USER MANUAL
STAMPEDE
AND
STRATA 5
REL Acoustics Limited
North Road, Bridgend Industrial Estate
Bridgend, CF31 3TP
Great Britain
Telephone: +44 (0) 1 656 768 777
Fax: +44 (0) 1 656 766 093
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REL Acoustics ST 5 User Manual
WELCOME
Thank you for buying a REL “ST” range Sub-Bass system. This manual contains important
safety information as well as helpful advice and should be carefully studied before integrating
the sub-bass system with your sound system.
The new ‘ST’ range of REL sub-bass systems represents a radical advance in technical
design. The adjustment of level, phase and crossover is achieved through new
microprocessor controlled circuitry, eliminating the need for multiple control knobs. Each
model offers the remote control of all calibration adjustments, enabling the user to set-up the
sub-bass system easily and more accurately from the listening position. All these settings can
be saved into memory and recalled at any time. Most adjustments are available from the
remote, but a few adjustments that are normally only set on installation are only available
from the front panel.
Reliability, quality of construction and performance of REL products is maintained and
enhanced by the innovative design of the latest ‘ST’ series of REL sub-bass systems.
STAMPEDE AND STRATA 5
Stampede and Strata 5 are designed as closed box systems. For their cabinet volume and
drive unit, this arrangement offers the best compromise between extension and power
handling. With smaller cabinets, the addition of a port to make it a reflex design can result in
excessive port noise, which manifests itself as ‘chuffing’ when very low frequencies, such as
organ pedal notes, are reproduced. Worse, a small cabinet will not extend down as deeply as
its closed box alternative.
The cabinets are manufactured from 30 mm thick MDF (Medium Density Fibreboard). This is
the material of choice when the very highest quality is demanded. There can be no substitute
for weight and density in the quest for accurate low frequency reproduction.
Stampede and Strata 5 offer microprocessor control of all functions, either via the remote
control or the encoder on the front control panel. Remote control makes it easier for the user
to set-up the sub-bass system from the listening position.
For optimum performance we believe the electronics, cabinet and the drive unit should all be
designed to work together.
All REL amplifiers are fully DC coupled to avoid phase shifts and compromises in their
performance. The line level and filter stages are fully regulated to ensure total isolation from
the power amp stages. The filter stages are unique, bespoke designs which utilise the highest
quality components. The capacitors are high quality nitrogen filled polystyrene types of 1%
very close tolerance and indefinite life. The use of very close tolerance components also
ensures consistency of performance throughout the life of each model. Although digital
control is used, the audio signals only pass through analog circuits, thus ensuring no digital
hash is added to the signal.
Great care is taken to star-earth the circuit boards to maximise sound quality.
There is further filtering of the higher frequencies to ensure optimum performance at all
settings of the ABC (Active Bass Controller). The built-in power amplifier is uses ultra-rugged
audio grade MOSFET output devices. High quality smoothing capacitors offer long life with
very low ESR (Equivalent Series Resistance). The transformers are ultra-quiet audio quality
low-loss toroids, specially manufactured to REL’s strict specifications. Great care has been
taken to deliberately over-engineer all REL products to ensure unparalleled reliability.
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REL Acoustics ST 5 User Manual
MAIN FEATURES OF THE NEW ‘ST’ SERIES
1.
2.
3.
Microprocessor control with memory for all functions
Dedicated digital readout for all functions
All components are of superior quality in order to achieve long life and long term
consistency of sound quality
4.
5.
6.
All cabinets made from 30mm thick MDF
Superior wood veneer finishes are available for all models
Set-Safe® circuitry ensures a high standard of protection if the sub-bass system is
overloaded
IMPORTANT SAFEGUARDS
1. Read all of these instructions.
2. Save these instructions for future use.
3. Unplug the sub-bass system from the wall socket before cleaning with a damp cloth. Do
not use liquid or aerosol cleaners.
4. Do not use near water.
5. Always position the sub-bass system on the floor.
6. The sub-bass system should only be connected to the power source indicated on the
panel of the amplifier.
7. Only use the power cord supplied or one of similar quality and construction.
8. Do not allow anything to rest on the power cord. Position the power cord so that it cannot
be stepped upon.
9. For added protection during a lightning storm, or for long periods of system inactivity,
unplug the sub-bass system from the wall socket.
