With Music

At the time I was evaluating the PB12-Plus, I was also setting up a new set of loudspeakers (Rocket 850s). During this process, I was reminded how important 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 critical. After proper phasing, PEQ tweaks, and level matching, it was almost impossible (except on very deep source material) to distinguish the 850s on full range from the 850s set to small with the PB12-Plus. After all, this is the ultimate goal of successful subwoofer integration; the system should sound like a single full range loudspeaker, and the subwoofer should never call attention to itself.

Considering the excellent mid-bass capabilities of the Rocket 850 loudspeakers, the smooth transition I achieved from the speakers to the subwoofer, and the low distortion and superior dynamics of the PB12-Plus, music bass sounded very good. I evaluated the PB12-Plus 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	20 Hz Tune Rating (1-5)	16 Hz Tune Rating (1-5)	Summary Comments
Balance	4.00	4.50	Good octave-octave balance, with a slight emphasis in the low E region with the 20 Hz tune.
Definition	4.25	4.25	Mid-bass detail from the mains is nicely preserved and not overwhelmed by the PB12-Plus.
Pitch	4.50	4.50	Due to the low distortion of the PB12-Plus, pitch is spot-on, especially on the deeper bass music notes.
Coherence	4.00	4.25	Both tunes sound cohesive and coherent, but the 16 Hz tune sounds slightly more “on time” across the pass band.
Deep Extension	4.50	5.00	Outstanding in-room extension, especially in the 16 Hz tune.

Provided below are some listening notes from a few CDs.

1) Crime Of The Century – Supertramp, A&M Records, 1974 (2002 digitally remastered).

An essential piece of anyone’s progressive rock collection, the 2002 digitally remastered version finally does this release justice. The aggressive electric bass lines in School and Bloody Well Right had good pitch and were easy to follow. The transition between the mains and the sub sounded smooth, and the PB12-Plus provided just the right amount of weight to the deepest notes without overwhelming any mid-bass detail. I liked the 16 Hz tune a bit better than the 20 Hz tune on this CD, because it sounded slightly more balanced in the low E region.

2) Forever Blue – Chris Isaak, Reprise Records, 1995.

Bassist Roly Salley anchors Don’t Leave Me On My Own with delicate bass lines that the PB12-Plus played well. Subtle kick drum strikes were always audible and distinct, even if they occurred simultaneously with bass guitar notes.

3) Led Zeppelin II – Led Zeppelin, Atlantic Recordings, 1969 (1994).

Who can resist the occasional urge to "get the Led out" - and what better album than Led Zepp II? The Lemon Song has some of the funkiest walking bass lines ever laid to tape, and the 850s and the PB12-Plus worked in harmony, keeping pace beautifully and sounding realistic on this challenging track.

Moby Dick has one of the best rock drum solos ever recorded, with amazing dynamics and unbelievable tympanic skin on the tom-toms and the kick drum. The PB12-Plus provided the essential underlying "thwack" on each tom hit and kick drum strike, staying tight and percussive with no audible overhang.

4) Tchaikovsky 1812 Overture – Cincinnati Pops Orchestra (Erich Kunzel conducts), Telarc International, 2001 High Resolution SACD.

I love the "Caution! DSD Cannons" warning label on the back of this now famous Telarc SACD recording. Even in the 16 Hz tune, the PB12-Plus easily handled the famous cannon blasts at aggressive playback levels, and also captured the critical infrasonic decay products that add an extra dimension of realism to the listening experience. Strong and quick-repeating kettle drum strikes were also well handled, with good impact, depth, and timbre.

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