outgoing /I series is the rounded corners of the /x, giving the new models a little bit more elegant feel – dare we say a little more room and user friendly. The /x subwoofers are available in gloss black and gloss white – of course, you’ll have a preference. Though black has always been the rage for subwoofers (especially if you have gloss black main speakers), white really disappears in the room nicely. Let’s face it, if that’s the most challenging decision you have to make today, life is indeed good.

Comparison two: sonics between old and new

As mentioned earlier, only having the T/9i for comparison, it doesn’t take more than about 30 seconds to hear improvement in every way. After dragging out the standard REL test tracks from the Sneakers soundtrack, and Jennifer Warnes’ “Ballad of the Runaway Horse” to finesse integration between speaker and sub with both woofers, it was easy to compare and contrast.

Moving on to our own LF warhorses, “Pulp Culture” from Thomas Dolby, “Bug Powder Dust” from Kruder & Dorfmeister, and Jaco Pastorius’ self-titled album, it’s easy to see that all of the marketing departments claims have been met, and exceeded. That REL is only charging $200 more for the T/9x (and incrementally less for the other models) underscores their commitment to providing an excellent product at an approachable price.

The improvement from old to new is a definite increase in speed and sheer output capability. Where the /i could be bottomed out when playing the Thomas Dolby track really loud or playing a long playlist of electronic music at a similar volume, the new /x model is cleaner, more dynamic, and does not have the woofer cone flattening out. If this makes sense, there’s more air in the bass, which increases the upper bass/midrange presence provided by the REL in the first place, an even bigger delta when switching it on and off. And this is with a single woofer. There’s a greater sense of ease with a pair.

Final comparison: between small, medium, and large

All three models share a similar overall character, but bigger main speakers and more room volume will demand a bigger woofer. In the 11 x 10 back bedroom system, with the KEF LS50s, paired with the Luxman 550 integrated that was recently reviewed, the T/5x was more than enough to achieve a perfect balance. 20 watts of high current, class A power made for an incredibly musical system.

In our 13 x 18 room, the T/7x was able to fill the room better, especially at higher levels. Depending on the system, speaker, and volume level, deciding whether the 7 or the 9 is the better model will depend on your wallet. If you have a relatively budget system, the 9s might be overkill, but the better your system and discerning your ear, stretching for the top ones is the way to roll. Especially if we are talking pairs. The T/9x turns in a very respectable performance with our Dynaudio Confidence 20 speakers mated to the Boulder 866 integrated, our new reference in that room.

What the new REL /x subwoofers bring to your system, in addition to more bass output, is a higher level of definition in the lower frequencies, as well as more presence in the entire frequency spectrum. Don’t believe me? Listen to them for an hour and have a friend shut them off while remaining at your listening position. Better yet, have your friend do it while you’re listening to music with barely any low-frequency content. It will grab you instantly. The best way to really experience what any REL subwoofer can do is to shut it off. The 30 seconds you hear your system with it disabled will convince you. That’s truly all it takes.

We are happy to award the REL/x series one of our Exceptional Value Awards for 2021. These are fantastic subwoofers. You owe it to yourself to experience them if you are in the market.

www.rel.net

T/9x $1,449

T/7x $1,099

T/5x $679

Peripherals

Digital source Boulder 866 internal DAC

Cable Tellurium Q Ultra Black

Speakers EgglestonWorks Nico Evolution, Harbeth C7ES-XD, Dynaudio Confidence 20

A recurring theme in country music and, perhaps, in life is that you never realize what you’ve got until it’s gone.  Truer words were never spoken in the world of audiophilia when it comes to reproducing bass.  However, a subwoofer can drive you to madness, much like a high-maintenance romantic interest.  When it’s right, you’re giddy with delight and things couldn’t be better, but when it’s wrong, all you do is focus on said partner’s shortcomings—and, eventually, you both go your separate ways.

Having spent the last 20 years on and off the bus with a wide variety of subwoofers, I can highly recommend the REL G-2 for any number of reasons.  Perhaps this subwoofer’s greatest selling point, however, is that it comes with a remote.  My enthusiasm regarding this feature doesn’t (necessarily) speak to my inability to escape my listening chair’s gravitational pull; it is more to comment that having this wireless device in my hand satiates the nagging voice at the back of my mind that is always just slightly dissatisfied with the subwoofer settings.  The REL G-2 eliminates that stress completely by providing just the right amount of low-frequency (or LF) reinforcement right at your fingertips.