10. Avoid spilling any kind of liquid on the sub-bass system.
11. Do not attempt to service the sub-bass system yourself. In removing the amplifier, you
may be exposed to dangerous voltages. Refer all servicing to your dealer.
12. Unplug the sub-bass system from the wall socket and refer to your dealer under the
following conditions:
a. When the power cord or plug is damaged.
b. If liquid has been spilled on the system.
c. If the system does not operate properly after following the operating instructions.
d. If the system has been dropped and damaged.
e. When the system exhibits a profound change in performance.
WARNING
This sub-bass system is heavy. To avoid risk of injury, take care when handling.
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REL Acoustics ST 5 User Manual
Worldwide Warranty
In addition to any local warranty, which may be offered by your Distributor or Retailer, REL
offers you a conditional three-year Worldwide Warranty.
The conditions of this warranty are:
1. That the warranty shall be for a term of three years from the date of purchase.
2. That the warranty is ineffective until registration is received by REL.
3. That the product is not exported from the country of purchase for at least eight weeks
after purchase.
4. That any claim is accompanied by the necessary proof of purchase.
5. That the product was purchased from an authorised REL dealer.
6. That the product has not been abused or modified in any way.
The Warranty is transferable provided REL has been notified prior to the transfer.
Notification must include the model, serial number, name and address of original purchaser
and the name and address of the new owner. The Warranty will be valid for the remainder of
the original period of Warranty.
This Warranty is offered in good faith and is in addition to any statutory rights or existing
Warranty that may be offered locally.
To register for this Warranty, which is offered at no extra cost to you, please complete and
send the card enclosed or complete and send the Warranty card on the REL web-site:
Note: If you have purchased more than one sub-bass system, please send a card for each
one.
SERVICE AFTER WARRANTY
UK customers please contact your dealer in the first instance before returning any product
directly to REL. Should the unit need to be returned for any reason, all carriage costs will be
payable by the customer. Losses or damage caused during transit are at the customer's risk.
Overseas customers please refer to the list of distributors on REL’s website.
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REL Acoustics ST 5 User Manual
REAR AMPLIFIER PANEL
CE
IEC Mains socket and
On/Off switch
~ 220-240 VAC 50-60 HZ
FUSE 2A/T
DC TRIGGER.
3.5mm jack 5 to 12 Volts
5-12V DC TRIGGER
Strata5
LFE INPUT.
150 WATT MOSFET SUB-BASS SPEAKER SYSTEM
Phono socket. Used to connect
the sub-bass system at low level
to the sub/LFE output of the
AV
R
LFE LEVEL
PROTECTED BY
amplifier/processor/receiver
Page 13
HI LEVEL
HI LEVEL INPUT
Neutrik Speakon socket. Used
to connect the Sub Bass System
at high level to the main
speaker output terminals of
amplifiers. Pages 11and 12
MADE IN GREAT BRITAIN
Strata 5 amplifier panel shown, Stampede amplifier panel is the same.
REMOTE CONTROL
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Most functions are accessible via either the remote or the front panel. Standby and the
memory are only accessible via the remote. Display timeout, display brightness and DC
trigger are only accessible via the front panel.
To prevent accidental changing of parameters once they have been set, the manual
encoder on the front panel can be electronically locked. To lock the control first press F2
and then F1 in sequence, the display will read FP 0F (front panel off), to reactivate the front
panel encoder press F2 and F1 in sequence again, the display will read FP on (front panel
on).
Used to raise or lower the volume when
using the LFE input. Range 00 to 99
as displayed on the digital readout on
main control panel.
Used to raise or lower the volume when
using the high level input. Range 00 to 99
as displayed on the digital readout on
main control panel.
Used to set the upper roll off point in the
range 16 to 99 Hz as displayed on the
digital readout on the main control panel.
LFE MUTE
MEMORY
Single channel graphic equaliser, - 9dB to
+ 9dB at 80Hz.Display will read –9 ….0….9
Used to store user preset preferences. See
below for detailed instructions on how to
store and recall settings.
Used to mute the LFE input. Display will
read LF on or LF oF. Press again to switch
LFE input back on
Used to put the sub bass system into
standby mode. Display shows Stby, press
again to bring out of standby.
