RECORDING November 2022 - 12
REVIEW
FOCAL Sub6, Sub One
and Sub12
Focal Sub12
The Sub12 is the newest member of
the Focal family and was launched at
the June 2022 NAMM. The Sub12 is
designed to add low-end support to the
Focal Trio6 Be and Trio11 Be models in
2.1 and full-scale Dolby Atmos setups.
Size and Style
The Sub12 can best be described
as Big AF-no, this thing is just about
as Big As a dorm room Fridge. Nicely
its classic dark wood sides are fitted
with carrying handles, never mind that
it weighs shy of 130 lbs.
The Sub12 is a front-ported design
with a 13 " composite " W " cone driver.
Features and Controls
The controls and options on the
Sub12 offer some well-chosen additions.
Its high-pass is expanded with settings
of full range, 45, 60 and 90 Hz.
Its low-pass covers a range of 50-150
Hz, while its Level, Phase, Polarity flip
and Auto-Standby are the same as the
Sub One. The Sub12 also offers a -10 /
+4dB input Sensitivity switch.
In addition to the stereo, LFE and bypass
I/O, the Sub12 adds 1
/4
" I/O to
support the Focus mode found on the Trio
and ST6 models-similar to 2.1 Bypass.
At Home
My initial use of the Sub6 and Sub One
was in my home office listening space,
coupled with my Focal Solo6 40th Anniversary
edition speaker (reviewed August
2020). The Sub One fit perfectly under
my desk, about an inch from the rear wall
between my monitors, whereas the Sub6
needed to be placed alongside my desk
to allow for proper depth from the wall.
After choosing the 60 Hz crossover point
on the Sub One with a similar approximate
LP setting, I used some bass-focused songs
to find the best sub-volume level and balance
in my room, notably " Throw It Away "
by Aga Zaryan. The upright bass bloom let
me know instantly when a sub was pushed
too far. On the Sub6, I dialed in similar settings
with the HP at 75 Hz.
12 RECORDING November 2022
I like my subwoofers to form more of a well integrated 3-way speaker setup rather
than a 2.1 home theater sub-satellite vibe. Both models performed admirably, with
a defined low-end extension that added weight, thump and fullness to my listening
experience. Each gave my Solo6 speakers a more open and dimensional sound due
to the 6 " driver not needing to work as hard. The speakers came across as a touch
brighter in the sweet spot, which I dialed back with the high-end controls on the Solo6.
The Sub One offered a more solid, even and punchy extension that was more noticeable
compared to the gently deeper, dimensional low-end bloom offered by the Sub6. I
have changed my mind multiple times as to which one I prefer.
Overall, I think the Sub6 integrates more transparently with the Solo6 for my taste.
At the same time, my experience with the wide-dimensional bass signature of the
Alpha Evo models lets me know that the solid Sub One tonality should fit comfortably
in that setup like a perfect puzzle piece.
In the Studio
In my studio, I mix on a pair of Focal
Trio11 Be monitors (reviewed June
2019). These 3-way beasts use a large
10 " bass-driver that Focal labels as a
sub. I often wondered what kind of subwoofer
would be necessary to take the
sound of the Trio11 Be to another level.
The Sub12 is the resounding answer.
Setting up the Sub12 in my studio was not an easy task. It is too large and heavy to
maneuver behind my desk in between my speakers and will not fit alongside my desk
without me doing some much needed reorganization.
For this review, I set it up about 1/3 of the distance from my rear bass-trapped wall.
This also allowed me to set up and quickly compare the other two subs in the space.
This thing has low-end for days and, when cranked, rattled the whole darn building.
When set appropriately, the Sub12 had a similar effect as the Sub6 / Solo6
combo. With the 10 " drivers of the Trio11 Be working less hard, the overall sound
relaxed and became more immersive and dimensional. The low-end was breathtaking
in conjunction with the Trio11 Be models. I could see why one or two Sub12 units
would nicely form the foundation of a high-end spatial audio array-which I got to
experience at the Focal booth at NAMM.
While I tried to employ the other Focal subs in my studio with the Trio11 Be, they
offered no audible benefit. They did work well, adding extended lows to my studio's
6.5 " speakers.
Final Thoughts
Each Focal sub is indeed impressive, with well-chosen features and room-filling
low-end. Which one is right for you will come down to room size, placement considerations,
the other speakers in use and, of course, cost.
I will wrap this up by saying that I find Sub One and Sub6 beneficial and, better
yet, highly enjoyable in my home space. In my professional mix room, I don't need
the Sub12, and I am not sure where it can fit in my space; but after experiencing its
defined, low-end clarity and power, I sure do want one!
