More Bass: The SVS SB-2000 Pro subwoofer (sealed, 12", 550W, DSP, Bluetooth)

Over the holidays, Santa brought me a new SVS SB-2000 Pro subwoofer (currently US$900 black ash, US$1000 piano black, Canada: black ash, piano black) for the system in the sound room. As you can see, I got the slightly more expensive shiny piano black version. As usual, I bought this from typical consumer channels.

On this blog, we've talked about full-range sound, including the importance of subwoofer(s) in order to experience "fully" all there is in our recordings. As a pop, rock, electronica, orchestral, movie-lover, the ability to experience down to 20Hz (even a little lower into "infrasound") with adequate power, and low distortion is all part of what it means to achieve "high-fidelity" audio that is transparent to the source recording. As usual, it doesn't mean I can't enjoy my music without these sub-bass frequencies! It's just nice to know that I'm not neglecting content present in those lower registers as provided by artists and audio engineers.

During the pandemic, in the spring of 2020, I bought myself an inexpensive 8" Polk PSW111 to use as an "accessory" subwoofer to help fill-in the bass response in concert with the mighty Paradigm SUB1 (1700Wrms, 6 x 8" drivers), my main subwoofer that achieves frequency response down below 20Hz. For these last 5+ years, the little Polk has done its job reasonably well but it clearly has limits. For example, when pushed up in level, I can hear the "chuffing" from the small ~4" diameter down-facing port. Also, a ported 8" sub like this can really only be expected to reproduce down to the mid-30Hz at best.

And so, moving ahead, let's spend some money to retire that little Polk sub to my main floor living room, making space for this SVS! 😁

The SVS SB-2000 Pro is a sealed subwoofer that I believe was launched in early 2020 featuring a single 12" driver, rated to be capable of 550Wrms with its Class D "Sledge STA-550D" discrete MOSFET amplifier. It has the modern convenience of Bluetooth connectedness and like many subs these days, has a programmable DSP internally to tune the sound. The "Pro"-model with Bluetooth (occasionally I still see the older SB-2000 "non-Pro" on sale) uses the SVS App to provide an easy way for the end user to remotely adjust parameters like phase, polarity, output level, low-pass crossover frequency, integrated EQ, without needing to run behind the box to push buttons or twist knobs. This works really well! For example, I could be running a REW real-time analysis while fooling around with the continuous phase adjustment to find the best bass response. This saved a lot of time when fine-tuning!

Let's have a look again at the front of the subwoofer:

As you can see, we have the 12" driver, four holes at each corner for the front grille. The size is a very reasonable-measuring 14.2" W x 14.6" H x 15.6" D and it weighs <50lbs; it's not difficult to lug around for placement.

I like the shiny "piano black" appearance since it complements my front speakers but this can be quite the fingerprint and dust magnet! It's cosmetic and I would have had no problem with saving some money on the black ash version.

Behind, we see the inputs (line level stereo unbalanced analog RCA only) with the option for an USB-powered wireless adaptor (SVS Soundpath). The USB-A port can also be used for firmware upgrades. Notice also the line level outputs which you could use to daisy-chain with another sub. There's also a convenient 3-12V 1/8" phono trigger input to turn on/off.

I would have loved to see XLR balanced input. However, at this price point, so long as one doesn't hear noise/hum/interference, shielded RCA is fine.

The LED strip is used to indicate output level, low-pass frequency, and phase, plus six buttons allow the user to set these parameters: Auto/On (wakes quickly, no weird noises when kicks in), low-pass adjust, phase, and output volume (user manual available here). While it's important that we have these buttons be available, the majority of the time I'd be using the more precise Bluetooth app anyways which also adds extra functions like programming the 3-band EQ, room gain compensation (changes the low-end roll-off), and saving/restoring custom presets. I've had no issues with the Android app on my Samsung tablet.

The front grille on top.

As discussed in the previous post with the Polk, I placed the SVS sub in the same position behind and to the right of the primary listening position in part to spread it away from the front-left Paradigm SUB1 to interact with the room acoustics differently, and it's a convenient position given the room layout.