Used to change the phase from 0 to 180
Degrees. NOTE: The display will read
0 and 18.
Memory Functions
There are four memory locations for the user to store preferred settings, these are:
Position 1 Using the MEMORY button in conjunction with the LFE + and – buttons
Position 2 Using the MEMORY button in conjunction with the HIGH LEVEL + and – buttons
Position 3 Using the MEMORY button in conjunction with the FREQUENCY + and – buttons
Position 4 Using the MEMORY button in conjunction with the SLAM/DEPTH + and – buttons
To Store User Settings
First select the settings for each function which satisfy your particular requirements, for
example you may wish to store the settings for two channel use and another set for 5.1 home
cinema use. When the correct settings are chosen then press the MEMORY button, and one
of the four memory location + buttons, the settings are now stored in this memory position.
To recall these settings press the memory button and the relevant memory location – button
in sequence. The above procedure can be repeated for the other memory locations
All settings can be stored in memory, including those accessible only via the front panel.
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REL Acoustics ST 5 User Manual
Display of Memory Function
1st. memory position store. Press MEMORY the display will show Pr – (Profile)
Press LFE + button, the display will show Pr –1 and the settings
will be stored.
1st. memory position recall. Press MEMORY the display will show Pr – (Profile)
Press LFE - button, the display will show Pr 1 and the settings
will be recalled.
Repeat the above procedure for memory positions 2,3 and 4 using the HIGH LEVEL,
FREQUENCY and SLAM/DEPTH + and – buttons.
For memory position 2 display will show Pr –2 to store and Pr 2 to recall
For memory position 3 display will show Pr –3 to store and Pr 3 to recall
For memory position 4 display will show Pr –4 to store and Pr 4 to recall
CONTROL PANEL
DISPLAY
ENCODER
All the functions shown on page 9 and 10 are available via the remote control and the
encoder on the front control panel.
When using the front control panel, the functions are accessed by sequential presses of the control
knob, the function being displayed on the two left hand digits of the seven-segment display. When the
required function is accessed, the value can be adjusted by rotating the control knob, the value being
displayed on the two right hand digits of the seven-segment display.
FACTORY DEFAULT SETTINGS
Before the MEMORY positions are programmed with the user’s preferences they are all pre
programmed with factory defaults as follows:-
LFE
30
HIGH LEVEL
FREQUENCY
SLAM/DEPTH
LFE MUTE
30
30
0
Off
PHASE
0
DISPLAY TIMEOUT
DISPLAY BRIGHTNESS
DC TRIGGER
Off
Max (10)
Hi
To reset factory defaults, switch off the unit by means of the rear mains ON/OFF switch.
Then switch back ON as you hold in the encoder knob on the control panel, continue to hold
the knob in until the decimal point on the right hand digit appears. You will now have reset to
the original factory defaults.
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REL Acoustics ST 5 User Manual
CONTROL PANEL DISPLAY
The following options are available via the remote control and the encoder on the control panel.
LFE input volume. Select by pressing LFE + or – buttons
on the remote control or pressing the control knob on the
control panel until ‘LF’ shows on the display.
Adjust level by pressing the + or – buttons on the remote
control or rotating the control knob on the control panel.
Level will show in the range 00 to 99
High Level input volume. Select by pressing + or –
buttons on the remote control or by pressing the control
knob on the control panel until ‘Hi’ shows on the display.
Adjust level by pressing the + or – buttons on the remote
control or by rotating the control knob on the control panel.
Level will show in the range 00 to 99
Frequency. Select the roll-off frequency by pressing the +
or – buttons on the remote control or by pressing the
control knob on the control panel until ‘Fr’ shows on
display.
Adjust cut-off point by pressing the + or – buttons on the
remote control or by rotating the control knob on the control
panel.
Slam/Depth. Select the Slam/Depth option by pressing the
+ or – buttons on the remote control or by pressing the
control knob on the control panel until ‘Sd’ appears on
display.
Adjust level of Slam/Depth by pressing the + or – buttons
on the remote or by rotating the control knob on the control
panel.
LFE MUTE. Select the LFE MUTE option by pressing the
LFE mute button on the remote control or by pressing the
control knob on the control panel until LF appears on the
display.
