September 2003 Reviewed by Roger Kanno	Mirage OM-200 Subwoofer

Description Model: Mirage OM-200 Price: $1000 USD Dimensions: 18.6"H x 16.25"W x 17.5"D Weight: 46 pounds Warranty: One year parts and labor	Features Omnipolar design Two 8" titanium-polypropylene hybrid drivers 200W (800W peak) amplifier MDF cabinet High-level and low-level inputs XOver Bypass input Top-mounted control panel Continuously variable phase control Video Mode Auto on/off power circuit Detachable power cord

Mirage has had a history of success with large, bipolar subwoofers such as their BPSS-210 and BPS-400, but their latest model, the OM-200, is the first to receive their "Omnipolar" designation. All of Mirage’s latest speakers are Omnipolar designs -- that is, they’re claimed to have a 360-degree dispersion pattern, which radiates sound more evenly in all directions than did Mirage’s previous bipolar designs.

The new OM-200 is much smaller than the previously mentioned BPS models, and is nearly identical in size to the BPS-150i. It also offers updated cosmetics and functionality over the BPS models, and has a retail price of $1000. Mirage has now discontinued all of their bipolar subwoofers, including the BPS-400, which had been available until just recently.

At first, it surprised me that Mirage would make their first Omnipolar subwoofer a smaller, less-expensive model than their previous flagship BPS subs. However, according to head design engineer Andrew Welker, the OM-200 gives up only a few decibels in maximum output and a few hertz in low-frequency extension when compared to the BPS-400. A moderately priced and compact sub such as the OM-200 also seems to be a good match for Mirage’s current speaker lineup, which features models for less than $1000 in both the OMNI and OMNISAT lines. Even with its compact size and modest price, I still had high expectations for the OM-200 -- I’ve found Mirage to be an innovative, research-driven manufacturer.

Polished looks

The OM-200 is an attractive subwoofer that looks similar to the BPS models, but with some subtle new touches. The corners and edges are covered with well-finished, rounded wood accents that give the unit an almost sculpted look. The two finishes available are high-gloss black and cherry. The black gloss gives the sub a modern, high-tech look, while the cherrywood gives the appearance of a quality piece of furniture that will complement many types of hardwood floors and different décors. The black cloth grilles that cover three of the sides are flush-mounted with the wood accents. The OM-200’s rear is covered with a vinyl-like veneer, and the top panel matches the high-quality finish of the wood accents. The heavy-duty rubber feet are superior to the plastic or much smaller rubber feet typically used on subs such as this. All of the parts fit securely together; the OM-200 had a wonderfully hefty, solid feel that instilled a sense of confidence in its design.

The OM-200’s connections are the same as on all the newer subwoofer models from API, which owns the Mirage, Energy, and Athena lines. There are two mono line-level inputs, including the XOver Bypass, which circumvents all subwoofer controls except Phase and is intended primarily as a connection to the low-frequency-effects (LFE) output of a surround receiver or processor. There are also high-level inputs, and corresponding high-level outputs that carry a full-range signal and are not filtered in any way. The Power switch is designed to be left on -- an auto-sensing circuit powers up the OM-200 when a signal is detected, and switches it to standby mode approximately ten minutes after the signal disappears. The control panel is conveniently located on the sub’s top. There are a Level control, a Frequency control that ranges from 40 to 120Hz with an 18dB/octave rolloff, and the Phase control, which is continuously variable from -180 to +180 degrees. A Video Mode switch is provided to boost the signal by about 3dB in the 40Hz area. A removable IEC power cord is provided.

The OM-200’s amplifier is rated at 200W, with a claimed peak output of 800W. There are two 8" titanium-polypropylene hybrid drivers with large 28-ounce magnets and 1.5"-diameter voice coils mounted on opposing sides of the cabinet. Each driver has a port mounted next to it that reportedly extends nearly the length of the cabinet. Because of this, one of the ports is positioned to the bottom left of one of the drivers, the other to the top right of the opposing driver -- both ports run along the back of the subwoofer, one above the other.

Setting up

I did most of my evaluation of the OM-200 with the sub as part of my reference home-theater system, connected via its XOver Bypass input. I also connected it using the high-level inputs for some two-channel stereo listening. Setup and calibration were simple and painless. The OM-200’s relatively small size meant that I was easily able to position it to achieve a good blend with the rest of the speakers in my system, and its variable Phase control provided the last bit of flexibility necessary to fine-tune the setup.

Sparkling personality

Although the word might not be typically used to describe subwoofers, I found the OM-200 to be extremely refined. Sure, it could play very loud and go plenty deep, but what impressed me most about this sub was how well it added to the overall bass presentation of my system without drawing attention to itself. Low frequencies seemed to come from all around the room, and the response was incredibly smooth from the lowest frequencies up to the region where it overlapped with the rest of the speakers in my system.

The DVD-Audio version of Aaron Neville’s Believe [Silverline 288131-9] demonstrated just how well the OM-200 could blend with the rest of my system. The driving bass line of "Gotta Serve Somebody" not only hit hard and fast, but seemingly imaged from dead center and from behind the plane of the main speakers. The DTS CD of Boyz II Men II [Motown/DTS 71021-51001-2-8] is another great test of bass integration, particularly "Yesterday," which has an aggressive a cappella surround mix that includes some very-low-pitched baritone vocals. If the bass is not properly integrated, these vocals will sound "phasey" and image diffusely; a well-balanced system will place them precisely in the center of the front soundstage. With the OM-200, I was able to get this track to image as accurately as I have heard with my system.

