A subwoofer (or "sub") is a woofer, or a complete loudspeaker typically between 8" and 21" in diameter, which is dedicated to the reproduction of low-pitched audio frequencies (the "bass"). The typical range for a subwoofer is about 20–200 Hz. Subs are used to augment the performance of main loudspeakers. Subwoofers are constructed by mounting one or more woofers in a well-braced wood or plastic enclosure. Subwoofers have been designed using a number of speaker enclosure designs, including bass reflex (with a port or tube in the enclosure), infinite baffle, horn-loaded, and bandpass designs, each of which has advantages and disadvantages in efficiency, size, distortion, cost, and power handling. Passive subwoofers have a subwoofer driver and enclosure and they are powered by an external amplifier. Active subwoofers include a built-in amplifier.

The first subwoofers were developed in the 1960s to add bass response to home stereo systems. Subwoofers came into greater popular consciousness in the 1970s with the introduction of Sensurround in movies such as Earthquake, which produced loud low-frequency sounds through large subwoofers. With the advent of the compact cassette and the compact disc in the 1980s, the reproduction of deep, loud bass was no longer limited by the ability of a phonograph record stylus to track a groove, and producers could add more low frequency content to recordings. As well, during the 1990s, DVDs were increasingly recorded with "surround sound" processes that included a Low Frequency Effects (LFE) channel, which could be heard using the subwoofer in home theater systems. During the 1990s, subwoofers also became increasingly popular in home stereo systems, custom car audio installations, and in PA systems. By the 2000s, subwoofers became almost universal in sound reinforcement systems in nightclubs and concert venues.

History

The first subwoofer was developed during the 1960s by Ken Kreisel, the former president of the Miller & Kreisel Sound Corporation in Los Angeles. When Kreisel's business partner, Jonas Miller, who owned a high-end audio store in Los Angeles, told Kreisel that some purchasers of the store's high-end electrostatic speakers had complained about a lack of bass response in the electrostatics, Kreisel designed a powered woofer that would reproduce only those frequencies that were too low for the electrostatic speakers to convey.. Infinity's full range electrostatic speaker system that was developed during the 1960s also used a woofer to cover the lower frequency range that its electrostatic arrays did not handle adequately.

The first use of a subwoofer in a recording session was in 1973 for mixing the Steely Dan album Pretzel Logic when recording engineer Roger Nichols arranged for Kreisel to bring a prototype of his subwoofer to Village Recorders. Further design modifications were made by Kreisel over the next ten years, and in the 1970s and 1980s by engineer John P. D'Arcy; record producer Daniel Levitin served as a consultant and "golden ears" for the design of the crossover network (used to partition the frequency spectrum so that the subwoofer would not attempt to reproduce frequencies too high for its effective range, and so that the main speakers would not need to handle frequencies too low for their effective range).

Subwoofers received a great deal of publicity in 1974 with the movie Earthquake which was released in Sensurround. Initially installed in 17 U.S. theaters, the Sensurround system used large subwoofers which were driven by racks of 500 watt amplifiers which were triggered by control tones printed on one of the audio tracks on the film. Four of the subwoofers were positioned in front of the audience under (or behind) the film screen and two more were placed together at the rear of the audience on a platform. Powerful noise energy in the range of 17 Hz to 120 Hz was generated at the level of 110–120 dB(SPL). The new low frequency entertainment method helped the film become a box office success. More Sensurround systems were assembled and installed. By 1976 there were almost 300 Sensurround systems leapfrogging through select theaters. Other films to use the effect include the WW II naval battle epic Midway in 1976 and Rollercoaster in 1977.

With the advent of the compact cassette and consumer digital audio formats, the reproduction of deep, loud bass was no longer limited by the ability of a phonograph record stylus to track a groove. It became possible to add more low frequency content to recordings. Home subwoofers grew in popularity, as they were easy to add to existing multimedia speaker setups and they were easy to position or hide.

Construction and Features

Loudspeaker and enclosure design

Subwoofers use speaker drivers (woofers) typically between 8" and 21" in diameter. Some car audio subwoofers have a 22" diameter and single prototype subwoofers as large as 60" have been fabricated. On the smaller end of the spectrum, subwoofer drivers as small as 4" may be used, depending on the design of the loudspeaker enclosure, the desired sound pressure level, the lowest frequency targeted and the level of permitted distortion. The most common subwoofer driver sizes in professional audio are 10", 12", 15" and 18". The largest sound reinforcement subwoofers, 21" drivers, are used for the largest venues, such as stadiums.

