((( Pending sale )))
REL S/5 SHO Sub-woofer's Factory Sealed B-Stock with One Year Warranty in Black :
HIGHLY RECOMMENDED virtually everyone's favorite sub woofer company!
is best to act Quickly two available (priced each) one S-5 SHO a deal
at $1,395 each and one REL S-5 a deal at $1,149 listed separately on Audiogon
REL BOW (wireless interface) available for $199.
No low offers considered.
with power cord and High Level Nutrik twist locking interface cable
sensing voltage from your amplifiers for the best integration of sound.
REL Wireless BOW option available separately (call for details).
Great for Audio or Theater or Audio & Theater /// HIGHEST RECOMMENDATIONS !
It should be no
surprise that Weinhart Design (when I owned Ambrosia Audio & Video) was a first Audiophile Dealer who was one
of the first to say REL Subs are for Audiophiles and "most of the time
the best and MOST cost effective way to improve your system" ! ! !
a REL is integrated correctly (a easy thing we can walk you through it)
the first thing my clients say is the Mid range & High Frequency's
are better. Of course you get the extra missing Bass. Call David
Weinhart more details.
Editors' Choice Award 2016 – The Absolute Sound Magazine
"An Exceptional Performer"
REL's S/5 SHO exceeds the mandate for mid-level
models and crosses this model into true reference quality. The S/5 SHO
produces exceptionally low bass with tremendous impact and speed. Even
difficult-to-render instruments such as pipe organs are dealt with
effortlessly. Large scale, high end two-channel systems make a perfect
pairing for the S/5 SHO, and grand theaters are ideal. Medium to grand
rooms are appropriate. The scale is very large, the speed is
exceptional, and attack and slam are visceral.
The S/5 SHO won an Editors' Choice Award for 2016 from The Absolute Sound
magazine. According to Neil Gader, "Its bass extension is terrifyingly
deep, yet it has the delicacy and dexterity to become one with the
music, from deepest fundamentals on up, and to do so invisibly, without
effecting the character and transparency of even the most highly
"Don't even think of plugging in the S/5 if you ever
expect to use that outlet again," said Neil Gader in the May 14, 2015
issue of The Absolute Sound magazine. "An exceptional performer in any class."
"It pretty much goes without saying that if 'low bass
systems' are the only products you build, you'd want to make absolutely
certain that you build pretty good ones!" reports Gregg Borrowman in Australian Hi-fi magazine. "In creating the Serie S5, REL has not just 'built a pretty good one'; it has built an exceptionally good one!"
Smooth Speed and Slam with a Continuous Cast Alloy Bass Engine
The S/5 SHO's driver features an all-new alloy cone
structure that takes REL's mid-level product to a performance that
exceeds REL's reference products of only a few years ago. By reducing
moving mass, with a balanced approach to design, the engineering team
was able to produce far more speed than prior designs. By carefully
adjusting key parameters, the team managed to increase a high-end
component's ability to resolve space and inner detail. Improvements in
REL's designs translate into enhancement in your entire system.
A Carbon Passive Radiator Provides Sound Beyond Its Size
The S/5 SHO uses a special carbon/carbon passive that
is stiff, lightweight and incredibly well-behaved. REL's approach to
passive design results in performance more akin to a variable ratio
driver size. On an S/5 SHO, think of it as a sliding ratio design in
which the S/5 SHO begins as an ultra-fast 12" sealed box design, and as
more power and deeper bass is demanded the S/5 SHO gradually morphs into
the power and output of a 15" design.
Fast, Extended Lows with NextGen2 550W Digital Amplifier
Beyond the proprietary drivers, the performance of a
REL subwoofer is determined by the company's unique input filters and
amplifiers. The S/5 SHO uses a simple filter-type that is very fast
(about 8 milliseconds in group delay) to cross out unwanted higher
frequencies to our driver. This speed and carefully sorted filters allow
for seamless blending of RELs with the main speakers. REL does not
include a high pass filter to cross out bass from the main speaker
because to do so would generally produce more unwanted effects than the
minor benefits such a design confers.
