Anthony Gallo Acoustics CLS-12 Inch powered Subwoofers. PAIR. Cherry. NICE!

Price is for a pair of Anthony Gallo CLS-12 Subwoofers. The condition is

very good and these produce superior sound especially with music. They

are fast and mate well with high efficiency speakers (which means

difficult speakers and of course all speakers)

The CLS-12 goes flat to 16Hz. It uses a custom


ceramic/aluminum/ceramic cone woofer. It is flat to


16Hz and uses a 500 watt amp with 1000 watt peaks

Anthony Gallo makes amazing bass


from small enclosures. The $1695.00 CLS-12 features the Gallo BLAST bass loading, S2


internal damping pods, and OPT Level 2 technology. The 12-inch woofers use a Ceramic/Aluminum/Ceramic "sandwich", which was


created at a molecular level utilizing a unique anodizing process. This


means the cone is extremely stiff, yet remains light and responsive,


resulting in optimal subwoofer performance. 

Midwest Audio 574 329-1850

Trades considered.

Two available.

I am also an authorized dealer for PS Audio, Oracle, Resonessence,



Verastarr, Canary Audio and Triangle Art. Paypal or CC adds 2.9%,

Technical Features:
Woofer: 12-inch long-throw, ceramic anodized aluminum cone driver
Frequency Response : 16Hz-200Kz +/- 3dB
Crossover: High level (built in 100Hz bypass filter) and line level in and out.
Bypass crossover switch.
Enclosure Type: BLAST Transmission Line using patented S2 bass loading
Power: 500 watts RMS, 1000 watts maximum output
Amplifier Design: High efficiency Class D
Line Level Crossover In/Out
Bypass switch
Low Pass: 50Hz – 200Hz continuously variable
High Pass:100Hz fixed, only on speaker level output
Phase:0°, 180° switch
Bass EQ:0, +3dB, +6dB, Center frequency – 25Hz
Connections: line level - RCA jacks, speaker level - 5-way binding posts
Power: On / Auto / Off
Dimensions: 20” H x 14” W x 16.75” D, 50.08cm x 35.56cm x 42.55cm
Weight: 61 lbs.

From Home Theater Shack:

Introduction

The subject of this review is... take a deep breath, because this is
a long one... the Anthony Gallo Acoustics Classico CL-S12 subwoofer.
While the name is pretty large the subwoofer

itself isn't, measuring 20"x14"x16" (HWD) at its largest points without

the grill. Because it's not the typical box shape it actually looks

rather unobtrusive when viewed in person. According to the Anthony

Gallo Acoustics (AGA) website A CL-S12 weighs 53 pounds, while the

manual says it's 63. The review unit came in at 61.



The CL-S12 utilizes a single 12" driver, but instead of a typical
bass reflex port the enclosure employs what AGA calls "a modified
transmission line".

The port opening exits to the rear of the enclosure and measures a

generous 2"x12" (HW). The class D amp is rated at 500 watts RMS, 1000

watts peak. The quoted frequency response is 16Hz-200Hz +/-3dB.


Impressions


By now pretty much everyone knows I really enjoy evaluating products

from companies who think outside the box, those that aren't afraid to

buck convention and try something different. Anthony Gallo Acoustics

definitely fits the mold; a quick browse of their website clearly shows

that Anthony himself has no problem attacking things from a completely

different angle. The Classico line of speakers and subwoofers

are no exception, even though they're his most "conventional" series.

It seems Mr. Gallo and I are kindred spirits in that regard.



AGA has created a very stout cabinet for the CL-S12, one that easily

passes the proverbial 'knuckle rap test'. It's made from 1" MDF and

elicits words like "solid" and "substantial". The deep black wood veneer

on the test unit was applied flawlessly, no small feat considering all

the angles there are. Construction quality was first-rate, with the

exception of the screw tightness. Every single screw on the driver took

1-2 full turns in order to snug down. Oddly the amp was the exact

opposite; there wasn't a single screw even the slightest bit loose.




Thumbing through the owner's revealed this to be a curious piece of

documentation. On the one hand it contains a tremendous amount of

useful information and should enable virtually anyone to hook up the

CL-S12 and get the most out of it. The paper stock is high quality and

the font is very legible. However, the pagination and layout are way

off, leading one to believe it went to press before anyone really had

the opportunity to proof it. There are several instances where it will

start to explain something then say that particular item is "detailed

further in the manual" or "please see XXXX below", yet it's never

discussed again. On a few occasions I noticed references to web links,

as though you can click on them in a paper manual. I suspect the

original version was in PDF format and wasn't "fixed" prior to being

sent to the typesetter for printing.