Change the state to on or off by pressing the LFE MUTE
button on the remote control again or rotating the control
knob, the display will read LF on or LF oF.
MEMORY. This function is only available via the remote
control.
For operation see pages 7 and 8
Phase. Phase is selected by pressing the button labelled
PHASE on the remote control, display will read Ph 0 or Ph
18 representing 0 degrees or 180 degrees.
Phase can also be selected by pressing the knob on the
control panel until Ph is displayed, the 0 degrees or 180
degrees is selected by rotating the control knob.
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Use this function to lock the control panel encoder, this will
prevent user settings being changed accidentally.
Press MEMORY and then LFE MUTE buttons, display will
read FP on or FP oF. FP on means front panel control active,
FP oF means front panel control locked.
Pressing the standby button on the remote control switches the
sub bass unit in or out of standby mode.
Press the STANDBY button and the display will read Stby
briefly and then default to just four flashing dots. Another press
of the STANDBY button will bring it back to life.
ADDITIONAL FUNCTIONS
(Only available via the encoder on main control panel)
Display Time Out. Enables the display to be
turned off after a pre-set time or left on
continually.
- - indicates ‘always on’ or select 1 to 59 seconds
for display off. Select by pressing the control
knob until ‘dt’ appears on the two left hand digits,
rotate knob to set value as displayed on the two
right hand digits.
Display Brightness. Adjusts the display
brightness from 01 ‘dim’ to 10 ‘full brightness’.
Select by pressing the control knob until 'br'
appears on the two left hand digits, rotate knob to
set value as displayed on the two right hand digits.
DC TRIGGER. Custom install feature. Used for
remote control of sub by other equipment.
Select by pressing the control knob until ‘tr’
appears on the two left hand digits. Rotate knob to
select value Hi or Lo. Please consult your dealer
on use of this feature.
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REL Acoustics ST 5 User Manual
CONNECTING UP
Always switch off your system before disconnecting any wires
To enhance connection versatility, the “St” range has a range of separate inputs depending
on the model, see page 8.
To connect to the power amplifier using the UNBALANCED Neutrik high
level input.
To engage the Neutrik Speakon plug, insert fully into socket and rotate clockwise until locked.
To remove the Neutrik Speakon plug, grip body of plug, place thumb on chrome lever, move
lever backwards and rotate plug anti-clockwise (counter-clockwise in the US) a quarter turn
and withdraw.
The high level input* is designed to accept the stereo (two channel) signals from the speaker
terminals of your receiver, integrated amplifier, or power amplifiers. This has the advantage
of ensuring that your sub-bass system receives exactly the same signal as the main
speakers, and ensures that the character of the bass from the main system is carried forward
into the sub-bass. This is a very important factor in the successful integration of your sub-
bass with the main system and works with the REL’s ABC circuitry to ensure a superior result.
*This input is labeled “Hi LEVEL”. This is the recommended means of connecting the
sub for two-channel use.
Supplied Neutrik Speakon High level Interconnect
HI LEVEL input
Release lever
YELLOW
BLACK
RED
+
L
-
+
R
-
Amplifier main speaker outputs
High Level connections should be made to the same binding posts as the main speakers.
Connect as shown above. Red to the amplifier’s primary right speaker red terminal, yellow to
the amplifier’s primary left speaker red terminal and black to one of amplifier’s primary
speaker black terminals (not both).
Plug the Neutrik Speakon plug into the HI LEVEL Neutrik socket.
The output level can be adjusted by one of two methods:
1.
2.
By using the remote control: press the buttons marked HIGH LEVEL ‘+‘or ‘-‘. The
front control panel will show ‘Hi’ on the two left hand digits. The volume level can be
adjusted up or down by pressing the + or – buttons. The display will show 00 to 99 on
the two right hand digits.
By using the encoder control on the front control panel: press the control knob to
select ‘Hi’ on the two left hand digits, rotate control knob to select the value in the
range 00 to 99 on the two right hand digits.
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To connect to MONO BLOCK power amplifiers using the High Level
Neutrik UNBALANCED input
To engage the Neutrik Speakon plug, insert fully into socket and rotate clockwise until locked.
To remove the Neutrik Speakon plug, grip body of plug, place thumb on chrome lever, move
lever backwards rotate the plug anti-clockwise (counter-clockwise in the US) a quarter turn
and withdraw.