Pricewise, the new SVS is more than 3 times that of a typical little "entry-level" mini home theater sub like the Polk PSW111. As an objective-leaning audiophile, while I appreciate the much more robust construction, the convenience with Bluetooth "remote", I think it's important to seek evidence for improvement to corroborate with one's experience and to hopefully verify that the change has brought us closer to the intended effect.

As you know, within the audiophile world, many hobbyists and manufacturer representatives will make all kinds of subjective upgrade claims, even when potential gains might be highly questionable (like cables or power conditioners making "big" improvements).

Shiny 12" SVS SB-2000 Pro and the little 8" Polk PSW111.

To that end, here's a graph comparing the frequency responses of the SVS vs. Polk. Measurements were taken near-field to capture the pseudoanechoic shape. While I can show relative output levels between the two, this is not a reflection of output level at a standard distance (like a typical 1m distance).

The same low RCA input level was applied from the same DAC with each sub dialed up to 100% volume. Difference in driver sizes was accounted for. I've also scaled the Polk port output and took a measurement with the port plugged to demonstrate the change if we convert the Polk into a sealed device:

Clearly, for the price differential, as expected, we are seeing a higher-performing subwoofer in the SVS with stronger output levels, and deeper bass extension down to 20Hz.

As for the Polk PSW111, of interest, notice what happens when we plug the down-firing port; we lose the extra output around the port tuning frequency which peaks ~43Hz, and there's a more gentle low-frequency roll-off. (A sealed box generally gets about 12dB/octave roll-off as opposed to the steeper 24dB/octave in a ported design.)

Comparatively, despite the significantly higher output level, the distortion from the SVS is not much different from the Polk PSW111 with port plugged in my data (not shown). IMO, clearly there is value to an upgrade like this at an affordable price.

So how does it sound?

Well, obviously the quality is strongly related to how well you've set your parameters and integrated the subwoofer(s) into your system/room. I'm currently running both the Paradigm Reference SUB1 and SVS SB-2000 Pro off my Integra receiver calibrated with Dirac Bass Control. I can feel the extra depth the subwoofer brings when watching movies like Top Gun: Maverick with roaring jet engines causing my sofa to vibrate due to the proximity of that sub placed behind in a way the Polk could not do.

Beyond the tactile feel, the sound itself is deep and tight. A good subwoofer should sound "kicky" or "punchy" as opposed to "boomy". The way you tell is through the sonic envelope of something like an orchestral bass drum; there should be a clearly audible +/- palpable attack, natural smooth decay, and depending on the music, discrete end point that doesn't unnaturally overhang. For example, the bass line on Sting's "Fields of Gold" should be well delineated, tonally variable (not flabby single note), timbrally nuanced, with stable relative intensity for each note if you're achieved relatively flat frequency response.

The drums at the start of Prince's "Computer Blue" should sound tight with that synthetic character we hear on many '80s recordings (in this case probably from the Linn LM-1 Drum Computer). The very deep bass in Lorde's "Royals" starting around 22 seconds might rattle items in your room but should still sound well-controlled, no distortion, with clear on- and off-set. Likewise on a slower track like Ed Sheeran's "I See Fire", the bass accentuation at points in the song should not overpower or muddy the clean vocals and simple string accompaniment. Modern pop tracks like Sexyy Red and Tiësto's "OMG!" should sound exciting with its prominent, tight, bass rhythm.

For those who are used to the "boomy" bass one often hears in low/average quality movie theaters or with non-hi-fi gear, the clean bass in a well-tuned hi-fi or home theater system might actually come as a surprise. It can be startling how suddenly the low notes kick in. And because there's not that boomy overhang, you can turn the volume up without finding the sound overwhelming or fatiguing. 