While reading deeper into the manual I uncovered a very odd passage that

stated the amp would "run warmer at idle than at full output". Curious

about what seemed to be a contradiction I dug even further and found a

claim that stated "air passing through the BLAST port (BLAST is

discussed in further detail below) will cool the amplifiers heat sinks".

With a chuckle I added it to my review notes, fully intending to delve

into the concept at a later date. Which I did, and it turns out to be a

true statement; since I was never able to use standby mode the amp was

on 100% of the time. Feeling the back plate, even at idle, made it

apparent a small amount of heat was being perpetually generated.

However, after pushing the CL-S12 during the movie tests I found that

the amp did indeed run cooler when the subwoofer was pounding out bass. It seems the CL-S12 enjoys being pushed, so I guess you needn't worry about turning up the volume for extended periods of time.



The Class D amp includes most of the typical connections and controls that a subwoofer

in this price class should have, so there's really nothing to confound

the majority of people. One unique feature though is the Bass

Equalization switch, which has 0dB, +3dB and +6dB settings. This will

boost the Classico CL-S12's 25dB output to match the respective setting,

enabling you to adjust the amount of deep bass. I wasn't able to find

any information about the "width" of the boost, so I don't know how much

of the surrounding frequencies are affected by this setting. The

crossover dial only indicates the extremes available -- in this case

50Hz and 200Hz -- so for people such as myself, who like to adjust the

low pass filter, it can be a bit challenging. I would prefer the dial

at least indicate the THX standard 80Hz setting.



The 12" driver is very impressive looking, with a beefy feel to it.

There's no dustcap so the entire cone is one continuous piece. It's

constructed from a ceramic and aluminum "sandwich" that, according to

AGA, is 'created at a molecular level by a unique anodizing process'.

That's obviously not something I'll be able to verify, but I can say it

feels very rigid (which is a huge bonus for a subwoofer driver). The

large half-roll rubber surround easily matches the strength of the

driver's cone. All of this is motivated by a huge pair of magnets

jutting out from the back of the frame. There's abundant venting for

both the voice coil and the spider. Everything is wrapped in a very

stout powdercoated frame. This driver appears to be made for the long

haul.



The damping material used is proprietary to Anthony Gallo Acoustics.

Called S2, it's a composite made from polyolefin plastic flakes and

packed into polypropylene "stockings". There were four of these

stockings inside the review unit, each about the size of your forearm.

AGA claims that S2 "mechanically couples with the rear pressure waves

within the enclosure at low frequencies. The result is that it not only

tricks the driver into behaving as if it were in a larger enclosure, it

actually lowers the resonant frequency of the driver/enclosure

combination. This enables it to produce deeper and more powerful bass

than it ordinarily would". Two of these stockings were partially

stuffed into the slot port, creating an aperiodic-like system. During

my tests I observed that even when pushed hard comparatively little air

was exiting the port. Anthony Gallo Acoustics calls the combination of

S2 and the custom port BLAST (Backwave Linerarization and

Synchronization Technology).



The manual states that 50-100 hours are needed for the driver to break

in and to allow the S2 enough time to settle. It goes on to say the

Classico CL-S12 will play "significantly louder" once fully broken in. I

don't know that it got significantly louder for me, but there were

definite improvements after it had run for a few dozen hours. At the

very beginning of the testing some S2 flakes were spit out of the port,

but nothing all that concerning. I attributed it to strays from the

manufacturing process, because after that first batch there was nothing

else observed.


Listening


My living room is 13x17x8 (1768 ft^3), so it's not terribly large.
The main seating position is approximately 11 feet from the subwoofer.
All testing was done after the unit had been broken in for at least 50
hours.



The Anthony Gallo Acoustics Classico CL-S12 is no wall flower;

regardless of what you're listening to it lets you know it's there and

ready for action. Although initially I found it a bit temperamental to

get tuned properly -- the gain seems to be rather sensitive, so it's not

difficult to get into a 'too much or too little' scenario -- the vast

majority of the time I had the CL-S12 it was an absolute pleasure.

Generally speaking the bass has a deep and rich sound.

