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  • 1990
  • 英国
  • Richard Edmund Lord
  • www.rel.net
  • NORTH ROAD,BRIDGEND INDUSTRIAL ,ESTATE,BRIDGEND CF31 3TP
  • 0044- 1656- 768777
  • sales@rel.net
  • 0044- 1656- 766093
  • 威力REL的目标是打造世界上最好的超低音系统。 威力REL的特别搭配特性被广泛认知:打造精品,惊世工艺和惊奇性能,同类产品的每个价格区间,拥有极高性价比。 Richard Lord(REL创始人)对质量的执着是众所周知的。全部威力REL超低音系统都是手工打造。无论从超小型的Quake到大型的Studio III,REL的设计一直秉承相同的设计理念,塑造最高标准。精心挑选的组件保证性能的永久使用。创新,像ZeroQ和ARM加载,优秀的ABC滤波器,和同步线性和音箱等级连接和校准,确保威力REL超低音系统在电影和音乐的应用中,交付最深沉的,厚重的和干净的超低音。 威力 REL的音箱都是单独的胶合木和支撑架构进行焊接,经REL专业箱体制作者打造的高质量外观,无论放置何处都非常完美,而且有不同系列尺寸适合任何房间。如果你打算为音响系统添置一个超低音系统,威力REL是最佳之选。 来自大不列颠(英国)威力REL Acoustics 公司的设计,制造高质量、获奖无数的超低音系统,参与立体声音乐和多声道家庭影院系统的使用。 何谓真正的超低音系统? 许多所谓的“全频”扬声器无法保真地重播许多音乐和电影光碟的超低音频率,这需要精准地再现原始录音和帮助传递自然的临场感受,使听众立即辨认出这是最接近“真实的情景”。当然,电影DVD碟片混合一个专用的深沉超低音特别效果的低音频道,但合适地设计一个超低音系统不仅仅需要精准再现这些,而且增强常规输出的立体声和环绕音箱达到一个极低频率的超低音,因为只能感受而不是听到,所以是更大的保真度。当整套系统以更宽广的频宽使声音始终更加逼真,从而更加有趣和刺激。在很多情况下,最好的唯一办法,增加关键的低音频率,即引入一个正确设计的超低音系统,它不仅拥有技术特性去呈现最深沉的声音,而且能够无缝融入其他音箱,实现你的音响系统,交付更深沉、更自然的音质。     威力REL Acoustics 专注于设计和制造专业的超低音系统。它不是简单地生产音箱,它制造超低音系统。REL的产品不断发展了十几年,在世界各地都有发烧友和影迷,并广泛获得赞誉!它的优势是毋庸置疑,证明了真正的超低音是稀有之物,只有专业才能制造。 了解更多的超低音和了解REL如何能制造世界优秀的超低音系统… 威力REL Acoustics的官方网站上的品牌介绍: REL Acoustics, Ltd. of Bridgend, Wales was founded in 1990 by Richard Edmund Lord.  Dissatisfied by the commercially available subwoofers of the day, Lord set out to build Himself something better. Almost immediately, word spread of a Welshman who had built this incredible sounding sub bass system and soon enough audiophiles began searching out these legendary subs that were built like no other. Lord began referring to them as sub bass systems, because the performance he had been able to achieve was the result of system engineering. Where common subwoofers rely on amplifying a line level signal, Lord had intuitively realized that the signature of the entire system had to be built forward into a pre-conditioning signal that allowed the sub to disappear into the music. Thus, from almost the very beginning RELs used a special high-level circuit. Many of the basic elements present in modern day RELs began finding their way into production RELs in the later 1990’s. The modern era of REL began in 2005 when John Hunter and Donald Brody acquired REL. Almost immediately, they identified several key paths to take the strengths of the core REL philosophy and build upon them. First, the designs had to be updated and made to look as wonderful as they sounded. Second, for all their robust qualities, there was room for improvement in the area of electronics and driver technology. Accordingly, they set about on a comprehensive plan to upgrade and improve every aspect of the products; focusing on reliability, clean styling and robust mechanical construction–a path that continues to this day. Today, REL is one of the fastest growing product ranges in the entire high end with strong international partnerships all over the world and acclaim coming from virtually every high end audio and home theater magazine. At its cornerstone, fundamental reliability remains its core strength, blended with a unique approach to design that results in what many consider the most musical and powerful sounding subwoofers available. “The subwoofer’s task to deliver musical fundamentals below the reach of ordinary loudspeakers. It’s an approach that can work well with compacts, but often works even better with large speakers…” Alvin Gold Gramophone NO LIMITS Musicians place no limits on the bandwidth of the music they play.  Many recordings, particularly those of “live” events include acoustic cues as to the size and shape of the recording space, which constitute an important component in the recorded sound. In many instances the venue’s “sound” contains some very low frequency information as do harmonics of instruments in the orchestra. ?Strange as it may seem, it’s not only bass instruments that produce low frequencies – many orchestral notes contain low frequency components, which contribute to the defining character of their sound. THE COMPLETE TRUTH For pure fidelity to be realized, every part of every note in the music must be reproduced, along with the acoustic signature of the recording space.  The typical home audiophile system, sometimes chosen after hours of agonizing over which components to buy, often suffers bandwidth limitation at the lower end of the reproduction spectrum. This is especially true when playing high bit-rate formats such as 24/96 or 24/192 kHz files. Whatever format you select, there is no hope of realizing what was originally recorded, without a correctly designed sub-bass system. “…bass and cello fundamentals that were only implied by their harmonics are now produced in full strength. But the benefits extend well beyond the bass, as the additional bandwidth alters the perception of midband and treble output, adding richness and a greater range of tonal colours, and adding also to image scale.” Alvin Gold Gramophone THE BIG PICTURE Accurate reproduction of low bass is especially important to film sound tracks. Directors and sound engineers rely on very low bass frequencies to impart the power of action sequences, and the sheer drama of subtler scenes. In many cases, huge expenditure is lavished on sound tracks to achieve the desired emotional response in the movie goer. The explosion of high quality sources into homes has