There are just a few more features worthy of mention on the third OSD page, as shown below.

Having configured the Setup column of global parameters, you can Lock them so you won't accidentally change them.

As well as all the settings mentioned so far, each preset can have its own default Volume and Contour settings. Contour is effectively an additional ninth parametric EQ filter which can be used to boost (or cut) a single band around a specific frequency. For example, with the factory default settings, Preset 1 (Action/Adventure) has its default volume raised to make the sub slightly "hot". The boost of +5 dB applied around 35 Hz gives an additional kick to certain special effects. The precise values used in each of the presets are entirely up to you, and any of them can be changed to suit your own tastes.

Preset 6 is treated differently, because all the equalization is disabled. By flicking back and forth on the remote between Preset 6 and the equalized settings in one of the other presets, you can easily hear the difference that the equalization is making.

Night Mode can be toggled on/off by pressing a button on the remote. This function limits the amount of deep bass produced by the sub for neighbor-friendly viewing late at night. This is not just a crude fixed bass-cut filter. Rather, it tracks the signal level and only starts to apply any cut when the signal is above a certain level. The Night Mode Volume setting here determines the threshold at which the dynamic compression starts to be engaged. I found the default setting of 30% a little too aggressive in practice and it may be worth increasing this value slightly to make the effect more subtle if you want to use the feature.

The Sound

In my listening tests, I couldn’t assign any particular character to the basic sound of the SMS-1 itself. It is essentially neutral. However, when flicking back and forth to preset 6 (EQ disabled), the difference which the EQ is making can be clearly heard.

I play classical church organ, so I know what the bottom octave of a 32 ft organ stop should sound like. One of the problems I encountered in playing organ recordings with my sub previously was that the room gain in my modest-sized listening room led to that bottom octave being overblown. In a real church or cathedral acoustic, those lowest notes produce an effect that is more felt than heard. Reproducing that in the home is always going to be a tall order, but with the SMS-1 taming the peaks in my original room response, some of the effect can be realized without setting the whole room throbbing unrealistically.

The dip in my original system response between 45 Hz and 63 Hz showed up very clearly in rock music by killing much of its drive and energy. Bass guitar and piano low notes sounded rather thin and anemic. With the SMS-1 boosting the dips, the presentation became much more believable with the bass lines now far easier to follow.

While the SMS-1 effects are generally easier to hear with music, action films also benefit from the greater bass detail. Eliminating the response peaks means that the subwoofer level can be increased overall to bring it into better balance with the other speakers, making the bass clearer and more distinct. With the modal peaks gone, dialog is still intelligible, while music stands out better over explosions and other sound effects.

During some listening tests conducted at -10 dB below reference level with the Master and Commander DVD, I discovered that the SMS-1 could push my subwoofer beyond its limits. During the opening battle scene (chapter 4, 10:32), Russell Crowe’s Jack Aubrey character shouts, "Fire", and several loud cannon shots follow. I found that I could play this sequence fine with Preset 4 (Jazz/Classical) or 6 (No EQ), but if I engaged Preset 1 (Action/Adventure), there were unmistakable signs of distress from the sub and I had to back off.

This is by no means the fault of the SMS-1. Even without it, I could have produced a similar effect by running the sub too hot. Nor is it a criticism of the sub, since every sub has a finite limit beyond which it is not sensible to push it. It is simply the case that the combination of the EQ boosts correcting dips in the response, taken together with Preset 1 which runs the with a +5 dB contour boost at 35 Hz, proved too much.

The manual contains several warnings to this effect. Before letting rip with one of these demanding soundtracks, it would be prudent to set your master volume initially low, and increase it cautiously until you are confident that your subwoofer can take it all in its stride.

Conclusions

The SMS-1 is a serious audio processor at a reasonable price tag, and if you consider buying one, you probably already have a good subwoofer. The SMS-1 will simply let you unleash its full potential. When it becomes time to upgrade to a newer, bigger sub, the SMS-1 will still be around to help integrate it. The ability to upgrade the software means it is unlikely to become obsolete anytime soon. It can therefore be viewed as good value and a sound long term investment.

This product has a very useful box of tricks. It will tell you things about your system and room that you never knew before, and it provides you with a set of tools from which you can select the most appropriate to fix your specific problems. This is a great example of a product where the whole is far greater than the sum of its parts. Once you get one, I guarantee you’ll wonder how you ever managed without it.


- Roger Welch –

© Copyright 2005 Secrets of Home Theater & High Fidelity Go to Table of Contents for this Issue Go to Home Page

Terms and Conditions of Use