Supplied Neutrik Speakon High level Interconnect
RED
HI LEVEL input
Release lever
BLACK
YELLOW
+
-
+
-
L
R
MONO
BLOCK
MONO
BLOCK
SPK OUT SPK OUT
PRE AMPLIFIER
GROUND (see below)
High Level connections should be made to the same binding posts as the main
speakers
Using a single sub-bass system, connect as shown above. Connect RED to right monoblock
speaker positive (red) terminal, connect YELLOW to left monoblock speaker positive (red)
terminal. The BLACK should be connected to ground at the pre amplifier. If the pre amplifier
does not have a dedicated ground terminal, then use one of the chassis screws at the rear of
the pre amplifier.
NOTE: MAKE SURE THAT ANY CHASSIS SCREW THAT IS CHOSEN IS NOT
CAPTURED ON THE INSIDE WITH A NUT AS THE NUT COULD DROP INSIDE THE UNIT.
The output level can be adjusted by using one of the two methods described in the last
section.
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To connect to the amplifier/processor/receiver using the phono to phono
LFE interconnect
Phono to Phono Interconnect.
To sub/LFE output of
Amplifier/Processor
Sub LFE
Input
Connect as shown above using a phono to phono interconnect. Plug one end into
the sub/LFE output on the amplifier/processor and the other end into the LFE LEVEL
input on the sub-bass system.
The output level can be adjusted by one of two methods.
1. By using the remote control: press the buttons marked LFE LEVEL ‘+’ or ‘-‘. The front
control panel will show ‘Hi’ on the two left hand digits. The volume level can be adjusted
up or down by pressing the ‘+’ or ‘-‘ buttons and the display will show 00 to 99 on the two
right hand digits.
2. By using the encoder control on the front control panel: press the control knob to select
‘LF’ on the two left hand digits, rotate control knob to select the value in the range 00 to
99 on the two right hand digits.
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REL Acoustics ST 5 User Manual
REL SET-UP MADE SIMPLE
REL designs are not traditional subwoofers, but true sub-bass systems. A REL is designed to
augment the performance of “full range” speaker systems, to provide linear response down to
below 12 Hz (Studio III, -6 dB down at 9 Hz). Therefore, for the moment, set aside everything
you’ve been taught about subwoofers and how they are integrated into a stereo or theatre
system. REL’s set-up and positioning differs from other subwoofers. A REL will take
advantage of physics and room acoustics to provide deep pressurisation of the kind no
ordinary sub-woofer can deliver. It’s important that you bring to the set-up process a
willingness to do things a little differently in order to obtain these superior results. The result of
your labours will be an utterly seamless integration of genuine sub-bass to a sound system,
regardless of the main speaker’s low bass capability.
Two Things Before You Begin
A.
It is helpful to know that you will almost always connect the REL to the input on the
rear panel labelled “Hi Level.” This connection is made using the supplied cable, the
bare leads of which connect to the speaker output terminals of the power amplifier.
The easy connection at the REL is completed 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 REL’s High Level input from the amplifier, you
build forward the sonic signature of your main system, including the tonal balance
and timing cues. In this way, the REL shares the signal that is fed to the main
speakers.
B.
When possible, the REL should be placed in one of the corners behind the speakers.
A REL sub-bass system will deliver true LOW bass pressurisation, not the mid-bass
that most competitors settle for. Low bass pressurisation below 30Hz is best derived
from corner placement, where the most linear and efficient low bass can be
generated.
Basic set-up should take no more than ten to fifteen minutes to accomplish once connected.
Connecting
High Level connection: using the enclosed cable with the Neutrik Speakon connector
is always the first choice. By connecting to the amplifier’s speaker outputs the sonic
signature of the entire amplification chain is folded into the signal for the sub, thereby
keeping timing and timbre cues consistent. This connection can be made without
affecting the performance of the amplifier because the sub-bass system’s amplifier
input impedance is 10,000 ohms. This method also avoids the detrimental effects of
additional electronics in the amplification chain.
The High Level hook up procedure is explained above.
Positioning
The optimal position for a REL is in one of the corners behind the main speakers. This
position provides 9 dB of acoustic amplification and allows for the most linear true low bass
wave generation.