The efficiency of a speaker driver is given by:

\eta_0 = \left(\frac{4 . \pi^2 . F_s^3 . V_{as}}{c^3 . Q_{es}}\right)\times100\ %

Where the variables are Thiele/Small parameters. Deep low frequency extension is a common goal for a subwoofer and small box volumes are also considered desirable. Hoffman's Iron Laws therefore mandate low efficiency under those constraints, and indeed most subwoofers require considerable power, much more than other individual drivers.

So for the example of a sealed speaker box, the box volume to achieve a given Q_ts is proportional to Vas:

V_b = \frac{V_{as}}{\alpha} Where: \alpha = \frac{Q_{tc}}{Q_{ts}}^2-1

Therefore a decrease in box volume and the same F₃ will decrease the efficiency of the sub woofer. Similarly the F₃ of a speaker is proportional to Fs:

F_c = \frac{(Q_{ts}F_s)}{Q_{ts}}

As the efficiency is proportional to Fs³, small improvements in low frequency extension with the same driver and box volume will result in very significant reductions in efficiency. For these reasons, subwoofers are typically very inefficient at converting electrical energy into sound energy. This combination of factors accounts for the higher power output of subwoofer amplifiers, and the requirement for greater power handling for subwoofer drivers. Enclosure variations (e.g., bass reflex designs) are sometimes used for subwoofers to increase the efficiency of the driver/enclosure system, helping to reduce the amplifier power requirement.



Subwoofers have been designed using a number of enclosure approaches: bass reflex, acoustic suspension, infinite baffle, horn loaded, tapped horn, transmission line and bandpass. Each enclosure type has advantages and disadvantages in efficiency increase, bass extension, cabinet size, distortion, and cost. Subwoofers are typically constructed by mounting one or more woofers in a cabinet of medium-density fibreboard (MDF), oriented strand board (OSB), plywood, plastic or other dense materials. Because of the high power they use, subwoofers often require strong internal crossbracing to add strength and reduce box resonances.

There is a great deal of variety in the size of enclosures and, in the case of bass reflex systems, vent designs. When two are more subwoofers are placed in the same enclosure, they work together to move a greater mass of air, resulting in lower frequency extension. For example, if a single 12" subwoofer enclosure can go down to 40 Hz, a larger enclosure with four of these 12" drivers may be able to go to 30 Hz.

The smallest subwoofers are typically those designed for home theater users with limited space. An example of a very small home theater sub is the Velodyne MicroVee, which puts a 6.5" driver, two 6.5" passive radiators and an internal 1000 W RMS amplifier into a 9" x 9" x 9.6" (HxWxD) enclosure. The largest common subwoofer enclosures are those used for concert sound reinforcement systems or nightclub sound systems. An example of a large concert subwoofer enclosure is the 1980s-era ElectroVoice MT-4 "Bass Cube" system, which used four 18" drivers. An example of a subwoofer that uses a bass horn is the Bassmaxx B-Two, which loads an 18" driver onto an 11-foot (3.35 m) long folded horn. Folded horn-type subwoofers can typically produce a deeper range with greater efficiency than the same driver in an enclosure that lacks a horn. Some experimental fixed-installation subwoofer horns have been constructed using brick and concrete to produce a very long horn that allows a very deep sub-bass extension.

Subwoofer output level can be increased by increasing cone surface area or by increasing cone excursion. Since large drivers require undesirably large cabinets, most subwoofer drivers have large excursions. Unfortunately, high excursion, at high power levels, tends to produce more distortion from inherent mechanical and magnetic effects in electro-dynamic drivers (the most common sort). The conflict between assorted goals can never be fully resolved; subwoofer designs are necessarily compromises. Hoffman's Iron Law (the efficiency of a woofer system is directly proportional to its cabinet volume and to the cube of its cutoff frequency) applies to subwoofers just as to all loudspeakers.

Frequency Range and Frequency Response

The typical frequency range for a subwoofer is about 20–200 Hz.The frequency response specification of a speaker "attempts to describe the range of frequencies or musical tones a speaker can reproduce, measured in Hertz" Subwoofers vary in terms of the range of pitches that they can reproduce, depending on a number of factors such as the size of the cabinet and the construction and design of the enclosure and driver(s). The Yamaha MSR800W, a powered subwoofer designed for sound reinforcement use has a frequency response of 40–120 Hz. The Klein and Hummel 810 Active Studio Subwoofer has a frequency response from 18 to 300 Hz (± 3 dB).The subwoofer included with the Pioneer NS-11-Q Super Mini CD Receiver has a frequency range that goes much higher: from 25–800 Hz.The JBL 4688 TCB Subwoofer System, a now-discontinued system which was designed for movie theaters, had a frequency range (-10 dB) of 23–350 Hz and a frequency response (± 3 dB) of 28–120 Hz.