My notes are replete with words like "crisp", "precise", "dynamic",

"sharp" and "agile". The sound is both full-bodied and pitch perfect at

the same time, not an easy feat to accomplish. Port noise interrupted

the serenity during some deep bass passages while playing blu-rays at

spirited volumes, but until that occurred the overall sound of the

CL-S12 was very enjoyable.


Movies


I run each test scene twice; once while seated in my normal listening

position, and then a second time while sitting a few feet from the

subwoofer. This allows me to hear it as I normally would, yet also

affords me the opportunity to determine if the subwoofer

is straining even the slightest bit. Both tests are run at the same

volume level, which is slightly above what I would normally use on a

day-to-day basis.



At first I set the Bass Equalization switch to +3db in order to add a

bit of punch in the low bass region. That did increase the depth and

impact slightly, but also introduced additional port noise. Ultimately I

turned it off and watched all the movies without any boost.



Overall I found the CL-S12 just a touch short of guttural and wished for

more depth on a few occasions. Mind you it was never weak, but there

were a couple of times I would have liked a little more punch. What I

never found lacking were the dynamics; this subwoofer is very precise

and articulate, effortlessly producing complex or heavily textured bass

passages. One of the CL-S12's greatest strengths is when not needed it

simply gets out of the way and loafs along without forcing itself on the

soundtrack. When called upon the CL-S12 quickly swings back to life

and makes its presence known again. I was so impressed by that trait I

actually tested it with two completely different sets of speakers, and

in each instance it blended seamlessly.

Cloverfield (blu-ray)


When the initial explosion occurs -- as the invading creature first

starts attacking NYC -- the Classico responded with extraordinary

definition, but could only muster a slight tactile sensation. The

second explosion, the one that precedes the Statue Of Liberty's head

being tossed onto the street, was more of the same; excellent precision,

but accompanied by only a little ground trembling.



The remainder of the movie chronicles the travails of 4 people trying to

navigate the carnage that ensues as the creature terrorizes Manhattan.

The hapless quartet is bent on reaching a friend who was seriously

injured during the initial rampage. They proceed irrespective of how

much they jeopardize their own safety. It doesn't take very long before

they come face-to-face with the beast, and get caught between it and

the military. During that exchange the soldiers unleash a barrage of

artillery and small arms fire, all of which the CL-S12 rendered

beautifully. I would have liked a touch more impact during the

explosions, but the scene was realistic and believable nonetheless.

Underworld: Awakening (blu-ray)


Toward the beginning of scene 9 -- where the half-breed child Eve is

repeatedly cutting her arm because she's fascinated that it instantly

heals -- there's a deep pounding sound that heralds the Lycans arrival.

The CL-S12 rendered that with a solid thud and very good clarity. The

soundtrack as the Vampires prepare for battle with the Lycans is

supposed to create an ominous sensation, which this subwoofer

achieved with ease. As the battle rages on the various elements --

impacts from the beasts, gunfire, explosions -- were all very clear and

distinct. Regardless of how frantic the action was the CL-S12 was up to

the task.



Without question my favorite part is when the huge Lycan appears for the

first time. As Selene is surveying the Rotunda you hear the massive

thuds created by the footsteps of the approaching Lycan, each of which

is supposed to cause the ground to shake. The CL-S12 wasn't quite up to

the task of creating subterranean ripples, but it did shine when it

came to clearly defining the individual sounds that make up the

cacophony of noise associated to the lumbering beast. In particular I

found his growl very satisfying, which the CL-S12 produced with a level

of definition that few other subwoofers I've heard have been able to achieve.

War Of The Worlds (blu-ray)


I thought it was time to go back to one of my old standbys, and WOTW's

certainly qualifies. As is my custom I queued up The Machine Emerges

and cranked the volume. The sound of buckling pavement as the Tripod

fights its way to the surface was realistic and precise, and ultimately

proved to be one of the better renditions I've heard in a while. The

Heat Ray had a fantastic "pop" to it, with every subtle variation in its

tone very evident. The Tripod's bellow just before it descends upon the

crowd gathered at the Hudson Ferry was awesome, as was the rumble from

the creature that emerges from the river and capsizes the ferry as the

ship is trying to escape all the havoc.