The Process
To begin the set-up process, choose a piece of music that has a repetitive bass line, which is
very low in frequency. Cut 4 from the soundtrack to Sneakers (Columbia CK 53146) has a
repetitive bass drum throughout, which gives you plenty of time to move the woofer around.
The recording venue was quite large for this recording, and therefore it has a very deep and
large-scale bass signature. This type of recording is perfect for the set-up process, and
should be played at the highest reasonable level expected for system playback.
With the REL remote control, adjustment of each stage is simplicity itself to achieve.
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Trying to ignore all other music in the cut, listen for the bass drum and its effect on the
listening room.
1. Phase Orientation: Once in the corner we need to adjust for phase. This may be the
single most critical step, and because it really is quite simple, it is often over looked
by even the most experienced audiophiles. The right phase is whichever position is
the loudest or fullest. While playing music with true low bass, adjust the crossover to
a point where the sub and the speaker are sure to share frequencies (40Hz for big
speakers or 60Hz for smaller speakers). At this point turn the gain so that both sub
and speaker are roughly equal in volume and then, using the “Phase” button on the
remote control, change from 0 to 180 degrees (this shows as 0 and 18 in the display).
Select the option that sounds loudest or fullest from the listening position. At this
setting, the sub-bass system is working in harmony with your main speakers,
reinforcing bass, and not cancelling it. Don’t be surprised if the chosen position
shows as 180 degrees “out” of phase. Within your room/system it is IN phase.
Alternatively the phase can be changed using the control knob on the front of the
cabinet. Although perfectly feasible, the remote is the preferred method as the
assessment can be done from the usual listening position and is the more accurate
way of achieving the best result.
2. Room Orientation: Next, if space allows, try two different orientations of the woofer
relative to the wall. First, while playing the set-up cut, place the REL with the
connection panel parallel with the rear wall. Second, place the REL with the
connection panel parallel with the sidewall. As with phase, the orientation which
yields the most output is the best position for that room. This process simply positions
the driver to most efficiently drive the room. In some instances there may be little
difference, at which point aesthetic concerns may override performance concerns.
3. Placement: The next step is to determine precisely how far out from the corner of the
room the sub should be placed to achieve the most efficient output, as well as the
lowest frequency extension. With the sub fully into the corner and continuing to play
the music, slowly pull the sub from the corner on the diagonal, equidistant from both
side and rear walls. Do this a couple of centimetres (an inch) at a time. At a certain
point (sometimes a matter of only a few centimetres, in rare cases up to 25
centimetres or more) the sub will audibly go lower, play louder, and if it truly locks on
to the room and is fully pressurising it, the air around the sub will seem to be
energised, stop right there! This is the correct position for the sub.
Crossover and gain settings
The last stage of the set up is crossover and gain. You will require an acoustically recorded
track preferably with bass instruments and vocal. What we are looking for here is a seamless
crossover and integration between your main speakers and the sub-bass system. Firstly you
will need to set a rough volume level. To do this leave the crossover where it is and simply
play the system varying the volume until you have a happy medium between the speakers
and sub, the sub will sound obvious still but this is just the start.
Next reduce the frequency to minimum (16Hz). Using the same track, gently increase the
frequency 1 Hz at a time. What you are listening for is the point where the sub begins to
sound obvious within the system (usually somewhere between 20Hz and 33Hz with most
loudspeakers). Once you find the point where you can hear the sub over the response of the
speakers reduce the setting by 1 to 3 Hz This is not an exact science, but what we want is the
sub to be invisible within the system sonically. In short we increase the REL until you can
hear it and then reduce until you cannot.
Finally adjust the volume to taste. This generally will be by 1 or 2 positions. And that’s it. All
that’s left is to open a good bottle of wine, relax and enjoy.
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Hint: There is a tendency among audiophiles to set the crossover point too high and the gain
too low when first learning how to integrate a REL with the system, the fear being one of
overwhelming the main speakers with bass. But in doing so, the resulting set-up will be
lacking in bass depth and dynamics. The proper crossover point and gain setting will increase
overall dynamics, allow for extended bass frequencies, and improve soundstage properties.
Please note: gain must be adjusted in conjunction with crossover changes. In general, when
selecting a lower crossover point, more gain may need to be applied.