As well, subwoofers vary in regards to the sound pressure levels achievable and the distortion levels they can produce over their range. The Abyss subwoofer, for example can reproduce pitches from 18 Hz (which is about the pitch of the lowest rumbling notes on a huge pipe organ with 32' bass pipes) to 120 Hz (±3 dB). Nevertheless, even though the Abyss subwoofer can go down to 18 Hz, its lowest frequency and maximum SPL with a limit of 10% distortion at 2 meters in a large room is 35.5 Hz at 79.8 dB . This means that a person choosing a subwoofer needs to consider more than just the lowest pitch that that sub can reproduce.

Amplification

'Active subwoofers' include their own dedicated amplifiers within the cabinet. Some also include user-adjustable equalization that allows boosted or reduced output at particular frequencies; these vary from a simple "boost" switch, to fully parametric equalizers meant for detailed speaker and room correction. Some such systems are even supplied with a calibrated microphone to measure the subwoofer's in-room response, so the automatic equalizer can correct the combination of subwoofer, subwoofer location, and room response to minimize effects of room modes and improve low frequency performance.

'Passive subwoofers' have a subwoofer driver and enclosure, but they do not include an amplifier. They sometimes incorporate internal passive crossovers, with the filter frequency determined at the factory. These are generally used with third-party power amplifiers, taking their inputs from active crossovers earlier in the signal chain. While few high-end home-theater systems use passive subwoofers, this format is still popular in the professional sound industry. Using a passive subwoofer adds flexibility for the user, because the user can select which type of amplifier (Class AB or Class D, for example); brand of amplifier; or features (e.g., limiting to prevent distortion) that they want to use with their speaker or speakers.

Equalization

Equalization can be used to adjust the in-room response of a subwoofer system. Designers of active subwoofers sometimes include a degree of corrective equalization to compensate for known performance issues (e.g., a steeper than desired low end roll-off rate). In addition, many amplifiers include an adjustable low-pass filter, which prevents undesired higher frequencies from reaching the subwoofer driver. For example, if a listener's main speakers are usable down to 80 Hz, then the subwoofer filter can be set so the subwoofer only works below 80. Realizable filter behavior does not permit such sharp cutoffs, so some overlap is to be expected and must be compensated for. Digital crossover filters can produce sharper and more precise cutoff characteristics than analog filters. The crossover section may also include a high-pass "infrasonic" filter which prevents the subwoofer driver from attempting to reproduce frequencies below its safe capabilities.

Some systems use parametric equalization in an attempt to correct for room frequency response irregularites. Equalization is often unable to achieve flat frequency response at all listening locations in part because of the resonance (i.e., standing wave) patterns at low frequencies in nearly all rooms. Careful positioning of the subwoofer within the room can also help flatten the frequency response. Multiple subwoofers can manage a flatter general response since they can often be arranged to excite room modes more evenly than a single subwoofer, allowing equalisation to be more effective.

Phase control

Changing the relative phase of the subwoofer with respect to the woofers in other speakers may or may not help to minimize unwanted destructive acoustic interference in the frequency region covered by both subwoofer and main speakers. It may not help at all frequencies, and may create further problems with frequency response, but is even so generally provided as an adjustment for subwoofer amplifiers.. Phase control circuits may be a simple polarity reversal switch or a more complex continuously variable circuits.

Continuously variable phase control circuits are common in subwoofer amplifiers, and may be found in crossovers and as do-it-yourself electronics projects. Phase controls allow the listener to change the arrival time of the subwoofer sound waves relative to the same frequencies from the main speakers (i.e., at and around the crossover point to the subwoofer). A similar effect can be achieved with the delay control on many home theater receivers. The subwoofer phase control found on many subwoofer amplifiers is actually a polarity inversion switch. It allows users to reverse the polarity of the subwoofer relative to the audio signal it is being given. This type of control allows the subwoofer to either be in phase with the source signal, or 180 degrees out of phase.

Servo subwoofers

Some active subwoofers use a servo feedback mechanism based on cone movement which modifies the signal sent to the voice coil. The servo feedback signal is derived from a comparison of the input signal to the amplifier versus the actual motion of the cone. The usual source of the feedback signal is a few turns of voice coil attached to the cone or a microchip-based accelerometer placed on the cone itself. An advantage of a well-implemented servo subwoofer design is reduced distortion making smaller enclosure sizes possible. The primary disadvantages are cost and complexity.

