How to Tune a Stereo Pair of RELs
Stereo Pair Tuning Guide
Using two RELs also known as Stereo Sub- Bass, is advised for the fastest, clearest, deep bass- not for more output. Conventional wisdom has it that stereo subs results in between +3to +6 dB additional output depending upon positioning. In and itself, this is of only passing interest in most instances since even a single REL is capable of profound output. What then, is the point to adding a second REL? In a word, clarity. Clarity that permits “seeing” back into the farthest reaches of the sound stage. Clarity that illuminates all dimensions of the musicians and the space that they inhabit equally and enhances the natural reality of a great full range system, as only RELs can.
Set-Up
When setting up Stereo RELs, it is possible to place both units in the front corners of the room, carefully toed-in and placed per normal REL guidance. Connect each sub to the speaker terminal outputs based on the following diagrams for standard stereo amp, non-balanced mono blocks, or balanced differential mono blocks.
Set each side up independently. Disconnect the sub that is not being set-up so your complete focus can be given over to the sub that you are working with. Carefully follow the guidance provided below for phase orientation, corner fine tuning, orientation, and final settings. To begin the set-up process, choose a piece of music that has a repetitive bass line that is very low in frequency. We suggest track 4 from the soundtrack to Sneakers (Columbia CK 53146). This has a repetitive bass drum throughout that gives you plenty of time to move the woofer around. This track is perfect for the set-up process and should be played at the highest reasonable level expected for system playback. Working with a partner, one in the listening position and one at the REL manipulating position and controls is the most effective an efficient way to set up. If working alone, corner fine tuning and orientation can be effectively carried out from the location of the REL. Try to ignore all other music in the track, listen to the bass drum and its effect on the listening room.
Phase Orientation
With the REL in the corner the first step is to adjust for phase. Keep in mind that the right phase is whichever position (0 or 180) is the loudest for fullest. While playing music with true low bass, adjust the crossover to a point where the REL and the speaker are sure to share frequencies. This should be at 20 clicks from the minimum setting (12 o’clock) on the Crossover control. At this point turn the High/ Low Level control up so that both the REL and speaker are roughly equal in volume. This should be 15 to 18 clicks from minimum (10 to 11 o’clock) on the High/ Low Level pot. Now move the phase switch from 0 to 180 positions and listen for whichever position is loudest or fullest. That is, when the position is working in harmony with your main speakers, reinforcing bass not cancelling it. Sometimes is helps to concentrate on the leading impulse of the bass note, noticing if it is timed with the speaker. If the impulse lags the speaker’s response or if it sounds like the impulse is late, then the REL is out of phase. It will be best to determine correct phase when in the listening position, so this process will require walking back and forth to the REL if determining phase orientation alone.
Corner Fine Tuning
The next step is to determine precisely how far from the corner the sub should be placed to achieve the most efficient output, as well as the lowest frequency extension. With the REL fully into the corner, and pointed to the opposite corner, continuing to play the music, slowly pull the REL from the corner on the diagonal, line to opposite corner, equidistant from both side and rear wall. At a certain point (sometimes a matter of only a few inches, in rare cases a foot or more) the REL will audibly play louder, go lower in frequency extension, and, if truly pressurizes the room, the air around the REL will seem to be energized. Stop right there! This is the correct position from the corner for the REL.
Orientation
Once the position from the corner has been established, the orientation of the woofer must be determined by rotating the REL from an imagined centre point at the rear of the REL. As the REL is rotated from one side to the other, listen for the greatest level of output. In effect, the REL should be left in the position where it is playing the loudest and lowest. If the REL is on carpet, at this point physically push the REL down into to lock it in place and provide the greatest coupling to the floor.
Final Settings
Now move both the High/Low Level control and Crossover control to 10 o’clock settings (15 clicks from minimum). In most cases this is just about where the settings will end up. The Level control should be at a setting where you can hear the REL even with the main speakers playing. This is Generally 15 clicks +/- 3 clicks. The Crossover control should be set to where the sub bass is not overpowering or sloppy. It should be in time with the impulses of the main speakers so you can hear the depth and dynamics of the low frequencies. Again, this setting is generally 15 clicks +/- 3 clicks. Once each sub has been carefully tuned, attach the cables for both subs. At this point, the output achieved will be too loud and will require re-setting the level control of each REL lower. This is normal as the combined output is likely to be at least 3 dB louder with both subs now being used. Turn the High/Low Level control down on each sub until perfect balance is achieved, typically 1 or 2 clicks. While turning the left or right sub down, it is helpful to turn slightly and even lean slightly toward the side that is being adjusted to better achieve focus and a balanced sound level. Obviously while working alone, this will require trips between each REL and the listening position.
When to Make the Move to a REL Line Array
Hint: It’s Closer Than You May Think!
This is for the lucky audiophile or wealthy music lover who has come to a particularly delicious crossroads. Why delicious? Because it means that they’ve built a truly high-quality system, the kind of system most hobbyists can only dream of. Awesome speakers? Check. Fantastic electronics? Of course. Great cables? Got ‘em. They even own a pair of advanced RELs (a pair of Serie S, or Carbon Specials or goodness knows, even Reference No.31s or No.32s). They are ahead of the crowd in virtually every way.
This is the point the fortunate few arrive at. And while it’s thrilling, it makes their next move that much more difficult. After all, they’ve built a fantastic system, one that is more than just a collection of pedigreed nameplates. Now, with the help of a great dealer and maybe the sage advice of some of those of us on the manufacturing side who have kept abreast of the evolution of our favorite 50 brands and can thus speak knowledgeably about the majority of the truly great combinations currently on offer, they have arrived.
