SVS SB-2000 Pro Subwoofer Review Specs

Specs
12-in high-excursion driver in sealed enclosure
Amplifier: 550 watts RMS (1,500 watts peak)
Connections: RCA stereo in, RCA stereo out; trigger input, power port for optional wireless adapter
Dimensions (WxHxD, inches): 14.6 x 14.2 x 15.6
Weight (pounds): 38.6
Price: $899 (piano gloss black), $799 (black ash)

Company Info
SVS
(877) 626-5623
svsound.com
COMPANY INFO
SVS
(877) 626-5623
ARTICLE CONTENTS

COMMENTS
jeffhenning's picture

... Come on, S&V guys, are you ever going to review a sub from Rythmik Audio? Their servo systems are just as spectacular as the subs from any other manufacturer. Possibly more so.

I have four of their L12 subs (the cheapest they make) in my home theater. I set them for optimal music performance and have found the system's headroom to be greater than what my ears and theater can take.

Total cost of the subwoofers with basic Pangea power cables, SVS sub isolation feet and Mogami Gold RCA cables was about $2,500. The performance of this system is very difficult to improve upon in my room unless you have no regard for your hearing.

One other great aspect that no non-servo sub can boast: the servo reduces distortion and any non-linear behavior by a factor of 3. It also means that break-in is basically unnecessary and that the subs will perform with incredible parity & consistency over their usable lives.

To the best of my knowledge, no other subwoofer can offer that (got this last bit from the guy who designs them).

As to SVS, why don't they include their Sub Isolation feet with their subs? They work really well. I'm basing this off of their photos.

dnoonie's picture

I like the more compact design of the Rythmik 12" offerings since I'm tight for space. I also like the XLR I/O in a smaller design. I would like to add 2 more subs to the 2 that I have for the back of the room...actually I'd like more powerful mains for that matter...all in good time. I really do like what I have!

Thanks for the review.

trynberg's picture

It's frustrating in 2020 to still read all of these outdated audiophile tropes about subwoofers. There is nothing inherently "faster" or more "musical" in a sealed design, as compared to a ported design. Especially when the sealed design relies on built-in EQ and limiting circuits (which add group delay) to achieve a reasonable response.

jeffhenning's picture

I agree that "fast" & "musical" are rather innocuous terms when it comes to a sub. The crossover is more important to getting "that". Also, most people that use those expressions aren't musicians or even bassists so it becomes even less useful and quite subjective to the impressions of a person that has never felt an instrument vibrating their body while playing it.

You are, though, very wrong about group delay and phase alignment on ported subs. The only way a ported design can work is for the rear wave in the cabinet to sum with the front wave from the woofer. The only way to do that is to make sure that what is coming out of the port is 360° out of phase with the pressure wave coming from the face of the woofer.

If the port resonance is 25Hz, the 360° phase delay places the ports emission about 40mSec or 40ft behind the direct sound from the woofer's face. There is also port noise. The cabinets also need to be larger. And you need to use an aggressive high-pass filter to control the woofer below the port frequency and that adds a ton of phase delay that starts way further than an octave north. OK, that all sounds terrible, but...

The port usually only offers boost around an two to three octaves wide around its tuning frequency so, in the case above, anything above 60Hz or so is uncorrupted by it's 360° phase distortion. Also, the transition is very mild. As the port kicks in, the woofer dies down.

If a sub's port(s) are designed correctly, port noise should be inaudible.

Also, our ears are very forgiving of phase distortion at ultralow frequencies. That doesn't mean that it can't be heard. It just means that average humans aren't hearing it well.

The big advantage of ported designs are their efficiency at the lowest frequencies supported by their ports. Below that frequency, unfortunately, everything goes down hill like a cliff. They fall apart.

On the other hand, with sealed designs, the 6dB's of EQ to get them to flat to the same level is quite benign temporally. Also, a sealed design can go lower with even extra EQ as long as you don't push it hard.

This is the decision:

#1: It's bigger, louder, has much poorer phase performance and can't go super low

#2: It's smaller, not as loud, has way better phase performance and can go super low, but don't go nuts

As a bassist, I accept that my sealed cabinets will not be as loud, but will give me exactly what my body is feeling when I play my instrument. That's my preference. Yes, I do need more of them and I'm OK with it.

I came to this decision after a few decades, but, in the 70's ported was the way to go. Also, subs didn't exist then.

I can hear the very small difference between a ported system and a sealed system. If both are properly implemented, though, the difference is quite small.

With proper DSP, those differences can be demolished. Then it just comes down to size and output.

You can bone a fish with any knife. Which one you choose is up to you.

roccobruno518's picture

It would be really nice to see a review of the Rythmik Audio F12 Direct Servo subwoofer - Signature Edition.

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