The S/5 SHO's power amplifier is a powerful NextGen2
550W digital amplifier. This design has powered thousands of RELs and
has proven exceptionally reliable and very fast with deep, extended
lows, and it provides a perfect mate to REL's new driver.
OPTIONAL: LongBow™ Wireless Connectivity (sold separately).
The S/5 SHO is compatible with REL's LongBow wireless
system, which requires the optional LongBow wireless transmitter (sold
separately). LongBow permits very fast, uncompressed bass to be sent
wirelessly within the same room approximately 45 feet (somewhat
dependent upon room clutter). REL has selected an uncompressed wireless
signal format, which results in natural, quick delivery compared with
conventional wi-fi or Bluetooth systems. LongBow allows both high level
(or low level with crossover intact) and .1 channel delivery so
that "REL Theatre Reference Performance" can be maintained even when
using REL's wireless delivery system.
The Absolute Sound's Neil Gator Says:
May 14th, 2015
If REL Acoustics, the highly regarded subwoofer
manufacturer, pulled out of the high-end marketplace tomorrow, never
again to manufacture another unit, its place in the audio pantheon would
forever be assured. REL has offered superb build-quality and high
standards of bass reproduction since the company was founded in 1990.
Thankfully for bass fans everywhere, nothing has changed in its latest
venture, the S/5, which may be the best-performing midpriced sub REL has
offered in its vaunted history. The S/5 goes about its tasks so
matter-of-factly, effortlessly, and invisibly that it seems to become
another attractive fixture in the room—until you pull it from the
system. Then you understand what authentic low bass brings to the party. You also begin to understand the meaning of…addiction.
REL S/5 is the kingpin of the freshly minted S Series, a line second
only to the big Gibraltar subs in the REL lineup. Tipping the scale at
seventy pounds, the S/5 is not small, but it isn’t a real-estate hog,
either. The S Series enclosures are visually lavish and lavishly inert.
Sporting 1 1/8"-thick cabinet walls, my gloss-black sample was superb in
fit and finish. The solid T-304 stainless steel grab handles are first
cast, then micro-machined, and finally polished in a six-stage process.
The polished aluminum trim pieces—such as the footers—elegantly accent
its dark good looks.
the S/5 is a new forward-firing 12" alloy-cone woofer. According to
John Hunter, REL’s Woofer-in-Chief, this driver’s excursion has been
increased to a full two inches, an improvement of a ¼". He also points
out that the cone’s moving mass has been reduced almost 60 percent by
his reckoning, and that it is “self-quieting,” which is to say, it is so
non-resonant that it stops as quickly as it starts. Additionally,
there’s a downward-firing 12" passive driver with a unique carbon
diaphragm that is similarly stiff and lightweight. REL says that the S/5
uses a simple filter-type that’s quite fast—with about eight
milliseconds in group delay—to eliminate the passage of unwanted higher
frequencies to the REL driver. Power is also superior to that of its
predecessor, the discontinued R-528. The S/5 now uses a NextGen2 550W
switching amplifier that can generate up to 873W on hard transients.
tradition, REL subs do not use high-pass filters—the main speakers run
full-range, full-time. REL’s view is that high-passing the sub/sat looks
good on paper, as it allows the main speakers to perform with less
stress and more dynamism. But REL also believes that high-pass
filtration creates more problems than it solves. Why? Because the main
speakers are designed and voiced to operate within a specific range of
frequencies, and by cleaving away a portion of that output via a
high-pass crossover you are essentially refashioning the speaker into a
different, even unpredictable unit never contemplated by its designer.
That’s why—at least under their breath—many designers don’t actively
embrace third-party subs, high-pass or not. Subwoofers from the same
brand are another story. They have purposefully designed drivers and
low- and high-pass crossovers to pair with designated models (Revel,
among others, comes immediately to mind as a specialist in these
matters). In any case, no high-pass filtering for the S/5.
back panel houses a phase toggle and rotary settings for the
low-frequency effects (LFE) level and for volume, plus the tiniest
39-step increments for adjusting the crossover over the range of
30–120Hz. There are dual low-level RCA inputs, plus an LFE input, but
the high-level input is and has always been REL’s preferred means of
installation. A lengthy Neutrik connector is provided for this purpose.
