The more recreational listening time I spent as a run up to the critical listening part of this review, the more I grew to appreciate just how truly high quality a product the DD-18 really was. It has a way of involving you in whatever movie you’re watching or musical track you’re listening to in an all too rare, authentic way. You’re not at the movie, you’re in the movie. With a sub capable of plumbing the deepest depths of the subterranean LF architecture of your favorite movie or musical selections as well as the DD-18 does, you’ll experience an engaging, enveloping realism that’s altogether in a class of its own - as well it should be for an MSRP of $5k US!

Nothing like aliens trashing the neighborhood and stuff blowing up to show off a sub’s ability (or lack thereof) to deliver slam, (I mean SLAM!) in a dynamic, lively, REALISTIC way. In War of the Worlds you get plenty of alien vandalism, stuff blowing up and more, with accompanying LF passages (artillery barrages in response to aforementioned vandalism & mischief) that’ll test any system’s ability to present an authentic, robust dynamic range, low compression, low distortion and high dB spls. The DD-18 handled the job superbly never once breaking a sweat, so to speak, in dishing out the LF acoustic portion of the alien-style smash, bash & thrash party being served up on screen. In practice, I never needed to push the gain high enough to tax the DD-18. It was so capable of delivering mammoth amounts of very clean, tight, deep bass into the ~62.3 m^3 (~2200 ft^3) listening space whenever called on to do so. I’d like to mention I left the servo set at 8 (max feedback) at all times as the system was so capable of providing far more LF acoustic output than would ever be needed, that the extra bit of acoustical output gain (gotten at a cost of higher distortion) simply wasn’t necessary. (See graph 2).

Where it comes to subs I’ve always preferred running large systems at levels the system in question would not find challenging at all, the idea being to keep non-linear distortion at practical minimums: I’d rather have a too-big system, running at low levels than a too-small system calling attention to itself with its annoyingly poor performance. The DD-18 is just such a large system, which, with its servo-controlled driver defines clean, (i.e. low-distortion) sound. Now whether an expenditure for a sub on the order of $5k US makes financial sense or not is a question that can only be answered by the individual consumer. However, having experienced the DD-18 first hand, I can tell you the quality of performance it will bring to your listening experiences makes it well worth the extra bit of time or effort it might take to fit this sub into your budget.

Pink Floyd’s Pulse is a two-disc set built from a series of recordings done 12 years ago at the Earl’s Court Exhibition Center in London. Sonically, it’s not bad at all for a 12 year old recording re-mixed to 5.1 format. Though the actual performance was a little uneven in spots, there are moments of sheer musical magic as well. Overall, this DVD has a way of growing on you and drawing you into the performance, much as the Dark Side of the Moon LP drew in listeners a generation ago. I listened to the DVD several times in reviewing the sub, at typical concert levels, and the Velodyne never flinched!

Of particular interest was Guy Pratt’s bass work on Comfortably Numb. Not that the bass lines were of any lesser quality elsewhere. It did seem, though, that the LF portion of many of the other tracks was rolled off a bit or compressed so much so that the Velodyne didn’t have all that much to work with, even the pyro moments sounded a bit weak in terms of dynamics. (If you’ve ever been onstage, behind or in front of a pyro cannon when it fires off, you’ll know what I mean).

Comfortably Numb, however, didn’t sound overly compressed and the Velodyne came to life, carrying the bass lines (and all the rest of the LF portion of the audio tracks) with command, power, precision and a degree of musicalness largely attributable to very low levels of distortion. I listened to a few other live music DVDs (such as Eric Clapton’s Sessions For Robert Johnson) and the experience was always the same. The DD-18, with its exceptionally low distortion and the way it can finesse high output demands - either transient or long-term in nature - all add up to a sub capable of revealing an undiscovered dimension within the music contained in your collection of CDs & DVDs.

Ahhh, the days when soaring, meteoric reverb tails were king! Bladerunner is an 80’s classic, perfect for the dark-film connoisseur. I settled in LA a few years after the movie came out and recall it had developed an almost cult-like following, resulting in the film remaining in the public eye for what seemed a surprisingly long time. I chose this DVD not for any exceptional sonic attributes but instead more out of simple curiosity, to see if I’d hear anything new in these old tracks. (And I do mean old: Bladerunner was one of the first movies to see a DVD release).

Put simply, I found that the DD-18 was capable of authentically resolving bass detail in a way that is seldom encountered. I’d estimate this, once again, owes largely to the exceedingly low levels of distortion this particular sub is capable of. Though the movie certainly did have its interesting ELF moments, It was the revealing of bass detail as I’d not heard it before that really stood out. Gone were the blurred glissandi (the sliding of pitch fluently from one note to another) and jumbled bass chords that I had for so long accepted as symptoms of the audio production values common for movies made in those days. Overall, I’ve never before heard any subwoofer sporting an 18” driver capable of resolving bass detail as cleanly as the DD-18 does with aplomb. Excellent!

Mussorgsky’s Pictures at An Exhibition, transcribed for and performed on organ by Jean Guillou. (Dorian Dor – 90117) Performed on the mighty Kleuker-Steinmeyer organ of the Tonhalle, Zürich.

This CD is a real sonic treat for both the classical music fan and anyone interested in looking for an alternate to the more commonly used musical material used in assessing a sub’s subjective performance. Track 5, Promenade, and track 15, The Great Gate At Kiev feature some of the most challenging bass lines found in the literature, outside of such familiar compositions as the 1812 Overture.

The recording is well executed and with the right playback equipment its easy to hear the full extent of the bass lines as they majestically unfold across the acoustical landscape of the Zürich Tonehalle. The DD – 18 was easily able to differentiate between the deepest of pedal tones, a difficult feat for even the best.

I could play this CD’s tracks at levels sufficient to make nearby light fixtures jiggle (along with the suspended ceiling), yet the DD – 18 tracked the bass lines with a tenacious grip. It did so at such low distortion levels that it gave one a very clear view not only to the complex tonalities of the music flowing from the ranks of the Kleuker-Steinmeyer, but also, as already mentioned, the acoustics of the space within which the recording was made. If you’ve ever encountered a sub capable of this sort of LF resolution, you’ll know the result at the listeners ear is unforgettable.

Recommendations

The DD–18 is a big sub that delivers truly big sub sound. It does so with a driver packed with performance-enhancing features, as well as a sophisticated digital drive control system that works to not only keep the driver performing at its best but also ensuring the sub integrates flawlessly with the rest of your system and the acoustics of your listening space. The on-screen display system, handheld remote and calibrated mic ensure you can get your sub up & running and optimally tuned in no time at all. If you absolutely require authentic LF extension, loads of clean power, and the right mix of advanced features to deliver a level of performance that is in a class of its own - all in a beautifully finished cabinet - then the

DD–18 is the place to invest your hard earned audio dollars. ROI begins immediately and unless you’re listening space is the size of a Kansas prairie, this is likely the one and only sub you’ll need for a long, long time. Though if you desire more uniform bass distribution throughout the seated area, have the extra coin, and your abode can handle seismic tremors on a regular basis, I’d opt for two DD-18’s!

Conclusion

Velodyne has long stood out for subwoofers with exceptional performance capabilities. In the DD -18 we find a very powerful, yet sophisticated system capable of performing at quality levels that put it well above the average product. Though the demands placed on a sub by 2-channel playback and HT are different, the DD–18 handles both modes with ease. In every way that is important, the DD – 18 excels, making it a benchmark product in every category.