given consumers the opportunity to experience the fidelity of wideband multi-channel recording. Every movie soundtrack has a special Low Frequency Effects channel (LFE), where all the really dramatic bass sounds are stored. But without a properly integrated audiophile sub-bass system, bass frequencies, which took hundreds of man-hours and millions to create, will not be reproduced in full. REL SHOTGUN? BOTH BARRELS AT ONCE! REL sub-bass systems are optimized to deliver highly accurate, dynamic low bass in film soundtracks. This requires an ability that as of this writing, only RELs possess; the ability to deliver huge low bass originally intended for the main speakers as well as the ability to deliver effects for the .1 channel. We do this simultaneously by the following procedure. First, using the High Level input with the AV processor (or receiver) set to “Large”. This restores the low frequency balance to your system allowing the L/R main speakers to operate as a truly full range device (make certain your speakers can handle this, if in doubt check with the speaker manufacturer). This opens up the sense of space embedded in the original recording. Follow the set-up procedures in the REL set-up sequence found elsewhere in this website using music as this will produce the most accurate balance for both music and film. Next, connect the subwoofer output on your processor or receiver to the .1 input on the REL. Using a soundtrack of know high quality properties in the .1 track, adjust gain so that on the very loudest passages, with the main system set to full undistorted output, the REL fulfills the loudness requirement while itself not distorting. Now, when movies are played, your system will be capable of reproducing all the space and dynamics of movies. Almost.  “No one else even thinks of bass in these terms. REL remains the only company to truly study film sound and work with transfer studio engineers to unlock the promise Implicit in Dolby’s standard. Try this technique once and you’ll never go back. That’s a promise.” -John Hunter and Donald Brody REL SHOTGUN 3D? BASS: If one wants to feel the depth charges exploding all around the submarine, one ultimate trick remains up our sleeves. For ultimate spatial coherence, a minimum of 3 RELs (1-main L/R, 1-center, 1-surrounds) may be used to fully realize all the performance embedded in move soundtracks. REL Shotgun unleashes the basic performance possible in a soundtrack. Shotgun 3D? extends that benefit to all the building blocks of a theater. By extending the low bass performance of the center channel the entire front half of the theater Is opened up. No longer does the center channel struggle to keep up with the mains. By doing so for the rear channels, the theater is completed and the 3 dimensional reality of film soundtracks takes place as one’s theater is transformed into a sort of 3 dimensional aural holograph. “This technique was, until recently, our best-kept in house secret. It wasn’t that we didn’t want our customers to have access to this. We simply felt that we might be perceived as too extreme—that with our older, more expensive lineup—it might just be received as too expensive and out of touch with our customers. Now, with the incredible value we have been able to build into these newest ranges it’s possible to use, for example, an R-528 for the mains, a T-7 for the center channel and a Tzero or T-5 for the rears and experience a huge upgrade for a reasonable cost. REL 3D is NOT about making more bass, it’s about better and more spatially accurate bass. REL 3D allows you to be transported inside the movie.” -John Hunter and Donald Brody  THE PATH TO PERFECT BASS One secret to a REL sub-bass system’s success resides not only in its ability to extract the deepest sounds in the mix, or in its bullet-proof reliability and conspicuous overbuild, it resides in its ability to integrate effortlessly with the main system, enhancing its sound by naturally underpinning the output from the speakers – to make them sound as if they’d doubled in size. REL defined the conditions for successful integration years  ago by following three simple but hitherto elusive principles: HIGH LEVEL CONNECTIVITY To ensure no blurring or other sonic degradation to the main system, the solution is to connect the sub-bass system from the power amp. REL sub-bass systems are designed to be connected to the existing power amp’s speaker terminals using the gas-tight high-level Neutrik connection supplied with virtually all RELs. In this way there is no interference or possible corruption of the main signal going to the speakers. By connecting at high level, the sub will reproduce exactly the same character of bass as the main speakers. ?The sub-bass system draws virtually zero current from the power amp because it is a very high impedance load (technically we say it is voltage driven). No harm can come to the sub-bass system whatever the power of the main amp, even a kilowatt can be accommodated with ease. DEDICATED POWER There is also the substantial benefit of the bass engine in a REL system being driven by its own dedicated, high current REL power amplifier – optimised for that specific driver. It is DC coupled in all but our smallest design, meaning there are no capacitors in the signal path causing phase problems and limiting its ultimate low frequency performance. REL power