Not only did the bass image precisely with the OM-200, but there was also excellent pitch definition. The deep thud from the kick drum on "Hotel California," from the Eagles’ Hell Freezes Over DTS DVD, was very distinct, and easily distinguishable from the tighter, slapping sound of the bongos. Less capable subs can be overwhelmed by the massive amount of bass on this track, the bongos getting swallowed up by the kick drum in a "one-note bass" sound.

While the quality of the bass that came from the OM-200 was impressive, so was the quantity of bass it could produce. Whether it was the fantasy world of The Lord of the Rings: The Fellowship of the Ring (Special Extended Edition) or the brutally graphic and realistic Saving Private Ryan, there were always enough low frequencies to fill the room for that true home-theater experience. In Ryan, as the tanks draw closer to the ambush in the French village, my entire room was filled with the sound of rumbling engines and the movement of the massive metal machines. As the tanks stop just short of Captain Miller and his men, I could almost feel the ground as it trembled all around me, with the sounds of loose gravel and small pieces of debris dislodged by the violent shaking.

My ultimate test for subwoofers is from The Haunting: chapter 10, "Creaking Pipes," which contains enormous amounts of subsonic bass. This scene contains a sustained low-frequency tone that -- assuming your subwoofer is up to the task -- will excite an entire room with its malevolent, omnipresent drone. At extremely high volume levels, the OM-200 exhibited some minor port noises during that sustained tone, but that was not unexpected: many subwoofers have difficulty with this scene. Other than that, it never made any unwarranted sounds. In other scenes with prodigious bass, the OM-200 played without strain, pumping out enough clean low frequencies to maintain the ominous presence that permeates The Haunting.

Getting a subwoofer to blend smoothly with two speakers in a stereo system is a difficult thing to do, but the OM-200 managed to do this incredibly well with both a pair of Axiom M3Ti SEs and Mirage OMNI 260s. With the smaller bookshelf Axioms there seemed to be a minor dip in the midbass, which made the upper and lower bass seem slightly disjointed, but this was hardly noticeable. In fact, the $1275 combination of OM-200 and M3Ti SE was as good as any other similarly priced speaker system I’ve heard.

The OM-200 blended even more seamlessly with the OMNI 260s, to the point where it no longer seemed as if I was listening to a separate subwoofer and speakers, but to a pair of full-range loudspeakers. Of course, the floorstanding OMNI 260s are much larger and go lower than the Axioms, which should allow for smoother integration, but they still benefited greatly from the addition of the OM-200, which filled in the lower bass and gave added weight and presence to the midbass. For example, Dire Strait’s On Every Street [Vertigo 510160-2] had truly subsonic bass on "Iron Hand" that I actually felt more than heard, while "Heavy Fuel" was more punchy and dynamic with the OM-200. What was most evident from two-channel listening was the OM-200’s lack of boominess and its ability to quickly recover. This gave music with deep bass an agile, expressive quality.

Not just another pretty face

My reference midpriced subwoofer for the past few years has been the Paradigm PW-2200 ($799), which has a single 12" driver, a large rear port, and is much bigger than the Mirage OM-200. Although the PW-2200 is getting on in years, I’m still impressed by how it can fill even a relatively large room with enough bass to shake the walls. Although the OM-200 could also fill my room with plenty of sound pressure, the PW-2200 had more output and was better able to provide that visceral sensation of the entire room coming alive with bass. The downside was that the PW-2200 sounded slightly looser than the OM-200, and while the Paradigm was not boomy by any means, the difference was noticeable.

For instance, on Blue Man Group’s DVD-Audio disc, Audio [Virgin 4 77893 9], there was a better sense of the PW-2200 energizing the entire room, though it could not recover as quickly as the OM-200. The massive drum whacks were impressive, but seemed to linger just a fraction of a second longer with the PW-2200. With the bass-laden techno soundtrack of Blade II and the subsonic rumblings of The Haunting, the PW-2200 seemed better able to fill the room with high sound-pressure levels, but the OM-200 countered with tighter control and better articulation of individual bass notes. I had similar observations with the original Sunfire True Subwoofer ($1250), which had even greater output than either of the others -- but, again, it could not match the OM-200’s articulation and control.

A shining example

The Mirage OM-200 delivered precise, detailed bass that easily and smoothly integrated with the stereo and surround speaker systems I had on hand. Its strengths included a refined sound that articulated even very low frequencies with ease. Although it could play very loud, its self-effacing character never drew attention to itself, and its tight, controlled sound served movies and music equally well. Add to this its handsome styling, relatively compact size, and extremely solid build quality, and the OM-200 is an excellent choice of subwoofer for both types of home-entertainment system.

Manufacturer contact information:

Mirage Loudspeakers
3641 McNicoll Avenue
Scarborough, Ontario M1X 1G5
Canada
Phone: (416) 321-1800
Fax: (416) 321-1500

Website: www.miragespeakers.com 

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