T
wo Things Before You Begin
1 It is helpful to know that you will almost always connect the REL to the input on the rear panel labelled “HIGH
LEVEL INPUT.” This connection is made using the supplied 34’ 10” (10 meters) cable, the bare leads of which
c
onnect to the speaker output terminals of the power amplifier. The easy and foolproof connection at the REL
is done with a Neutrik Speakon connector. The purpose of connecting to the speaker output terminals is one
of the unique secrets of REL’s success. By connecting to the high-level input on the REL from the amplifier,
you build forward the sonic signature of your main system, including the tonal balance and timing cues of
the entire electronics chain. In this way, the REL is fed the exact signal that is fed to the main speakers.
2 When possible, the REL should be placed in one of the corners behind the speakers. Remember, we are dealing
with true LOW bass pressurization with RELs. Low bass pressurization below 40Hz is best derived from corner
placement, where the most linear and efficient low bass can be produced.
Connecting and Setting Up
High-level connection, using the enclosed cable with the Neutrik Speakon connector, is always the first
choice. This connection can be made without affecting the performance of the amplifier because the REL’s
amplifier input impedance is 150,000 ohms, in effect not producing any additional demand whatsoever on the
rest of your system. This scheme also avoids adding any detrimental effects by not interposing any additional
electronics into the amplification chain.
• The standard high-level hook up procedure is: attach the red wire to the amplifier’s right positive speaker
output terminal; attach the yellow wire to the amplifier’s left positive speaker output terminal; attach the
black wire to whichever of the amplifier’s ground output terminals is convenient; plug the Speakon connector
into the Sub-Bass System’s high-level input.
• For differential (i.e. fully balanced) amplifiers using one REL, simply use the standard connecting scheme
with the exception of connecting the black wire to chassis ground (i.e. a metal bolt or screw, preferably not
painted or anodized, on the chassis of the power amp or receiver), not to a negative speaker terminal, and
then connecting into the HIGH LEVEL INPUT on the REL. Please contact your dealer should there be any
questions concerning this or any other hookup procedure.
Low-level connection (via phono connectors) is always an option if high-level connection is not possible. When
connecting to the low-level inputs in a system in which high-level connection is not possible, connect a stereo phono
cable to the LOW-LEVEL INPUT jacks.
When connecting to a home cinema system where there is a .1/LFE channel output, connect a single phono cable
between the sub out of the processor/receiver and the .1/ LFE input jack on the REL.
1 Positioning: The optimal position for a REL is in one of the corners behind the main speakers. This position provides
9 dB of mechanical amplification and allows for the most linear true low bass wave launch, owing to the ability to
tune the REL to the longest distance in the room in order to produce the longest, therefore lowest, bass waves.
2 The Process: To begin the set-up process, choose a piece of music that has a repetitive bass line that is very low in
frequency. We recommend 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, but more importantly, the recording venue
was quite large for this recording, and therefore it has a very deep and large-scale bass signature. This type of 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 the controls, is the most
effective and efficient way to set up the REL. If working alone, the initial steps in the set-up can be very effectively
carried out from the location of the REL. Trying to ignore all other music in the track, listen for the bass drum and its
effect on the listening room.
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