Definitive Technology SuperCube Trinity Signature Brochure

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QUIPMENT

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EVIEWS

Definitive Technology SuperCube
Trinity Signature Subwoofer

“the most articulate and dramatically

energetic sub that I have auditioned”

By Bryan Southard
April 2007

IInnttrroodduuccttiioon

There are few mor
than selecting and setting up a subwoofer in your system. What
makes a subwoofer such a challenging selection is perhaps best
explained by its name. The operative section of the wor
which refers to subsonic frequencies that are defined by being for
the most part inaudible. Although subwoofers also handle higher
audible fr
than heard.

The Defi
incarnation developed specifically for the Trinity Church in
New Y
challenge of amplifying and accurately reproducing the church’s
massive pipe organs, Definitive rose to the occasion. Providing a
single bi-polar tower for each organ pipe, the Trinity Sub has been
designed to become the cor
of the most challenging instr
the mighty pipe organ.

n

e challenging tasks in the spor

equencies, the meat and potatoes of a sub are better felt

nitive Technology SuperCube T

ork. When Definitive Technology was approached with the

nerstone and low-end r

ument in the world to r

rinity Subwoofer is an

t of home theater

d is “sub,”

cement

einfor

oduce —

epr

“the Definitive Trinity would be considered

a killer at double its price. At $3,000, this
subwoofer is a steal.”

The SuperCube T

om the gr

fr
to hide from your view than to provide uncompromised sub bass

mance. Although many of the mini-cubes pr

for

per
amount of bass perfor
benefits achieved in larger packages — and a larger package the
Trinity is.

The Trinity sub is styled in typical Definitive Technology fashion,
with its black fabric covering and your choice of superbly fi
piano black or cherry top cap. Measuring 18 inches by 18 inches

rinity Subwoofer is a necessar

owing tr

end of miniatur

mance for their size, ther

e subwoofers designed mor

ture

y depar

ovide a fantastic

e is no ar

guing the

e

nished

Definitive Technology’s SuperCube Trinity

Signature Subwoofer

and a remarkable 31-and-three-quarters inches tall, this sub

. With a mass weight of

does anything but hide in a cor
175 pounds, this sub begs to be positioned and left alone.
The SuperCube Trinity Subwoofer has a rated frequency response

ner

of 10Hz–200Hz. As a reference, 10Hz is most often reserved for
e

arthquakes and late-night mortar attacks. The Trinity uses two
14-inch long-throw SuperCube drivers coupled to four infrasonic
p

assive radiators. Behind its speaker complement is a massive
2,000-watt digitally coupled Class D amplifier, with plenty of
juice to spare.

Connections are typical for the SuperCube line, with a
continuously adjustable low-pass crossover capable of 40Hz–
150Hz via an unfiltered LFE direct-coupled input. It provides
a high-pass crossover of the same frequencies and variable 180­degree phase adjustment, an essential feature for optimal set-up.

“there is more to this sub than brawn ...

The Trinity Subwoofer has a rare agility
that transcends its massive shape.”

p

SSeett--uup

I connected the Trinity Sub through its LFE input. Initially,
I mimicked both position and settings of my reference Linn
Sizmik subwoofer, which was professionally set up by renowned
acoustician Bob Hodas. I set the low-pass crossover to 80Hz, the
phase to 100 degrees and set the volume with my analog SPL
meter to match my front loudspeakers. I then installed the spikes
to keep the Trinity from vibrating across the room and reducing
me to a pancake.

MMuussiicc AAnndd MMoovviiees

As this is a subwoofer review,
I lined up a couple of solid
action films rather than dialing
up such Oscar hopefuls as, say,
Little Miss Sunshine, which
wouldn’t exactly provide the
thump needed to really test
a top of the line subwoofer
2006’s

16 Blocks (Warner

Home V
as a typical Bruce Willis
saga equipped with whimsical
one-liners and plenty of gunfire
and car wrecks to exercise

the Trinity’s low-frequency
prowess. In this simple plot, NYPD Detective Jack Moseley
(Willis) is assigned to transport petty criminals to their court
appointments, a simple job for an old and tired officer who’s a
stone’s throw from retirement. In Willis-flick fashion, the plan
goes awry and guns are drawn. Although the action is mediocre
at best, there is plenty of “bang” for my buck. The Trinity Sub
produced an abundance of low frequency energy I had not yet felt
in my theater. It took some minor calibration and adjustment to
get the Trinity to blend with my Revel Salon loudspeakers.
However, once tweaked, my low-frequency information became
seamless and the SuperCube Trinity literally disappeared.

ideo) surprised few

s

.

“Looking to jump-start your pacemaker?

The Trinity Sub might just be the most
powerful and energetic sub to grace
the sub-$5,000 market.”

I found this to be a tremendous early indication that there is more
t

o this sub than brawn. It can be difficult to blend slower low-

frequency drivers to ultra-fast loudspeakers. Although many

“The Trinity Sub provided flawless low-

frequency support that made me constantly
want to turn it up. I remained enamored
by the previously missing information that
I was now hearing.”

suggest that any sub can be blended well with knowledge and
patience, this is simply not true. I have had some of the better
subs produced and have been unable to integrate them
seamlessly. The Trinity subwoofer has a rare agility that
transcends its massive shape. Gunshots had a percussive ring that
was as convincing as I have heard. Being that my Revel Salon
loudspeakers have been measured down to 18Hz at -3dB in my
room, my patience for reduced performance in order to achieve a
few lower frequencies is nonexistent. Because of this, I often
reduce the volume of the subwoofer in order to not pollute my
more pure bass information. The Trinity Sub provided flawless
low-frequency support that made me constantly want to turn it up.
I remained enamored by the previously missing information that I
was now hearing.

“What was most impressive was the Trinity’s

ability to provide earthquake-like thunder
without over-saturation.”

I upped the ante with some
of my favorite war footage
from

We Were Soldiers

(Paramount). Although this
movie has its shar
corniness from its director,

esident anti-Semitic

our r
poster boy Mel Gibson, it
also has some of the best
shoot ‘em up footage since

Saving Private Ryan.
Soldiers is set in the early

days of the Vietnam War
and has a plethora of flying
bullets, mortar and air
attacks. I first played this
flick without the use of the
SuperCube Trinity Sub, then added its might, and might it was.

It made the difference between watching the war and actively
dodging bullets as a live observer. What was most impressive
was the Trinity’s ability to provide earthquake-like thunder
without over-saturation. Large subwoofers often overcome my
room. Once properly set up, saturation and overabundance were
not a problem in the least.

The Terminator trilogy is perhaps one of the greatest action series
of all time.
dishes out a low-frequency pounding like few can. In the scene
where the Terminator walks into the bar to acquire some much-

e of

Terminator 2: Judgment Day (Warner Home Video)