Servo controlled subwoofers are not the same as Servodrive subwoofers whose primary mechanism of sound reproduction avoids the normal voice coil and magnet combination in favor of a high-speed belt-driven servomotor. The Servodrive design increases output power, reduces harmonic distortion and virtually eliminates the loss of loudspeaker output that results from an increase in voice coil impedance due to overheating of the voice coil (called power compression.) This feature allows high power operation for extended periods of time. Intersonics was nominated for a TEC Award for its Servo Drive Loudspeaker (SDL) design in 1986 and for the Bass Tech 7 model in 1990.

Applications

Home audio

The use of a subwoofer augments the bass capability of the main speakers, and allows them to be smaller without sacrificing low frequency capability. A subwoofer does not necessarily provide superior bass performance in comparison to large conventional loudspeakers on ordinary music recordings due to the typical lack of very low frequency content on such sources. However, there are recordings with substantial low frequency content that most conventional loudspeakers are ill-equipped to handle without the help of a subwoofer, especially at high playback levels, such as music for pipe organs with 32' bass pipes (16 Hz), very large bass drums on symphony orchestra recordings and electronica music with extremely low synth bass parts.

Low frequencies are not easily localized; hence many stereo and multichannel audio systems feature only one subwoofer channel and a single subwoofer can be placed off-center without affecting the perceived sound stage, since the sound produced is difficult to localize. The intention in a system with a subwoofer is often to use small main ("satellite") speakers (of which there are two for stereo and five or more for surround sound or movie tracks) and to hide the subwoofer elsewhere (e.g. behind furniture or under a table), or to augment an existing speaker to save it from having to handle woofer-destroying low frequencies at high levels.

Some users add a subwoofer because high levels of low bass are desired, even beyond what is in the original recording, as in the case of house music enthusiasts. Thus, subwoofers may be part of a package that includes satellite speakers, may be purchased separately, or may be built into the same cabinet as a conventional speaker system. For instance, some floor standing tower speakers include a subwoofer driver in the lower portion of the same cabinet. Physical separation of subwoofer and "satellite" speakers not only allows placement in an inconspicuous location, but since sub-bass frequencies are particularly sensitive to room location (due to room resonances and reverberation 'modes'), the best position for the subwoofer is not likely to be where the "satellite" speakers are located. For greatest efficiency and best coupling to the room's air volume, subwoofers can be placed in a corner of the room, far from large room openings, and closer to the listener. This is possible since low bass frequencies have a long wavelength; hence there is little difference between the information reaching a listener's left and right ears, and so they cannot be readily localized. All low frequency information is sent to the subwoofer. However, unless the sound tracks have been carefully mixed for a single subwoofer channel, it's possible to have some cancellation of low frequencies if bass information in one channel is out of phase with another.

The physically separate subwoofer/satellite arrangement has been popularized by multimedia speaker systems such as Bose Acoustimass Home Entertainment Systems, Polk Audio RM2008 Series and Klipsch Audio Technologies ProMedia. Low-cost "home theater in a box" systems advertise their integration and simplicity.

Particularly among low cost "Home Theater in a Box" systems and with "boom boxes", however, inclusion of a subwoofer may be little more than a marketing device. It is unlikely that a small woofer in an inexpensively-built compact plastic cabinet will have better bass performance than well-designed conventional (and typically larger) speakers in a plywood or MDF cabinet. Mere use of the term "subwoofer" is no guarantee of good or extended bass performance. Many multimedia "subwoofers" might better be termed "bass drivers" as they are too small to produce deep bass.

Further, poorly designed systems often leave everything below about 120 Hz to the subwoofer, meaning that the subwoofer handles frequencies which the ear can use for sound source localization, thus introducing an undesirable subwoofer "localization effect". This is usually due to poor crossover designs or choices (too high crossover point or insufficient crossover slope) used in many computer and home theater systems; localization also comes from port noise and from typically large amounts of harmonic distortion in the subwoofer design. Home subwoofers sold individually usually include crossover circuitry to assist integration into an existing system.

Studio reference monitors

Studio monitors, also called reference monitors, are loudspeakers specifically designed for audio production applications such as recording, film, television and radio studios. In addition to using full-range reference monitors, recording engineers also often use subwoofers, often "active" subs with internal amplifiers. Studio reference subwoofers are designed to produce relatively flat (linear) phase and frequency responses. In other words, there will be little emphasis or de-emphasis of particular frequencies so that the driver will give an accurate reproduction of the tonal qualities of the source audio ("uncolored" or "transparent" are synonyms), and there will be no relative phase shift of particular frequencies. As well, studio subwoofer monitors are made in a more physically robust manner than a typical home theater subwoofer; whereas home theater subs only have to reproduce compressed commercial CD and DVD recordings, studio subwoofer monitors have to cope with the high volumes and sudden sound bursts of low-frequency sound that may happen in the studio when playing back unmastered mixes or if a performer accidentally drops a microphone.

