PRICE: Gloss black $2,099, Black ash veneer $1,999
AT A GLANCE
Plus
Decor friendly size
Near automotive-quality black paint
App offers a lot of customization
SVS’s exclusive Bill of Rights
Minus
On the high end of the price spectrum for its class
Amp tends to get warm when pushed hard
Auto Room Equalization feature still not available
THE VERDICT
Like the other subwoofers in SVS’s R|Evolution series, the SB-5000 is a marvelous combination of technology and features. With great sound, impeccable protection mechanisms, a comprehensive app and the company’s peerless Bill of Rights, it checks all the boxes.
Introduction
You would think by now that I would be getting a little bored reviewing SVS subwoofers, after all this is my 7th in 12 years. Yet here I am with another one, in this case it’s the recently released SB-5000. So why did I sign up again? To be honest, I look forward to them. SVS takes a while to release updates to their products, introducing refreshed or new models only every so often. They tend to spend a considerable amount of time and effort improving upon their predecessors. That can be difficult for SVS however, their current product line has been so well executed that they’re a tough act to follow. But time and time again, I have found SVS is up to the challenge. That’s why I keep coming back, to experience firsthand what they’ve created.
One of the things SVS is most known for is their unrivaled Bill of Rights. It starts with an unconditional 5 year warranty, but that’s only the beginning of what you get. You also receive a 1 year performance upgrade, 1 year trade-up policy, 45 day risk free in-home trial, 60 day price protection and 90 day defective product replacement guarantee. This being SVS, of course you get free shipping and returns. You’re also registered in SVS’s SoundPoints Rewards, their customer loyalty program. No other company in the industry offers anything like this package; SVS is that confident in their products. It’s also a great way to keep your customers for life, give them something so encompassing, and you’re bound to engender devotion.
You’ll notice that I have the SB version of the 5000 series, which is the sealed variant. SVS offers a ported sibling, that’s the PB-5000. Having already reviewed half a dozen of their subwoofers means I’m pretty familiar with the players at SVS. In particular Nick Brown, their VP of Marketing. While going over the logistics and arrangements for this particular evaluation I mentioned to him that I’d prefer a sealed unit this time, seeing as how 4 of the 6 previous review samples had been ported. Historically I’ve leaned in that direction because I assumed SVS sold more ported than sealed, but as I found out that isn’t the case. Not by a long shot, actually.
My opinions were formed primarily by what I’ve seen and read. Walk into an Electronics Expo, or one of their other retailers, and the ported models are well represented. Frequent any HT forum and the talk is heavily weighted toward the PB model from any of their product series. Most reviewers seemed to request ported as well, so there appeared to be an unspoken consensus. On top of all that is the fact SVS only sold ported subwoofers in their early days. To me it was a slam dunk, sealed would take a back seat with regards to sales volume. That sure thing proved not to be the case however, and by a wide margin; Nick informed me sealed outsell ported by an incredible 4 to 1! Certainly didn’t see that coming. Guess I chose wisely when I asked for the SB-5000 this time, I suppose it’s better to be lucky than good.
Surprised by the significant disparity, I asked Nick what he attributed that to. A few of the reasons are self-evident; sealed are smaller and more decor friendly, don’t weigh as much and are less expensive. No downsides to any of that. Where he was particularly passionate though was the phenomenon known as “room gain”. The concept is too involved to go into here, but in essence it means that a subwoofers deep bass response can actually benefit from the room itself. Because bass waves are so long they start to interact with the space they’re in, in effective amplifying them. The result is especially pronounced with sealed subwoofers. Due to their alignment, they start to roll off and lose output sooner than ported subwoofers would. Introduce room gain into the equation and the environment itself negates some of that advantage. I’ve always preferred sealed subwoofers myself, in large part due to the same reasons Nick cited, but I figured that was always just my contrarians perspective. Perhaps I’m not the outlier after all.
Impressions
‘Stylish’ may be the first thing that comes to mind when you see the SB-5000 in person. Dressed in rich, high gloss black paint it looks elegant. The large corner round-overs and smoothly integrated grill, with its subdued SVS logo, help create a fashionable identity. For those who prefer something with a bit less sheen, SVS offers the SB-5000 in black ash veneer too. Go that route and you save a Benjamin in the process. Let’s face it though, subwoofers are predominately black boxes. Sometimes rather large ones at that. Unless the manufacturer offers different finish options or colors, there’s little you can do to differentiate one from the other. While the SB-5000 doesn’t have a distinct appearance per se, SVS did ensure it possess an upmarket appeal. It should blend quite well in most home theaters.