The G-2 is also easy to set up—that is, it’s as easy to set up as a 90-pound anything can be.  Thus, I suggest that even our more-muscular readers enlist help when moving the G-2, because it’s just big and awkwardly shaped enough to be a little tough for one person to lift.  Many users may even decide that incorporating a few of these subs into their system is necessary.  In this case, you should enlist the aid of an installer or, at the very least, a handful of burly buddies.

Sumiko Audio, the importer of REF subwoofers in Berkeley, CA, has a sizeable showcase of three G-1s flanking either side of Sonus faber’s celebrated flagship loudspeakers (dubbed simply “The Sonus faber”).  The audio experience this system provides is understandably impressive.  The LF performance is effortless, all encompassing and seamlessly integrated with the main speakers.  The bass swells up from the performance with an ease that suggests a major paradigm shift in how the lowest musical notes should be handled.

Priced at $3,495, the G-2 is slightly smaller in stature and reach than the larger G-1, priced at $4,495.  The G-2 uses a long-throw 10-inch woofer with a carbon-fiber cone and a 450-watt onboard amplifier, whereas the G-1 uses a 600-watt amplifier to drive its 12-inch woofer.  Down only 6 dB at 18 Hz, the G-2 should provide enough bass grunt for most users, either by itself or as a pair, but it can also be stacked and used as part of an array.

Major Differences

REL manages the lower frequencies differently than other manufacturers—and does so with excellent result.  While the company offers line-level RCA inputs, these should be used only as a last resort.  The supplied Neutrik speakON connector utilizes a high-level connection that goes directly to your power amplifier’s speaker outputs.  The sub’s high impedance does not affect loading of the main speakers, thus allowing the character of your amplifier’s sound to carry forward into the subwoofer.  Consulting the instruction manual and using my preamplifier’s outputs to drive the G-2 still results in decent sound.  When switching power amplifiers, from the Audio Research REF 150 to the Burmester 911 to the Pass Labs Aleph 3, a slight disconnect between main speakers and subwoofer exists.  However, during all of this, the bass reproduction does not change in character, even with these three very different amplifiers via the RCAs.  Moving to the provided speakON input reveals the variations between amplifiers more easily, with a more seamless blend between the main speakers.

Those wanting to use the G-2, or multiple G-2s, in a multichannel system will be happy to find that the sub can accommodate the .1/LFE signal from your processor of choice.  It also has a unique grounding circuit to work with class-D amplifiers or monoblock power amps.  All of this is clearly outlined in the well-written manual.

Though it adds cost and complexity, the G-1 and G-2 both use MOSFET class-AB amplifiers with massive power supplies instead of the class-D amplifiers found in many other subwoofers.  REL claims that its subs to have the fastest crossover filter networks, with a rise time of only 4 milliseconds.  I’m firmly convinced that these features, along with an additional filter with a gentle slope that removes content above 250 Hz, contribute to the level of fine detail that the G-2 offers.

REL prefers corner loading for the G-2, and that’s where I’ve had the best luck with the company’s subs in the past—so why mess with good results?  And this is where that nifty little remote control comes in handy.  As I said, fine-tuning a subwoofer, no matter what brand and by what method you choose, can make your hair fall out.  Like me, I’m sure you have your favorite tracks with deep-bass information that you use to audition any speaker, regardless of whether it has a subwoofer or not.

Now, as much as I dislike Jennifer Warnes’ “Ballad of the Runaway Horse,” I’ve always seen various Sumiko employees use this track to optimize speakers to great success, so when in Rome… While this track certainly impressed, even Romans like to party, so I moved on to something with a little more oomph for my review of the G-2.  With the best balance of weight and speed achieved, “Kill Everybody” from electronica master Skrillex blew me out of my listening chair—just like the guy in the Maxell ad from the 1980s.  The G-2 gives new meaning to the term “room lock.” Should Jennifer Warnes or a real-time analyzer not be your cup of tea, a series of test tones (like those from the early Stereophile test discs) simplify the process.  As you go down the frequency range, the transition from main speakers should appear at the same level.  It should also be difficult, if not impossible, to discern the location of the subwoofer when using just your ears.

Controlling this from your listening position dramatically reduces setup time, allowing you to remain planted in the same spot while making quick, small changes without having to psyche yourself out with aural memory tricks.  But best of all, the remote allows you to fine-tune on the fly.  No matter how great the G-2 sounds with your favorite bass track, it needs to be bumped up a touch up for Skynryd’s album Nuthin’ Fancy, and then way back down for the latest Cat Power release, Sun.  The LED indicator at the bottom of the G-2 lets you know the sub’s level, frequency and phase (0 or 180 degrees).  This makes up for the tiny though stylish type on the remote.  If you have kids or inquisitive friends, be sure to use the settings lock feature.