Theatre and Film Applications: For DolbyDigital or other surround sound theatre systems,
once the standard set-up for two-channel outlined above is complete, the LFE output from the
processor or receiver should be connected to the low-level input and appropriate gain
adjustments made. Keep phase consistent with what was selected during high-level set-up.
For this configuration, you must set the processor to the “large” or “full range” setting for the
left and right speakers in order for the REL to receive the bass signal via the high-level cable.
In this setting, the REL provides support for both the left and right speakers for two-channel
listening, and support for the LFE when movies are playing. Most processors will allow you to
defeat the subwoofer output when listening in the two-channel mode, however, if this is not
the case, simply press LFE Mute on the remote (or via the control panel) and save the setting
to memory for future stereo use. The effect of this set-up is one of greatly increased dynamics
in the mid-bass range; no bass bloat; and a greater degree of space and timing from the
Foley effects. For an even greater sense of space and impact, a second woofer connected in
parallel to the centre channel will prove to be a dramatic improvement as well. And if that is
not enough for you, a rear sub, both to support the rear channel speakers as well as to evenly
distribute LFE through the room, truly completes the full-range sonic picture for state-of-the-
art film reproduction.
Some rooms, notably in houses of wooden construction, can sound bass “light”. To
overcome this disadvantage, the new RELs offer variable Slam and Depth. Simply adjust the
+ and – buttons marked Slam and Depth on the remote, or navigate to the display using the
front panel encoder and adjust to compensate for the room.
Of course, some rooms,
especially smaller brick built ones, may be bass heavy at around the mid bass area, in which
case reduce this effect by again using the Slam and Depth control.
Remember that all these settings can be saved into memory.
Note: Some processors output a signal from their LFE socket, even when playing a CD in
Stereo mode. In the past little could be done, now using the remote, simply mute the LFE.
This is recommended for Stereo mode listening and can be saved along with the other
options.
Other Tips: Generally speaking, do not use the supplied spikes. RELs work on the principle
of the driver being in a high-pressure zone relative to the floor. Spiking the REL will decouple
the woofer from the floor, which will lean out the bass response. If the floor is an older, very
“springy” floor, spikes can be useful in reducing the influence of the REL on the floor. A
heavy stone slab under the REL will further improve performance. Even if you intend to use
the spikes, do NOT insert them until completion of the set-up process. After which, subtle
adjustments to crossover and gain may be necessary
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REL Acoustics ST 5 User Manual
RUNNING IN
Care taken over running in will be rewarded by many years of pleasurable use. Both the
electronics and the drive unit will benefit from an initial period of carefully controlled use.
Possible damage may be sustained by running in the unit at too high a volume setting over an
extended period. On the other hand, by taking a little care over this initial period - about 24
hours of actual use - a longer life with a higher potential eventual performance is assured.
OVERLOAD PROTECTION
REL sub-bass systems are designed as true sub-bass generators. They are designed to
reproduce those exceptionally deep notes that are felt rather than heard. They will attempt to
do this at whatever volume level you set. If the volume is set too high, no damage should
result because the built-in electronics will limit the cone movement. This electronic control is
called Set-Safe®. It constantly and instantaneously monitors the output from the power
amplifier and is totally transparent in operation until required. This means it has absolutely no
effect on the sound quality of any REL Sub-Bass System until an overload is detected.
Ordinarily an overload would cause the power amplifier to go into clipping with resultant loss
of control over the drive unit. Apart from being sonically offensive, this can cause drive unit
damage. Set-Safe® detects the point of incipient clipping and reduces the signal level to
ensure actual clipping does not occur.
Even without Set-Safe®, overload would be a difficult thing to achieve because REL sub-bass
systems have particularly high current amplifiers and very powerful drive units specifically
designed for high sound pressure levels.
From our tests, we believe it would be very difficult to deliberately damage a REL sub-bass
system. Nevertheless, anything can be damaged if sufficient effort is made. Although
everything possible has been done to minimise damage from moderate attempts at
overloading, there can be no defence against those individuals who deliberately and
perversely abuse the device. Such damage is NOT covered by Warranty. Please remember,
a REL sub-bass system is there to supplement your main system, not to overwhelm it!