amplifiers are designed to produce high levels of current and built in the most robust manner practical. WHEN MORE IS LESS Because of this built-in high current REL amp, there is no power drain on your main system amplifier. It goes on happily driving your main speakers precisely as before, albeit with the significant benefit that because the REL is now fully energizing one’s room it is possible to enjoy the system at lower volume levels and with less sense of strain. Women, in particular, come to love this aspect of REL ownership. As counterintuitive as it may seem, restoring bass by adding a REL can result in lower average listening levels precisely because one doesn’t need to turn up the volume as high to provide the drive and pressure one is often seeking in higher volume levels. PERFECT FILTERS: SPEED KILLS At REL, we know the secret to a perfectly balanced system is our filter circuits. Evolving over several generations the REL filter circuit is considered a trade secret, To this day, we embed them in a matrix designed to destroy the components hidden within should our competition try to discover the ideal way to crossover. Speed is incredibly important to a sub crossover and so we employ, simple, direct and very fast-acting filters. Based on second order designs, they are intended to allow all the speed and slam of Music to emerge—and importantly, all of the subtlety—while still performing the necessary crossover filtering. The filters used in Gibraltar are, to our knowledge, the fastest ever built into a production sub bass system and measure at the theoretical limit of a filter circuit at approximately 4 milliseconds of group delay. Those used in our other models are still remarkably fast and weigh in at around 8-12 milliseconds. In order to properly reproduce music and film sound’s dynamics and natural qualities, we do not offer room correction modes. While these can, sometimes, have a positive gross effect they also slow down the transient speed of the system hugely.  “We are unwilling to destroy music or film sound in order to provide a “happy idiot” button, whereby the customer hears some difference by pushing a button, only later to discover, as they listen more critically, that the bass is completely out of time with the cadence of the music. We’re not in the happy idiot business, our customers are smarter than that.” -John Hunter and Donald Brody  REMOVING ROOM-BOOM REL sub-bass systems can be “tuned” to your system and room, whatever your system’s capabilities and listening room size. This is of enormous benefit, particularly if like many others, your listening room is not perfect. The REL can be positioned to pressurize your listening room below its lowest eigentone and ensure that those previously missing or masked frequencies are heard cleanly and clearly, no false emphasis or boom – you control its sound in your system. We are often asked: “Are two subs better than one?” Two subs will help iron out the usual room response undulations. Dynamic range is doubled and an even tighter and more controlled bass results. Two separated bass sources help achieve these subtle improvements. ADDITIONAL BENEFITS If you decide to upgrade any item in your system, the REL will simply reveal more of its potential. This of course can be said about some upmarket speakers too, but rather than simply show up your systems faults, the REL is fully adjustable, thus it will never be obtrusive. Above all it will allow you to keep what is best about your existing system. With a REL there is NO compromise. The REL will only add to your already high quality sound. It will never overwhelm, but confidently underpin your main system. It is very likely the most cost effective upgrade you will ever make. “We still insist on testing each unit at multiple stages along the way, then performing exhaustive tests on finished units. It’s not the cheapest way to build, to be sure, but the only way we know of to ensure consistently high quality.” -John Hunter and Donald Brody Technology We’re often asked, “What makes a REL a REL?” The answer is simple, but not easy. At REL We approach each music and theater reproduction issue afresh and always ask “What is the optimal way to effect the desired result?” A REL is a SYSTEM, hence the term Sub-Bass System. Many people mistakenly think that it is the simple addition of a high-level input, but there is so much more to it than that. We strive to build the most reliable subs in the industry – ask any industry-insider.  RELs are built like no others because it is quite difficult and costly to execute to our standard. But it is imperative to us that we retain our good name and that begins with products destined to last for years of happy ownership. It Helps to be Well Connected As a pure high-end company, we believe in first doing no harm with our subs. So, we offer no high pass crossovers that interfere with the bass from the main speakers. This means we sell fewer subs, but the ones we do sell make their owner’s quite happy. We connect via a special high-level connection whenever possible because doing so allows the voice of your main system to be built forward into every REL. We permit crossing over quite low because our designs produce truly deep bass, where many of our competitors focus on very loud middle bass. Film, Glorious Film You Wont Believe the Difference We worked closely with one