Car audio

are well suited to the "hidden" subwoofer approach due to space limitations in the passenger compartments. It is not possible, in most circumstances, to fit such large drivers and enclosures into doors or dashboards, so subwoofers are installed in the trunk or back seat space. Some car audio enthusiasts compete to produce very high sound pressure levels in the confines of their vehicle's cabin; sometimes dangerously high. The "SPL wars" have drawn much attention to subwoofers in general, but subjective competitions in sound quality ("SQ") have not gained equivalent popularity. Top SPL cars are not able to play normal music, or perhaps even to drive normally as they are designed solely for competition. Many subwoofers are capable of generating high levels in cars due to the small volume of a typical car interior. High sound levels can cause hearing loss and tinnitus if one is exposed to them for an extended period of time.. In the 2000s, several car audio manufacturers have produced subwoofers using non-circular shapes from manufacturers, including Kicker, Sony, Bazooka, and X-Tant. These shapes typically carry some distortion penalties. In situations of limited mounting space they provide a greater cone area and assuming all other variables are constant, greater maximum output. An important factor in the "square sub vs round sub" argument is the effects of the enclosure used. In a sealed enclosure, the maximum displacement is determined by

V_\mathrm{d} = x_\mathrm{max} \times S_\mathrm{d}

where

• V_d stands for volume of displacement (in m^3)
• x_max to the amount of linear excursion the speaker is mechanically capable of (in m)
• S_d to the cone area of the sub woofer (in m^2).

These are some of the Thiele/Small parameters which can either be measured or found with the driver specifications.

Cinema sound

After the introduction of Sensurround, movie theater owners began installing permanent subwoofer systems. Dolby Stereo 70 mm Six Track was a six channel film sound format introduced in 1976 that used two subwoofer channels for stereo reproduction of low frequencies. In 1981, Altec introduced a dedicated cinema subwoofer model tuned to 20 Hz: the 8182. Starting in 1983, THX certification of the cinema sound experience quantified the parameters of good audio for watching films, including requirements for subwoofer performance levels and enough isolation from outside sounds so that noise did not interfere with the listening experience. This helped provide guidelines for multiplex cinema owners who wanted to isolate each individual cinema from its neighbors, even as louder subwoofers were making isolation more difficult. Specific cinema subwoofer models appeared from JBL, Electro-Voice, Eastern Acoustic Works, Kintek, Meyer Sound Laboratories and BGW Systems in the early 1990s. In 1992, Dolby Digital's six-channel film sound format incorporated a single low-frequency effects (LFE) channel, the "point one" in 5.1 surround sound.

Tom Horral, a Boston-based acoustician, blames subwoofers for louder cinema sound in general. He says that before subwoofers made it possible to have loud, relatively undistorted bass, movie sound levels were limited by the distortion in less capable systems at low frequency and high levels.

Sound reinforcement

Professional audio subwoofers must be capable of very high output levels. This is reflected in the design attention given in recent years to the subwoofer applications for sound reinforcement, public address systems, dance club systems and concert systems. Consumer applications (as in home use) are considerably less demanding due to much smaller listening space and lower playback levels. Subwoofers are now almost universal in professional sound applications such as live concert sound, churches, nightclubs, and theme parks. Movie theatres certified to the THX standard for playback always include high capability subwoofers. Some professional applications require subwoofers designed for very high sound levels, using multiple 12", 15", 18" or 21" drivers. Drivers as small as 10" are occasionally used, generally in horn loaded enclosures.

The number of subwoofer enclosures used in a concert depends on a number of factors, including the size of the venue, whether it is indoors or outdoors, the amount of low-frequency content in the band's sound, the desired volume of the concert, and the design and construction of the enclosures (e.g., direct raditating versus horn-loaded. A small bar may use a single direct-radiating 15" sub cabinet. A large dance club may have a row of four or five 2x15" subwoofer cabinets. In the largest stadium venues, there may be a large number of subwoofer enclosures. For example, the 2007 Joe Cocker tour of Europe used 18 EAW SB1000z 2x18" subwoofers.

The main speakers may be 'flown' from the ceiling of a venue on chain hoists, and 'flying points' (i.e., attachment points) are built into many professional loudspeaker enclosures. Subwoofers can be flown or stacked on the ground near the stage. There can be more than 50 double-18-inch cabinets in a typical concert system. Just as consumer subwoofer enclosures can be made of Medium-density fibreboard (MDF), Oriented strand board (OSB), plywood, plastic or other dense material, professional subwoofer enclosures can be built from the same materials. MDF is commonly used to construct subwoofers for permanent installations as its density is relatively high and weatherproofing is not a concern. Other permanent installation subwoofers have used very thick plywood: the Altec 8182 (1981) used 7-ply 28 mm birch-faced oak plywood. Touring subwoofers are typically built from 18–20 mm thick void-free Baltic birch (Betula pendula or Betula pubescens) plywood from Finland, Estonia or Russia; such plywood affords greater strength for frequently transported enclosures. Not naturally weatherproof, Baltic birch is coated with carpet, thick paint or spray-on truck bedliner to give the subwoofer enclosures greater durability.