Fortunately, you’re usually never more than a click or two away on the level control and, depending on your main speakers, the crossover frequency can even benefit from a nudge now and then.  This takes the G-2 from merely great to awesome, and the more time you spend with the G-2, you’ll notice a more immersive experience at all listening levels.

Carry That Weight

The G-2 performs well with a wide range of speaker systems; but, in keeping with the REL philosophy of a sub-bass system with the sub augmenting the deepest frequencies, it is not intended to be part of a sub/sat system.  However, it still performs incredibly well throwing said suggestion to the wind, dialing the crossover frequency up to the 50-to-60-Hz range and using it with stand-mount monitors, or even ESLs.

Crossed over at 30 Hz or below, it’s virtually impossible to place the location of G-2 in the room, but it does start to lose a bit of its stealthiness when crossed over at a significantly higher point.  I suggest a pair of G-2’s if you need to operate your system this way for best results.  Fortunately, the G-2 has more than enough speed to keep up with any speaker you pair it with.

As good as the G-2 works with small speakers or panels, a full-range speaker system allows the G-2 to reach its full potential.  Crossover frequency now lowered to 27 Hz (adjustable in 1-Hz increments) the $3,495 G-2 brings the $22,900 Elipsa SE speakers eerily close in sound to that of the $45,000 Sonus faber Stradivaris.  Even my reference GamuT S9s, which are only down 3 dB at 18 Hz, open up with the G-2—and I now find myself dreaming of six of these!

Midrange Augmentation

Properly installed, the G-2 feels practically invisible, as it should, adding low-frequency reinforcement to the main speakers.  And there remains an equal benefit through the mid-band, which REL likes to refer to as “The REL effect.”  You’ll know you have the G-2 set just right when turning it on makes the side walls in your listening room disappear and when even musical selections with minimal low-bass content spread out across the soundstage with a bigger and broader effect than before.

Using the sub in this mode, only bringing up the deepest frequencies, helps convey spatial cues present in the recording space.  Even string quartets or acoustic music with no apparent major LF content open up and breathe, with my listening room feeling much bigger than it is.  I think the fourth dimension is deep bass, and the REL G-2 does it right.

Sampling familiar tunes, the wood block in Tom Petty’s “A Face in the Crowd” is now four feet in front of my face, where it was back in line with the speakers when the G-2 level is set back to zero.  Annie Lennox’s background vocals in “No More I Love You’s” appear way off center and down almost at floor level.  One-note bass is a thing of the past with the G-2.  Jaco Pastorius’ fretless bass line in Joni Mitchell’s “Jericho,” from her album Don Juan’s Reckless Daughter, comes through with the healthy dose of speed and overtones that made him famous.  Regardless of musical program, having the G-2 in the system is always a benefit.

Don’t Abuse the Power

The REL G-2 works equally well in both of my listening rooms—my main room is 16 feet by 25 feet; my second room is 13 feet by 16 feet—but, like any addictive substance, one has to resist the urge to overindulge.  For the first few days, it was fun to play a lot of Deadmau5, Skrillex and, of course, the artist formerly known as Snoop Dogg (who now calls himself Snoop Lion).  Finding new weak spots in my walls, I got used to the G-2 and prudence became more the rule than the exception.

Having auditioned many subwoofers over the years, the REL G-2 is now at the top of my overachievers list and is featured as a TOP TONE component in issue 48.  If you’d like to unlock your system’s full potential, you should audition one—or maybe six!

The REL G-2 Sub-Bass System

MSRP:  $3,495

www.rel.net (Factory)

www.sumikoaudio.net (US importer)

Peripherals

Analog source	AMG V-12 turntable    Lyra Kleos cartridge
Digital source	dCS Paganini system    Sooloos Control 15    Aurender S10
Preamplifier	Burmester 011
Power Amplifier	Burmester 911 mk.II
Phonostage	Zesto Andros
Speakers	Acoustat 1+1    Dynaudio Confidence C1 II
Cable	AudioQuest Sky IC   AudioQuest
Power	Audience aR6-Tss
Accessories	GIK room treatments    Audio Desk Systeme RCM    Furutech DeMag and DeStat