"I am a professional mastering engineer. I recently
purchased a pair of Fathom F-112 subwoofers to replace my previous subwoofers
for my mastering room. Everything about the construction and circuitry of
these woofers is first rate, but most important to a professional, was the
ability to linearize my room, to get the flattest, tightest, most even bass
that I've ever heard. They have every control I consider essential to a
subwoofer level, continuously-variable phase, polarity switch, 12
or 24 dB per octave slope, continuously-variable low pass frequency, and
extreme low frequency EQ. In addition, they come with a test microphone
for an automatic room optimization feature that I was initially skeptical
about, but now I'm convinced it works great. The A.R.O. was able to correct
a measured +9 dB 65 Hz bump in my room with no audible artifacts. After
A.R.O., every well-made recording now sounds correct in my room, whether
it has sustained bass or rhythmic bass. The masters that I've previously
made for my clients sound even better than before, and with the Fathoms
it's much easier and less fatiguing to make new masters, as I can identify
any bass errors with great certainty.
As a bonus, in addition to playing music cleanly, these
woofers are able to reproduce the most demanding low-frequency recording
anyone has ever made! There is a very clean, wide range 24 bit 96 kHz recording
that I made of the Space Shuttle Discovery from the Press site, which is
the closest anyone is allowed to the rocket during launch. I can reproduce
the recording in my room at exactly the measured SPL of the launch, without
audible distortion! This is one helluva low-frequency demonstration. Needless
to say, I'm a happy camper."
Basically, this is a big step upward for me, bigger
than I had imagined it might be. I was able to make the flattest, most even
bass response in my room ever, with seemingly infinite bass headroom. The
flat bass completes the Lipinskis, the total sound result is warmer, definitely
more correct than ever, without having to do any tricks for "more bass"
or overlap or anything. It helps make them a bit more musical on a wider
range of material without losing their discrimination ability.
The bottom end is so correct now it gives you goosebumps.
There's not a note out of place. I can hear bass notes that I didn't know
were there... I've re-optimized the room, tweaked the listening position
for flattest response, not one stone left unturned. I invite you all to
drop in for the experience. The sound is accurate, tight, clean, powerful...
I've been listening to everything I have to play for hours and hours, it's