Touring subwoofer cabinets are typically designed with features that facilitate moving the enclosure (e.g., wheels, a "towel bar" handle and recessed handles), a protective grill for the speaker (in direct radiating-style cabinets), metal or plastic protection for the cabinets to protect the finish as the cabinets are being slid one on top of another, and hardware to facilitate stacking the cabinets (e.g., interlocking corners) and for "flying" the cabinets from stage rigging.

Full-range system

In professional concert sound system design, subwoofers can be incorporated seamlessly with the main speakers into a stereo or mono full-range system by using an active crossover. Such a system receives its signal from the main mono or stereo mixing console mix bus and amplifies all frequencies together in the desired balance. If the main sound system is stereo, the subwoofers can also be in stereo. Otherwise, a mono subwoofer channel can be derived within the crossover from a stereo mix, depending on the crossover make and model.

Aux-fed subwoofers

Instead of being incorporated into a full-range system, concert subwoofers can be supplied with their own signal from a separate mix bus on the mixing console; often one of the auxiliary sends ("aux" or "auxes") is used. This configuration is called "aux-fed subwoofers", and has been observed to significantly reduce low frequency "muddiness" that can build up in a concert sound system which has on stage a number of microphones each picking up low frequencies and each having different phase relationships of those low frequencies. The aux-fed subs method greatly reduces the number of sources feeding the subwoofers to include only those instruments that have desired low frequency information; sources such as kick drum, bass guitar, samplers and keys. This simplifies the signal sent to the subwoofers and makes for greater clarity and low punch. Aux-fed subs can even be stereo, if desired, using two auxiliary mix buses.

Directional subwoofers

In order to keep low frequency energy focused on the audience area and not on the stage, and to keep low frequencies from bothering people outside of the event space, a variety of techniques have been developed in concert sound to turn the naturally omnidirectional radiation of subwoofers into a more directional pattern. These techniques include setting up subwoofers in a vertical array; using end-fired subs; and setting up a delay-shaded system.

Vertically arrayed subwoofers

Stacking or flying the subwoofers in a vertical array focuses the low frequencies forward to a greater or lesser extent depending on the physical length of the array. Longer arrays have more directional effect at lower frequencies. The directionality is more pronounced in the vertical dimension, yielding a radiation pattern that is wide but not tall. This helps reduce the amount of low frequency sound bouncing off the ceiling indoors and assists in mitigating external noise complaints outdoors.

End-fired subwoofers

Some subwoofer arrays and individual subwoofer designs rely on drivers facing to the sides or to the rear in order to achieve a degree of directionality. Other designs and techniques place subwoofer drivers coaxially in one or more rows, using destructive interference to reduce emissions to the sides and rear. This can be done with separate subwoofer enclosures positioned front to back or within a single enclosure that houses more than one driver. Delay adjustments and polarity reversals are among the tools used by advocates of end-fired subs. Directionality is typically centered on a selected target frequency, and can achieve as much as 25 dB rear attenuation. The positional technique of end-fired subwoofers came into limited regional use in live concert sound in 2006.

Delay shaded subwoofers

A long line of subwoofers placed horizontally along the front edge of the stage can be delayed such that the center subs fire several milliseconds prior to the ones flanking them, which fire several milliseconds prior to their neighbors, continuing in this fashion until the last subwoofers are reached at the outside ends of the subwoofer row. This method helps to counteract the extreme narrowing of horizontal dispersion pattern seen with a horizontal subwoofer array. Such delay shading can be used to virtually reshape a loudspeaker array.

Bass instrument amplification

In rare cases, sound reinforcement subwoofer enclosures are also used for bass instrument amplification by electric bass players and synth bass players. For most bands and most small- to mid-size venues (e.g., nightclubs and bars), standard bass guitar speaker enclosures or keyboard amplifiers will provide sufficient sound pressure levels for onstage monitoring. However, in some cases, performers wish to have extended sub-bass response that is not available from standard instrument speaker enclousures, so they use subwoofer cabinets. Bass guitar players who may use subwoofer cabinets include performers who play with extended range basses that include a low "B" string (about 23 Hz); bassists who play in styles where a very powerful sub-bass response is an important part of the sound (e.g., funk, latin, gospel, etc.); and/or bass players who perform in stadium-size venues or large outdoor venues. Since a regular electric bass has a low "E" (41 Hz) as its lowest note, most standard bass guitar cabinets are only designed with a range that goes down to about 40 Hz. Keyboard players who use subwoofers for on-stage monitoring include electric organ players who use bass pedal keyboards (which go down to a low "C" which is about 25 Hz) and synth bass players who play rumbling sub-bass parts that go as low as 18 Hz.