CARE AND POLISHING
Brittex (sprayed) finishes:
These are best maintained by careful dusting with a lint free cloth. Alternatively, a soft
bristled brush may be used to sweep off any dust falling on the surface. If objects are to be
placed upon the top, it is advisable to use a small mat to protect the surface and to avoid the
risk of rattles.
Wood veneer finishes:
Dusting as above, plus the occasional polishing with a good quality furniture polish for the
wood veneers. Treat the finish as you would any other piece of quality furniture in your home.
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REL Acoustics ST 5 User Manual
POWER SAVING EFFICIENCY
All REL sub-bass systems are designed for maximum power efficiency, when operational and
also when at rest.
REL circuitry is designed for “power starvation” operation when no signal is present. However
it remains at maximum readiness to respond immediately to a sudden transient signal, such
as an explosion in a movie, even after an extended period of rest and at whatever level.
REL’s maximum power efficiency should not be likened to ‘auto power on/off‘ systems, which
‘power-down’ after a set period of rest (up to 10-15 minutes) and which need time to power-up
again when required to reproduce a sudden transient. They invariably fail to respond to the
leading edge of that transient. There is also the possibility of ‘auto power on/off‘ systems
remaining inoperative during quiet listening sessions.
It is not necessary to switch the REL sub-bass system off between listening sessions; leaving
it switched on will not significantly shorten its life. On the other hand, sound quality will not be
affected if the system is always switched off. Power consumption in the quiescent (no signal)
state is negligible. REL’s power starvation technology uses less than 4W when idle (less than
1/25th the power of a standard light bulb).
The system is perfectly safe under all normal domestic circumstances as it is fully protected
by internal fuses and an external mains fuse, located in the sliding drawer of the mains input
socket. There is also a spare fuse inside this drawer.
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REL Acoustics ST 5 user manual
SPECIFICATIONS
MODEL
STAMPEDE
Closed box loading
16Hz to 99Hz
STRATA 5
TYPE
Closed box loading
ROLL OFF
16Hz to 99Hz
-3dB 18Hz
IN ROOM RESPONSE
INPUT CONNECTORS
-3dB 18Hz
Neutrik Speakon – High
Level
Neutrik Speakon – High Level
Phono - LFE
Phono - LFE
GAIN CONTROL RANGE 80dB
80dB
AMPLIFIER TYPE
DC Coupled Mosfet
Microprocessor Controlled
DC Coupled Mosfet
Microprocessor Controlled
Digital readout for all functions
Electronic lock for manual encoder to prevent accidental changes
INPUT IMPEDANCE
HIGH LEVEL TWO
CHANNEL
UNBALANCED
LOW LEVEL (LFE)
UNBALANCED
100K Ohms
10K Ohms
100K Ohms
10K Ohms
INPUT SENSITIVITY
LOW LEVEL
50mV
50mV
HIGH LEVEL
500mV
500mV
SLAM AND DEPTH
DRIVE UNIT
-9dB to +9dB at 80Hz
8” Heavy Duty Long Throw
100 Watts RMS
-9dB to +9dB at 80Hz
10” Heavy Duty Long Throw
150 Watts RMS
POWER OUTPUT
WATTS
PHASE
0 and 180 Degrees
0 and 180 Degrees
MAINS INPUT VOLTS
(COUNTRY SPECIFIC)
PROTECTION
110 Volts or 230 Volts
Depending on country
Set – Safe for driver
protection
110 Volts or 230 Volts
Depending on country
Set – Safe for driver protection
MAINS FUSES
2 Amp semi delay for
230Volts
2 Amp semi delay for 230Volts
4 Amp semi delay for 110 Volts
4 Amp semi delay for 110
Volts
DIMENSIONS WxHxD
INC. FEET AND
COINTROL
280 x 400 x 290
324 x 464 x 334
NETT WEIGHT KGS
13.4
23.2
26.1
GROSS WEIGHT KGS
15.4
SUPPLIED ACCSESSORIES
MAINS LEAD
Yes
Yes
Yes
Yes
NEUTRIK SPEAKON
INTERCONNECT
(HIGH LEVEL)
PHONO TO PHONO
INTERCONNECT (LFE)
SPIKES
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
USER MANUAL
REMOTE CONTROL
(WITH BATTERIES)
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