‘Solid’ is another apt description. For a subwoofer that isn’t all that large, it weighs a surprising 102 pounds. The 15″ driver alone is almost half that weight, it’s a very beefy unit indeed. Some people gauge the structural integrity of a subwoofer enclosure using what’s known as the “knuckle rap test”. In essence, you tap your knuckles on any cabinet panel – often the top is chosen – and listen for a hollow sound. Because a sub is responsible for deep notes the tighter and more dense the structure, the less the panels will resonate and negatively color the sound. On the SB-5000 you get a dull thud no matter where you rap your knuckles, exactly what you want to have happen.
Those two impressions occur before you’ve plugged in the SB-5000 and give it a listen, after you have it’s something along the lines of “wow”. But more on that later.
Setup
While you can use the controls on the amplifier itself to do basic setup, you really want to focus on the SVS app instead. Available for Android and iOS platforms – and even Amazon Fire – it contains a plethora of functionality in an easy to use interface. The adjustments and configurations available are as follows:
• 4 presets for different purposes; movies, music, default, custom
• 6 PEQ’s (parametric EQ’s)
• Low pass filter
• Phase
• Polarity
• Power management
• Room gain compensation
• Tuning modes
• Volume
With all the app can do, it’s definitely worth spending some time using it to dial in the SB-5000 for your unique room and listening preferences. The effort will be well worth it to get everything setup exactly as you want it to be. If you have the ability to take measurements – with something like OmniMic or REW—the results can be even better. That’s not a requirement of course, but having that capability can take things to the next level.
One feature not yet available in the app is Auto Room Equalization (ARE). Similar to other room correction systems – like Audyssey, YPAO, MCACC, etc. – you’ll be able to quantify how the subwoofer interacts with your environment. Once that determination is made, it will automatically calculate equalization filters and apply them directly to the subwoofer amplifier, optimizing it for your particular room and listening position. For measurements you’ll be able to use either the mic in your cell phone, or an optional microphone SVS will offer.
ARE has been in the offing since last year, when I asked SVS about it they provided me insight behind the delay in releasing this feature. It was an “off the record” conversation though, so I’m not at liberty to divulge much, but I can say they were working overtime ensuring it would function correctly across the wide spectrum of cellphone makes and models available. They’re targeting the official launch of Auto Room Equalization for CEDIA 2025, which is in September, so it may be available around the time you’re reading this. SVS will likely provide an official press release as well.
Tuning aside, another part of any subwoofer setup that can prove challenging is cabling; it’s not always easy to find an aesthetically pleasing way to route a cable from your electronics to a distant subwoofer. SVS has you covered there with the optional SoundPath wireless adapter. The SB-5000 comes standard with the requisite USB port to accommodate one, should the need arise. The SoundPath is quite affordable, especially when you factor in how much easier it can make your life.
Listening/In Use
The SVS SB-5000 proved to be a natural; whether it was music in the background or cranked up on a rowdy night, it didn’t disappoint. Watching TV was a pleasure, movies were a delight. That was even more so when you crank the volume. It seemed to enjoy the challenge, rewarding the listener with an assertive, yet articulate, experience. After using the SB-5000 for the better part of 2 months, I can honestly say it never disappointed me. While that may sound like a lukewarm assessment, it’s anything but. No matter the situation, no matter the circumstances, it did exactly what I would have wanted it to do.
Movies
Of course one of the tests I’m going to use when evaluating any subwoofer is Edge of Tomorrow, and naturally it will be the opening scene. When it was called upon to enter the ring, the SVS SB-5000 scored a decisive victory. In order to win it had to survive 5 rounds of driver-pumping bass, each progressively lower in frequency and thus harder to replicate. That’s especially true when played at an elevated volume, which is naturally how I’m going to do it. Despite the degree of difficulty, the SB-5000 shined. Not only did it hit all five levels, it did so without drama. There were no untoward driver noises, no loss of control, just deep rich bass.
In Fury Brad Pitt plays ‘Wardaddy’ Collier, the war hardened commander of a WWII Sherman tank crew. During operations behind enemy lines their tank becomes disabled and can no longer move. As if things aren’t bad enough, an entire battalion of Nazi SS is marching right toward them. Rather than abandon their iron steed, they choose to face the Germans head on. The Americans decide to ambush the Schutzstaffel by making the tank look as though it had been damaged in battle and then abandoned. Little do the Germans know what’s lying in wait.
The barrage starts with a few hand grenades, and while potent that’s not what I was waiting for. The canon is, and it did not disappoint. When unleashed it hit with incredible fury (sorry, I couldn’t help myself). The explosions were powerful and sharp, with plenty of weight to add credibility. What I hadn’t anticipated was the impact from the machine gun, when they started in with that the pumping tone was felt right through the floor. With its ability to handle rapid-fire action, the SB-5000 really caught my attention.
10,000 BC is a movie about the Yagahl, a prehistoric tribe of nomads. Their very existence is in peril because the Manik they need to survive – which would be woolly mammoth to us – are becoming increasingly rare. That means it’s critically important the Yagahl’s yearly hunt is successful. To feed and cloth the entire tribe they only need one Manik, so just like in Fury they plan an ambush. As the herd starts their migration, the tribesman put their plan into effect.
