"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
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 habit-forming!"