3Hz Bass Experience with Multiple Ascendo Subwoofers

Posted by Tan

Yes, you read that right—3Hz bass, not 30Hz or 300Hz. While 3Hz is inaudible to the human ear, its presence can be powerfully felt. Unfortunately, words alone can’t capture the sensation of 3Hz bass, so the next best thing is to let you see it in motion.

In the video clip below, a 24-inch Ascendo subwoofer took center stage, playing a track that plunged into sub-bass frequencies as low as 3Hz. Although the phone microphone may not have captured the deepest bass notes (recording instead their higher harmonic frequencies), the camera revealed the subwoofer driver working hard to deliver these astonishingly low frequencies. At certain moments, I could see the driver’s movement more clearly rather than just a blur, visually indicating how low the bass notes being played was.

Track title - "Critical Havocs - Infrasonic Death (under 3Hz)"

This was also the first time I literally felt “pants-flapping bass” from a home theater or HiFi system. Squatting down in front of the massive sub to film the driver, I was surprised to find my pant legs flapping in sync with the bass. What I had thought was just a figure of speech turned out to be entirely real!

AV Designs has pushed boundaries by installing five Ascendo subwoofers in their main home theater room. This setup featured two 21-inch subwoofers at the front, alongside two 18-inch subs and a massive 24-inch sub at the back. But why so many subs you ask? Wouldn't such overwhelming bass energy drown the space and render soundtracks or music unbearable and unlistenable?

The answer is "No". The goal of employing multiple subwoofers isn’t to add more and excessive bass, but to ensure a smooth and linear bass response. In typical listening rooms, bass peaks and troughs occur due to the physics of bass propagation. Strategically placing multiple subwoofers allows the system better ability and flexibility to cancel those peaks and fill in the troughs. Of course, I am putting this lightly, James Tan of AV Designs explains that achieving this linearity requires both expertise and significant effort to properly calibrate the system. 

This was an amazing experience for me. The system delivered outstanding performance not just for movie soundtracks but also for music.  The bass rumbled and was also impactful and fast, yet it exuded nuances and details that added immense depth to the listening experience when the recording called for. It’s evident that systems struggling with bass issues—such as boomy, muddy, or bloated bass—compromise not just the low-end but also the midrange and treble. In fact, it affects the entire listening enjoyment.

This demo highlighted how a clean, well-balanced bass foundation can transform audio quality. A precise bottom end opens up the sound, enhances dynamic expression, improves the music’s flow, and anchors the soundtrack and music, allowing it to truly flourish.

AV Designs was not stopping here in their quest for even greater bass. After this, the 24-inch subwoofer will be replaced by an even larger 32-inch Ascendo subwoofer. An even more amazing bass experience awaits.

The 32-inch Ascendo sub that will take up residence in AV Designs' main HT demo system next

Contact AV Designs 03-62411237 for enquiries and audition.

CCY Engineering SS300B - Malaysia's Own Class A Power Amp

Many regard Class A as the finest-sounding amplifier topology, and I wouldn’t argue with that. Sure, Class A has its disadvantages – heat generation, bulk, and cost, to name a few. But hey, as a dedicated audiophile, I like to live a little dangerously. Ever since my first encounter with Pass Labs’ Aleph 3, that charming little porcupine (nicknamed for its chassis covered with protruding fins) of an amp and smitten by its beguiling sound, all my subsequent amplifiers have been full Class A designs from Pass Labs. I’d characterize Class A sound as transparent, natural, and comes with a touch of richness and warmth. The Class A amplifiers are also exceptionally quick and dynamic, even more so than many Class A/B designs with higher power output ratings that I've encountered over the years.

Class A designs are increasingly rare nowadays. Their relatively higher cost, low power rating, and high electricity consumption make them less appealing compared to Class A/B and Class D amplifiers. However, there is a Malaysian company and amplifier designer who is bravely forging ahead on the Class A path - CCY Engineering. I wrote about their earlier Class A amplifier, the CCY F7, which you can read about here and here. Now, CCY Engineering has released a new full Class A power amplifier, and I took it in for a listen.

The new amplifier is called the SS300B. Is CCY hinting at a sound reminiscent of the famous 300B tube? I didn’t ask. But with the SS300B’s 25W output, it’s more powerful than the typical 8W of a 300B tube amp, which would make it more versatile in loudspeaker matching.

I paired the SS300B with my TAD TSM-2201 bookshelf studio monitor (rated at 86dB/W/m), its revealing nature would expose any flaws upstream. The front ends, consisting of the TAD-D600 disc player and Pass Labs XP20 preamp, was admittedly an overkill, but I hope this setup would make the SS300B show how far its performance envelope could be pushed. So, I put the SS300B through quite a challenging pace in fact.

The SS300B rose to the occasion admirably. It possessed all the qualities one would expect from a Class A design. It sounded transparent but not in the lean and thin way that many modern amplifiers veer towards, the sound had good body especially in the midrange, and details were not obscured. It was articulate, musical nuances were portrayed beautifully. The musicality typical of a Class A amplifier was evident.

Vocals were definitely its strength. On track 8 of the 2v1G CD “不愿一个人 Don’t Want to Be Alone,” the emotion in the vocal was excellently resolved, one could hear the longing and despair expressed in the singing. The accompanying guitar was crisp with adequate attack in each pluck.

Switching to “Belafonte Sings the Blues” album, track 7 “Cotton Fields,” the sense of pace was even more pronounced. The bouncy bass notes were clear and free of muddiness, with the music swinging along with toe-tapping rhythm. Belafonte’s diction was clear, making it easy to follow the lyrics word by word. His voice’s tonal color added to the listening enjoyment. The rendition became more frantic during the second half of the song, and the SS300B did an excellent job bringing us through the dynamic changes.

For classical music, I played “Nimrod” from Elgar’s Enigma Variations, my favorite version being Norman Del Mar’s with the Royal Philharmonic Orchestra on DG. Although this CD doesn’t have the best recording quality from an audiophile perspective, I love the emotive music, the conducting and orchestra. The SS300B maintained the inner tension of the music well, from the hushed opening, through the buildup in the middle, then on to the let-it-rip crescendo at the end. It allowed me to focus on the moving musical message despite the recording's sonic imperfections, thus confirming the SS300B's music making ability.

If you would like to get a taste of what Class A amplification can do but found Class A choices hard to come by or the cost prohibitive, I suggest you give the SS300B a listen. You may be charmed by its tonal richness, detail resolution and the humanness in its music delivery. While pairing it with a revealing studio monitor like my TAD TSM-2201s might not be the best choice for less than perfect recordings unless you are the type who like a warts-and-all presentation, I think offerings from early day Sonus Faber and British marques like Harbeth or Spendor would be fabulous matches for long term listening pleasure. Please contact CCY Engineering to arrange an audition – website: https://www.ccyengineering.com/home; Email: chong@ccyengineering.com.