Several concert sound subwoofer manufacturers suggest that their subs can be used for bass instrument amplification. Meyer Sound suggests that its 650-R2 Concert Series Subwoofer, a 14-square-foot enclosure with two 18" drivers, can be used for bass instrument amplification. While performers who use concert sound subwoofers for onstage monitoring may like the powerful sub-bass sound that they get onstage, sound engineers may find the use of large subwoofers (e.g., two 18" drivers) for onstage instrument monitoring to be problematic, because it may interfere with the "Front of House" sub-bass sound.

Bass shakers

Since much very low bass is felt, sub-bass can be 'augmented' using tactile transducers. Unlike a typical subwoofer driver, which produces audible vibrations, tactile transducers produce low-frequency vibrations that are designed to be felt by individuals who are touching the transducer or indirectly through a piece of furniture or a wooden floor. Tactile transducers have recently emerged as a device class, called variously "bass shakers", "butt shakers" and "throne shakers". They are attached to a seat, for instance a drummer's stool ("throne") or gamer's chair, car seat or home theater seating, and the vibrations of the driver are transmitted to the body then to the ear in a manner similar to bone conduction. They connect to an amplifier like a normal subwoofer. They can be attached to a large flat surface (for instance a floor or platform) to create a large low frequency conduction area, although the transmission of low frequencies through the feet is not as efficient as the seat.Panasonic has a mobile product called the "Brain Shaker Extreme" (BSE) which they bill as "A Subwoofer for Your Head." The BSE has a small tactile transducer mounted on headphones with its own amplifier.

The advantage of tactile transducers used for low frequencies is that they allow a listening environment that isn't filled with loud low frequency waves. This helps the concert drummer to monitor his or her kick drum performance without "polluting" the stage with powerful low frequency waves from a 15" subwoofer monitor. By not having a subwoofer monitor, a bass shaker also enables a drummer to lower the sound pressure levels that he is exposed to during a performance. For home cinema or videogame use, bass shakers help the user avoid disturbing others in nearby apartments or rooms, because even powerful sound effects such as explosion sounds in a war videogame or the simulated rumbling of an earthquake in an adventure film will not be heard by others. However, some critics argue that the felt vibrations are disconnected from the auditory experience, and they claim that that music is less satisfying with the "butt shaker" than sound effects. As well, critics have claimed that the bass shaker itself can rattle during loud sound effects, which can distract the listener.

See also

• Bass management
• Bass test
• Mid-range speaker
• Super Tweeter
• Rotary Woofer
• Thiele/Small
• Tweeter
• Woofer