As I mentioned above, there was sometimes an audible port turbulence I could hear with volume turned up on the little Polk. No more. Another nice bonus which was not really an audible issue at my primary listening area was that the little Polk did emit a slight hum if I put my ear next to it when not in standby; the SVS is dead silent even with a relatively long RCA cable from the front receiver. 🙂

I think that's all I really need to say about the sound quality. Maybe in another post, I'll run through the Dirac set-up and update stuff like the room curve I'm using these days.

Obviously, there are many companies making subs out there to choose from. If you're interested in the SVS brand, they have both "Sealed Box" (SB) models as well as front "Ported Box" (PB) versions of their subs. 

[I'll leave you to research further the pros and cons of sealed vs. ported subs. As a hi-fi music lover, I do prefer the tighter sound from a sealed box when possible with less phase irregularities, and a more gentle roll-off that some might describe as subjectively more "musical".]

The least expensive SVS offering is the SB-1000 Pro (~US$600) which is also available in Piano Gloss White that could go very well with one's color scheme featuring 12" driver but lower 325Wrms power for small rooms. If you want even more power for larger rooms than the SB-2000 Pro, they have the SB-3000 with 13" driver and 800Wrms (~US$1000). The ported sub models are a little larger and cost a bit more, but capable of achieving higher output. The PB-1000 Pro costs US$850, PB-2000 Pro US$1200, and PB-3000 starting US$1500 among higher end models like the massive 17" SB-17-Ultra R|Evolution or ported PB17-Ultra. And if size is a major consideration and you're interested in an even more compact unit, have a look at the dual-driver 8" SVS 3000 Micro model (cubic, measuring less than 12" per side).

Based on the experience in my soundroom, let's just say the SVS SB-2000 Pro coupled with that Paradigm SUB1 can achieve overwhelming loudness with satisfyingly tight bass without the sub ever approaching full output potential - when level calibrated, both subs are set below -10dB compared to relative levels of the other speakers.

One last thing, the rubberized feet on the SVS SB-2000 Pro are relatively short and tapered to a dull point. Since subs can transmit low vibrations as discussed previously when coupled to hard surfaces, if you place these on hardwood floors like I did, you might notice excess rumbling with nearby furniture. This can be reduced with placing some inexpensive 3.5" X-Protector foam/felt furniture sliders under each foot - here's a vibrometer comparison playing the first 30 seconds of INXS' "Guns In The Sky" multichannel mix:

With the phone just 3" on the floor in front of the subwoofer, inevitably there will be some vibrations just due to the air movements. Notice of course the reduction in vibrations as a result of the foam/felt sliders. An objective demonstration that doing something simple like this can have an impact; whether audibly significant will depend on your room and set-up.

I see that SVS's own SoundPath Subwoofer Isolation System is reasonably priced at US$50 for 4 and gets good reviews for this purpose.

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With the new sub, I've just been enjoying all kinds of favorite music again as I'm sure we all tend to do after upgrades. ☺️

I haven't really checked out any new music over the last few weeks but did relisten and enjoy oldies like Mark Knopfler's Sailing to Philadelphia (2000) and New Order's Brotherhood (1986) in multichannel/Atmos.

Here's New Order's "Bizarre Love Triangle" with probably the most random, unstructured music video I've ever seen:

Finally, for those of you movie lovers interested in high-framerate (HFR), the latest Avatar: Fire and Ash (2025) movie at 48fps looked great to me in 3D laser projection with its higher brightness, deeper contrast, and better sharpness. Apparently they used TrueCut Motion to grade the framerate through the movie just like with The Way of Water. I thought they did this quite well and I didn't think the variable framerate was jarring between smooth action sequences at 48fps and more "cinema-like" 24fps dialogue scenes.

While the new Avatar movie might not be the most stimulating or groundbreaking (other than cool CGI) piece of cinema I've seen all year, I appreciate what James Cameron is doing with HFR even if the typical naysayers complain. Gimme more higher framerate movies/videos! 😉

Since it is film awards season, I thought Sean Penn as Col. Lockjaw was fantastic in One Battle After Another (2025). An enjoyable dark comedy appropriate for these political times.

Otherwise, I hope you're all having a great entry into 2026!