Venture. Earned. Unexpected, what changed/improved were bass textures. The best word for them is more informative. The upshot is even superior integration or continuousness with the stablemate mains. Obviously stereo imaging in the bass didn't change. For that to be even possible would require far wider placement. To check on that mandates two preferably identical subs which I don't have. Even then I doubt that localization could change. After all, most vinyl is cut with its bass summed to mono; occasionally as high as 150Hz. Bass harmonics octaves higher than the fundamental still reproduce in stereo. That helps our ear/brain to associate generalized localization cues even if less specific than midrange tones. Again, at my settings I've never been able to localize my mono subs. It makes sense that nothing there would shift. And it didn't.

Kinki integrated for stereo sub duty.

I'm entirely unconcerned whether improved textures make theoretical sense or not. It's what I hear and prefer. 'Stereo' bass won out. Having remote volume control over it is a very lovely bonus. As an aside, starting out with a fully passive subwoofer gives us full control over its electronics. We're not stuck to generic plate amps and filters with digital potentiometers and latency. In my case, Exicon's lateral Mosfets continue unbroken from Enleum AMP-23R to Kinki EX-M1. So do class A/B bias and very high bandwidth. Do those factors enhance seamlessness? A bridgeable amp of suitable power but very different topology is inbound. I'll be able to look into that aspect next. For today I merely answered a very personal question. Would I prefer the stereo or mono cable on the sound|kaos DSUB 15? The answer is stereo; even though I don't think it's stereo in the conventional sense. What to call it then?

Like with so many other things, hifi or otherwise, I haven't the faintest. Then there's this from Martin: "I really like what I hear from Pál Nagy's Gradient Box 2. The integration of mains and sub is seamless. On my Vox monitors I've settled on a 100Hz low pass and 90Hz high pass. The 10Hz overlap gives me slightly smoother integration. I had  one dealer recently mention that for him too the 3A has a minor suck-out in the upper bass which would correlate. Both 90/90 and 100/100 work well but I suspect this will be very space related. In my room it's similar for the Libération where I prefer a 70LP/60HP setting. 40/40 also works but integration isn't as good and 60/40 gets too heavy. I was surprised by how much 10Hz can affect the room at these lower frequencies." This is lovely feedback for the novel utility of asymmetrical settings which I can't try for myself until I get my own Gradient Box. I'm presently limited to either 40/40 or 80/80 where the latter is superior. So more bass lessons ahead…