of the leading movie sound studios to create REL’s Shotgun? Theater Reference Circuit, wherein the low bass directed to the main speakers is reinforced by the REL all-the-while reproducing the dedicated .1  LFE channel that is the heart of thrill in a movie soundtrack. And then we worked to integrate it into one very clever circuit that means even a single REL can accomplish this trick. We provide our owners with a dedicated single phono input for film’s .1/LFE channel with its own volume control. Crossover is fixed, per Dolby specification, at 120Hz.Simply dial-in the High Level using dynamic music, as usual, then switch over to a film soundtrack and, while playing the most bombastic LFE track you can find, bring up the gain on the dedicated LFE circuit until just below clipping and you’re all set. Stop Here Driver We carefully design our drivers to reproduce low bass, with resonant frequencies that are exceptionally low, long travel suspensions to allow high output and ideal motor assemblies to energize the system. We refer to them as bass engines since this descriptive more closely defines their function. Our engines are carefully designed to start and stop quickly, since it is the quiet in between notes that defines the meaning of music. Our drivers are a major aspect of REL’s performance. Where budget allows, on our Gibraltar range, we use expensive carbon fibre cones with substantial die cast frames for energy control. When we step back to Serie R, we retain the heavy duty die cast allow frames, but have designed a complex multi-layer hand thrown paper cone. Arriving at Serie T budget constraints require the use of stamped steel (rather than alloy) frames, and we again use paper, but less expensive to produce heat-pressed cones that retain excellent light weight properties while still yielding some of the structural integrity of their dearer peers. Why Don’t REL use Massive Multi Thousand Watt Amplifiers? Our engineers work hard to keep moving mass as low as practical in our drivers, thereby allowing the overall design to be more mechanically efficient. Greater efficiency means we obtain more output from fewer watts of electricity consumed, which is a good thing on this steadily warming planet of ours. Speaking of green, we look beyond the obvious; even the cabinet damping material used in some of our best designs is made from recycled blue jeans. First, because it is the finest, best sounding stratified damping material for bass Driver/cabinet interaction we have ever tested. Second, because conventional wadding such as fiberglass takes about 100 million years to break down – give or take a million. Our recycled blue jeans will last for several decades by which time it is our firm belief we will have developed a superior replacement for Gibraltar. Instrument Grade Cabinet Bracing All current REL designs benefit from careful hand fitting of intricate internal bracing. Borrowed from acoustic instrument design, our bracing is vastly different from the normal hard-edged windowpane braces that produce audible and evident noise when driven as hard as our designs drive the cabinet. As the careful observer can identify, we have taken great pains not only to locate and quiet significant modes, but each internal surface is carefully radiused to eliminate hard-edged surfaces that produce audible noise and distortion. Gibraltar uses marine-grade laminated bracing, while Serie R uses interior grade plywood bracing and Serie T uses HDF composite bracing. Our cabinets are built from substantially massive, heavy medium density fibreboard (MDF) and in Gibraltar, we specify the highest-grade Australian-sourced MDF for its superior sonic and aesthetic qualities. Filter Networks Gibraltar employs an advanced filter circuit which provides exceptional performance when coupled to the rest of the signal chain of the Sub-Bass System. A second-order variable low-pass filter utilizing a Bessel function was chosen for its linear phase response, which equates to filter at group delay. This means that, unlike other filter functions, the amount of delay the signal is subjected to during processing is constant through the entire pass-band, which improves the frequency response and allows for better integration of the sub with the main speakers. An additional filtered second-order Bessel filter follows the variable filter, removing unwanted midrange signals that, if left unfiltered, might cause the midrange of the main speakers to become muddy or congested. All filtering is performed in the analog domain using high-quality components with tight tolerances to ensure the highest possible performance and consistency. On Serie R and T, we employ a similar filter topology but use softer conventional butterworth filtering for primary and secondary filtering as they are better suited to the overall performance envelope of these designs. The Path Less Taken Frequently, industry types ask if we’re not worried that someone else will copy us? The answer is, to do what we do every day, takes relentless commitment to excellence. Every day, we are confronted with challenges. Every day, we are asked to build our products cheaper, or re-design them to be easier to build. We refuse to do so. No, we are not worried someone else will copy us – doing it properly ensures ours is a path few will follow.
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