It carries within its jacket four wires for connection to an amplifier’s
REL suggests starting with corner placement,
usually on a room diagonal. This not only maximizes room gain but also
allows “for the most linear true low bass wavelaunch.” The set-up manual
REL provides is quite comprehensive (without being intimidating) about
optimizing placement. In my experience, dialing in an REL is a matter of
a few easygoing minutes rather than hours of hand-wringing. My advice:
Bring a friend for fine adjustments. (Because of the added expense, I
hesitate to mention that if you have a “problem” room, setup is easier
with two subs, as they work together to smooth and flatten overall room
response, and thereby become less of a sonic presence. This was an
experience that I enjoyed first-hand with a pair of S/5s, but that’s a
story for another time.)
are two sets of criteria that I use to evaluate subwoofers. There’s
overall bass quality (extension and musicality), and then there’s
integration (the subwoofer’s ability to blend with the main stereo
speakers). Net: Does it remain true to the character and voice of the
In the tight confines of my listening room, the S/5
wasn’t even breathing hard as it extended response into the middle
twenty-cycle range. It did so without calling attention to itself—no
overhang, perceived box coloration or, to use the sonic slang,
“slowness” in its response. In all honesty the S/5 will go even lower,
but my room struggled to support 25Hz without the doors rattling and the
space over-pressurizing. The S/5 makes short work of large-scale
orchestral pieces laden with timpani and bass drum. Every decaying
flutter off the skin of these instruments is presented concisely and
cleanly, and often in overwhelming detail. Small-scale, low-level cues
don’t escape the S/5, either. Towards the end of Jackson Browne’s
“Colors of the Sun” from For Everyman, there’s a repeated piano
and drum motif that resolves into a deepening bass note that seems to
ripple, sustain, and expand as if suspended in space. Each repetition of
the motif is heavier and more resonant than the last, until the track
begins a long fade. The bass notes hardly exist at all without the help
of the S/5. Similarly, during Yes’ “It Can Happen” from 90125,
there’s a recurring bass line where the bassist slides his finger down
the string, the pitch plunging as if tossed off a cliff. Most speakers
by themselves can’t reproduce the full weight of these descending notes
convincingly. The S/5 can.
What makes its performance special, however, is not its obvious
power, extension, and dynamic headroom. These exist to degrees that can
overpower most medium-sized rooms. It’s its clarity and focus that
really impress. Credit is owed to the sub/sat transition, which is so
seamless that it becomes anyone’s guess where the REL leaves off and the
sats takeover. For me, this is where the believability factor kicks in.
For example, when drummer Russ Kunkel plays some tom-tom fills during
Carole King’s “Home Again” on Tapestry, the drum-skin detail
and tuning, and the resonant decay, reveal themselves in full bloom,
images locked into position without a hint of the S/5 in the sonic
picture. This was also true of the kickdrum positioned centerstage
during Holly Cole’s “Take Me Home.” The weight of the impact didn’t pull
towards the corner position where the S/5 was sitting—it remained
focused dead center within the soundspace. And this wasn’t just the case
with the REL augmenting my compact ATC SCM20s, either. Even a speaker
like the gorgeous Kharma Elegance S7 Signature floorstander, certainly
no sluggard in midbass response and speed, benefitted richly from the
ministrations of the S/5.
Less obviously, the S/5 enhances the
mood of a performance in the way it conveys sweeping and subtle
landscapes of tonal color and timbre, gradients of shadow and light. The
S/5 establishes the musical context for what is to come. For example,
without the opening 30Hz organ pedal point that introduces Strauss’ Thus Sprach Zarathustra,
or the deeply ominous synth note that kicks off Dire Straits’ epic
“Telegraph Road,” listening to these pieces would be like listening to a
Shakespearean sonnet with the opening quatrain lopped off. On the
tight, crisp bass intro to Holly Cole’s cover of “I Can See Clearly”
from Temptation, the REL captures the optimistic bounce and
jauntiness of the instrument—character that’s pivotal to the upbeat
emotion of the song. Similarly, from the opening bar onward, the forward
placement of Ray Brown’s standup bass immediately signals listeners
that the album Soular Energy is about the bass player as frontman, not backing musician.
equal importance is the ambient information that the REL reproduces.
