That is largely down to the sensible DSP graphic equalisation package that controls the low-frequency output. Derived from extensive experience with the incredibly complex system employed on the Spacehorn subs that pair with the Trio G3, with their multiple pre-set profiles and adjustments, the Duo uses a far simpler and as a result, a far easier to optimise arrangement. A single, easily modified bass profile is supplied, accessed via an RJ45 connector on the rear of the speaker and adjusted via a simple graphic display on a PC screen. It’s as easy to use as it is effective and, together with the increased quality of the components and cabinet that constitute the Duo’s bass end, accounts for the effective system integration that is now possible. In fact, the simplified user interface proved so successful with the Duo that it has now been implemented on the SpaceHorns too: an interesting example of ‘trickle up’ if you will.
Gettin’ down and getting dirty…
There are a bunch of practical improvements too. The active input panel is equipped with two rows of three-position dipswitches that allow you to adjust system sensitivity (to adjust for the noise performance of the driving pre-amp) and the driver output levels (in 1.5dB steps). I ran system gain at the lowest level, despite the ghostly quiet output of the L1/X1. Each speaker requires two IEC power cords, one for the iTron and one for the bass amp. It also requires a balanced interconnect that is plugged into the iTron control panel, some three feet off of the floor, so make sure that your leads are long enough. Avantgarde supply a balanced cable 0.8m/30″ long to run between the iTron module and the bass amp. Replacing this with the same interconnect as was feeding the iTron brought a substantial improvement in bass tonality, texture, speed an dynamic range, allowing the bass to breathe and better integrate – a process that was completed once we’d also disconnected the PC controlling the bass EQ.
There’s also a warm-up or settling in period to take into account. Unusually this doesn’t seem to affect bass weight or depth and is much more about the character and articulation of the bottom end. It may be transport related, a case of the bass drivers’ suspension getting over their travel shock, but it’s well worth bearing in mind when auditioning or setting the speakers up. Give the speakers two days of use and the bottom-end fills out appreciably. It gains texture, shape, power and authority. Back to Thin Red Line and no single cabinet speaker system I’ve had in my room(s) at this or even twice this price has had the sort of bass depth, weight and impact from this powerful soundtrack that the Duo delivers, without apparent effort or strain. The subterranean rumbles that fill out the track ‘Silence’ have real room filling capability, while the huge drum beats on ‘Air’ have the pulse of the initial impact, the texture of the skin and the massive volume behind it. The weight of the note pushes off of the face of the instrument and rolls through the room. That low-frequency feel and generosity, the ability to let large-scale music really breathe comes after several days of constant operation – at which point the rear panel heat sinks will be nicely warm to the touch.