Price: $999 Sub One; $1,499 Sub6; $2,599 Sub12
More from: focal.com
Sub6 .................................Sub One .................... Sub12
Speaker Size: ................11 " ......................................8 " (x2) ......................... 13 "
Driver Material: ............Composite " W " Cone ........Slatefiber Cone .......... Composite " W " Cone
Frequency Response:....30 Hz-250 Hz ......................32 Hz-120 Hz ............. 28 Hz-400 Hz
Power: ..........................350W ..................................200W RMS Class D .... 600W (1000W Peak)
Max SPL: .......................116dB (peak at 1m) ............114dB (peak at 1m) .... 124.5dB (peak at 1m)
Port: ..............................Rear ....................................Front (x2) .................... Front
Dimensions: ..................14.93 " x 13.56 " x 17.31 " ....16 " x 17 " x 16 " .......... 23.62 " x 19.12 " x 23.37 "
Weight: .........................50.7 lbs. ..............................40.8 lbs. ...................... 127.8 lbs.
http://focal.com
RECORDING November 2022
Table of Contents for the Digital Edition of RECORDING November 2022
Fade In
Fast Forward
Focal Sub6, Focal Sub One and Focal Sub12
Neumann NDH 30
A Family of Amphion Monitors Compared
Plugin Outlet: BABY Audio IHNY-2
KRK S10.4 Studio Subwoofer
A Space for Creative Inclinations: An Interview with David Crowder
Plugin Outlet: KIT Plugins Blackbird Mo-Q
Inside the Studio with Mark Hornsby: Paragon Studios 2.0
IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
Inside the Box with Joe Albano: Virtual Studio Modeling
ddrum NIO Percussion Pad
Yorkville Sound YSM5 Series II
Session Log with Marc Urselli: A Brief History of EastSide Sound
GIK Acoustics Sound Blocks
State of Acoustics 2022
Thermionic Culture The Fat Bustard II
Readers' Tracks
Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Intro
RECORDING November 2022 - Cover1
RECORDING November 2022 - Cover2
RECORDING November 2022 - 1
RECORDING November 2022 - 2
RECORDING November 2022 - 3
RECORDING November 2022 - Fade In
RECORDING November 2022 - 5
RECORDING November 2022 - 6
RECORDING November 2022 - 7
RECORDING November 2022 - Fast Forward
RECORDING November 2022 - 9
RECORDING November 2022 - Focal Sub6, Focal Sub One and Focal Sub12
RECORDING November 2022 - 11
RECORDING November 2022 - 12
RECORDING November 2022 - 13
RECORDING November 2022 - Neumann NDH 30
RECORDING November 2022 - 15
RECORDING November 2022 - A Family of Amphion Monitors Compared
RECORDING November 2022 - 17
RECORDING November 2022 - 18
RECORDING November 2022 - 19
RECORDING November 2022 - 20
RECORDING November 2022 - 21
RECORDING November 2022 - 22
RECORDING November 2022 - 23
RECORDING November 2022 - Plugin Outlet: BABY Audio IHNY-2
RECORDING November 2022 - 25
RECORDING November 2022 - KRK S10.4 Studio Subwoofer
RECORDING November 2022 - 27
RECORDING November 2022 - A Space for Creative Inclinations: An Interview with David Crowder
RECORDING November 2022 - 29
RECORDING November 2022 - 30
RECORDING November 2022 - 31
RECORDING November 2022 - 32
RECORDING November 2022 - 33
RECORDING November 2022 - 34
RECORDING November 2022 - 35
RECORDING November 2022 - Plugin Outlet: KIT Plugins Blackbird Mo-Q
RECORDING November 2022 - 37
RECORDING November 2022 - Inside the Studio with Mark Hornsby: Paragon Studios 2.0
RECORDING November 2022 - 39
RECORDING November 2022 - 40
RECORDING November 2022 - 41
RECORDING November 2022 - IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
RECORDING November 2022 - 43
RECORDING November 2022 - 44
RECORDING November 2022 - 45
RECORDING November 2022 - Inside the Box with Joe Albano: Virtual Studio Modeling
RECORDING November 2022 - 47
RECORDING November 2022 - 48
RECORDING November 2022 - 49
RECORDING November 2022 - ddrum NIO Percussion Pad
RECORDING November 2022 - 51
RECORDING November 2022 - Yorkville Sound YSM5 Series II
RECORDING November 2022 - 53
RECORDING November 2022 - Session Log with Marc Urselli: A Brief History of EastSide Sound
RECORDING November 2022 - 55
RECORDING November 2022 - 56
RECORDING November 2022 - 57
RECORDING November 2022 - GIK Acoustics Sound Blocks
RECORDING November 2022 - 59
RECORDING November 2022 - State of Acoustics 2022
RECORDING November 2022 - 61
RECORDING November 2022 - Thermionic Culture The Fat Bustard II
RECORDING November 2022 - 63
RECORDING November 2022 - Readers' Tracks
RECORDING November 2022 - 65
RECORDING November 2022 - 66
RECORDING November 2022 - 67
RECORDING November 2022 - 68
RECORDING November 2022 - 69
RECORDING November 2022 - 70
RECORDING November 2022 - 71
RECORDING November 2022 - Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Cover3
RECORDING November 2022 - Cover4
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