References

1. http://www.crutchfield.com/S-5VsEXVgtser/Learn/learningcenter/home/speakers_glossary.html
2. AES E-Library: Tracking Ability Specifications for Phonograph Cartridges by Kogen, J. H.
3. Stereophile, March 1997. Wes Phillips. Audio Odyssey: Ken Kreisel of M&K
4. About Sensurround
5. Record-Producer.com, April 12, 2007. Mastering for vinyl vs. mastering for CD
6. Bag End. Infra Sub 18
7. Rutgers. Matthew Rodriguez et al. Experiences Designing and Building A Subwoofer Amplifier
8. http://www.thetrue22.com/
9. Incredible 60-inch Subwoofer
10. http://www.velodyne.com/products/product.aspx?ID=26&sid=847d550a
11. DIY Loudspeaker Designer's Selection Guide (the LDSG). Appendix A – Loudspeaker Design. "Hoffman's Iron Law":
12. http://www.crutchfield.com/S-5VsEXVgtser/Learn/learningcenter/home/speakers_glossary.html
13. http://forum.ecoustics.com/bbs/messages/34579/131062.html
14. http://www.yamaha.com/yamahavgn/CDA/ContentDetail/ModelSeriesDetail.html?CNTID=36725
15. http://www.sennheiser.com/klein-hummel/icm_en.nsf/root/prof-monitoring_studio-monitors_subwoofer_O810#
16. http://www.pioneer.eu/ru/products/archive/NS-11-Q/index.html
17. http://www.jblpro.com/pub/obsolete/4688.pdf
18. http://www.soundandvisionmag.com/speakers/3197/martinlogan-feature-powered-speaker-and-abyss-subwoofer-test-bench-page3.html
19. JBL Sound System Design Manual, part two
20. AudioHolics LFE crossover guide. AudioHolics LFE crossover guide
21. http://bfdguide.ws/ BFD Parametric Equalizer
22. SoundStage! Bang & Olufsen Beolab 5 Loudspeakers
23. ETF Acoustic. Audio Measurement Basics
24. Todd Welti, Research Acoustician, Harman International Industries, Inc Subwoofers: Optimum Number and Locations
25. Rod Elliott Phase Correction – Myth or Magic
26. Rod Elliot Subwoofer Phase Controller
27. Sound On Sound Choosing & Installing a Subwoofer
28. the professional answer Common Subwoofer Myths
29. diyAudio.com Subwoofer variable phase control – statement that variable phase controls are common on commercial subwoofers
30. Sound On Sound All You Wanted to Know About Subwoofers
31. YC's Hi-Fi Pages SVS 25-31 PC+ Review
32. Audioholics. Gene DellaSala. The Marriage Between the Subwoofer and Tower Speakers
33. Rythmik Audio Technology
34. Analog Devices. Doucet et al. Using an Accelerometer to Make an Active Subwoofer
35. Home Theater Hi-Fi. Review of Paradigm Servo-15
36. Home Theater Hi-Fi. Review of Rythmik Direct Servo kit
37. Ultimate AV. Review of Velodyne DD
38. AES E-Library: A High Efficiency Servo-Motor Driven Subwoofer by Danley, Thomas J.; Rey, Charles A.; Whymark, Roy R
39. Servodrive Bass Tech 7
40. AES E-Library: The Elimination of Power Compression in Servo Drive Loudspeakers by Danley, Thomas J.; Whymark, Roy R.; Rey, Charles A
41. 1986 TEC Awards
42. 1990 TEC Awards
43. Bose Acoustimass 5 user manual (1987)
44. Polk Audio RM2008 Series
45. Klipsch ProMedia Ultra 5.1
46. AutoQnA, Are square subs better or worse than round subs?
47. Polk Audio, Tips, Tweaks and Common Sense About Car Audio
48. diyAudio.com, "A tricky question from a novice" – discussion about non-circular speakers
49. THX Company Overview
50. New York Times. By James Barron. Ideas & Trends: Shhhhh! The Audience Is Listening.; When Seeing a Movie Is a Pain in the Ear May 31, 1998
51. http://www.eaw.com/frontrow/2008/01/eaw_on_joe_cocker_europe_tour.html
52. Speaker City. Bob Wayland for American Woodworker. Spectacular Speakers
53. Altec-Lansing 9880-8A 18" Subwoofer
54. Altec-Lansing 8000 Series Loudspeaker Systems
55. JBL Professional Enclosure Guide
56. JTR Growler with Line-X coating
57. Solid-NRG DS-1802SQ with Line-X coating
58. ProSoundWeb. Tom Young. A Detailed Explanation Of The Aux Fed Subwoofer Technique
59. Peavey. Don Boomer, Product Manager, Sound Reinforcement Division. AUX FED SUBS
60. Cardioid subwoofer image: The second subwoofer has been delayed a precise amount corresponding to the time it takes sound to traverse the distance between speaker grilles. Image captured from Electro-Voice's RACE loudspeaker pattern prediction software. Frequency shown is 60 Hz.
61. Nexo Geo-D subwoofer
62. Meyersound. PSW-6 : High-Power Cardioid Subwoofer
63. EONA ADRaudio ATA 218C HH directional subwoofer
64. JBL Application Guide. Rick Kamlet. Spaced SB210 FSA Forward Steered Low-Bass Array. January 2004.
65. Dave Stevens: A Barking Dog. July 18, 2006. Pinging In From ES and Gear Notes Rotterdam, Wuppertal and Finkenstein
66. QSC. Mark Engebretson. Advanced Loudspeaker Tuning Techniques. QSC Intrinsic Correction (2007)
67. http://www.meyersound.com/products/legacy/650r2/index.htm
68. O'Reilly, 2004. Brett McLaughlin. Home Theater Hacks: 100 Industrial-Strength Tips & Tools
69. Home Theater. Robert Silva. Subwoofers: What You Need To Know Page 3: Subwoofer Alternatives.
70. Home Theater Hi-Fi, June 2002. Evan Upchurch. Product Review – ButtKicker 2 Low Frequency Shaker
71. http://www.prodcat.panasonic.com
72. ExtremeTech, September 8, 2005. Jeremy Atkinson. Get Your Butt Kicked