Do they upgrade to the newest XYZ preamp (knowing that their dream system is that rarest of beasts; a high-end audio system that has ascended to a point wherein its whole is greater than the sum of its parts? Thus, “upgrading” to the “even higher resolution” preamp (or DAC, or cables) that is fully capable of toppling the building blocks you’ve so carefully assembled. And (I know it’s hard to believe) to have a $20,000 preamp that 3 reviewers all swear is the cat’s pajamas but sounds like breaking glass in your system is both expensive and disheartening. Breathe, now take a step back. I’ve been lucky enough to have arrived at this seemingly perfect balance point at least three times in my career, and how I wish I had the option of a 6-pack of RELs.
You see, the reason this dilemma is so hard to solve intelligently is that, whether one acknowledges it or not, what our audiophile wants at this point in his or her evolution is someone to say to them “I know exactly what you want and it IS attainable.” Because what they want isn’t some minor tickle of additional resolution. They’re not the least bit impressed by someone telling them that “this cable is quieter and offers greater inner detail”. Piffle. Stop with the annoying, “I can get you a tiny bit more but if I give you much more of any one aspect, your whole system will topple over” kind of advice I all-too-often hear tremulously offered up.
Nope, the big problem is this, and it’s very simple: Wonderful as it is in its highly evolved state, they want something for their system that will knock them off their horse. That’s it in a nutshell. They already have something really, really fine. And the thing they’re craving—it’s like searching for a word or a name that’s right on the tip of your tongue and you can’t quite access it… THEY WANT IT ALL TO BE HUGELY FREAKIN’ BETTER. EVERYTHING, NOT SOME INFINITELY TINY ASPECT OF MICRODYNAMICS OF INNER DETAIL OR… OR…OR… Whew…okay…sorry for shouting.
Yup, that’s it. When you get that close to the mountaintop, there exists a need to break through dramatically and finally pull it all together in a way that speaks to your inner Trumpian (“Yes I own Mar a Lago, what’s your point?” sort of way) self. And that applies to us Democrats as well.
Six Packs. There, I’ve said it. REL Six Packs–slang for vertical stacks of 3 RELs per side of a 2-channel extravaganza, or an Olympian theatre. These are the only thing this writer has ever heard that can take a system of the sort described, grab it by the lapels and throw it over the barricades. So thoroughly and completely that it breaks through–nope, it shatters–every expensively-compromised past decision I ever had to make when it comes to this Gordian knot that only the fortunate few have ever faced.
Others are now saying it. When you finally hear what a properly dialed-in REL Line Array of Serie S, Carbon Specials, or Reference No.31 or No.32 can deliver, it simply takes the system to a level, in every regard, that the industry never could offer customers before. IA REL 6-pack is about so much more than subwoofers. It’s not about huge, loud overbearing bass. That’s why a critical element of a proper 6-pack is individual channels of amplification and crossover per REL. Only in that way can a knowledgeable person balance all the virtues for the greater good of every aspect of the system. Once heard, it’s well-nigh impossible to go back because one finally can creep down the stairs on random midnight in June, like a Christmas mouse in search of Santa’s cookies. And turning on their system, marvel at this remarkable experience that they can enjoy anytime they wish. I know because sometimes I do, but I keep the volume very low so as not to disturb the neighbors. You see, I don’t own Mar a Lago, I own something infinitely more satisfying.
High Level Grounding Simplified
Introducing the Easy Solution to Properly Grounding RELs
For years, REL owners have contended with a myriad of options when it comes to connecting the REL High-Level Connection to their amplifier. These permutations of connection methods were layered on over time as amplifier technology changed. We recognize that the number of connection methods is slightly daunting to any first time REL user wanting to connect High Level. If you can believe it once upon a time, there was only one way to connect.
Well, those days of an almost universal solution are back as we now have one nearly perfect and simple High Level connection method. It works for Class A/B, Class D, Balanced Differential, Class G, Class H, and chemistry class—no, wait that’s an overreach. But for every amp whose chassis connects to ground, which is most of them, this universal solution works perfectly.
THE REVEAL: If you just want to cut to the chase and learn that virtually ALL RELs and ALL amplifiers can be connected using one simple universal connection scheme, look no further.
1. The Red and Yellow wires are universally known as hot wires. Connect these to the positive binding post on your amplifier
- If you have one REL with a stereo amp or receiver connect red to the right channel + and yellow to the left channel +. Nothing new here… proceed to step 2.
- If you are connecting a single REL to a single channel whether it be a Monoblock amp, the center channel only or running a Stereo pair of RELs, twist the Red and Yellow wires together and connect to the corresponding positive binding post on your amp. Nothing new here either… proceed to step 2.
2. Here is the NEW part… get ready, it’s so simple it’s genius. Attach the Black ground wire on the REL High-Level cable to a chassis grounding screw or bolt on the rear panel of your amplifier or receiver. That’s it. Nothing more. You’re done.
* A note about locating a chassis grounding screw or bolt:
- If you have a Phono stage on your integrated amp or receiver the Phono ground screw is going to be the easiest place to ground the black wire.
- Your next easiest option is to look for a thumb screw, Antenna input, or an actual screwdriver screw with one of these symbols or next to it. These are Universal Grounding symbols.
- If you don’t have either of these options don’t fret, tap the bare copper wire of your Black wire to a screw or bolt. If your REL was previously humming and it stops, you have successfully located a ground reference point.
3. It really is that simple!
We’re pleased to be able to share this simple, foolproof way to achieve proper High-Level Connection of ground, in a way that is safe for any known amplifier genre. You can find diagrams and videos about this new method on rel.net and our YouTube channel.
