With Music

I was looking forward to see how well the UFW-12 integrated with its full range stable mate the Rocket 850s, and I was not disappointed. It bears mentioning how absolutely critical proper subwoofer set-up and integration is to achieving truly good music performance. Many of the bass music cues will emanate from the loudspeakers (even with an 80 Hz crossover), and a smooth transition from the speakers to the subwoofer is of paramount importance. After proper phasing, R-DES tweaks and level matching, the UFW-12 blended seamlessly and coherently with the 850s, sounding like a single full range speaker (the ultimate goal of successful subwoofer integration).

I evaluated the UFW-12 on several music selections for balance, definition, pitch, coherence, and deep extension. My overall subjective music ratings are provided in the table below.

Evaluation Criteria	Rating (1-5)	Summary Comments
Balance	4.50	After equalizing with R-DES, excellent octave-octave balance.
Definition	4.50	Very good mid-bass articulation and good blending with the mains.
Pitch	4.00	Pitch is very well-preserved on most music, and only on the deepest passages at high volumes did I notice any doubling or pitch shifting.
Coherence	4.00	The sonic presentation was coherent and “on-time” without noticeable overhang.
Deep Extension	3.50	Adequate for most popular music, but lacks the extension needed for pipe organ or synthesized bass reproduction below 25 Hz.

Provided below are some listening notes from a few CDs.

1) Red Clay – Freddie Hubbard, CTI Records, 1970 (2002 digitally remastered).

At the 9 minute mark of the title track, Ron Carter launches into a funky upright bass solo, masterfully alternating between lead and rhythm and displaying fabulous range and timing. The UFW-12 filled in the bottom end nicely, never sounding heavy and blending beautifully with the mains, with perfect pitch and articulation. Suite Sioux finds drummer Lenny White breaking out with a killer solo at the 6 minute mark which features fast repeating syncopated kick drum strikes intermingled with snare and toms. The UFW-12 lived up to its moniker, sounding tight and defining each drum strike without blurring or audible overhang.

2) Monk's Dream - The Thelonious Monk Quartet – Columbia Records/CBS, 1962 (Direct Digital Remaster).

Bassist John Ore anchors the title cut from this famous jazz recording, and the UFW-12 never missed a beat, displaying good rhythm, timing and coherence.

3) Underworld Soundtrack - Lakeshore Records, 2003.

Renholder's "Now I Know" features a throbbing ultra deep bass line centered at 23 Hz, with sub-harmonics extending to about 12 Hz. The UFW-12 displayed just a bit of doubling and pitch-shifting on this uber deep track. Conversely, the UFW-12 performed much better on A Perfect Circle's "Judith" (which contains bass in the 30-35 Hz region), showing good authority, well-preserved pitch, and strong dynamics.

4) Gladiator soundtrack - Hans Zimmer, Decca Records, 2000.

This soundtrack remains one of my favorites for evaluating the musical capabilities of a subwoofer. Virtually the entire soundtrack is filled with deep, rich, and highly textured bass. The UFW-12 rounded off the very bottom of the first few subtle deep bass notes in Progeny. "The Might Of Rome" opener features a sustained bass note that steadily builds in intensity and UFW-12 handled this track well, adding the requisite foundation and weight. The throbbing bass hits at the 6 minute mark of "Barbarian Horde" were distinct and separate, and the single deep bass note at the 8:57 mark was well played.

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