The goal is to stampede them through a narrow pass and separate the last one as it reaches a choke point. The tribesmen sneak up on the grazing herd, once close enough one of them jumps up to startle the beasts and off they go. The ground-pounding effect from dozens of rampaging mammoths was intense, there was a distinct rumbling sound from the SB-5000. The Yagahl ensnare their quarry in a huge net, it crashed to the ground with a resounding thud.
Cloverfield opens with a party of 20-somethings that live in New York who are bidding farewell to one of their friends who’s taken a job in Japan and is about to move there. Suddenly there’s an explosion and the building begins to shake. Not sure if it’s another terrorist attack, the lot of them head up to the roof to see if they can get an idea of what’s going on. Once up there another detonation occurs off in the distance, this one much more powerful. If you weren’t expecting that to happen the SB-5000 might startle you as it was produced with great effect. Debris rains down upon the revelers from every angle. Fearing for their safety, they make a beeline to the street. That’s when things get really interesting.
Turns out the cause of those explosions was a huge alien invader. Everyone is milling about, trying to figure out what just happened, when the creature suddenly makes its first appearance. Initially you’re aware of its presence by the thundering footsteps as it bolts down a street several blocks from them. Turns out it was fleeing carnage of its own making as in the background what appeared to be the Chrysler Building comes crashing to the ground. The shock waves it created were forceful, engulfing you in the scene. The beasts footsteps as it walked past them for the second time were even more assertive.
After putting the SVS SB-5000 through its paces I checked the amplifier and found it had gotten a little toasty. Mix thousands of watts and a lot of volume with action movies that have a vigorous pace, and you end up with a really good workout.
Music
Luscious Jackson’s “Naked Eye” is pretty representative of the breed, which is a pop song with an electronic backing track and fairly repetitive beat. Also typical is some deep synthesized bass, the likes of which the SB-5000 produced with a satisfying and hearty sound. It was expressive and clear, very definitive. The recording quality is pretty good on this tune, with the heavy emphasis on singer Jill Cunniff’s voice the commanding nature of the SB-5000 created a really nice contrast between the two elements.
“Save Yourself” from Stabbing Westward opens with several bass drops in succession, which the SB-5000 absolutely ate up. There’s a pounding sensation added on top of that, between those two effects it was clear this is what the subwoofer was made for. Most of the song has a driving rhythm with a bit of a club vibe, something the SB-5000 enjoyed very much. That means you will too, I cranked the volume and had some fun with this one.
I would be remiss if I didn’t try at least one full-on electronic track, and what better choice than something from none other than Bass Mekanik? Whereas “Save Yourself” has a driving rhythm, “Funky Annihilating Bass” has a droning one. Although the beat is simple, a noticeable amount of the bass has a pulsing characteristic that the SB-5000 created with a dominant impact. Despite the obnoxious soundtrack, this subwoofer never skipped a beat. It hit hard and precise. The SB-5000 didn’t seem the least bit fazed by what I was putting it through.
Conclusion
SVS has been methodically going through their subwoofer product line, releasing one new R|Evolution model after another. Historically it does take this company a bit of time to release new offerings, but that time has been very well spent. What the SB-5000 can do for its size and price is really impressive. Throw in their incredible Bill of Rights, along with a full-featured app, and you end up with the complete package.
Specs
General
Frequency Response: 17Hz to 280Hz +/- 3dB
Finish: Piano gloss black paint, black ash veneer
Alignment: Sealed
Grill: ABS frame with fabric mesh
Enclosure: MDF, internal bracing
Dimensions: 18.3″x 17.8″x 19.5″ (HWD)
Weight: 102lbs
Iso-elastomer feet
Driver
Orientation: Front firing, 15-inch high-excursion
Weight: 46lbs, 38lbs motor
Xmech: 3″
Voice Coil: Dual 3″
Surround: NBR rubber
Cone Material: Glass fibre composite
Basket: Powder coated cast aluminum
Amplifier
Dual-mono discrete Class D amplifiers
2000 watts RMS, 5000 watts peak
295Mhz DSP, 56bit filtering
Customer EQ and DSP limiters
Unbalanced RCA input
Balanced XLR input
OLED control interface
USB port for SoundPath wireless adapter (SoundPath sold separately)
3.5mm IR input for integration with control systems
Test Bench
Measurements were taken using an OmniMic. The subwoofer was positioned in the center of my listening room with the microphone tip 1 foot from the center of the driver cone. I did a factory reset using the SVS app prior to taking any measurements. This graph represents frequency response only, it does not provide an indication of total output capability.
Blue represents the Default preset, red is with Room Gain Compensation (RGC) set at 25Hz.