This baby can move a lot of air. Take a familiar piece like “Lux
Aeterna” from the Rutter Requiem. The hall sound becomes a more active
player in the performance when the S/5 is in the system. You can hear
the air filling with sound around the musicians and chorus, and then
hear this ambience even more clearly when the organist hits the lowest
pedal points. And when the organist abruptly stops and the instrument
goes silent, there is a sense of air rapidly escaping from the venue,
like a balloon suddenly deflating.
A couple of tips to keep in
mind: Subs do not operate in isolation. Only well-engineered main
speakers with fairly neutral low-end response will excel with
subwoofers. Sats with a sucked-out lower midrange and upper bass will
sound a little bass-light and dynamically lean. And attempting to mask
such a tonal deficit by raising the output and crossover point of the
S/5 will only smear midrange detail and create a noxious midbass bump
that further decreases the sense of sub/sat integration that, after all,
is the desired effect. Also, with smaller compact monitors, care should
be exercised in gain-matching the more dynamically limited satellite
with the much higher dynamic limits of the sub.
What about value?
Put it this way, if you consider that you can easily spend a $2500 on a
couple of power cords, then the real value of the S/5 comes into
From time to time I meet audiophiles who
continue to insist that subwoofers are the bane of their audio
existence. I don’t know what sort of deep-rooted, sub-bass trauma they
were exposed to in their earliest high-end years, but I’m here to tell
you that the only drama I experienced during my time with the REL S/5
was the emotion that its evenly weighted balance and full-range
musicality brought to the fore. (Plus the separation anxiety I’m
anticipating when REL calls for its return), In both subtle and not so subtle ways the REL S/5 completed
every speaker system it partnered with. Ultimately, it’s up to every
audiophile to ask himself whether he wants the whole musical picture—the
entirety of the soundscape. If your answer to that question is an
unqualified yes, then consider yourself warned: Don’t even think of
plugging in the S/5 if you ever expect to use that outlet again. An
exceptional performer in any class.
SPECS & PRICING:
Type: Front-firing subwoofer, with downward-firing passive radiator
Drivers: 12" woofer, 12" passive
Frequency response: 21Hz -6dB
Dimensions: 17.5" x 18" x 20"
Weight: 70 lbs.
REL ACOUSTICS NORTH AMERICA
800 Addison St.
Berkeley, CA 94710
Weinhart Design is always interested in purchasing quality
Audio, LP collections, specialists buying Audio Estates and interested
in most quality trades in's.
We are here to make better sound and earn your trust & business.
All sales out of California are State Sales Tax exempt. California State Sales Tax of 9.25% applies for items picked up or shipped to a California address.
payments by Bank Wire Transfers without fees and is the only form of
payment on all sales out of the U.S. and Canada. We prefer this method
of payment and also makes shipping to addresses other than billing OK.
VISA, MC and Papal are gladly accepted within the U.S. and Canada as long as the charge is approved and were shipping to the BILLING ADDRESS and shipping to the billing address on record and adds a 3% fee to cover costs and DISCOVER & AMEX 4% to cover costs..
Please visit our "ALL NEW & Improved Web Site @ www.weinhartdesign.com
me directly in my Audio showroom in Los Angeles weekdays from 11-4PM @
310-472-8880 or on my cell including weekends from 10-10PM at
310-927-2260 and I can answer your questions and help you with all of
your new and pre owned needs.
Making better Sound One
system at at a time,
Weinhart Design, Inc.
President & CEO
The Audio and Video Expert
e: [email protected]
2337 Roscomare Road, Studio #1 Showroom) 310-472-8880
Los Angeles, California 90077