10,000 BC (DVD)


I only use this movie for the two scenes associated to the mammoths. In

the first one they're simply milling around, grazing in the grasslands

unaware of what's about to transpire. As they plod about their massive

feet produce ground-shaking ripples. The CL-S12 imparted a fairly solid

amount of impact, but I never felt compelled to look over my shoulder

to see if anything was gaining on me. During the subsequent scene --

when the mammoth herd is running away from the warriors bent on taking

one of them down -- this little subwoofer did remarkably well. During

both scenes the tone and definition were never in question; even at the

height of the stampede I was able to clearly identify individual

footsteps of the mammoths. There was no smearing whatsoever, meaning the

turmoil never became one indecipherable rumble as lesser subs often do

with this scene.




After all the testing had concluded I checked the amp to see how hot it

had gotten, but there was little in the way of heat. True to what I had

mentioned earlier, the amp actually does seem to run cooler when you

drive it hard. That's a very interesting behavior, and is not something I

recall encountering before.


Music


While I tend to push every subwoofer during the music tests I've also

begun to run those that exhibit excellent dynamics and strong transient

response at a decreased volume in order to gauge their low-level

resolution. I still crank them up for some of the songs, but on others I

drop the volume and listen closely to see if the sound quality suffers.

Turns out the Classico CL-S12 couldn't care less; it had no problem

with high or low volume, maintaining composure either way.

Bad Company - Movin' on (CD)


Speaking of low volume listening I give you the first such track, Movin'

On. Unlike some people from my generation I never really thought Bad Company

was an 'A' list band. Sure, they had some good songs, but there were

just too many simple/cheap ones in their catalog for my liking.



Movin' On was included on perhaps my favorite Bad Company album, the

onymous first one they released. Simon Kirke's drumming is pretty

generic on this track, so the CL-S12 didn't have to expend much effort

there. Boz Burrell's bass lick was what I primarily focused on, and

it's here that I was most impressed with AGA's subwoofer. The notes

came across sharp and focused with excellent pitch definition, helping

to carry the funky groove of the song from beginning to end.

Tony McAlpine - Serpens Cauda (CD)


From Tony's eponymous CD, which is also his 11th studio offering. Tony

wrote, composed and produced all the material, which is fairly typical

for him. What's also standard fare is the fact that most of the

instruments were played by Tony himself; all the guitar work -- using 6,

7 and yes, 8 string guitars! -- the keyboards and the bass.



Serpens Cauda loosely translates into 'the serpents tail', which seems

to be a reference to one of the 88 constellations. While most of what

Tony does is simply hard for me to fathom, it was Virgil Donati's

drumming that I wanted to hear on the CL-S12. Virgil lays down an

almost constant barrage of triplets, often times in quick succession,

which should give fits to a subwoofer that doesn't handle attack and

decay properly. Not a problem here though, for they were all spot on;

fast, solid and precise. Increasing the volume didn't seem to make any

difference; the CL-S12 exhibited no breakup, all I heard was pure clean

sound.

Motley Crue - Kick Start My Heart (CD)


Based upon my past history some of you probably saw this one coming.

Yes, Kick Start My Heart is somewhat pretentious, but it's still a good

tune to exercise a subwoofer with. And you can bet I gave the CL-S12 a

workout; this one didn't get played with any restraint, not even for a

second. I cranked it up to 11 and let the excesses of a hair band at

their zenith wash over me. Every time Tommy Lee stomped down on that

kick drum the sub let out a "thud", just like it would at a live Crue

show. This one turned out to be a lot of fun. Think I'll play it

again...

Soundgarden - Outshined (CD)


After the previous two driving, high energy songs it seemed time for a

switch. Outshined is one of my all-time favorites from Soundgarden. It

has a deep, brooding sound with an almost sinister feel to it, similar

to an early Black Sabbath song. Perfect for a subwoofer

test, as far as I'm concerned. The slow, almost lazy rhythm, allowed me

to concentrate on nuance this time. Ben Shepard detuned his bass and

added a bit of fuzz on this one, which together creates a bottom-heavy

feel that the Cl-S12 ate up. Both veracious and detailed, everything

about this song just seemed right.


Conclusion


The Anthony Gallo Acoustics Classico CL-S12 presents an interesting

dichotomy; very good for HT, but excellent for music. Whether you're

merely listening to a CD -- or even just watching TV -- you'll want
for little, but slip in a blu-ray and the results aren't quite as clear
cut. Few subwoofers

have this level of fidelity or poise. AGA

does things in a manner like no one else, which I certainly applaud,

but a few quirks kept me from falling in love with it. Built like a

tank, and possessing magnificent sound quality, the Classico CL-S12 is a

solid option for the person in need of a compact subwoofer.